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Posts Tagged ‘Vince Gilligan’

” A solid principle is to employ expository dialogue as the reaction to the events that take place before the lens (remember: show and then tell). Invent action or incidents as the provocation for dialogue, because exposition in film is much more interesting after the dramatic event as a comment (or perhaps an explanation) on it.”
Alexander Macindrick


“The senior writers at the film studios in London where I worked for many years used to delight in collecting examples of bad dialogue in screenplays. One of their favorites was ‘Look, Highland cattle!’ This was a quote from a particularly amateurish travelogue in which a character pointed off-screen, said this line, and the film cut to guess what? Those three words became shorthand for a piece of wholly unnecessary and redundant exposition used when the story was being told perfectly well solely through visual means. A good director will go out of his way, often in the editing process when he has both words and images in front of him, to gradually eliminate all lines that are absolutely not necessary.”
Alexander Mackindrick
On Film-making
Page 7

Here’s the opening scene (Spanish translation version) from the Breaking Bad pilot written by the show’s creator Vince Gilligan, and it’s a great example of visual and compleing storytelling with limited dialogue. You may not know what’s going on but it makes you want to know what happend and what will happen next. Much better than, “Look, Highland cattle!”—or even “Look, a meth lab!”

P.S. An interesting editing concept I picked up from Sam Mendes on the DVD commentary of American Beauty is looking at cutting the first line or two of the opening of the scene and doing the same at the end of the scene. American Beautywas Mendes’ first film and he discovered in editing that often times those lines weren’t needed. It’s an interesting exercise to read your script again from page one asking yourself— “If the opening and closing lines were edited out, would it make any difference?”

I’ve found that in reading many unpublished screenplays it’s not just cutting the opening or closing line or two in a scene that works, but often a line or two of dialogue within regular ongoing conversation in scene after scene.

Related post:

Is 110 the New 120?
The Four Functions of Dialogue (Tip #45)

Scott W. Smith

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