‘The Script’ Exam

By Myles Egan

1. Why are some directors driven to write

their own scripts? (1)

To fill their creative needs when they're unable to do a full length feature film.

2. You shouldn’t make an intense character study

if you are scared of what? (1)

Actors.

3. What should you be careful of if you only have

5k to make your film? (1)

Stunts, special effects or car chases.

4. If a feature film might be described as a

novella, how might a short be described? (1)

Haiku.

5. What are the length boundaries different film

festivals stipulate in their short sections? (2)

30 minutes is the maximum length that some festivals will allow. Where as the normal maximum length is

about 20 minutes and the usual is around 10 minutes.

6. If the function of your short is to make your

audience laugh, how long should it be?

2 - 3 minutes maximum.

7. What are the three basic elements any kind of

dramatic story requires? (3)

A world, a character and a poem.

8. Why can it be useful to set your film around a

familiar event/ritual? (3)

Doing this enables you to have a finite time frame as well as allowing suppressed emotions.

9. Why can a literal journey be a good setting for

a short film? (2)

It can take the main character on an emotional metaphorical journey.

10. What are the 5 most important questions to

ask when you begin to develop your story? (5)

• Who is your main character?• What is their problem?

• How will the audience recognize the problem?• Are the stakes high enough?

• Am I telling the story from the best point of view?

11. One of three things must drive your character

through the story. What are they? (3)

• A want.• A need.

• An obligation.

12. What crucially must accompany this

element? (3)

Something that is making it hard for the protagonist. If there is no problem, there is no film.

13. Why are a lot of short films about

children and teenagers? (1)

The lack of experience associated with children and teenagers is recognizable to all audiences.

14. What is one of the most important ways that

you can demonstrate your skills as a filmmaker

and not just as a storyteller? (1)

How you turn a character’s inner problem into the heart of the film and ensure the audience SEE It.

15. What does ensuring that something is at

stake in the story mean the audience can do? (1)

It makes clear to the audience what the character stands to loose if they don’t if they do not solve their

problem.

16. How can a different POV change a

story? (2)

It can change the overall message and will always either strengthen or weaken to story.

17. Why do many short film scripts fall

down? (3)

A main character is chosen whose story does not chime with what the writer is trying to say.

18. Why does an awareness of the meaning

inherent in your story matter? (3)

Every story communicates some meaning to the audience. Once the writer is sure how the story begins

and ends there should be a clear indication of it’s meaning, and this should help the writer to make

important choices and refine the story.

19. What is tone intimately connected to and

what are the implications of this? (3)

Tone is intimately connected to genre and through genre is less of an issue in shorts than in features it is

still important to think about what kind of film you are writing in broad terms.

20. How does tone emerge in this film? (2)

Tone emerges through the underlying elements which work together.

21. What is a common flaw of most short scripts

submitted for funding? (1)

Not enough work on the script or drafting.

22. What is the ten point plan to test the spine of

your story? (10)

• Title• Genre• Setting

• Main Character• A want, a need and an obligation

• Opposition• Catalyst for change

• Climax• Resolution

• Theme

23. What point does Marilyn Milgrom make

about unity? (1)

Every scene must be revealing something that increases our understanding of the character and their problem.

24. How can we make sure that what happens in

the end could not have happened earlier? (1)

Each scene must move the story on.

25. What is the step outline and what does it

ensure? (5)

- Once sentence that summaries what happens- What is revealed that is significant to the plot

- What is revealed that is significant to the audience’s understanding.

26. Every scene of significant action should

deliver something on at least two out of three

possible fronts. What are these front? (3)

Plot, character or theme.

27. What is signified by the “order” in which to tell

the story? (1)

• Plot • Character

• Theme

28. What do audiences instinctively know?

(1)

Whether it is linear or non-linear narrative.

29. As a writer what is the crucial thing you are

looking to ensure? (1)

Keep the audience engaged.

30. How do we establish the world and the

character? (2)

Speed and minimal dialogue.

31. What advice is given for making the film

cinematic once you have a good story? (8)

Establish a world and character.Visual and sound.

Create a constant tone.An active main character.

Character changes through props rather than dialogue.Visual style.

Cinematic devices.

32. What final advice is given for ensuring that a

short is more cinematic, less televisual in feel?

(1)

Little dialogue as possible.

33. Who is the first audience of your film?

(1)

The person who reads the script.

34. How can you help the reader see the film you

are intending and not get irritated? (3)

• Following screenwriting conventions.• Read scripts.

• Avoid writing technical directions.

35. Why is simple a useful descriptor for

your shorts? (1)

A small story can make a big impression if it is told with cinematic flair that captures all the depth and thematic

resonance of the idea.

36. Name some of Daniel Mulloy’s shorts and the

awards they have won? (8)

Dance Floor – Won a BAFTA for newcomer.Sister – Won a BAFTA and an ARTE Grand Prix in

Hanburg.Antonio’s Breakfast – Won short film BAFTA.

37. Compare/contrast Antonio’s Breakfast

with Dad? (4)

ContrastIn ‘Dad’ the ill man cant leave his parents house

compared to ‘Antonio’s Breakfast’ which is a complete role reversal as the young man looks after his father.

Compare

38. Explain what Mulloy is “aware” of and has a

“strong sense” of when developing his scripts. (3)

Mulloy is aware that when writing his scripts he must focus on the fact he has minimal funds, therefore he

doesn’t need to rely on other companies and producers etc.

He has a strong sense of understanding what needs to be communicated and works with the artists until they

make the performances their own.

39. What does Neil Hunter suggest is the best

way to tackle a short which covers a lot of

ground? (1)

Covering a lot of ground has to be part of the point and part of its style.

40. What idea did the short film The Sickie

develop from? (2)

The script has a clear point and is direct, funny and keeps things simple.