Scott, thanks once again for the bitesize chunk of screenplay theory. This is a much-needed discussion you have opened up into the problem of screenplay writing. It can be a hairy problem for some of us, I dare say, who come from different writing backgrounds. I will speak for myself, that my earliest defects in script writing amounted to prosaic “screenplay prose” as I call it. Only a script is, as you have illustrated, is a fine balance between the economy of poetry and disciplined to progress the moving image. Actually, you have illustrated this quite nicely with the examples above.

One of my favorite types of scripts to read as of late have been noir scripts. They make for delightful reads — that hardboiled style has so defined the genre (at least I am thinking of American noir, the classics like Double Indemnity, The Big Sleep and so on). I would love to see your take on American noir — especially from the classics on to contemporary noir films/scripts.

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Raconteur and essayist with a funny bone. Educator by profession.

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Allen Bauman

Allen Bauman

Raconteur and essayist with a funny bone. Educator by profession.