Orson Welles communicated visually without one word of dialogue that Kane had returned to a state of boyhood. This is brings to mind the scene in Citizen Kane, where Kane, having just learned from his guardian, Thatcher, that the crash of ’29 wiped out his estate, paces along the Z-Axis and walks from the foreground to the background and back to the foreground again. As far as I’m concerned, there was no other way to write this sequence. With a pro like Robert Towne, it’s simple, seamless, and visual. In the hands of lesser writers, this sequence could have been a bear to read and follow. I love the way Towne uses Secondary Headings to cut back and forth between Gittes and Mulwray. Reading this for the first time was such a revelation to me. Or a protagonist goes halfway around the world to Italy only to spend the majority of the time in a hotel room. (Or they keep returning to the same boring location again and again. It is such a pet peeve of mine when writers are so thoughtless, unoriginal, and uncreative about locations in their scripts. Screenwriters are filmmakers, too, and we have to think like filmmakers and endeavor to render our stories CINEMATICALLY, which means that we should write the shots. It’s not enough that we, as screenwriters, must have a god-like knowledge about the story we wrote and about the art of storytelling, characters, dialogue, and structure. Billy Wilder did 'limbering up writing exercises' every morning of his life by imagining more and more original ways in which a young couple could meet for the first time. To sum it up - if we are to take from all of those straight, rigid lines that John, like Harry Caul, is perhaps a rational, technically competent, detached, and remote individual, then the image on the television tells us that there is something very disturbing at the core of his 'dilemma.'Ĭreative writing exercises are good for the writer's soul. That’s how the audience gets to know them as human beings. It is very important to light so the audience can see what’s behind each character’s eyes. …reminds me of a quote by Ingmar Bergman’s Swedish cinematographer, Sven Nykvist: The truth always lies in the character’s eyes. This book is exactly what the screenwriting community needs right now. This should be in the library of every aspiring screenwriter on the planet and every single technique should be memorized backwards and forwards. I read Cinematic Storytelling, which was written by the great Jennifer Van Sijll, and I just LOVED IT. I’m back for one last post – links to 101 of my best articles!

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