These are posts by:
I remember the moment perfectly. I’m sure each one of you can remember being similarly thunderstruck when it happened to you. For me it occurred in the summer of 1995, when NYPD Blue aired on…
Read the PostSave the date! A discussion in Milan about TV and cinema
You know the rule of thumb: reduce dialogue as much as you can in your script. Whenever possible, avoid it. Sometimes, though, one line of dialogue is better than a silent beat. For example,…
Read the Post‘The Fugitive': using one line of dialogue to convey characterization
Screenwriting geeks debate whether it’s acceptable to use the first-person plural to simulate the audience’s perspective: “And suddenly we see…”; “We finally recognize him…” I’m generally in favor of this technique, provided the author doesn’t…
When I read in screenwriting textbooks that film dialogue is different from real dialogue — conflict, twists, and thick subtext are not so common in everyday conversations — interrogation scenes always come to mind. They…
Read the PostInterrogation Scenes as Film Dialogue: Paradigmatic Cases
This Is Us, Episode 2: Los Angeles. Kevin, having decided he can no longer stomach being associated with such a lowbrow show, has clamorously quit The Manny, the awful sitcom he’s been starring in. At…