One of the most difficult aspects to directing is specifying the tone, subtext behind your character’s intentions and the Mis En Scene of your film. There are just so many ways you can construct your scene!
One way to help guide the process is by breaking your script down into very specific, emotional beats that will reinforce the spine or thesis of the story, the characters and the turns within each scene. This might not be effective for everyone, but this process let’s me explore several options before I ever show up on set, keeps me on track while in the thick of directing and can reveal mistakes.
Emotional beats are denoted as such: –To emotion goes here–
Let’s take a random scene from Aliens vs. Predator:
Sebastian is packing at his tent. Thomas walks up behind him. --To approach (Sebastian)--
SEBASTIAN
How bad? --To inquire--
THOMAS
We lost half the crew. --To mourn--
SEBASTIAN
Bobby leave? --To worry--
THOMAS
(nods)
Yeah. And Joe. And Caroline. Nick, Jerry and Jerry’s crew. --To reveal--
Sebastian takes the news hard. --To re-assess--
SEBASTIAN
Thomas, the burial chamber is here. I know it. We’re going to find it. --To believe--
THOMAS
I know it too. But without a crew and a new permit we’re out of business. --To doubt--
SEBASTIAN
Hold the rest of the team together for two days. I’ll go to Mexico City...talk to the bank. I’ll get us more money. --To lead--
MAX (O.S.)
I might be able to help you accomplish that, Professor. --To ingratiate--
Sebastian and Thomas turn to find MAXWELL, an elegant man of Afro-Caribbean descent, standing by his tent. --To spy--
SEBASTIAN
Do I know you? --To suspect--
MAX
In exchange for a little of your time. --To pitch (an intention/idea)--
And Max hands him an envelope with a Weyland Industries seal. --To entice--
I suspect that it’s easy to see how these little notes can change EVERYTHING. Let’s see what happens if we made the scene less about exposition and increase the tension between Sebastian and Thomas: Read more »