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| Name | How to Hook a Reader with Your Screenplay — The First 10 Pages Explained |
| Video Uploader | Video From StudioBinder |
| Upload Date | This Video Uploaded At 26-02-2024 12:00:51 |
| Video Discription | First Ten Pages of a Script — We break down how to write the most important pages of a screenplay. How to Write the First 10 Pages of a Screenplay ►► https://bit.ly/3Ic5fbq StudioBinder Screenwriting Software ►► http://bit.ly/sb-sw ───────────────────── Chapters: 00:00 - Introduction to Starting your Screenplay 00:31 - The Importance of the First 10 Pages Explained 01:19 - Tone 03:52 - Character 06:42 - Setting 08:50 - Theme 11:39 - Stakes 13:45 - Deep Dive: Sideways 17:56 - Takeaways ───────────────────── THE FIRST TEN PAGES There are a lot of screenplays out there waiting to be made, so getting a potential producer or financier to read your script is a big accomplishment. But getting them to finish your script is a whole other animal. Scripts that get noticed are typically scripts that have strong openings, openings which tell a reader why they should keep reading. Within the first 10 pages, a screenplay should already have delivered a lot of information. In this video, we look at some of the strongest opening ten pages from famous screenplays, and see what they can teach us about writing a great hook. HOW TO WRITE A SCRIPT’S OPENING When screenwriting, it is important to know your tone. Are you writing a comedy? If so, what kind of comedy? A satire? Black comedy? Dramedy? Once you’ve answered this question, make sure you infuse your opening with that tone. Think of some of the best comedies out there. Nearly all of them establish their humor right off the bat, and certainly within the first ten pages. The same goes for other genres. A horror will typically have a scare right up front. Of course, it’s also a good idea to introduce your primary characters in the first ten pages of a script. There are more exceptions to this rule than with tone setting, but by and large, screenplays will establish important character within their opening pages. This is more than just having a character appear. It is also showing the reader who this character is– how they act, think, and inhabit their setting. HOW TO START A MOVIE SCRIPT Speaking of setting, most great screenplay opening pages will establish a sense of place. If it’s a sci-fi, a screenwriter may introduce us to the rules of the alien world. If it’s a grounded drama, the screenwriter might note details in familiar settings that feel both real and telling. Some first ten pages will also set up themes that will be investigated in the rest of a script. If one theme is the value of community, the first ten pages might have a character deliberately eschewing his comrades and going it alone. In this vein, setting the stakes is also crucial. What will happen if a character doesn’t succeed? In Jurassic Park, for example, David Koepp opens on a worker getting eaten by a dinosaur. The stakes are clear: fail, and get eaten. SCREENWRITING ADVICE Your first ten pages may not include all of these elements. It may even only incorporate a few of them. But no matter what, the first ten pages of a screenplay should be intriguing. The reader should want to know more. If you don’t accomplish this goal, the stakes are as stark as Jurassic Park’s: your script might get put down. #FilmTheory #VideoEssay #Filmmaking ───────────────────── ♬ SONGS USED: “A Glowing Light, A Promise” - Makeup and Vanity Set “War Drums “- Kyle Preston “The Claw” - Richard Reed Parry “Into The Unknown” - Mark Orton “Main Title / Trinity Infinity” - Don Davis “Pool” - Disasterpeace “The Basement / The Magician” - Jed Kurzel “What I love About Nicole” - Randy Newman “The Ozone” - Carter Burwell “The Little Dead Boy” - Carter Burrell “Bubble Wrap” - Thomas Newman ‘“2-2815 AD” - Thomas Newman “Turning Panda” - Ludwig Goransson “Study Up” - Tune-Yards “Regalview Theme” - Tune-Yards “Powercallers Suite” - Tune-Yards “Boston, MA” - Laura Karpman “Drips” - Laura Karpman “Rage” - John Murphy “North” - Rolfe Kent “Asphalt Groovin” - Rolfe Kent “Constantine Snaps His Fingers” - Rolfe Kent “Drive” - Rolfe Kent “Lonely Day” - Rolfe Kent “Miles Theme” - Rolfe Kent “I’m Not Drinking Any Merlot” - Rolfe Kent “Slipping Away As Mum Sleeps” - Rolfe Kent “Title Credits” - Jon Brion “Bus Rider” - John Swihart Music by Artlist ► https://utm.io/umJx Music by Artgrid ► https://utm.io/umJy Music by Soundstripe ► http://bit.ly/2IXwomF Music by MusicBed ► http://bit.ly/2Fnz9Zq ───────────────────── SUBSCRIBE to StudioBinder’s YouTube channel! ►► http://bit.ly/2hksYO0 Looking for a project management platform for your filmmaking? StudioBinder is an intuitive project management solution for video creatives; create shooting schedules, breakdowns, production calendars, shot lists, storyboards, call sheets and more. Try StudioBinder for FREE today: https://studiobinder.com/pricing — Join us on Social Media! — Instagram ►► https://www.instagram.com/studiobinder Facebook ►► https://www.facebook.com/studiobinderapp Twitter ►► https://www.twitter.com/studiobinder #film-theory, #video-essay, #filmmaker |
| Category | Film & Animation |
| Tags | How to write the first ten pages of a screenplay | first 10 pages | the first ten pages | first ten pages of a screenplay | first ten pages | first ten pages of a script | screenwriting | how to write a script | writing tips | how to write a screenplay | screenwriting tips | screenwriting techniques | screenplay opening pages | how to start a movie script | how to start a script film | screenwriting advice | starting a script | how to start a script | studiobinder |
