Script Breakdown - Character Analysis
by: Peter D. Marshall
A) Director as Story-Teller There are many facets of a Director's prep on any film or TV show - from
location scouts and creative meetings to casting and scheduling.
But the first, and most important part of your job, is to understand the script - what the story is
about; the themes; the story points; the characters.
A director is a story-teller, and to be a good story-teller, you need to understand every detail about
the story you are telling. There's an old expression that says if it doesn't work in the script, it won't
work on the set - and boy is that true! Understanding the story requires a lot of work on your part
because you need to rip the script apart to find out what it is about, what works and what doesn't.
B) Script Structure
Here is the "traditional" Three Act Structure of any story:
ACT ONE - THE SET-UP (Boy Meets Girl)
ACT TWO - CONFRONTATION (Boy Loses girl-fights to get her back)
ACT THREE - RESOLUTION (Boy Gets Girl)
NOTE: There has been a lot of debate lately on script structure - how many acts there are in a script!
Because this is not a writing course, (and every story ALWAYS has a Beginning, Middle and End), I will
refer to all scripts as having the traditional Three Act Structure. Even Television scripts follow the
Three Act Structure - they are just divided into Act Breaks because that is where the commercials go.
Here is a "general guide" to the physical structure of TV scripts:
1) Half-Hour Episodic TV (22-25 pages and Two Acts)
2) One-Hour Episodic TV (50 - 65 pages and Four Acts)
3) Two Hour TV Movie (100 - 110 pages and Seven Acts)
Television scripts can also be broken down further by using a Teaser and a Tag. So a one-hour TV
Script could be divided up like this:
a. Teaser
b. Act One
c. Act Two
d. Act Three
e. Act Four
f. Tag
C) Script Analysis
When you first get your script, find a nice quite place and just read it through once - from start to
finish. Your first pass is to get an idea of what the story is about, where it takes place and who the
characters are. This is when you form your first impressions of the story and it is probably the only
time you will ever enjoy the script as a story - because from now on it's all work!!
Then, read the script again (and again, and again...) and start making notes and jotting down the
answers to the following questions:
1) what is the PLOT? (what is the story about)
2) what is the THEME? (what is the message)
3) what is the LOGIC? (does the story make sense)
4) what is the EXPOSITION? (what are the characters doing/thinking)
5) what is the COMPLICATION? (what is the drama in the story)
6) what creates the TENSION? (what will happen next)
7) what is the MAIN QUESTION? (what problem is to be solved)
8) what is the MAIN ACTION? (what event hooks the audience)
9) what is the CAUSE OF THE ACTION? (what happens to the main character)
10) what is the RESULTING ACTION? (the answer to the main question)
11) what is the CONCLUSION? (how does the story end)
12) who is the PROTAGONIST? (the main character)
13) who is the ANTAGONIST? (could be one or more characters)
14) who is the MOST INTERESTING CHARACTER? (not always the main character)
15) where does the story TAKE PLACE? (location, time period)
D) Scene Analysis
Once you have an understanding of what the story is about, you then need to analyze each individual
scene in the script.
1) what is the INTENT of the scene? (what is the scene used for dramatically)
2) what are the PLOT POINTS? (points that move the story forward)
3) what is the CLIMAX of each scene? (what is the turning point)
4) what is the RESOLUTION? (how is the theme resolved)
5) what is the CONCLUSION? (how does the scene end)
4) what are the important LINES OF DIALOGUE? (contain story points)
5) which character CONTROLS the scene? (who pushes the story forward)
6) what are the BEATS/UNIT CHANGES? (where does the story change directions)
E) Other Structural Elements
Here is a partial list of some other elements you need to look for during your script breakdown:
1) foreshadowing
2) recurring motifs
3) scene transitions
4) counterpoint
5) repetition
6) contrast
7) clarity of information
8) action and stunts
9) comedy scenes
10) special effects (explosions etc)
11) visual effects (CGI, green screen etc)
12) locations
F) In Conclusion
Your script breakdown will be a never-ending process. Each time you read the script, you find out
something different about the story or the characters.
The script will constantly evolve. It will change because of the your creative notes - writer changes -
actor changes - producer changes - network changes - location availability and on and on and on...
As long as you know what the story is about and where the story is going, you can adjust to all the
changes.
In the last article, I talked about the first, and most important, part of a Director's job - understanding the
script: what the story is about; the themes; the story points; and the characters. In this article, I will focus
on Character Development and Analysis.
After reading the script and working through the script structure and scene analysis, it's time to figure out
the development and objectives of the characters.
1) Character Functions
Each character has at least one function (or role) in any story, such as:
a) protagonist
b) antagonist
c) best friend
d) love interest
e) confidante
f) partner
g) catalyst
h) mentor
i) comic relief
There are many more, but this is a basic list for you to start with.
2) Character Emotions
Here are the three main character emotions:
a) Sympathy - the audience IDENTIFIES with the character's problems and triumphs
b) Empathy - the audience UNDERSTANDS the emotions that drive the character
c) Antipathy - the audience wants the character to "GET WHAT THEY DESERVE"
3) Character Components
These are the Internal and External factors that shape each character:
a) Interior - form character
b) Exterior - reveal character
4) Character Background
a) where is the character from (background)
b) what was he doing just before this scene
c) what does the writer say about this character
d) what do others say about this character
e) what does the character say about himself
5) Character Objectives (Most Important!)
These are the main needs and wants of a character (what people want out of life)
a) SUPER OBJECTIVE (example: "Power over People")
- what is the primal motivation of the character
- what are the main needs of the character
b) OBJECTIVES (example: "Wants to Dominate Character A")
- what does the character want (motives)
- what are the active choices to achieve the Super Objective
c) MAIN ACTIONS (example: "What they DO to Character A")
- what the character DOES...
- to get what he WANTS...
- to fulfill his NEEDS
NOTES ON OBJECTIVES:
a) there can only be one objective per character - per scene
b) the simpler the objective, the easier it is for an actor to play it
c) objectives rise out of the character's needs and feelings
d) objectives help actors react to each other - rather than just "say the lines"
e) an objective should be an active choice for an actor
f) an actor should always play their objective in every scene
When coming up with character objectives, ask yourself: what does each Character want in this story - in
this scene?
a) look at the character's behavior (what he does)
b) look at what the character talks about (what he says)
c) remember: Motive (inner life ) Determines Behavior (outer life)!
6) Character Breakdown
Go through your script and write down all the characters. You should list the main characters first and the
secondary characters last and then assign them a function. Your first character should be the main
character - or the protagonist.
NOTE: if you are doing a TV Series, the main characters will already be established for you. They are
usually numbered "1,2,3..." on any call sheet.
7) Script Breakdown (Per Character)
Answer these question about how each character fits in the story:
a) what is the story function of this Character
b) what is their Super-Objective
c) what is their Main Objective (in the story)
8) Scene Breakdown (Per Character)
Answer these questions about how each character fits in every scene:
a) what is the character objective in this scene
b) what are the character's main actions in this scene
c) what are the results of their actions in this scene
9) Character Dialogue
I am a firm believer in the rule " Less is more!" As the Director, it is your responsibility to take a written
document (The Script) and translate it into a visual format (Film or Video). This means that we can
sometimes use visuals instead of dialogue to make a story point or to show what an actor is thinking.
After you have done all your homework on Script, Scene and Character Analysis, make another pass at
the script to see what dialogue can be omitted by using visuals to get the point across. It is always better
to SHOW the audience what a character is thinking, than have them talk about it. (Motion Pictures!)
WARNING: on a TV series, the producers are usually the writers and they are, for the most part, very
hesitant to have any dialogue removed. If you have done your homework (Scene and Character
Breakdowns) and can show them that your idea will make the scene better, go for it - they can only say
no.
Short note about the author
Peter D. Marshall has worked in the Film and TV Industry for over 32 years. In 2000 he created
www.ActionCutPrint.com as an online resource center for Filmmakers where you will find filmmaking tips,
articles and directing workshops. Peter also publishes the free monthly ezine, "The Director's Chair."
http://www.actioncutprint.com mailto:pdm@actioncutprint.com
Script Breakdown - Script and Scene Analysis
Posted on Thursday 1 May 2008
A) Director as Story-Teller
There are many facets of a Director’s prep on any film or TV
show - from location scouts and creative meetings to casting and
scheduling.
But the first, and most important part of your job, is to
understand the script - what the story is about; the themes; the
story points; the characters.
A director is a story-teller, and to be a good story-teller, you
need to understand every detail about the story you are telling.
There’s an old expression that says if it doesn’t work in the
script, it won’t work on the set - and boy is that true!
Understanding the story requires a lot of work on your part
because you need to rip the script apart to find out what it is
about, what works and what doesn’t.
B) Script Structure
Here is the “traditional” Three Act Structure of any story:
ACT ONE - THE SET-UP (Boy Meets Girl)
ACT TWO - CONFRONTATION (Boy Loses girl-fights to get her back)
ACT THREE - RESOLUTION (Boy Gets Girl)
NOTE: There has been a lot of debate lately on script structure
- how many acts there are in a script! Because this is not a
writing course, (and every story ALWAYS has a Beginning, Middle
and End), I will refer to all scripts as having the traditional
Three Act Structure. Even Television scripts follow the Three
Act Structure - they are just divided into Act Breaks because
that is where the commercials go.
Here is a “general guide” to the physical structure of TV
scripts:
1) Half-Hour Episodic TV (22-25 pages and Two Acts)
2) One-Hour Episodic TV (50 - 65 pages and Four Acts)
3) Two Hour TV Movie (100 - 110 pages and Seven Acts)
Television scripts can also be broken down further by using a
Teaser and a Tag. So a one-hour TV Script could be divided up
like this:
a. Teaser
b. Act One
c. Act Two
d. Act Three
e. Act Four
f. Tag
C) Script Analysis
When you first get your script, find a nice quite place and just
read it through once - from start to finish. Your first pass is
to get an idea of what the story is about, where it takes place
and who the characters are. This is when you form your first
impressions of the story and it is probably the only time you
will ever enjoy the script as a story - because from now on it’s
all work!!
Then, read the script again (and again, and again…) and start
making notes and jotting down the answers to the following
questions:
1) what is the PLOT? (what is the story about)
2) what is the THEME? (what is the message)
3) what is the LOGIC? (does the story make sense)
4) what is the EXPOSITION? (what are the characters
doing/thinking)
5) what is the COMPLICATION? (what is the drama in the story)
6) what creates the TENSION? (what will happen next)
7) what is the MAIN QUESTION? (what problem is to be solved)
what is the MAIN ACTION? (what event hooks the audience)
9) what is the CAUSE OF THE ACTION? (what happens to the main
character)
10) what is the RESULTING ACTION? (the answer to the main
question)
11) what is the CONCLUSION? (how does the story end)
12) who is the PROTAGONIST? (the main character)
13) who is the ANTAGONIST? (could be one or more characters)
14) who is the MOST INTERESTING CHARACTER? (not always the main
character)
15) where does the story TAKE PLACE? (location, time period)
D) Scene Analysis
Once you have an understanding of what the story is about, you
then need to analyze each individual scene in the script.
1) what is the INTENT of the scene? (what is the scene used for
dramatically)
2) what are the PLOT POINTS? (points that move the story forward)
3) what is the CLIMAX of each scene? (what is the turning point)
4) what is the RESOLUTION? (how is the theme resolved)
5) what is the CONCLUSION? (how does the scene end)
6) what are the important LINES OF DIALOGUE? (contain story
points)
7) which character CONTROLS the scene? (who pushes the story
forward)
what are the BEATS/UNIT CHANGES? (where does the story change
directions)
E) Other Structural Elements
Here is a partial list of some other elements you need to look
for during your script breakdown:
1) foreshadowing
2) recurring motifs
3) scene transitions
4) counterpoint
5) repetition
6) contrast
7) clarity of information
action and stunts
9) comedy scenes
10) special effects (explosions etc)
11) visual effects (CGI, green screen etc)
12) locations
F) In Conclusion
Your script breakdown will be a never-ending process. Each time
you read the script, you find out something different about the
story or the characters.
The script will constantly evolve. It will change because of the
your creative notes - writer changes - actor changes - producer
changes - network changes - location availability and on and on
and on…
As long as you know what the story is about and where the story
is going, you can adjust to all the changes
Pages 239-240 are not part of this book preview.