Elements of Script Writing

Screenwriting elements

For formatting and style, a script is nothing more than a collection of elements. THREE ESSENTIAL ELEMENTS OF A SCRIPT During the last few month I have been asked to re-write or edit several animation featurescripts. They needed new scripting one by one. I' ve described in detail what was structureally incorrect with the script with regard to subject, sheet and story. One for the other, the makers said they liked my contribution, but they were generally satisfied with the script and just wanted to spice up the dialogue and the film.

Scripts are the most important part of a movie. That is especially the case for cartoons, because manufacturers often make the error of believing that if they put all their dollars into nice animations, this leads to a movie being made. Poor stories, well told, will always lead to a failure.

While a good tale, even if badly illustrated, could very well be a big success. The audience comes to the theatres for characters and action, not for nice entertainment. Can' t put every item of a professionally structured script in a comment. There are three main elements of a script - or any given narrative - that are the subject, nature and storyline.

It cannot reach it, because it works against the topic.

Its bold and disciplined qualities are the opposite side of the subject, namely that it requires practice and disciplines to achieve a target. He also believes that he needs the "secret" of the dragon roll to become the Dragon Warrior, and that without this mystery he cannot realize his dreams.

That is another part of the issue that there is no magic formula for succeeding, only tough work and will. It' s this topic that Po picks up again and again when he comes across the action - he has to become the Dragon Warrior to conquer the bad Tai Lung during the second act.

The whole film and the nature of the second act are the product of Po, who imposes this wrong (gegenthematical) stance against the high-level disciplines of Master Shifu and the Furious Five. In the course of the second act, the countervailing effort against Shifu's bottom and the Furious Five forces Po to face each other and finally find the right side of the subject: that there is no mystery; he just has to practice and believe in himself.

As Po changes his topical nature, he can beat Tai Lung and becomes the martial arts dragon warrior he dreamt of in the opening game. It is a perfectly resolved subject, sheet and story. In addition, there are some other elements of characters and structure that are necessary for a full and well-written script.

However, the above descriptions of subject, personality and story are the bowels of what makes a script. When they can see the ease and clarity of the elements of the theme, characters and storyline, they may be able to see why most screenplays need more than just comedies and dialogue punch-ups.

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