need a 4 page 4 min script

 

Based on what you have learned in Chapter 2, Interpreting The Written Word, write a 4-page (4 minute) script. You may choose to write your script for an animation or for live action. Think of this as a script for a short film or one scene in a longer film.

Your script will meet these objectives:

• Write a brief, one-paragraph treatment for your story/script idea – See the About Treatments page below to learn about this

• 4 pages, 12-point Courier font

• Indentation and spacing as shown on pages 20, 22, 23 in the textbook. Each script page represents 1 minute of screen time.

• Script may be for an animation or live action production

• Include at least two different characters

• This may be a self-contained short film (4 minutes) or one scene excerpted from a longer film

• Include the slugline (master scene heading) that describes the location, time of day, weather, etc.

• Include script elements for action prior to dialogue, character names and actor direction in parentheses

 

Think about the type of dramatic conflict that may be the basis for a plot for your script:

• Human vs. self
• Human vs. human
• Human vs. nature
• Human vs. environment
• Human vs. technology (machine)
• Human vs. supernatural
• Human vs. god

(If your characters are not human, just substitute their “species” in place of “human”)

 A treatment is a brief synopsis or description of the story idea for your animation or film. For the scriptwriting assignment, you only need to write a short paragraph. Treatments should read like a short story and be written in the third person, present tense. It should present the entire story including the ending. 

 

Examples – These are excerpts from longer treatments. For this assignment your treatment should be about the same length as these examples.

While this is not a book on screenwriting, it is important for every storyboard artist to

be able to identify the elements of a script and to be able to interpret the written word.

b ‘s start with the basics.

(;very script has five fundamental

elements:

l. Slugline

2. Action

3. Character

4.Dialogue

s. Wryly

�ach one of these components

provides essential information to

everyone involved with the film

or episode, from the director on

down to the production assistant.

A good storyboard artist should

be able to glean information from

each of these elements.

Spec Script Example: Storyboard
artists would look for cues that would
help them determine framing height,
angle, and movement, as well as setting
and time of day.

20 • Storyboarding Essentials

EXT. CITY HALL DAY

The crowd gathers along BAY STREET as drivers and
engineers tune up their racers.

DAHLIA steps out of her roadster. She moves toward
JACK, who is working on his car.

(softly)
Hey.

DAHLIA

actioti

Jack pulls his head from under the hood. He wipes
grimy hands on his coveralls.

Dahlia stands with arms folded. Jack is uneasy.

A PORTLY man waddles up to Jack. He tips his hat
to Dahlia, who lowers her gaze.

PORTLY

Jack, my boy, a lot of folks are
counting on you-

v1actet�c�a
Thank you, sir.

PORTLY
I dare say we’ve got a good bit of
money on you, son. Play your cards
right, and you’ll be very comfortable.

Portly places a heavy hand on Jack’s shoulder.
Jack winces.

PORTLY

us a e i easy, a . Think of it as
a leisurely drive through the
countryside.

Portly slaps Jack hard on the back. He gives a tip
and a nod to Dahlia, and waddles off.

Jack stands with clenched jaw.
dialoq�e

DAHLIA�
( I’ 11 tell you later�

JACK
What?

Dahlia kisses Jack on the cheek and climbs back
into her Buick. She puts the car into gear and
motors off, leaving Jack in the dust.

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