First Ten Pages of a Script — We break down how to write the most important pages of a screenplay.
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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
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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.
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“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
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How do writers grab our attention
and keep it for the rest of the film? Thrilling action. Complex characters. A gripping plot. Whatever they do, it should
happen in the first 10 pages. Now that we have your attention,
subscribe to StudioBinder and click the bell to see what we do next. Now, let's hang 10. Today, an audience
doesn't have much patience. Whatever the art form, a viewer
expects to get drawn in quickly. Industry players are
inundated with scripts. So getting them to
read yours can be
hard. If an executive isn't grabbed
by a screenplay within 10 pages, they will likely put it down. It's not fair,
but it's the truth. - Someone has been
changing my marks. What a horrible place
this is. It's not fair. - The first 10
pages are crucial. These pages must establish one or
more of the following story elements. Tone. Characters. Setting. Theme. And Stakes. Let's look through these elements
beginning with 'Setting the tone'. - I snap his neck! - The opening pages of a screenplay
shoul
d effectively indicate the tone and genre of the film priming
the reader for what's to come. - Philistines. Lazy, vulgar, rancid
little Philistines. - The Wachowski script for "The
Matrix" sets a mysterious sci-fi thriller tone on the first page. The opening lines prepare
us for the film's conceit. A blinding cursor pulses in
the electric darkness like a heart coursing with phosphorous light. Computers have
a life of their own. - Yeah. Is everything in place? - The dialogue builds intrigue. A my
sterious plan is in motion. - You like him, don't you? You like watching him. - Don't be ridiculous. - We're gonna kill him.
You understand that? - Morpheus believes
he is the one. - Do you?
- It doesn't matter what I believe. - And someone is listening. - Did you hear that?
- Hear what? - Are you sure
this line is clean? - Yeah, of course, I'm sure. - I better go. - "Monty Python and the Holy
Grail" is an absurdist masterpiece. - Now stand aside worthy
adversary. Tis but a scratch. - A scratch?
Your arm's off. - No, it isn't.
- Well what's that then? - This is established
from the very beginning. - The troupe writes out the credits,
inserting comedic subtitles as they go. This not only indicates to a reader that
the film will be funny, but that it will also play with the
cinematic form itself. Nothing is outside the
scope of their satire. The first scene follows
a similar subversion. The scene heading and the
superimposition of England AD 787 Quickly transports us to medieval times. A
nd the sound of hoofbeats
in the mist builds anticipation. The reveal that the sound is
coming from a servant with two half coconuts is another laugh
line and furthers the satirical tone. With the tone set, the first 10 pages will
often establish the primary characters. Most screenplays will use their opening
pages to introduce the reader to the core characters in their narrative,
showing us their essential qualities. What do they want? - I want to be a writer. - What is their
place in their wor
ld? What are their values? - I can do this all day. - These introductions differ depending
on the type of narrative being told. "The Babadook" opens with a
life-changing moment for the protagonist. A car crash which
killed her husband. By beginning with the accident, writer
Jennifer Kent signals to the audience that Amelia is haunted by
her husband's death. And though it's manifested by a struggle
with the Babadook, Amelia's true journey is coming to
terms with her grief. - It's all right.
It's
all right. - "Marriage Story", meanwhile, focuses on
the relationship between two protagonists. To emphasize this, writer Noah Baumbach
opens his script with dual monologues, where his two protagonists lay out
extended descriptions of each other. - What I love about Nicole, she
makes people feel comfortable about even embarrassing things. - What I love about Charlie
Charlie is undaunted. - The monologues are romantic, but
are quickly turned on the head on page 10. - As we mediate your separation
and eventual
divorce, things can get quite contentious. - In his opening pages, Baumbach
has established his characters and their relationship, and the audience
is primed to see how this family will navigate this
massive change. - And so that as you come
apart you're reminded that this is a person you had
great feeling for. And maybe still do in many ways. - Not all protagonists
have to be likable. But the audience needs a
reason to follow them anyway. In their script for "Fargo",
the Coen brot
hers introduce us to the anti-hero Jerry. - I'm, uh, Jerry Lundegaard. - He isn't likable, but the beginning
builds enough interest in his convoluted plan that the audience
wants to know what happens next. - You want your own wife kidnapped.
- Yeah. - As "Fargo's" opening shows,
the first 10 pages are also where a writer can
establish the setting. Setting is vital to give a reader a sense
of time and place in their opening pages. Martin McDonagh does this with his
opening lines for "In Bruges",
writing, Various shots of the empty, cobblestone,
otherworldly streets of Bruges, Belgium. It's winter, and a freezing
fog covers everything. The Gothic churches, the narrow
canals, their odd little bridges. We could be in any
period of the last 500 years. We happen to be
in the present day. This focus on location from the
very beginning tells the reader that, as the title indicates,
Bruges is a centerpiece in the story. The protagonists are stuck
in this city and will have to find different way
s
to exist within it. "WALL-E" takes a broader approach
to establishing the story world. Using the setting
to provide backstory. Writers Andrew Stanton and Jim Reardon
begin with the wide expanse of space. Their description scope slowly
narrows as they write, going from distant galaxies, constellations, nebulas,
to a single planet, drab and brown. They then describe the planet's
surface, before settling on a single avenue of trash. This is a dystopian future, where the
world has become a massive
landfill. The deeper we get into the first 10 pages,
more details explain how it came to be. This broad scope also
emphasizes just how small Wall-E is. This won't stop him, however,
from making a huge change. As such The "WALL-E" script
also does what many screenwriters do in their opening 10 pages. Allude to the script's theme. Most great first 10 pages will hint at
the larger ideas a movie will be tackling. - Honoring your parents sounds
great, but if you take it too far, well, you might forg
et
to honor yourself. - In "Sorry to Bother You", writer Boots Riley
quickly establishes the theme of his film. Capitalist oppression. - God made this
land for all of us. And greedy people like you want to hog
it to yourself and your family and charge all the rest of us
for the right to live. - In the first scene, Cassius
is told to stick to the script. Planting the seed that he will be
financially rewarded if he conforms. - S.T.T.S. Stick to the script. - Stick to the script.
Stick to the scrip
t. - Later, on his first day at the
job, Cassius sees a wealthier man go to a nicer elevator. A signifier of social
class disparity. For Cassius, the high life
is so close and yet so far. American fiction thoroughly
establishes one of its primary themes in its first ten pages. The Protagonist, Monk, doesn't fit into
the mold expected of him as a black author. As a conversation
with his agent illustrates. - They want a black book.
- They have a black book. I'm black and it's my book. - You know w
hat I mean. - You mean they want me to write about
a cop killing some teenager or a single mom in Dorchester
raising five kids? - Dorchester's pretty
white now. But yes. - Jesus Christ. You know, I
don't even really believe in race. - Yeah, the problem is
that everyone else does. Anyway, have fun
at the book festival. And just don't insult
anyone important. Please. - In a following scene, Monk witnesses
the success of another black writer who he thinks is playing
into a stereotype. - Would you g
ive us the
pleasure of reading an excerpt? - Yo, Sharonda! Where you be going
in a hurry like that? Donna asked me when she
seen me coming out the house. - With these two scenes, writer
Cord Jefferson begins to investigate one of his film's
central concerns. The precarious tightrope black
creatives are often forced to walk when trying to succeed. - That's me, Ellison. Yeah. He is me, and
he and I are black. - Oh, bingo.
- No bingo, Ned. These books have nothing to
do with African American studie
s. They're just literature. The blackest thing
about this one is the ink. - The first 10 pages of a
script can also set the stakes. - Without spice, interstellar travel is
impossible, making it by far the most valuable substance
in the universe. - Most stories have
some sort of stakes. In other words, they have
to answer the question. Why does any of this matter? - I wish I knew what
I'm supposed to do. Establishing the stakes in the first
10 pages is a good way to quickly get an audience
invest
ed in your movie. In "28 Days Later", writer Alex Garland
introduces the stakes with a prologue. He begins with images of stunning violence
and the dangers of societal collapse. He then uses the scientist to
explain the contagion that will plague the rest of the film. - Infected with what? - Rage. - And once one of
the activists is bitten, we see the effects of
the disease ourselves. By the time we are introduced to the
protagonist, we know what he's up against. Stakes don't have to be life
or d
eath to be meaningful. Writers Darius and Abraham
Marder open "Sound of Metal" with a scene of Reuben drumming. This is his element. When it becomes clear over the
next few pages that he is losing his hearing, the stakes are obvious. This will jeopardize his dream. But the Marders also establish
more subtle stakes by establishing Reuben's relationship with Lou. They are co-dependent
and do everything together. This makes their party of ways later
in the script all the more meaningful. Now, let's
look at an opening 10 pages
using all the techniques we've discussed. Alexander Payne and Jim
Taylor's script for "Sideways". The screenplay starts by
introducing us to its protagonist, Miles. His interactions show
us that he is prickly. - Miles, can you move your car, please?
- Why? - Because the roofer's gotta get
the truck in. You didn't park so good. - Yeah, alright. Hold on. - A number of details reveal that
he doesn't have his life in order. Like his appearance. His car is described as 12
years old and starts fitfully. He's hungover and
running behind schedule. But he's also an intellectual
who neglects automotive safety. The other primary character,
Jack, is introduced on page four. Though his bowling shirt, shorts,
and flip-flops were changed for the shoot, his wardrobe still
signals his laid-back demeanor. It also shows us that he doesn't
fit in with his fiancée's family. - Honey, we don't really have time
for that because we got to hit the road. Payne and Taylor also establi
shed settings
that further characterize our leads. First, they describe Mile's home as a
hideous apartment complex in San Diego. Jack is associated with the blandly
palatial suburbs of Rancho Palos Verdes. The juxtaposition between
these two worlds reinforces how different the two
characters are. These opening pages indicate
the tone of the film as well. It is a subtle and
irreverent character study. Not going for obvious
punchlines, but rather finding humor in everyday interactions. - We're thi
nking maybe
you went the wrong way. You went to Tijuana and
they don't let you back. - Yes, yes, yes. Yes,
I had to bribe them. - Meanwhile, Mile's conversation
with Jack establishes some of the themes the film will tackle. Miles lacks self-confidence tied
to his struggles getting published. - No, it's a long
shot, all right? And besides, conundrum? It's just a small
specialty press. Anyway, I'm not
gonna get my hopes up. - While Jack's lack of appreciation for
rare champagne hints at his selfis
hness. - Jack, that is a 1992 Byron.
- Right. - It's, it's really rare,
okay? I've been saving it. - All right.
- Please, don't open it. - Jack! - These hint at the
film's core concern. How two vastly different men struggle
with maturity, honesty, and respect. - You know, I've stopped caring. To hell with it, I
have stopped caring. - As Miles and Jack head to wine
country, Payne and Taylor hint at what's at stake for
these characters. Miles has lost hope in getting
his book published and suffers
from a lack of confidence. And later, when he is
rejected once again... - Conundrums passing. - We see the consequences. Jack's penchant for dishonesty and
indifference to his engagement eventually leads to infidelity
and heartbreak. - You're getting
married on Saturday! What's with all that
shit you said to me? - Stephanie,
stop! I can explain! - You said you loved me!
- I do! - I hope you die!
- Stop it! - As such, "Sideways" opening
pages set up much of what's to come while also hawking the
audience. - New Orleans?
- How is that white? - Don't ask questions
like that up in wine country. They'll think you're some
kind of dumb sh*t, okay? - Just tell me. - The first ten pages of a script are
arguably also its most important pages. - Hey, wait a minute. Let's
just sit with what we heard. - They can establish tone. Characters, setting,
themes, stakes. When done right, they can get an audience
on board for the rest of your film. What scripts do you think
have the best opening pages? Sha
re your favorites
in the comments. - What's your
favorite scary movie? - Uh, I don't know. - Start writing your first 10 pages with
StudioBinder screenwriting software. That's all for now. Remember, first
impressions are everything.
Comments
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
A Complete Audiovisual encyclopedia about the Art of Screenwriting. Like for the Art of an Opening Scene, to Hook the Audiences, Everything should happen in the First 10 Pages. Thousand Thanks StudioBinder for this Inspiring video.💯💯💯
Congratulations on making it to 500 videos StudioBinder!
I learn a lot from u guys to shoot all my movies , from storyboard till the entire movie is out . THANKS
Any aspiring indian filmmakers here😊
Again, thank you so much for these helpful videos. As a young teenager that dreams to become an actor or a director, these videos could never be more helpful. Thank you so much, please continue to make these videos!
Sideways is one of the funniest films ever put to screen. Paul Giamatti's Merlot meldowns are to be preserved forever.
I'm watching all your videos for a long time. Lots of love from Nepal
Thank you! You help so much with my writing. I've learned more from you than my final year creative writing course at uni. Seeing what you mean really helps me to take things in, and I am not even writing for the screen!
This video is that exactly that i needed today, thanks studiobinder ❤
I was hoping to see a video like this from you guys! Great work as always <3 I hope to get something on the shelf some day
Superb work as always. I love your content. One of my favourite movies is Snatch. Everything done brilliantly in the first ten pages by Mr. Ritchie.
Wow my weekly class ❤
I love this channel I'm learning so much film making stuff please don't stop upload video such a good channel keep going guys.
Without a doubt, SW A New Hope has the best opening that I can recall, which is not over the top or promises more than the film delivers.🥰
I love start my weeks with your videos 🌍🌟
Thank you for your videos!
Donna axed me as she coming out the house😂. Definitely need to see this movie!
From Pakistan 🇵🇰:- Your channel and theory is too Good 😇
Thanks for your videos (and software)! I think "Lawrence of Arabia" definitly has one of the best opening pages.