Day 1 – What I learned …

[Isti Madarasz]

The dialogue is interesting because although they are in a therapy session, where the doctor is supposed to ask questions and show interest in the patient, this is not the case here, as the doctor does not want to treat the patient. He, on the other hand, tells you what’s going on with him, without any questions. However, he is so eager to talk that he jumps at every sentence the doctor says, reacts, almost tries to provoke questions, which he can then answer. The doctor would prefer to avoid having to ask questions, not wanting to give the impression that this is now a normal therapy session, but the ‘patient’ is not going to let himself be. The interesting dynamic is that one does not want to talk and the other wants to talk at all costs. In addition, the patient is very familiar with the doctor’s work, has read his books, and could in fact ask the questions himself, but because he wants to be treated ‘normally’ he prefers to put the questions into the doctor’s mouth. It is the reluctance of the doctor and the pushiness of the patient that creates this interesting tension.

I learned how important it is to react in a good dialogue. Everyone has to talk about what’s on their own character’s mind, but at the same time reacting to what the other person has said.

[Deb Johnson]

More observations and what I learned writing my scene:

I think for a dialogue scene to work and be this intriguing – you need to have two people in a conversation that are at odds in some big way.

In “Out of Sight” – Jack is the worst possible mate for Karen and Karen is the worst possible mate for Jack. Yet – they want to engage because of a physical attraction.

In Gross Point Blank – Martin is the worst possible patient for Dr. O. Dr. O is – in a way – a “fraud” psychiatrist (someone ghost wrote his bestselling books) – yet he is insightful and could be helpful. Martin wants to work, and Dr. O doesn’t – this sets up a scene for effect attack/counterattack dialogue.

It’s a persuasive argument on both ends. “Leave me alone.” Vs. “I can’t and won’t leave you alone.”

But there, perhaps, must be something that undergirds the argument for them both to stay engaged.

For Karen – it’s her attraction to Jack. For Dr. O – it’s (maybe) his professional desire to care for a patient in need – especially someone who wants to ‘do the work.’

Finally, there needs to be a shift in the scene where they come to some sort of an understanding.

Karen proposes a “break” – which invites their fling.

Martin keeps insisting on therapy – proposing dream analysis – and Dr. O gives in… finally giving him advice on going to the reunion.

This scene (Martin and Dr. O) is important because it moves the story forward. How can a filmmaker justify a hitman just showing up at a 10-year high school reunion – unless the audience has some invested interest in who this person is? There are too many clichés about hitmen for us to accept just seeing him sipping from a punch bowl. The vehicle of Dr. O getting him there is important for the whole story. And the fact that they are at odds makes it all the more interesting.

I wrote a scene from scratch – picking the two characters who are at odds – with very different opinions. They also have a history and conflict that underpins their relationship. Finally, it’s an important scene that moves the story forward. If these characters don’t have this conversation, there is no justification for the story to continue.

[Mary Dietz]

I have two scenes in my script where the two main characters interact. First they come from different perspectives but find common ground to lay down a plan. Later in the story, after the plan has been fulfilled, the protagonist wants to change the outcome of the plan. The other character is now deeply invested in the plan’s result. The stakes are raised in whatever decision they come to.

Since these scenes are related, it gives me a much better opportunity to share the deeper reasons and emotions involved in each character’s stance. It emphases the importance of the plan of action, its consequences, and its meaning not only for the characters but also for the twist in the story.