Specs & The City: Sequences and ‘Toy Story’ By: Brad Johnson

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— See more at: http://www.scriptmag.com/features/columns/specs-the-city-sequences-and-toy-story-part-2#sthash.eUgc24Q7.dpuf

http://www.scriptmag.com/features/specs-the-city-sequences-and-toy-story-part-3

http://www.scriptmag.com/author/bradjohnson/

Brad Johnson is a screenwriter promoting the mantra “Read scripts, watch movies, and write pages.”

LECTER’S CELL

is coming slowly INTO VIEW… Behind its barred front wall is a second barrier of stout nylon net… Sparse, bolted-down furniture, many soft cover books and papers. On the walls, extraordinarily detailed, skillful drawings, mostly European cityscapes, in charcoal or crayon.

HANNIBAL LECTER is lounging on his bunk, in white pajamas, reading an Italian Vogue. He turns, considers her… A face so long out of the sun, it seems almost leached – except for the glittering eyes, and the wet red mouth. He rises smoothly, crossing to stand before her; the gracious host. His voice is cultured, soft.

Lecter doesn’t even say a word, but the way he is described – and the way he moves within this moment –  reinforces everything the audience has already been told about the madman. Lecter is a man of outer sophistication masking an inner beast  within that is always searching for a weakness to exploit so he can strike. And that’s the lesson to take away. A character’s introduction, when done effectively, should reveal, not just their physical appearance (though that can be important as well), but should also illuminate their defining characteristic.

— See more at: http://www.scriptmag.com/features/specs-city-character-introductions-silence-lambs#sthash.qZ6L5xSM.dpuf

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