1. Script Writing Template Pdf
2. Writing A Film Script

Malayalam cinema is known for its realistic portrayal of relevant subjects in films with less commercial elements. Malayalam cinema has pioneered various thematic and story-telling techniques among films in India. It has a rich resource of Story and Screen writers who play a very important role in making this industry a great one. It is also one of the largest producers of parallel cinema in India. Heres a list of some of its bestest Writers according to me.. This list contains both parallel cinema and comercial cinema writers. If anyone feels this list lacks something please feel free to comment.

And an e-mail address if you spec script. SCREENPLAY FORMAT by Matt Carless. It is standard practice to sign-off a film script with THE.

1. P. Padmarajan

Writer Oridathoru Phayalwan

P. Padmarajan was an Indian author, screenwriter, and film director who was known for his landmark works in Malayalam literature and Malayalam cinema. Padmarajan was the founder of a new school of film making in Malayalam, along with Bharathan, in the 1980s, which created films that were widely ...

Padmarajan was noted for his fine and detailed screenwriting and expressive direction style. He introduced a new way of fimmaking in malayalam cinema.. His stories deal with subjects like deceit, murder, romance, mystery, passion, jealousy, libertinism.. also dealt with sexuality but very carefully.. Padmarajan made some of the landmark motion pictures in Malayalam cinema, including masterpieces like Oridathoru Phayalvaan (1981), Koodevide (1983), Arappatta Kettiya Gramathil (1986), Namukku Parkkan Munthiri Thoppukal (1986), Thoovanathumbikal (1987), Moonnam Pakkam (1988), Innale (1989) and Njan Gandharvan (1991). He died in 1991.. a great loss for malayalees..

2. Ambazhathil Karunakaran Lohithadas

Writer Thaniyavartanam

Ambazhathil Karunakaran Lohithadas was born on May 10, 1955 in Chalakudy, Kerala, India. He was a writer and director, known for Thaniyavartanam (1987), Kasthuriman (2003) and Joker (2000). He died on June 28, 2009 in Kochi, Kerala.

Lohithadas was also known for his rich, detailed, and realistic screenplays... He has written screenplays for 35 films in a twenty-four year long career, such as Thaniyavarthanam (1987), Kireedam (1989), His Highness Abdullah (1990), Bharatham (1991), Amaram (1991), Padheyam (1993), Chenkol (1993), Thooval Kottaram (1996) and Veendum Chila Veettukaryangal (1999).He later became a director, and has directed films such as Bhoothakkannadi (1997), Kanmadam (1998), Joker (2000), and Kasthooriman (2003).. He passed away in June 2009.. again a great loss..!

3. M.T. Vasudevan Nair

Writer Nirmalyam

M.T. Vasudevan Nair was born on August 9, 1933 in Kudallur, Kerala, British India. He is a writer and director, known for Nirmalyam (1973), Kadavu (1991) and A Slender Smile (2000). He is married to Kalamandalam Saraswathi.

MTV Nair has won the National Film Award for Best Screenplay four times for: Oru Vadakkan Veeragatha (1989), Kadavu (1991), Sadayam (1992), and Parinayam (1994), which is the most by anyone in the screenplay category. He also directed 7 movies and wrote screenplays for more than 50 movies in malayalam.. Most of them are crictically acclaimed.

4. Sreenivasan

Actor Nadodikkattu

Sreenivasan is an actor and writer, known for Nadodikkattu (1987), Njan Prakashan (2018) and Udayananu Tharam (2005).

Best known for writing scripts on social issues and he did that so well...He has written the screenplays for films such as Sanmanassullavarkku Samadhanam (1986), Gandhinagar 2nd Street (1986), Nadodikkattu (1987), Pattanapravesham (1988), Varavelpu (1989), Sandesam (1991), Midhunam (1993), and Azhakiya Ravanan (1996) among others. He has scripted and directed Vadakkunokkiyanthram (1989) and Chinthavishtayaya Shyamala (1998).. He is also a good actor.. Great man..!

5. Adoor Gopalakrishnan

Director Nizhalkkuthu

Adoor Gopalakrishnan is India's most acclaimed contemporary filmmaker. Born in 1941 in Kerala, a state in south India, he belongs to a family with strong links to the performing arts, especially Kathakali, a highly-stylised form of dance drama. From the age of eight Adoor began acting for the stage...

Adoor has scripted and directed eleven feature films and about thirty short films and documentaries. His movies are very much artistic and hence general public wont appeal to it.. He has the DadaSaheb Phalke award, PadmaVibhusan, PadmaShri, 16 national film awards in various category and various other international awards in his bag..Swayamvaram, Kodiyettam, Elippathayam, Mukhamukham, Anantaram, Mathilukal, Vidheyan and Kathapurushan etc are his masterpieces.. The very recent Naalu pennungal(four women) and Mathilukal are my fav..

6. T.V. Chandran

Director Dany

T.V. Chandran was born on November 23, 1950 in Thalassery, Kerala, India. He is a director and writer, known for Dany (2002), Ponthan Mada (1994) and Alicinte Anweshanam (1989).

Chandran is widely regarded as one of the finest directors/scriptwriters in Indian cinema and is widely credited with having revolutionised parallel cinema with his complex-structured art-house films..Alicinte Anveshanam (1989), Ponthan Mada (1993), Ormakal Undayirikkanam (1995), Mangamma(1997), Danny (2001) and Paadam Onnu: Oru Vilapam (2003), Kathavasheshan (2004), Vilapangalkappuram (2008) BhoomiMalayalam (2008) and Bhoomiyude Avakashikal (2012).. Ponthan Mada (1993) is his most appreciated work till date..

7. Renjith

Writer Paleri Manikyam: Oru Pathirakolapathakathinte Katha

Renjith is a writer and director, known for Paleri Manikyam: Oru Pathirakolapathakathinte Katha (2009), Indian Rupee (2011) and Spirit (2012).

He is a well known writer in malayalam as he has written many mega blockbusters... Devasuram, Aaraam Thampuran, Summer in Bethlehem, Ustaad, Narasimham, Valliettan, Ravanaprabhu, Nandanam.... He was the most wanted and the most successful writer in the early 2000.. Some scripts like Aaraam Thampuran, Paleri Manikyam: Oru Pathira Kolapathakathinte Katha and Indian Rupee were also widely critically acclaimed..In the year 2008, Ranjith stunned Kerala with his film Thirakkatha, based on actress Srividya's life, which won the National Award for the Best Malayalam Feature Film.Indian Rupee and Pranchiyettan and the saint are my fav...

8. Fazil

Director Kancheepurathe Kalyanam

He wrote and directed many commercial classics..Manjil Virinja Pookkal, Ente Mamattikkuttiyammakku, Nokketha Dhoorathu Kannum Nattu, Ente Sooryaputhrikku, Pappayude Swantham Appoos, Manichitrathazhu, Aniathipravu, Harikrishnans and No. 1 Snehatheeram Banglore North(wrote script for sathyan anthikad)..

9. Reghunath Paleri

Writer Onnu Muthal Poojyam Vare

Although his major genre is commerial cinema, he has written some masterpieces.. He is also a good novel writer in malayalam..Notable movies are Vanaprastham, Piravi, Swaham, Onnu Muthal Poojaym Vare, Ennum Nanmakal, My Dear Kuttichathan etc..

10. Blessy

Director Thanmathra

Blessy is an assistant director and director, known for Thanmathra (2005), Pranayam (2011) and Kaazhcha (2004).

Blessy learned his trade as an assistant director with filmmakers such as Padmarajan and Lohithadas..Although he wrote and directed only 6 movies as of today, all are well known for its beautiful and heart touching filmmaking.. Kaazcha(2004), Thanmathra(2005), Palunku(2006), Calcutta News(2008), Bhramaram(2009) and Pranayam(2011)I liked all of them..!

A screenplay, or script, is a written work by screenwriters for a film, television program or video game. These screenplays can be original works or adaptations from existing pieces of writing. In them, the movement, actions, expression and dialogues of the characters are also narrated. A screenplay written for television is also known as a teleplay.

• 1Format and style
• 2Screenplay formats
  • 2.1Feature film

Format and style[edit]

The format is structured so that one page equates to roughly one minute of screen time, though this is only used as a ballpark estimate and often bears little resemblance to the running time of the final movie.^[1] The standard font is 12 point, 10 pitch Courier Typeface.^[2]

The major components are action (sometimes called 'screen direction') and dialogue. The action is written in the present tense and is limited to what can be heard or seen by the audience, for example descriptions of settings, character movements, or sound effects. The dialogue is the words the characters speak, and is written in a center column.

Unique to the screenplay (as opposed to a stage play) is the use of slug lines. A slug line, also called a master scene heading, occurs at the start of every scene and typically contains three pieces of information: whether the scene is set inside (interior/INT.) or outside (exterior/EXT.), the specific location, and the time of day. Each slug line begins a new scene. In a 'shooting script' the slug lines are numbered consecutively for ease of reference.

Physical format[edit]

American screenplays are printed single-sided on three-hole-punched paper using the standard American letter size (8.5 x 11 inch). They are then held together with two brass brads in the top and bottom hole. The middle hole is left empty as it would otherwise make it harder to quickly read the script.

In the United Kingdom, double-hole-punched A4 paper is normally used, which is slightly taller and narrower than US letter size. Some UK writers format the scripts for use in the US letter size, especially when their scripts are to be read by American producers, since the pages would otherwise be cropped when printed on US paper. Because each country's standard paper size is difficult to obtain in the other country, British writers often send an electronic copy to American producers, or crop the A4 size to US letter.

A British script may be bound by a single brad at the top left hand side of the page, making flicking through the paper easier during script meetings. Screenplays are usually bound with a light card stock cover and back page, often showing the logo of the production company or agency submitting the script, covers are there to protect the script during handling which can reduce the strength of the paper. This is especially important if the script is likely to pass through the hands of several people or through the post.

Increasingly, reading copies of screenplays (that is, those distributed by producers and agencies in the hope of attracting finance or talent) are distributed printed on both sides of the paper (often professionally bound) to reduce paper waste. Occasionally they are reduced to half-size to make a small book which is convenient to read or put in a pocket; this is generally for use by the director or production crew during shooting.

Although most writing contracts continue to stipulate physical delivery of three or more copies of a finished script, it is common for scripts to be delivered electronically via email.

Screenplay formats[edit]

Screenplays and teleplays use a set of standardizations, beginning with proper formatting. These rules are in part to serve the practical purpose of making scripts uniformly readable 'blueprints' of movies, and also to serve as a way of distinguishing a professional from an amateur.

Feature film[edit]

Motion picture screenplays intended for submission to mainstream studios, whether in the US or elsewhere in the world, are expected to conform to a standard typographical style known widely as the studio format which stipulates how elements of the screenplay such as scene headings, action, transitions, dialog, character names, shots and parenthetical matter should be presented on the page, as well as font size and line spacing.

One reason for this is that, when rendered in studio format, most screenplays will transfer onto the screen at the rate of approximately one page per minute. This rule of thumb is widely contested — a page of dialogue usually occupies less screen time than a page of action, for example, and it depends enormously on the literary style of the writer — and yet it continues to hold sway in modern Hollywood.

There is no single standard for studio format. Some studios have definitions of the required format written into the rubric of their writer's contract. The Nicholl Fellowship, a screenwriting competition run under the auspices of the Academy of Motion Picture Arts and Sciences, has a guide to screenplay format.^[3] A more detailed reference is The Complete Guide to Standard Script Formats.^[4]

Script Writing Template Pdf

Spec screenplay[edit]

A 'spec script' or speculative screenplay is a script written to be sold on the open market with no upfront payment, or promise of payment. The content is usually invented solely by the screenwriter, though spec screenplays can also be based on established works, or real people and events.^[5]

Writing A Film Script

Television[edit]

For American TV shows, the format rules for hour-long dramas and single-camera sitcoms are essentially the same as for motion pictures. The main difference is that TV scripts have act breaks. Multi-camera sitcoms use a different, specialized format that derives from stage plays and radio. In this format, dialogue is double-spaced, action lines are capitalized, and scene headings, character entrances and exits, and sound effects are capitalized and underlined.

Drama series and sitcoms are no longer the only formats that require the skills of a writer. With reality-based programming crossing genres to create various hybrid programs, many of the so-called 'reality' programs are in a large part scripted in format. That is, the overall skeleton of the show and its episodes are written to dictate the content and direction of the program. The Writers Guild of America has identified this as a legitimate writer's medium, so much so that they have lobbied to impose jurisdiction over writers and producers who 'format' reality-based productions. Creating reality show formats involves storytelling structure similar to screenwriting, but much more condensed and boiled down to specific plot points or actions related to the overall concept and story.

Documentaries[edit]

The script format for documentaries and audio-visual presentations which consist largely of voice-over matched to still or moving pictures is different again and uses a two-column format which can be particularly difficult to achieve in standard word processors, at least when it comes to editing or rewriting. Many script-editing software programs include templates for documentary formats.

Screenwriting software[edit]

Various screenwriting software packages are available to help screenwriters adhere to the strict formatting conventions. Detailed computer programs are designed specifically to format screenplays, teleplays, and stage plays. Such packages include BPC-Screenplay, Celtx, Fade In, Final Draft, FiveSprockets, Montage, Movie Magic Screenwriter, Movie Outline 3.0, Scrivener, Movie Draft SE and Zhura. Software is also available as web applications, accessible from any computer, and on mobile devices, such as Fade In Mobile and Scripts Pro.

The first screenwriting software was SmartKey, a macro program that sent strings of commands to existing word processing programs, such as WordStar, WordPerfect and Microsoft Word. SmartKey was popular with screenwriters from 1982 to 1987, after which word processing programs had their own macro features.

Script coverage[edit]

Script coverage is a filmmaking term for the analysis and grading of screenplays, often within the script-development department of a production company. While coverage may remain entirely verbal, it usually takes the form of a written report, guided by a rubric that varies from company to company. The original idea behind coverage was that a producer's assistant could read a script and then give their producer a breakdown of the project and suggest whether they should consider producing the screenplay or not.^[6]

See also[edit]

References[edit]

1. ^JohnAugust.com 'How accurate is the page-per-minute rule?
2. ^JohnAugust.com 'Hollywood Standard Formatting'
3. ^Guide to screenplay format from the website of the Academy of Motion Picture Arts and Sciences
4. ^The Complete Guide to Standard Script Formats (2002) Cole and Haag, SCB Distributors, ISBN0-929583-00-0.
5. ^'Spec Script'. Act Four Screenplays. Retrieved August 10, 2012.
6. ^'What is Script Coverage?'. WeScreenplay. Retrieved 5 July 2016.

Further reading[edit]

• David Trottier (1998). The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script. Silman-James Press. ISBN1-879505-44-4. - Paperback
• Yves Lavandier (2005). Writing Drama, A Comprehensive Guide for Playwrights and Scritpwriters. Le Clown & l'Enfant. ISBN2-910606-04-X. - Paperback
• Judith H. Haag, Hillis R. Cole (1980). The Complete Guide to Standard Script Formats: The Screenplay. CMC Publishing. ISBN0-929583-00-0. - Paperback
• Jami Bernard (1995). Quentin Tarantino: The Man and His Movies. HarperCollins publishers. ISBN0-00-255644-8. - Paperback
• Luca Bandirali, Enrico Terrone (2009), Il sistema sceneggiatura. Scrivere e descrivere i film, Turin (Italy): Lindau. ISBN978-88-7180-831-4.
• Riley, C. (2005) The Hollywood Standard: the complete and authoritative guide to script format and style. Michael Weise Productions. Sheridan Press. ISBN0-941188-94-9.

External links[edit]

• Writing section from the MovieMakingManual (MMM) Wikibook, especially on formatting.
• Screenplays at Curlie
• All Movie Scripts on IMSDb (A-Z)imsdb.com