SPP.

ING
PP.ODUCTIONS

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Tiele:
Author:
Type of Material:
No. of Pages/Scenes:

Analyst:
Date:

Publlshez/Drafl/Dare:

Elements:
exclt

good

fair

poor
Premise
Srory Line 1----+--~_t_---t---1
Structure
Characterization 1----+----+----+--"1

Sub. by:
Sub. to;
Genre:
Time:
Location:

Dialogue \- __

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Log Line:

Comment Summary:

Synopsis:

RECOMMENDATION:

yES

NO

MAYBEC-..:.-

WRITER(S) RECOMMENDED:

YES

NO

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The Comment
The "Comment" is that portion of the coverage in which the reader gives his or her critical
appraisal of the material. Except for special cases (such as Comparison Coverage), the
comment usually runs a quarter of the page to a full page, the average being approximately
a half of a page.
The comment is unavoidably a subjective response, but one that needs to be organised
around some basic criteria that are fairly standard. For example:
Quality of Writing. Most comments will start off with some mention of the overall quality of
the script. "This is an extremely well - written script about
" or " This script is really very
poorly done and ..... "It is a good idea to make a statement about the quality of the work
whatever the idea, how well it has been executed is a major consideration.
The Premise . What is it about? Mention the premise and comment on it. "This story of a
marriage on the skids is one we have seen many times before. Nonetheless, something
comes through here that is very fresh and exciting. "Consider the premise. It is a new twist
on an old idea or a tired version of something you've seen hundred times before? Does it
have a long history of appeal ? Is it original, fresh, traditional, cliched, clever, overdone,
familiar, relevant, contemporary,
intresting, fascinating, funny, serious, depressing,
potentially interesting, unfocused ? Sometimes the premise will immediately fit into a genre.
If it does, mention this and consider how well it does the job.
Appeal. This is the old "who cares ?" question. Is there an audience for this story and, if so,
who is the potential audience. It is likely to be TV or features, kids, adults, families, series
watchers, a small audience, upscale, downscale, or is there potentially NO audience. And
try to support why you feel this way: "the great action sequences and the central battle of
good vs. evil will certainly appeal to youth audiences that turn out for films like STAR
WARS." or, "this subject matter is so depressing that I can't imagine anyone would leave
their home to see this movie."
Allude to precedents, if you can, to support your opinions. Films that this is like that have
done well or vice versa. Avoid making grandiose statements one way or the other that you
can't support unless you want to lose your job. Of course, sometimes you're just sure. In
that case just go for it. If the script is a sure-fire turkey, that's all you need to say.
Conflict . The story better have it or you'll probably fall asleep while reading. Mention
something about conflict, especially if it's missing, or if it's revealed too late.or if it doesn't
grow, or it isn't resolved.Jt it's there, you probably don't have to say much of a-nything about
it other than it works.
Characters . Look for solidly -written and developed leading characters that go through
something. This is where the tension comes from and what makes them different at the end
of the movie. It's an emotional payoff most of us pay for when we go to the movies or
watch drama. Are main characters interesting, strongly written, likeable, unappealing?
IS
THIS SOMETHING THAT WOULD APPEAL TO STARS? Finally, that's what it's all about in
terms of getting this script made. Who will want to do it. Is this a great role of someone in
particular -- a "star vehicle" for?
Dialogue. Dialogue can put you to sleep or it can make you laugh or cry and how you feel
about it should be mentioned in your comment. Overall, does the dialogue strike you as
good or bad? Is it clever, funny , awkward, false, dull , real, sparkling, stilted, preachy,
talky? The most common mistake novice writers make is to overwrite their dialogue. Long
speeches everywhere you look. Watch out for this because it rarely works. Paddy
Chayevsky is the exception.

Elements . When you read something and know something

a certain director star is attached to the project, take
evaluation of the material. For example, if you are reading
have a body of work to acknowledge and allude to in your
to imagine how this one will work.

about the writer or are told that

this into consideration in your
a script by Paul Mazursky, you
evaluation. Use what you know

Conclusions. This is were you sum up, in a couple of sentences, what conclusions can be
drawn from the plusses and minuses you have enumerate in your comment. Taking
everything into consideration, what subjective feelings are you left with. Don't avoid taking a
position, even if it's an ambivalent one. Sometimes you will be asked to say "yes" "no" or
"maybe." And sometimes you won't. But I suggest that you always come to some
conclusion whether you're asked to or not.