SCRIPTS ANALYSIS & CONVENTIONS

ME, EARL AND THE DYING GIRL Analysing scripts

By: Isobel
I will be analysing a scene from the trailer of Me, Earl And The Dying Girl from the movie
script to see the codes and conventions of scripts.
The scene in the trailer starts from Your father and I want to talk to you about something
sad and finishes at We agreed that you were someone who could really make Rachel feel
better
The script on the above slides is for the whole scene (in the film)

The scripts purpose is to instruct the cast as to how the characters may act, their dialogue,
expressions and settings. My clearly identifying this, it makes filming a lot easier as all the
cast and crew are aware of what needs to be done.
By analysing the script from the film it has made us realise what needs to be included in
our script to be as realistic as possible. This includes features such as:
The characters who are speaking are clearly shown as they are in capitals, in the centre of
the page. This makes it clear that we know who needs to be talking.

Furthermore- although this is not apparent in the trailer- the script also has a description of
the characters and their mannerisms. This means that the cast and crew know how they
should set up the seen and it makes it easier for the cast to know how to portray the
character they have been given
If there are two characters talking at the same time, they are both shown on the same line
which emphasises that they are meant to be either overlaying each others dialogue or
responding without a break from the other characters dialogue

Also, once again, even though this is not highlighted in the trailer, the script clearly indicates a
change in scene and whether its indoors or outdoors by having a description (when there is a
change) to the left hand side of the script

In some cases, the characters are also directed as to how they should look. This means that
there may also be a delay in the dialogue which makes it more realistic. For example Greg
was (not sure what to say) and this may mean a pause before his response or a confused
facial expression.
THE PERKS OF BEING A WALLFLOWER Analysing scripts

By: Katie
THE TRAILER VS THE SCRIPT
THE SCENE
The scene Im analysing is a turning point in the film, as the main character, Charlie,
becomes friends with the other characters, Sam and Patrick. I believe that they chose
to show this as its an important part of the film plot, and represents the idea of
friendship.
This part of the script captures how the director wanted the character to come across to the
audience. The trailer and the script perfectly captured the personality of the character, and
the way the script was written helped the actor correctly represent the character in the trailer.
MEAN GIRLS Analysing scripts

By: Niharika
The Trailer starts off with a scene that introduces the main character
and the setting. In the script this is shown by the text in the brackets that
say to class. This can tell us that this scene takes place in a classroom.
The position of this text is under the character name and slightly to the
left. By doing this and placing the text in brackets can make it obvious Above the speech there is the name
that the text is talking about the setting. of the character that says it. The
name is written in capital letters to
make it stand out and to clearly
inform the script reader who is
saying what. Even when minor
characters who are not named are
written in the same way.

This part of the script does not include any camera directions however it does have some text that
tells us what is happening in the scene. This is written on lines that extend further than the lines that
have text on them. This is so that it is easy to tell the difference between the two types of text.
Instead of colour coding the script the have used different lengths that a line of text can be.
Throughout the trailer there is a lot of voiceovers that are taking from different parts
of the original script and are played over a variety of different scenes. This would be
an example of a conversation that did this.

While Cady is talking about the Girl World

a series of clips are played that show her with
the Plastics and in one of the clips she is
walking down the hallways and walks into a
bin.
After that the scene changes to her and the
Plastics in the cafeteria talking about who she
likes. When she starts talking about Aron the
scene changes to a series of interactions
between them. When Gretchen and Karen
say no the music suddenly stops and we are
shown the cafeteria again when Gretchen
says no, you can like Aron Samuels.
 Another scene form the trailer was the one where Gretchen has to
fall backwards into the crowd that will catch her as a truest exercise.
This scene is shown slightly differently in the trailer compared to the
script.
The block of text that is describing what
is taking place in this scene is very
descriptive. It not only says what is
happening but it also talks about how
everyone is looking at Gretchen and also
what people are thinking about her. This
detail helps the actors know how they
have to act.

In the trailer we see Gretchen fall and then it cuts to a close

up of Ms Norbury taking. In the script it says that it is in
Gretchens P.O.V. This is stated in the script by the
capitalised text. The phrase come to is also used in this
part which is used to commonly describe someone who is
waking up form blacking out.
SCRIPT CONVENTIONS + THEORY Analysing scripts

By: Cheyanne
 ROLAND BARTHES NARRATIVE THEORY
Barthes:
The Hermeneutic Code

Within our trailer, we plan to use Barthes hermeneutic code which avoids revealing much of
the plot as a way of creating mystery and enticing the audience. We have proposed to do
this using equivocations by dropping subtle hints and building tension.
CLAUDE LEVI-STRAUSS NARRATIVE THEORY
As part of his binary opposites theory, Levi-Strauss explains how stories
unconsciously reflect the values of a culture. This theory will be reflected in our
work as we revolve around a societal issue within our culture. As this can be
adapted to reveal the underlying symbolic themes and oppositions in media
texts.