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My Harry Potter and the Deathly Hallows Part 2 Screenplay
Alright, I'm Giving In.
I am going to write a screenplay for Harry Potter and the Deathly Hallows Part 2. I don't know, it just sounds fun and I have some pretty stellar ideas. You can give me suggestions for scenes if you want. I've received praise on my screenplay excerpts before, although a fair warning: I'm not very familiar with how to format a screenplay, so I'll probably just do whatever. The important thing is the reading, really, it doesn't matter how it is formatted. Hopefully I'll get around to posting something tomorrow, as I am fairly busy tonight.
I am going to write a screenplay for Harry Potter and the Deathly Hallows Part 2. I don't know, it just sounds fun and I have some pretty stellar ideas. You can give me suggestions for scenes if you want. I've received praise on my screenplay excerpts before, although a fair warning: I'm not very familiar with how to format a screenplay, so I'll probably just do whatever. The important thing is the reading, really, it doesn't matter how it is formatted. Hopefully I'll get around to posting something tomorrow, as I am fairly busy tonight.
Post edited by aaron on
Comments
One scene I'm looking forward to is Kings Cross.
Pottermore user name: SilverQuest212
I'd reccomend a lot of exposition at Shell Cottage. I'd include a scene where Hermione talks about what she's read in Rita Skeeter's book (maybe after Harry and/or Ron expresses frustration about having Hallows/Horcruxes), and some of Harry's doubt can be raised there.
Will possibly post one by Thursday.
What's hard is keeping in mind several things: pacing, the exact right moments to cut to a new scene, realistic and natural dialogue, and trying not to "direct" the film as you write, as in writing down specific instructions for the camera-- that's the job of the director and DP. In some instances it's okay if the writer is trying to communicate to the director that a very specific thing ought to happen, like a POV shot or intercutting.
However, the basic formatting is simple.
EXT/INT (to notate an exterior location or an interior location) TIME OF DAY
Example EXT. COURTYARD - NIGHT
Followed by a quick but descriptive scene setup:
EXT. COURTYARD - NIGHT
Dozens of BODIES litter the courtyard-- Hogwarts students and Death Eaters alike-- like a graveyard that has been dug up. Harry's eyes slowly glance upwards to meet a figure standing yards away. Lord Voldemort. The gravedigger.
Note that I capitalized the word "bodies." This happens when a screenwriter wants there to be a focus on something. In this case, the dozens of bodies on the ground.
Now that the scene and tone has been established, dialogue may happen.
CHARACTER NAME
Insert dialogue here.
Example:
VOLDEMORT
Look at them, Potter. Look deep into their empty eyes. You may believe I wanted this-- but it was their lack of surrender, and your own, that caused this.
Now, either the other character can say something back, or there can be an ACTION:
Harry RAISES HIS WAND--
Note how I did not type "Harry, looking at Voldemort, reaches for his wand, and aims it directly at him." The reason being is that we know that Harry is going to raise his wand at Voldemort, and that he is already looking at him. We know this based on what is clearly evident. It's important to keep absolutely everything in a script short, simple, and to the point.
Optional things:
BEAT. This can be written to signify a brief moment-- when nothing is happening. It is frequent in horror films, during suspense building. Nothing is happening, but the audience is waiting for it to.
CUT TO. Many in the field don't really like this in a script because when you end a scene and then follow it up with a scene change, it's obvious that there will be a cut.
MOMENTS LATER. This can be added to EXT. COURTYARD - NIGHT - MOMENTS LATER if the scene has cut away, but then goes back to the same scene. It tells the director that there has been a slight passage in time, and it is used for other instances and techniques, especially if there is a prolonged series of actions happening in the same scene.
Example:
EXT. WOODS - AFTERNOON
Harry stares at the Locket Horcrux, his expression twisted with confusion and frustration. Hermione approaches.
HERMIONE
Let's try again.
EXT. WOODS - AFTERNOON - MOMENTS LATER
The Locket now sits on a tree stump-- it emits a dark noise, almost like a MOCKING sound, as if it knows what is going on.
Here's a good example to also better illustrate a point I made earlier. I said that you should only write specific shots when necessary. Here is a moment where it might be.
EXT. WOODS - AFTERNOON - MOMENTS LATER
CLOSE UP ON LOCKET
It now sits on a tree stump--
What I did here was tell the director that the shot may be more effective if we cut to a close-up shot of the Locket. In the end, the director will make that decision along with the director of photography (DP) but it's okay for a writer to do this in specific cases such as that. That's fine. What isn't fine, is this:
EXT. WOODS - AFTERNOON - MOMENTS LATER
CLOSE UP ON LOCKET
It now sits on a tree stump-- it emits a dark noise, almost like a MOCKING sound, as if it knows what is going on.
PAN OVER TO
Harry and Hermione, staring at the Locket.
BIRD'S EYE VIEW
We see Harry raise his wand.
PAN DOWN SLOWLY
The camera now sits on a MIDDLE CLOSE UP of Harry.
ANGLE ON -- LOCKET
See what I'm getting at? There are far too many camera instructions here that make the screenplay longer than need be. It just takes up space, and it's more stuff for the director and script supervisor to have to sift through, when they really just want to get on with shooting.
When writing action sequences, however, sometimes it is more acceptable because it helps the writer stay focused on the pacing, but most of the time, they go back through and delete any "ANGLE ON'S" or "CUT TO's" or "PAN OVER TO'S."
I realize that this has been really long, and that it doesn't look simple, but it really is. Once you get the hang of the do's and don't's and understand pacing and how much time, relatively, should be taken on each individual scene, it's really a piece of cake. This has just been a quick guide; there are some fantastic resources online when it comes to screenwriting that are also worth checking out.
EXT. COURTYARD - NIGHT
Harry stands over the bodies of his fallen comrades. Voldemort stands several yards away, staring at him, wanting nothing more than for him to be dead.
HARRY
Look what you've done.
VOLDEMORT
Had you come forth a long time ago, this would not have happened.
HARRY
You're a coward.
Harry RAISES HIS WAND--
VOLDEMORT
And just what do you think you can do, Potter, to stop me?
HARRY
You should be asking yourself the same thing of me. I've lost count how many times you've thrown the killing curse at me.
Voldemort takes a few steps forward.
This is all you have to do. Setting, description, CHARACTER, dialogue, ACTION-- whatever you want to have happen.
Writing an original screenplay is anything but easy, but if you're just adapting a novel, I mean you already have the information. It's tricky to condense it all down into a 120-130 page script (one page of script should equal right around one minute of screentime).
Ps. Sorry for hijacking your thread Aaron :-S
Well, dialogue is sometimes the most complex thing. But for it's functions, it will automatically go to the "dialogue" setting after you type your character and press enter.
Well, step into your character's shoes. It's surprisingly easy to do, since you know everything in their mind. Just think, if THIS person said this to you, how wouldTHAT specific character react. Some characters might differ from others. Or say if your character saw a dead body, what exactly would they say, or do? It really makes your characters believable and lovable (or loved to hate if your making a villian!)
It's quite fun actually! I'm also doing a short movie (30 min) based on a poem by Tim Burton.
PS, 1 page USUALLY equals 1 minute. Something good to know for an approx.
Read any good screenplay online and look at the dialogue, and then think about how its shot and delivered by the actors.