Posted by Dash Shaw on December 12
This is 3 X 4 feet, corkboard and plexiglass with gouache paint behind the first 16 pages of The Social Network script printed onto acetate sheets.
I never used to write scripts for cartoons because I thought film is a visual medium and so only storyboarding made the most sense. Miyazaki does it all in storyboards and someone types a script based on his drawings. Plus, typing something just isn’t as much fun as sitting at a table with a bunch of different colored pens and pencils around. I’d watch interviews with screenwriters on movie “making of” documentaries and they never sounded like writers. They’d say “I loved being rewritten by 16 other people!” or things like that. But my thinking about all this changed after I went to the Sundance Screenwriting Labs.
Now I’ve come to see scripts as one of the great “blueprint” mediums, like storyboards, layouts, and notational drawings. It’s all architecture with no finish product, and that’s where a lot of the magic is, I think. Everything in a notational drawing is a raw idea.
I’d like to see unproduced screenplays published as books, presented as finished objects. Most of the screenwriters I’ve met are genuinely frustrated with the fact that they work in a medium with so much money at stake and people in control. They could strike out on their own and make the blueprint medium not need its execution to give it value– like how people buy books of sketches or maps of imaginary places. The best screenplays actually communicate the spirit and energy of the movie in a raw form. It’s not just the lines for the people to say. Sometimes they’re better than the movie because you get the spirit and it’s so open that you direct and cast it in your mind and it’s a more personal, to you, movie than could be filmed.