SCRIPTS ANALYSIS

& CONVENTIONS
ME, EARL AND THE DYING GIRL

By: Isobel Morgan

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

By: Katie Percival

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

By: Niharika Patel


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.
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 that the text is talking about the
setting.
Above the speech there is the name 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.
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 The block of text that is describing
backwards into the crowd that will catch her as a truest exercise. This what is taking place in this scene is
scene is shown slightly differently in the trailer compared to the script. 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

By: Cheyanne Bryan

 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.