Matt thanks so much for diving deeper into script analysis. I shudder to think and remember when I did not "do the work" when prepping for auditions back in the day. Just assumed I knew what the he** I was doing. Yikes! Over time and via taking some pretty good acting classes, I learned what script analysis is and how important it is. At least now, I can bring a level of professionalism when i prep. And of course there is a direct correlation to one's level of confidence and the amount of and knowledge of how to prep. Much obliged as usual for your unique and fun approach to sharing information with us. And of course, using Fletch as your example made me laugh, including snorting some OJ up my nose.
@@GetTaped personally I just try to make life easier for everyone. I don’t put needless obstacles in people’s way. I get others don’t think the same tho.
Slashes usually dictate inter spliced dialogue. They indicate where two lines intersect. The authors has two lines of dialogue with slashes instead four half sentences. Basically. Neil Labute uses this convention a lot.
I got an audition today for 2 characters in the same scene. (Ex. Guard 1 & 2). Because it wasnt specified that I tape each one seperately, I can only assume theyd like me to do both in 1 read as 1 character. Also, in the sides, the 1 & 2 next to the characters was very obviously covered up. My problem with this is, reading these as 1 character makes the scene very confusion because the 2 characters are doing completely different things in the scene, and at times have alternating lines. Unless theyre looking for Schizophrenic Guard, Im unsure how to approach this one.
Ah, the old ___ 1&2. It’s very confusing when casting doesn’t make their preference clear. And in those cases, I’ll tend to just assume ownership over how I approach (combining lines, doing 1 take each, or ad libbing to make the combined version make more sense). To me, if casting doesn’t have the time or desire to clarify, they have no choice but to accept what we do with limited information.
There are definitely sides that are sent out that need extensive perusal. I catch typos and even mislabeled characters all the time. (Just last week, as a matter of fact.) 🦅👁️
I don't own any specifically on formatting. I've learned it here and there throughout the years reading thousands of scripts, and writing a bunch myself. That said, a lot of people seem to recommend The Screenwriter's Bible. Another book, Dr. Format Tells All, looks intriguing for those "special case" formatting questions like text messaging. Hope that helps!
I just discovered your channel, love the content. But the videos I watched so far seem more applicable to union, bigger budget projects. What about actors who are still getting experience with non-union low budget projects?
Thanks for the question. Over the 3.5 years of the channel, we’ve posted some videos geared toward actors at the start of their careers, but you’re right that the bulk skew towards the issues that come up on a union project. Are there any specific topics you’d like to see discussed? I’d be happy to tailor a video if the issue is broad enough.
@@GetTaped Well, just a general video about navigating low budget non-union projects. Should an actor just take any speaking gig that they can get? I've been in 3 low budget productions. One production had terrible quality. I didn't get paid and the footage wouldn't be worth adding to a demo reel. The director/producer of the second project said the actors have to pay the editor $25 to get their footage. And third project, also unpaid, the filmmakers still didn't give me my footage. I had to screencap the portion I wanted from Tubi. My agent encourages me to apply to any projects I see on my own as well, but I don't see anything that's worthwhile. I'm not asking for much. If I don't get paid, then I should at least get decent footage and an IMDB credit...but majority of these projects don't even go on IMDB. What's the point?
These are great questions. And while I’ve sort of covered some of it scattered across previous videos, I’ll work on condensing those thoughts to address it more specifically. Stay tuned!
It is a shame they don't have the chance to read the whole script and get the feeling where their character is going and to get the feel of character development. I do understand, and it is probably unnecessary for available books and well-known plays, however, it would be great
Steph: I do yeah. That's why I just corrected you on it. / Bionic Woman. Lindsay Wagner. Greg: Great. / Thanks. Steph: Doesn’t matter, You’re just deflecting it again … Yes. She heard you guys, clear as day. / Or a bell, or whatever … Greg: Fine. / OK, and? And?
As always, great stuff. I cannot believe someone argued with YOU on the format of the script....
I've been waiting on Matt to talk about this forever
Thank you
Matt thanks so much for diving deeper into script analysis. I shudder to think and remember when I did not "do the work" when prepping for auditions back in the day. Just assumed I knew what the he** I was doing. Yikes! Over time and via taking some pretty good acting classes, I learned what script analysis is and how important it is. At least now, I can bring a level of professionalism when i prep. And of course there is a direct correlation to one's level of confidence and the amount of and knowledge of how to prep. Much obliged as usual for your unique and fun approach to sharing information with us. And of course, using Fletch as your example made me laugh, including snorting some OJ up my nose.
Hey Daniel! Glad you like the Fletch stuff. I watched it again recently, so it was on the brain :)
3:51 as an occasional script writer, I prefer removing any ambiguity. I’d write JOHN C.
(Off-screen)
Line line line.
Thanks for the input!
@@GetTaped personally I just try to make life easier for everyone. I don’t put needless obstacles in people’s way. I get others don’t think the same tho.
Another solid drop Matt. Thank you bub.
Great stuff, Matt! Thank you.
I'm learning so much from your videos. 🏆
I'm so glad!
Thanks again!!
Get Taped is wonderful and Matt knows his stuff!!
Thanks, Brian!
This is such good info! Thank you for sharing!!
Glad it was helpful!
Good stuff, thanks Matt!
You bet!
THank you so much🤗
You’re welcome 😊
Slashes usually dictate inter spliced dialogue. They indicate where two lines intersect. The authors has two lines of dialogue with slashes instead four half sentences. Basically. Neil Labute uses this convention a lot.
Interesting. I actually don't think I've ever seen a script using slashes, then. Thanks for the nugget of wisdom, Jayson!
I got an audition today for 2 characters in the same scene. (Ex. Guard 1 & 2). Because it wasnt specified that I tape each one seperately, I can only assume theyd like me to do both in 1 read as 1 character. Also, in the sides, the 1 & 2 next to the characters was very obviously covered up. My problem with this is, reading these as 1 character makes the scene very confusion because the 2 characters are doing completely different things in the scene, and at times have alternating lines. Unless theyre looking for Schizophrenic Guard, Im unsure how to approach this one.
Ah, the old ___ 1&2. It’s very confusing when casting doesn’t make their preference clear. And in those cases, I’ll tend to just assume ownership over how I approach (combining lines, doing 1 take each, or ad libbing to make the combined version make more sense). To me, if casting doesn’t have the time or desire to clarify, they have no choice but to accept what we do with limited information.
Thank you
There are definitely sides that are sent out that need extensive perusal. I catch typos and even mislabeled characters all the time. (Just last week, as a matter of fact.) 🦅👁️
It’s true that you have to be vigilant. But much easier to catch those errors when you understand scriptwriting and the correct formatting.
Thank you Matt!! So helpful!! Can you Recommend a book on this stuff??? 🙂
I don't own any specifically on formatting. I've learned it here and there throughout the years reading thousands of scripts, and writing a bunch myself.
That said, a lot of people seem to recommend The Screenwriter's Bible. Another book, Dr. Format Tells All, looks intriguing for those "special case" formatting questions like text messaging. Hope that helps!
@@GetTaped Yes, thank you!
@@GetTaped Yes! thank you! it may speed up a few things 🙂 Knowledge wise 🙂
I just discovered your channel, love the content. But the videos I watched so far seem more applicable to union, bigger budget projects. What about actors who are still getting experience with non-union low budget projects?
Thanks for the question. Over the 3.5 years of the channel, we’ve posted some videos geared toward actors at the start of their careers, but you’re right that the bulk skew towards the issues that come up on a union project.
Are there any specific topics you’d like to see discussed? I’d be happy to tailor a video if the issue is broad enough.
@@GetTaped Well, just a general video about navigating low budget non-union projects.
Should an actor just take any speaking gig that they can get?
I've been in 3 low budget productions. One production had terrible quality. I didn't get paid and the footage wouldn't be worth adding to a demo reel. The director/producer of the second project said the actors have to pay the editor $25 to get their footage. And third project, also unpaid, the filmmakers still didn't give me my footage. I had to screencap the portion I wanted from Tubi.
My agent encourages me to apply to any projects I see on my own as well, but I don't see anything that's worthwhile. I'm not asking for much. If I don't get paid, then I should at least get decent footage and an IMDB credit...but majority of these projects don't even go on IMDB. What's the point?
These are great questions. And while I’ve sort of covered some of it scattered across previous videos, I’ll work on condensing those thoughts to address it more specifically. Stay tuned!
@@GetTaped can't wait!
In the meantime here's a video I did tailored to non-union productions: th-cam.com/video/KVjzPExBVjo/w-d-xo.htmlsi=SiP3N66NEtd5w4jL
It is a shame they don't have the chance to read the whole script and get the feeling where their character is going and to get the feel of character development. I do understand, and it is probably unnecessary for available books and well-known plays, however, it would be great
Yeah in a perfect world we’d have lots of time and plenty of background information. Alas…
Steph: I do yeah. That's why I just corrected you on it. / Bionic Woman. Lindsay Wagner.
Greg: Great. / Thanks.
Steph: Doesn’t matter, You’re just deflecting it again … Yes. She heard you guys, clear as day. / Or a bell, or whatever …
Greg: Fine. / OK, and? And?
Hmmm... Interesting.