Screenwriting

1. Screenwriting
By Ana Vasilescu & Mima Micic

2. Story
Screenplay tells a story using character and action, stories must develop clearly
defined action with realistic, complex characters. In our film we focused on creating
convoluted characters that the audience could relate to. Moreover, we made the
characters polar opposites as this would help the action of the film flow while also
allowing for more personalities to connect with our film.
A story is made up of two storylines, one dealing with the outer motivation and one
dealing with the inner motivation of the character. Both of these storylines drive the
character to their end goals. These are fleshed out through conflict and theme.

3. Outer Motivation
The outer motivation is the protagonist’s outward goal or desire. This goal is usually
tangible or obvious to the audience. It acts as the script’s main entertainment value
as it is expected to be high action and clear to the audience.
In our film the outer motivation is Priscilla trying to figure out her daughter’s
sexuality along with which course of action she should take once she has come to an
answer. Julia here acts as a catalyst for the action as she contradicts Priscilla’s way
of thinking while also providing the audience with comedic conversation between
the two, making the film entertaining and captivating.

4. Inner Motivation
The Inner Motivation is the protagonist’s inner need or character flaw. This is not
fully acknowledged by the character despite the fact that is governs the way the he
treats himself and those around him. The motivation is usually caused by a past
traumatic experiences that lead the character to a change in behaviour.
Within our film Priscilla’s inner motivation is not that Opal might be gay, but more
that Opal will be an outsider and be treated differently by her peers. This is a
reflection of her experience as a child and the fears she has for her daughter.
Furthermore, Priscilla’s over attachment to her dog Opal and her referring to her as
her daughter shows Priscilla as lacking social skills.

5. Inner VS Outer Motivation
In screenwriting the inner motivation give the story depth as it explores character
and theme. However, due to it being slow moving it depends of the outer motivation
to act as the hook for the audience with exciting action. This is often why the outer
motivation is referred to as the spine of the script.
Our film makes use of this by having the inner motivation exposed within Priscilla’s
concern for her daughter and her over dramatic behaviour which is to make up for
her true insecure nature. The comedy conversation between the two character also
overshadows how truly close and comfortable they are with each other and that
their making of jokes is to cope with the fact that Opal could face the same troubles
they did.

6. Conflict
Conflict is the opposition between the characters, it what makes the protagonist
think and strategise. Both the outer and inner story have conflict. The outer story it
is usually the conflict with an opponent who prevents the protagonist from
achieving his goal. The Inner conflict deals with the protagonist’s personal struggle,
their inner battle, this gives the character depth and realism.
In our film the conflict is subtle and it is initially Julia contradicting Priscilla in her
beliefs, therefore making Priscilla work harder in explaining why she believes that
Opal is homosexual. The Inner conflict relies in Priscilla having to accept her past
and try to move forward from it

7. Theme
The theme of a film is the idea presented by the film, it embodies the writer's opinion
on the topic and deals with it within the screenplay. Theme is developed through the
inner story and deals with the character’s growth and interpersonal
relationships.Usually, action converges as the protagonist encounters increasing
conflict, meanwhile expanding the theme as the values of the protagonist are
revealed and tested.
On the outside our film’s theme is obvious as parents view on her daughter’s
sexuality. However, hidden symbolic and metaphoric themes are intertwined within
the storyline, which challenge mainstream film and the dominant social belief
system.