Writer confession: I really hate reading screenplays. I find them clunky, counter-intuitive to narrative flow, either too descriptive or not descriptive enough. As technical documents\u2014blueprints for the films\u2014they must adhere to strict industry standards. But while this might make them \u2018easy\u2019 to read, it don\u2019t make \u2019em fun. The reason I wanted to open with this confession is that I don\u2019t think I\u2019m alone in my thinking. Screenplay format locks a lot of people out! So today, we\u2019re going to look at how to break down a screenplay: we\u2019ll crack one open, analyse it and find all the exciting things inside\u2026<\/p>\n
To break down a screenplay, you should start by familiarising yourself with the material and performing close analysis of the text. Then, break the script into beats before determining your character\u2019s objective, so that you can keep your goal in mind throughout the scene. Finally, examine the action of the script for any hints as to framing, so that you might be ready to calibrate your on-screen performance accordingly.<\/strong><\/p>\n To make this article as practical and helpful as possible, we will be looking at one of our free StageMilk sample scripts, available over on our\u00a0Practice Scripts for Actors<\/a> page. We\u2019ll also link to the full script HERE<\/a> for additional reference. Before we get started, take a second to look over the page below.<\/p>\n You might be wondering about the benefits are for learning to break down a screenplay as an actor. So let\u2019s imagine, for a moment, that you received the above page from your agent. They want you to self tape for Jessie Talone, and although you received this page at 9:30 on a Sunday night, it needs to be with the casting director<\/a> first thing Monday morning.<\/p>\n Breaking down a script will give you an enormous head-start when it comes to the meaning of the piece, the subtext<\/a>, character motivations and actions<\/a>, as well as how the scene might be shot. It takes time and practice, but it\u2019s never a waste.<\/p>\n Sure, you could skim the page and start memorising lines. But that\u2019s what 90% of your colleagues will be doing at the exact same moment. Invest your efforts and learn how to break down a screenplay. It\u2019ll give you one hell of an edge.<\/p>\n Be totally honest with yourself: did you read the entire screenplay page below the intro? Or did you skip to the dialogue? Without scrolling back up, how well could you describe the location of this scene? The relationship between the characters? And without the second page to follow on, what do you think the scene could be about?<\/p>\n The first step in any process of working with a script\u2014be it for stage, screen or even a commercial\u2014is to read the script as many times as you can before your eyes fall out. It might sound like obvious advice to give, but there\u2019s a reason that actors need to be reminded of this over and over. Most can\u2019t be bothered, or think that a quick glance through before they start memorising lines is enough.<\/p>\n A screenplay is a document of a visual medium. It\u2019s not the definitive version of events like a stage play, it\u2019s a blueprint for something that is yet to exist\u2014which, funnily enough, is intended to replace the original script and render it obsolete. Every word is fought over, edited, revised or replaced. So know why every single one of them<\/em> is there.<\/p>\n Once you\u2019ve read the script hundreds of times<\/a>, you can perform a close analysis of the text. We spend a lot of time talking about this in a dedicated page called Script Analysis: How to get the Most out of a Scene<\/a> so we\u2019ll keep doubled-up info to a minimum here. The most important parts are:<\/p>\n Here\u2019s a few points I\u2019ve scribbled down to get you started on \u201cThe Fan\u201d:<\/p>\n The process of script analysis is never something you\u2019ll completely finish. Whenever you discover something new, come back to your notes it down.<\/p>\n With script analysis underway, you\u2019ll have a clearer understanding of your character, as well as a lead on their objective within the scene. Character traits can be minimal in screenplays, as the action (the non-dialogue big print) is focused more on visuals and physical detail than description. So it often falls to the actor to imagine who their character might be.<\/p>\n Take Jessie, for example. There\u2019s no description of this person in the text, only that they\u2019re sitting behind the counter at a record shop barely able to stay awake. That being said: I bet you\u2019ve got an image of them in mind. Jessie doesn\u2019t strike us as business-casual, clean-cut. They conjure up images of tattoos, grunge\u2014the kind of person that dozes the day away at a dump like \u201cHarry\u2019s Vinyl\u201d. Let that inform your characterisation. What can you draw from that?<\/p>\n Next, your character\u2019s objective. This is, without a doubt, the\u00a0most important thing\u00a0<\/em>you need to find when you break down a scene. Your objective has to be achievable within the scene, and involve the scene partner, whose own pursuit of an objective provides the obstacle for your character to overcome.\u00a0<\/strong>So what does Jessie want in this scene? Is it clear? Does it change?<\/p>\n Of course, you only have a page to work with. Who knows what\u2019s going to happen in this scene later on that might turn things on its head! Don\u2019t make assumptions. Work with the script you have, and your choices will feel grounded and truthful.<\/p>\n Jessie:<\/strong> Gives the impression of a typical rocker\/record store owner or patron. Bit dirty, bit grungy, perhaps they look older than their years? Objective: to get The Fan to leave them alone.<\/strong><\/em><\/p>\n The Fan:<\/strong> Not much to go on, although the script specifically mentions \u201cthis kid\u201d. Are they an upstart? Youthful? Obnoxious? Objective: to get Jessie to admit they\u2019re Jessie Talone.<\/strong><\/em><\/p>\n Remember, the objective is the reason your character has shown up in the first place. Let it inform your choices from the very start of the scene.<\/p>\n Beats<\/a> are the building blocks of scenes. Their beginnings and ends signify changes in the circumstances of the scene: perhaps an emotional shift, an external plot happening or something revealed as characters interact.<\/p>\n It can be difficult to determine exactly when a beat change happens in scripts, as so much of them are tied to feelings. They\u2019re actually easier to find in screenplays, as they are usually signified by action, a change of shot (if the script speaks directly to the types of framing<\/a>) or words like \u201cpause\u201d, \u201ca moment\u201d, or even, literally, \u201cbeat\u201d.<\/p>\n In \u201cThe Fan\u201d, I\u2019ve highlighted five beats:<\/p>\n If you\u2019ve gone through the piece and found different beats, that\u2019s completely fine. Beats are subjective, and different things will jump out at different points. For me, these beats signpost important\u2014if subtle\u2014shifts in the piece. I like to give beats names, like chapter headings in a book:<\/p>\n Note how each beat flows into the next: causes\u00a0<\/em>the next to happen. When you are aware of beats, you can shape the story accordingly and build tension. Characters might back off (as The Fan does in Beat #4), but only so they can attack again, differently, more effectively.<\/p>\n Once you\u2019ve analysed the text, worked on your character and objective, beat the script out and plotted your tactics, take one final look at the action: the big print that describes all the non-dialogue. Is there anything that can help you determine how the scene might be shot? Some scripts are meticulously set out in shots, describing the action directly to the reader<\/a>. Others, like \u201cThe Fan\u201d, leave shot choice up to the filmmaker (and the reader\u2019s imagination.)<\/p>\n However, the text still suggests how certain moments might be framed. Doesn\u2019t a line like \u201cThe faintest smile.\u201d read like a close-up? The director might ignore that completely\u2014they often do, in order to put their own stamp on proceedings. But if it\u2019s in the text, be ready to make an offer informed by the writer\u2019s words.<\/p>\n Screen acting is about two things: consistency and knowing your framing. Know how to rein in your performance so your work doesn\u2019t become too big in a close-up, or meticulous in a wide. This is a tricky point, as it requires a lot of practice in the field of screen acting. Even more than that, it requires you to communicate and trust your director<\/a>\u2014whose job it is to support you and ensure you\u2019re delivering an appropriate performance for the shot they\u2019ve selected.<\/p>\n So there you have it: our comprehensive guide on how to break down a screenplay as an actor. My final piece of advice to is this: like so many things in the actor\u2019s toolkit, breaking down a screenplay is a skill. Skills can be learned, practiced and mastered. So take every opportunity you can to read scripts and pull them apart, ready to make it yours. It\u2019s free, it\u2019s rewarding and it will make you a better actor.<\/p>\n Go for it!<\/p>\n Finally (finally), here are a few other helpful resources to keep you on the path of breaking down screenplays and giving good performances:<\/p>\n And if you\u2019re looking for focused help and feedback for your screen acting, why not consider giving our online\u00a0Scene Club<\/a> a try? Each month, industry experts look over your work and give you tailored tips and criticism to better your craft!<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n<\/p><\/div>\n![\"A](\"https:\/\/www.stagemilk.com\/wp-content\/uploads\/2024\/12\/The-Fan-Sample-Page.jpg\")
<\/a><\/p>\nBreak Down a Screenplay as an Actor<\/h2>\n
Read the Script<\/h2>\n
Script Analysis<\/h2>\n
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The Fan Script Analysis Notes<\/h4>\n
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Character and Objective<\/h2>\n
The Fan Character Notes and Objectives<\/h4>\n
Finding the Beats<\/h2>\n
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Examining the Action<\/h2>\n
Conclusion<\/h2>\n
Additional Resources<\/h2>\n