Now we can take a pass through our latest draft and make sure there is nothing generic about our locations. We have given our movie a sense of place. On a game day, a really wild foul tip might just go through the minivan’s windshield. Inside, a group of screenwriters take in students, blue-collar workers and sharp-stepping professional women scurrying in the shadow of Fenway Park. So, let’s revisit that opening scene with which we began.Ī minivan is parked in the middle of Kenmore Square. Edward Woodward as Robert McCall in the original The Equalizer It’s exciting to see that screenplay takes place somewhere, and that it has, even if minimally, been taken into account as part of the writer’s vision. Remember, too, that it’s no fun for readers (often the gatekeepers that can decide whether or not your script advances through the pipeline) to come across something generic. Nobody got mad at him for setting it in New York first.) (Richard Wenk’s screenplay for The Equalizer was set in New York and later filmed in Boston.
It’s still your ability to set the stage with your writing that will be part of what brings your script attention in the first place. Forget that maybe you’ll be shooting it yourself and so you know where everything is-all the more reason to paint a picture for the reader based on what you actually do know about the locations you’ll be using.įorget that you’re worried Hollywood will only change whatever setting you include based on which state is offering them the best incentives these days. Inside, a group of screenwriters wait at the corner of nothing and nowhere, failing to set the scene with any specificity and therefore failing to engage the reader into something resembling a cinematic experience.Įvery screenplay should be set somewhere.
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