[…] If I remember correctly, wasn’t Amini’s script for DRIVE only 60 pages? (It’s on IMSDB.com, but not as a PDF, so I can’t tell how many pages). I’m reading through that script right now, so I’m sure some of it will come to me, but seeing as it’s very unconventional and breaks a lot of screenwriting standards (not only the short length, but also use of in-script camera directions and “WE DISSOLVE TO:”), I figured maybe you would have some thoughts on how to deliver a professional script but with a sparse …read more […]

I am semi-new to screenwriting. I am getting feedback from people and working on rewriting my second script, so I don't know that much. I have started reading a ton of screenplays though. I agree with you that there are no right ways to do it. It really comes down to your own unique voice, which I am trying to find one for myself right now. I'm trying to teach myself to be more comfortable with my style and shifting at times. I like it to be rhythmic. Tarantino is different than Woody Allen, but both of them are fantastic. All of the above scripts you mentioned are also great and written in different ways. When it comes down to it, I think it is about what fits best for the story.(Which you stated above) A thriller isn't going to be written the same way as a rom-com. I'm sure it could be, but it is the most effective way? I feel that Drive's script is in a unique position. The movie utilizes a lot of artistic shots, that aren't necessary something you want in a selling script. You also stated this above when you said a script that has the directors vision in it is different than a spec.

Thanks for the insight. I'm wondering if economy of words is what it comes down to. In prose you can break rules, for example, with a one word sentence to make a statement, which is understood, but not literal. The same may apply to phrases instead of sentences. I think we tend to follow grammatical rules and screenplay format, while breaking the rules could serve well for an economy as well as shock or provoking thought.