A word that sends a shiver down the spine of most writers.
Not me. But I’m a bit weird like that.
I’ve just done what I hope is the final rewrite on With A Little Help From Our Friends. I’m not planning on doing any more until I’ve locked in what’s actually happening with it, but for now, it’s pretty much good to go. I read it for the first time in a few months and realised that something was missing. It took me awhile focusing on other things in the script – and, admittedly, a lot of the notes I made were more directorial than writer-focused which was an exciting twist on the usual process – before I realised what it was.
I was putting the audience in the wrong position in the beginning.
When I get to a certain stage in a script, I find it really helps push the story to think about who the audience is going to click with and who you want them to click with. For instance, if you’re writing a mystery film, you’re NOT going to reveal the killer in the first scene and so the audience clicks with the detective character. If you’re writing an action flick, you want them to click with the hero, not the villain. Or perhaps the damsel in distress character and then the hero comes in and sweeps her/him off to safety and they race away together.
In most scripts, there is a character who is essentially representing the audience. It isn’t always the same character either – it varies. Shakespeare did it: the character who identifies the characters, who doesn’t quite understand what’s going on, the one who is in the same position as the audience and asks the questions they can’t. In movies, it’s often the protagonist – they discover the rules of the world at the same time as the audience. It has become a lot more subtle (usually) since Shakespeare, but consider how you want your audience to feel in each scene and push that emotion as far as you can.
The audience is the most important thing you’ve got to focus on as a filmmaker.
After all, if you’ve got no audience, you’ve not really got much of a film.