#script to screen

[charmac]

[air--so--sweet]

Personally I think not giving Klaus telekinesis in TUA was the right choice (or at least not to give him telekinesis to the extent he has it in the comics) as it would just make him very OP and, in my opinion, it doesn't quite work with the direction they took his character. That said - I really love the image of Klaus conducting a ballroom of dancing clothes and laughed out loud at the punchline.

The differences I find interesting in the script are the bits that are actually closest to what we see on screen but not not quite there yet, like Luther and Diego's fight resulting in damage to Reginald's favourite tree rather than Ben's statue, or a random locket in Viktor's room that gets pulled across the room and pins itself to the wall instead of the locket Luther gave Allison.

Or Five simply saying 'that's unfortunate' in reference to Viktor leaving having originally been this -

I know it was likely changed as it undermines Five's line to Viktor later that he's the only one he can trust (which exists, though slightly differently in this draft also), but on the flipside it also adds a lot of weight to why it's Klaus that Five gets to pose as his father when he goes to meritech. Because you could just read it as Five choosing Klaus because he knows he'll agree to do it for money, but it is in fact that Five trusts him.

Also, if anyone else wants to read the script download link is here. I found it quite some time ago on reddit, I don't know how it got online or what draft of the script this actually is (I think I called it a first draft in another post, but that was an assumption, I tried looking it up and there's no info on how far into the process this script was written).

[hawkinslibrary]

Script to Screen A FIELD OF FLOWERS -- CONTINUOUS 

STRANGER THINGS 4 Chapter Nine: The Piggyback

[magentagalaxies]

Kids in the Archive: Episode 3

hi everyone you know the deal - i uncovered a bunch of original scripts for kith sketches with the help of the wonderful bruce mcculloch and now i'm here to bring you all a behind-the-scenes comparison of script and screen!

Previous Episodes: Episode 1 - armada finale ("do we make it?") Episode 2 - fran & gordon: the vacation

today's episode is dedicated to @ofkithandmckinney as we cover the script of their favorite sketch, s2e1's "comfortable"

the thing that immediately sets "comfortable" apart from all the other scripts i own is the multicolored paper is it printed on, with some parts being on pink and others on blue. this is not accidental - each color denotes a specific revision date which is standard practice for tv production, though comfortable is the only script in my collection in this style. the date for pink revisions is may 22nd 1990, while blue revisions were june third of the same year. while taking photos of the scripts, my phone tries to color-balance the images automatically to make it look like black text on a white background, so i had to trick my phone into letting me show off the pink pages here today

The Casting

since the opening of this script is near-identical to what we seen onscreen, I decided to use this section to highlight an interesting (and at times confusing) element of this script, which is that dave and mark's roles are occasionally switched. at times dave is designated as scott's character's wife and mark as the other husband. on a related note, this also wasn't initially written as a nina sketch, with the character being referred to as "marion" in this draft. all in all, while thinking about this alternate version of "comfortable" is fun, i frankly cannot imagine anyone else playing these roles, as all of them bring the perfect type of energy. plus, this nina appearance relates it to my web of kith sketches that exist in the same universe

The "Improv"

this script also allows us to clear up a misconception i've seen in the youtube comments of various uploads of this sketch: people claiming "i want you in me" was improvised

i can see where this misconception came from - while adhering to the script very faithfully, at this point in the sketch things feel like they're starting to fly off the rails, and each of the actors are struggling not to break. plus, this is totally something scott would do. there's a chance this could have been improvised during a rehearsal or table read (it is on the blue pages after all) but in the version that was broadcast this line was expected. however, there is a possibly-improvised moment in the recording which wasn't in the script. after scott's character takes his pants off there's a moment where he starts singing hava nagila - in the script it just says "da da da da". why scott chose to commemorate this moment with hava nagila we may never know

The Ending

unlike our past few sketches, there's no big difference between the script's ending and the final moments of the sketch on tv. all the beats are accounted for, with most variations stemming from the goldmine that is getting nina in this situation

as soon as i saw this script in storage i knew i needed it in my collection (with bruce's permission of course), and with all these fascinating production elements it certainly delivered. beyond that, comfortable is one of my favorite sketches as well, because i vividly remember the first time i watched it in the summer of 2022

pre-2022 i'd seen some kids in the hall before, but they'd always been scattered sketches and individual episodes all from season one. when i got into season 2 i didn't know what to expect. would this increased attention and production value make the kids less willing to push the boundaries? would they end up like snl? looking back it's hilarious i could ever think that about this troupe, but i identify "comfortable" as the sketch that really set the tone for what i was in for with season 2. the living room setup and premise of an awkward gathering feel similar to any number of middle-of-the-road snl sketches, which lulled me into a false sense of mundanity, until scott keeps pushing the limits and eventually starts straight-up fucking kevin mcdonald on the table. of course this season wasn't going to be your standard fare sketch show, as pretty soon after followed sizzler and sizzler and the iconic "touch bellini" contest, but as i saw the world of these suburban couples' descend into chaos it was comforting that this punk rock sensibility wasn't over yet.

[isagrimorie]

From Buffy Shooting Script - Season 3 Episode 14 - Bad Girls for @explosionshark

Buffy passes by pulling Faith out back to her.

[halfpastdead]

In The Flesh by Dominic Mitchell (2013), script to screen -> Series 1, Episode 1 (pt. 1 / ?)

Marie Critchley - Sue Walker Steve Cooper - Steve Walker Luke Newberry - Kieren Walker

INT. FAMILY LIAISON BUILDING - GREETING ROOM - DAY 2

SUE and STEVE are anxiously waiting in a Greeting Room that’s supposed to promote a feeling of calm and tranquility. On the walls there are big government issue posters of happy families welcoming back their partially deceased sons / daughters / dads / mums / grandparents.

Steve and Sue see their son. Their partially deceased son. Last time they saw him in the flesh was in a coffin. Sue stops. She breaks down. Not in that movie romantic way, but in the real way, a painful primal way. Steve holds his wife.

Kieren stands there. Seeing his mother like this (he’s never seen her this upset before) it hits home what his leaving must have done to them both. To his whole family. How can he ever make it up to them. He can’t. Not with words anyhow. After a moment. Sue composes herself and her and Steve move a bit closer. Steve doesn’t break down. He’s holding it together. When emotions are high Steve blabbers.

STEVE

You look - Doesn’t he look -? I was expecting - well I don’t know what I was - I suppose you hear stories - I mean yer doctors had said, you know, be prepared - but - you know - you look well. He looks well. Even caught some sun I see.

KIEREN

It’s, uh, it’s the cover up mousse. Makes me look -

(going to say human)

...better.

EXT. FAMILY LIAISON BUILDING - GREETING ROOM - DAY 2

SUE and STEVE are sitting with KEITH and KIEREN.

KEITH

It’s going to take some time for everyone to adjust. That’s normal.

[frary-us]

The itvxofficial Instagram account posted this short video of Toby Regbo's Matt meeting Jasmine Jobson's Lisa for the first time in the new Platform 7 series.👍 Great seeing talented.Toby on screen again.💖 (x)

[heartlandians]

FROM SCRIPT TO SCREEN: Heartland - 6x03 - Keeping Up Appearances Written by Ken Craw | Directed by Dean Bennett

[briannas-casebook]

SCRIPT TO SCREEN: PERSPECTIVE, PORTRAITS AND THE LOOMIS MANNEQUIN.

As part of my storytelling script to-screen class, we were tasked with practicing our anatomy, figure drawing and perspective with the Loomis Mannequin model of anatomy and gesture drawing. The technique was coined by artist Andrew Loomis, the author of the highly influential drawing book 'Figure Drawing For All Its Worth', originally published in 1943. I myself was familiar with the book and some of its techniques. As my sister owned a copy and I was aware it was a significant influence on the artist, animator and Steven Universe creator Rebecca Sugar.

With the mannequin technique, we learned and practiced two-point perspective drawing with multiple figures. One trick we learned from our tutor was that when multiple figures are standing in frame but in different placements in the scene at varying distances from the camera, one part of the figures usually line up with the horizon line, such as the knees, thighs etc. depending on the angle and perspective.

With this in mind I drew my figures at varying distances and lining up the top of their knees/thighs with the horizon line. I think it turned out looking accurate.

Another exercise we learned was a technique in portraiture that involved drawing over a face with a square surrounding the head, blacking out the outline of the head and neck, and outlining the facial features such as the mouth, end of the nose, eyeline, hair, hairline, and brow. I initially drew an eye line and nose shape in the first portrait practice, but my tutor told me only the brow line and a small line under the nose was necessary.

Overall, I enjoyed brushing up on my perspective, figure and portrait drawing. I am proud of the drawings I was able to produce and I feel these techniques will be very useful for me when drawing my storyboard as well as in other future projects.

[onyx-collective]

McKinley Freeman and Emayatzy Corinealdi set the bar for on-screen marital tension 🙌🏾

[hayden-christensen]

STAR WARS WEEK 2024 DAY 2: TRILOGY WARS - FAVOURITE TRILOGY ▸ THE PREQUEL TRILOGY (1999-2005)

What if I told you that the Republic was now under the control of the dark lord of the Sith?

[marisatomay]

so cool that fanfiction won anne rice’s war on fanfiction

[air--so--sweet]

Personally I think not giving Klaus telekinesis in TUA was the right choice (or at least not to give him telekinesis to the extent he has it in the comics) as it would just make him very OP and, in my opinion, it doesn't quite work with the direction they took his character. That said - I really love the image of Klaus conducting a ballroom of dancing clothes and laughed out loud at the punchline.

The differences I find interesting in the script are the bits that are actually closest to what we see on screen but not not quite there yet, like Luther and Diego's fight resulting in damage to Reginald's favourite tree rather than Ben's statue, or a random locket flying across Viktor's room and getting pinned to the wall instead of the locket Luther gave Allison.

Or Five simply saying 'that's unfortunate' in reference to Viktor leaving having originally been this -

I know it was likely changed as it undermines Five's line to Viktor later that he's the only one he can trust (which exists, though slightly differently, in this draft also), but on the flipside it also adds a lot of weight to why it's Klaus that Five gets to pose as his father when he goes to meritech. Because you could just read it as Five choosing Klaus because he knows he'll agree to do it for dtug money, but it is in fact because Five trusts him.

Also, if anyone else wants to read the script download link is here. I found it quite some time ago on reddit, I don't know how it got online or what draft of the script this actually is (I think I called it a first draft in another post, but that was an assumption, I tried looking it up and there's no info on how far into the process this script was written).

[thedeadedhooman]

I watched supernatural and fell in love with this tall handsome albeit cute shaggy haired beautiful pretty baby boy who has the brightest soul that can light up your darkest days and is as strong as a diamond. No matter how many other pieces of media I consume, he has my heart, brain, liver, kidney, intestines etc. No other character has ever appealed or mattered so much to me. They don't make men like Sam Winchester any more.

[magentagalaxies]

Kids in the Archive: Episode 2

the long-awaited follow up to my kids in the archive series, where i highlight the original scripts i have uncovered from iconic kids in the hall sketches and showcase the changes between script and screen.

Previous Episodes: Episode 1 - armada finale ("do we make it?")

today we're traveling all the way back to S1E8 for the classic Fran & Gordon sketch The Vacation.

fran & gordon, and the entire wilson family for that matter, have always been some of my favorite recurring characters mostly because Fran is my own mother's favorite KITH character. even before I started watching the show myself, I remember her quoting the "salty ham" sketch to me as a kid, and since kids in the hall has become such a part of our lives she often compares herself to fran with her own quaint mom mannerisms. my personal favorite fran & gordon sketch is the one where their son gets caught trying to steal gordon's wallet in the middle of the night, though i loved their reappearance in the revival season too.

The Opening

this sketch is fairly faithful to its script in the opening, with the only major difference being fran's outfit in the description. this is understandable, as the outfit in the sketch still captures a similar vibe and contrasts nicely with the orange-and-yellow color scheme of the kitchen itself. otherwise, only small phrases are substituted likely for pacing.

The Extra Wilson Family Lore

the only major deviation between these two versions of the sketch is a page of dialogue between fran and gordon which takes place before it's revealed brian didn't come home the previous night

once again, i can assume this exchange was cut for the purpose of pacing since the sketch is already on the longer end of kith scenes, and while there aren't any jokes i'm devastated to have missed, i do love how all of this added info is so in-character that of course this is something else they'd have in mind preparing for their vacation. however, the addition of this page does modify our understanding of fran's behavior: in the show version, her obsessive checking of the stove seems to be a coping mechanism consciously made so she can wait to see if brian walks in before she leaves. in the script, though, she doesn't remember this fact until gordon mentions her son directly. this implies that while the stove behavior was still motivated by brian, it was likely subconscious, or perhaps she is like this every time she travels.

The Ending

unlike our previous entry, this script does not include an extra ending beat, and instead ends a beat earlier with this line:

however, that might not be the case. most scripts i've found have the word "(FADE)" after the last line signifying the sketch is done, and this page instead ends with the stage direction above. it's entirely possible there's a page of this script i do not have in my possession, but for now this script does not include the final punchline of gordon's schedule having alotted time for a family blowout.

overall, this is one of the more faithful script-to-screen adaptations in my kith collection, likely because it was a table read script, while the armada script was a rough draft. while i was in toronto last time, bruce taught me that there was a different font and formatting used depending on which stage of development a script was in, with rough drafts, table read scripts, and shooting scripts all present. this script was at a stage where the writer(s) would be sharing it with the rest of the troupe, but other jokes could still easily be slotted in. my favorite jokes of this sketch, "why don't you just cut out my heart and put it in the bird feeder!" and "well, if you do get drunk, do it in the basement so you won't fall down the stairs" are nowhere to be found, but the general structure is as sturdy as the wilson family matriarch

[yourtypicalhopelessgay]

Oh my god!