Every single scene explains the whole script - is that possible?

[Inarius]

I'm a student to cinematography. Recently I was tasked to write a scene from within my script. I did.
I was told that this scene isn't understandable. Who is who? Why? What? Where? Why should I care?
Well, it's a random scene from within the script. It's not supposed to stand alone.

Of course I wrote a short description of what is relevant for the current scene, the background. But the teacher didn't want to read it. He said that every scene (big scenes of course) should summarize the entire script. So if a producer opens the script in a random page and picks a random scene, he will understand what the story is about.

WHAT?????

I've read a lot of scripts, and I barely saw that happening. In fact, most of the times if I open a random scene, I don't understand what the story is about, before I read at least the previous and the following scenes. The only times when I DID understand the whole story from one scenes, were the scenes which contain the "Inciting Incident" of the story, or the"Culmination". Well, because those 2 are the "key" scenes. But not the others. Sometimes maybe the opening scenes. But that's it.

So, the question... is that even possible, that every big scene in the script will summarize the whole story?

 

[wheatgrinder]

ah.. that helps.. but without that information, it seems like a mistake or some strange writing.. you might change the character names to reflect that.. Tomer (IN DISGUISE) or something like that. Maybe your teacher thought the same thing..

 

[FantasySciFi]

I think you did a good job. I took away that he was once her lover. Tomer, falsely accused he escapes and assumed a new identity as Mr Hakken. I thought you did well playing that she had figured it out then dashing that by accusing him of being a spy using 'Tomer' (a negative figure from her past) as a way of bringing down her husband, a politician. The "Count of Monte Cristo" is a very powerful story to draw upon. My take is her husband and associates set up Tomer. Tomer's apparent suicide mirroring Edmond's escape. Hakken as his new identity is out for vengeance. He is recognized by Alona (a former lover/fiancee) but she's afraid for him and tries to avoid him. He continues to get vengeance on the others before coming back to the final confrontation with Alona's husband.

So per your assignment, you chose it because of the anticipated reunion with the unexpected rejection. I commend you on that. What was confusing was her role. It starts off like she's a schoolgirl chasing after a crush. She comes on to him which doesn't match the tone of suspecting him of being a spy at the end. She doesn't really speak of her husband or his mission. Tomer mentions jeopardizing it in passing.

What's the jeopardy to her husband, affecting his pre-election? She has her car there, so did they meet for a sexual tryst? Why was she afraid her of her husband finding the car? He left the book there from a year ago, he says. So they've known each other that long? If she and Tomer were so close, it seems unusual she wouldn't recognize him if they've been intimate. So for me, the stated facts don't seem to match my expectations or human experience. That is where the scene confuses me.

I think your instructor may have over-reacted a bit. I think you handle the scene well.

 

[Modern Day Myth Prod. LLC]

Are you sure your teacher is not talking about a layered script with layered characters so every scene connects into a bigger story? It is not only possible, it's the best way to compose a story.

 

[Inarius]

ah.. that helps.. but without that information, it seems like a mistake or some strange writing.. you might change the character names to reflect that.. Tomer (IN DISGUISE) or something like that. Maybe your teacher thought the same thing..

Maybe I should just use Mr. Hakkan whenever Tomer speaks in disguise?

I think you did a good job. I took away that he was once her lover. Tomer, falsely accused he escapes and assumed a new identity as Mr Hakken. I thought you did well playing that she had figured it out then dashing that by accusing him of being a spy using 'Tomer' (a negative figure from her past) as a way of bringing down her husband, a politician. The "Count of Monte Cristo" is a very powerful story to draw upon. My take is her husband and associates set up Tomer. Tomer's apparent suicide mirroring Edmond's escape. Hakken as his new identity is out for vengeance. He is recognized by Alona (a former lover/fiancee) but she's afraid for him and tries to avoid him. He continues to get vengeance on the others before coming back to the final confrontation with Alona's husband.

So per your assignment, you chose it because of the anticipated reunion with the unexpected rejection. I commend you on that. What was confusing was her role. It starts off like she's a schoolgirl chasing after a crush. She comes on to him which doesn't match the tone of suspecting him of being a spy at the end. She doesn't really speak of her husband or his mission. Tomer mentions jeopardizing it in passing.

What's the jeopardy to her husband, affecting his pre-election? She has her car there, so did they meet for a sexual tryst? Why was she afraid her of her husband finding the car? He left the book there from a year ago, he says. So they've known each other that long? If she and Tomer were so close, it seems unusual she wouldn't recognize him if they've been intimate. So for me, the stated facts don't seem to match my expectations or human experience. That is where the scene confuses me.

I think your instructor may have over-reacted a bit. I think you handle the scene well.

Once Tomer escapes the prison, he saves Alona's husband and his daughter, and gets invited to Alona's house. He forgets the book there for purpose: He wants to hint Alona that he is alive. But due to a certain event, his plans change, and he realizes he should avoid Alona. So they haven't met since then, for a year.

Tomer develops another plan to avenge Alona's husband - become a new Prime Minister, because that's what her husband is. With the money and support he gets from a mysterious organization he has recently joined, he turns his home city - Sderot - into a paradise. Alona still doesn't know he is in fact Tomer, and thinks he is Mr. Hakkan.

What happens prior to the scene I've just written, is that Alona starts suspecting that there is something familiar about Mr. Hakkan, because she sees him much on the TV (he is a politician). So she starts following him, but doesn't want her husband to know about that.

Are you sure your teacher is not talking about a layered script with layered characters so every scene connects into a bigger story? It is not only possible, it's the best way to compose a story.

Every scene connects, but doesn't necessarily tells the story, if you rip the scene from the script.
Maybe he indeed meant what you said, but many understood it differently.