Writing action

[DDK]

I want to write a script for myself. This is a personal project that will likely never see the light of day. It's mainly something I just want to prove to myself that I can do it.

Therefore I bear no shame in admitting that it's a comic-book movie adaption. The character I want to write about is called "Deadpool". The reason I mention this is so that people who have an inkling of who the character is will immediately recognise why writing a script for him is problematic.

Primarily my concern is that Deadpool is VERY action oriented. Half his dialogue is in action sequences. His nickname is "The Merc with a Mouth" for a reason. He has meaningful character development whilst stabbing people and getting his limbs cut off.

In addition to this, he's part tragic-hero and his own comedic relief. A lot of the gags are visually oriented and usually in action scenes.

Now it's my understanding that when writing a script that one should leave out fine details of action and if anything only give a sense of the character's surroundings and action sequences. But when most of your movie centres in and around action as being the meaningful transition element; how do you get around that?

I can't just write, "Deadpool does something funny with his sword."

 

[NickClapper]

Isn't Ryan Reynolds Deadpool? And aren't they currently producing a Deadpool movie?

On the subject of the question- you want to give an idea of action scenes in relation to plot development. If Deadpool's signature move is a figure of eight swish with his sword then write that it, but don't feel that you need to write in every time he moves his sword. The direction of the fight scene will be up to the director, all you, as the writer, need to say is who is fighting, where it happens and what happens- don't be tempted to write a shot by shot fight scene.

 

[Aaron.Faulkner]

Yeah, the script is done and Reynolds is set to play the leading role.

 

[DDK]

On the subject of the question- you want to give an idea of action scenes in relation to plot development. If Deadpool's signature move is a figure of eight swish with his sword then write that it, but don't feel that you need to write in every time he moves his sword. The direction of the fight scene will be up to the director, all you, as the writer, need to say is who is fighting, where it happens and what happens- don't be tempted to write a shot by shot fight scene.

And therein lies the problem. Perhaps I'm not being clear. The character develops THROUGH action. It's not enough to say that he blows a car up, it's vital to the characterisation and development of the character as to HOW he blows it up and what he's doing whilst it's blowing up.

This is different from any other action movie since the action generally doesn't move the plot forward other than to end a problem and escalate another. With this character, the action IS the character; he is defined by how he does things in combat.

I really can't explain it better than that.

 

[Buddy Greenfield]

I don’t know comics, so maybe I am totally misunderstanding, or it’s some matter of how things are adapted from the comic to screen, or it’s something completely far out (I don’t know), but the way you are describing the character as being defined through the combat, and a character that is the action, sounds like a set-up of self fulfilled action-conflict- reaction that generates story.

If it is, then in describing the problem you would also have described maybe not a solution, but at least a way to look at the encapsulated working of action and character in that sense.

Action should show and move story forward while also revealing character. Revealing character should show and also move story forward in reaction.

The element out of that mix is conflict, and as you said, the character is defined by combat (Conflict).

Set in motion the cycle makes action it’s usual multi faceted manifestation of visual story, but banking off of itself or perpetuated unto itself through a character that is conflict.

Put another way, this would make the character an embodiment of self generated conflict that would likely fight himself through others and likely fight others through himself to generate an ebb and flow of story.

If this sounds like your character then its possible you will find this perpetuation dead ends or fizzles out leaving the character talking to themselves, or to a pet, or to a plant, or to a drug, or yelling at the world from a roof top, or even in a pinch addressing the audience to regenerate or reestablish or remind or reinvigorate self conflict so things fire up again.

If this sounds even more like your character, then it’s likely the story generated by character deals with hallucinations, amnesia, multiple personalites or assumed identites, or a character that is just flat out bat shit nuts, and the inner workings of the action might simply be seen as “Crazy is as crazy does as crazy is as crazy does.”

-Thanks-

 

[DDK]

-Thanks-

You pretty much nailed the character.

 

[polfilmblog]

Writing a script based on someone else's material -- WITHOUT THE RIGHTS -- is a complete and total waste of time and effort. It can never go anywhere.

Write original stories.

They have highly paid experts to turn existing comic books into films. You are not one of them.

 

[Papertwinproductions]

Writing a script based on someone else's material -- WITHOUT THE RIGHTS -- is a complete and total waste of time and effort. It can never go anywhere.

Write original stories.

They have highly paid experts to turn existing comic books into films. You are not one of them.

He mentions it's for personal fulfillment. No profit intended. Unless he does happen to create the material, or intend to. Aslong as it stays on the page, there's nothing at all wrong with it.

Buddy has got this. I needn't say anything more.

 

[directorik]

It's not enough to say that he blows a car up, it's vital to the characterisation and development of the character as to HOW he blows it up and what he's doing whilst it's blowing up.

You have answered your own question.

You are correct that when writing a script one should
leave out fine details of action, but in this case the fine
details are vital. So you must write all the fine details.
You can't just write, "Deadpool does something funny
with his sword." you must write out every detail of what
he does that is funny.

Since this script is just to prove to yourself that you can
do it, give it a go. If you like the way the script reads then
when you decide to write an original story you can continue
to use your method.

 

[DDK]

Since this script is just to prove to yourself that you can
do it, give it a go. If you like the way the script reads then
when you decide to write an original story you can continue
to use your method.

Well, part of proving that I can do it requires that it be done to a standard that could pass muster in a producer's hands. Even if I never sell a script in my life, I want to know within myself that I at least have the ability to write a finished and polished piece.

 

[directorik]

Well, part of proving that I can do it requires that it be done to a standard that could pass muster in a producer's hands. Even if I never sell a script in my life, I want to know within myself that I at least have the ability to write a finished and polished piece.

I understand.

So you should write it as you see it. If that means, because of this
specific character, you need to write the details of each action, then
that's what you must do. As you already know, that creates some
problems - problems you (the writer) must work out.

Write it. Then you will know if you have the ability to write a finished
and polished piece.

 

[Padnar]

Well, part of proving that I can do it requires that it be done to a standard that could pass muster in a producer's hands. Even if I never sell a script in my life, I want to know within myself that I at least have the ability to write a finished and polished piece.

I would suggest you read all action scripts , as well read lots of books at this genre
than I am sure you will get the hang of your genre .
padma