Time is one factor, but mainly to avoid unexciting and unnecessary dialogue.
In real life we have a lot of conversations which are purely transactional and not very fun. Nobody needs to listen to characters on screen going back and forth like “See you tonight” “At the bar?” “Yeah, the bar, 6PM.” “I’ve gotta drop the kids off at 6, can we do 7…?” - It’s boring, and it doesn’t advance the story.
Just cut the conversation short. The audience will quicky see the when and where immediately for themselves when the scene changes to the bar and the guy walks in, “Sorry I’m late, had to drop off the kids.”
it’s those asides that make the film feel alive though. fleshed out. can’t be the entire dialogue, but if your film is direct A→B→C ect ect ect the characters feel one dimensional.
Ironically a common writing technique is B->C dialog.
Basically cutting out the preamble and post dialog. Most times even in my writing I include “Hello” since that would stand out, but generally get right to the point.
You see this a lot in movies too, if done well it blends in since your scene is focusing on the action and not rambling on.
There are exceptions (teens talking may include a “no you hang up” trope for comedic effect) but that’s used sparingly.
I like all the bullshitting that goes on in Tarantino films, feels like real human dialog. Yeah, they’re more snappy than real life, but conversations takes weird turns like real life.
Right. It’s not always especially plot relevant, but the way Tarantino does it the dialog reveals a lot about the characters and their (conflicting) personalities, so it’s very interesting and worth having :)
I just assume they write weird behaviors like that to save a few seconds of screen time.
Time is one factor, but mainly to avoid unexciting and unnecessary dialogue.
In real life we have a lot of conversations which are purely transactional and not very fun. Nobody needs to listen to characters on screen going back and forth like “See you tonight” “At the bar?” “Yeah, the bar, 6PM.” “I’ve gotta drop the kids off at 6, can we do 7…?” - It’s boring, and it doesn’t advance the story.
Just cut the conversation short. The audience will quicky see the when and where immediately for themselves when the scene changes to the bar and the guy walks in, “Sorry I’m late, had to drop off the kids.”
Fr this. Like do you people really want to have to sit through every ounce of tedium in your media? Let the writers have their shorthands, please.
it’s those asides that make the film feel alive though. fleshed out. can’t be the entire dialogue, but if your film is direct A→B→C ect ect ect the characters feel one dimensional.
Ironically a common writing technique is B->C dialog.
Basically cutting out the preamble and post dialog. Most times even in my writing I include “Hello” since that would stand out, but generally get right to the point.
You see this a lot in movies too, if done well it blends in since your scene is focusing on the action and not rambling on.
There are exceptions (teens talking may include a “no you hang up” trope for comedic effect) but that’s used sparingly.
I like all the bullshitting that goes on in Tarantino films, feels like real human dialog. Yeah, they’re more snappy than real life, but conversations takes weird turns like real life.
Right. It’s not always especially plot relevant, but the way Tarantino does it the dialog reveals a lot about the characters and their (conflicting) personalities, so it’s very interesting and worth having :)
Somehow DDG understood my search terms and gave me the correct link when I didn’t even remember the name of the show:
https://www.youtube.com/watch?v=HtQNULEudss&t=4s
Oh look, there was a fire.
This latest Rom Com is so realistic, but did we have to stop the plot every time a character needed to take a shit?
In movies people never close doors behind themselves.
Or say goodbye on the phone, they just hang up…