CT: Exposition as Ammunition
This post started its life as a Twitter thread that I deleted because I just can't be one of those people that tweets a whole thread about film theory. That's why I have a blog!
A few years ago I went to a writing conference and got one of the best bits of writing advice I've ever heard: Exposition as ammunition. You see, as a writer there are times when you have to give out information (about your world, about your characters, etc) and it's one of the hardest things you have to do as a writer. When exposition is done badly, it's the worst thing to watch. Characters explaining who they are and what they want and what's keeping them from getting what they want in a way that makes you change the channel forever.
So exposition as ammunition means that one of the best ways to get information across to your viewer is to have your characters use the exposition against each other. It's changed my writing. It's the way to build out your world without those boring long speeches.
I've been watching the second season of Daredevil, and there's a truly magnificent scene/set of scenes that blew my mind. It's one of the best examples of writing, directing, and acting to build character that I've ever seen. Not that scene from the first season, the one that everyone loves. Sorry Vincent Donofrio, you do a great monologue but I'm here to talk about Daredevil and The Punisher on that rooftop.
In the third episode, a set of scenes play out where Matt Murdock is trapped on a rooftop with the vigilante they've been tracking, Frank Castle. Murdock and Castle go back and forth about their philosophies, because in many ways what they're doing is shockingly similar. But in Murdock's mind Castle is a villain because he kills the criminals he tracks. And in Castle's mind Murdock is a child. But here's the thing- it's really, really, really important that we understand their viewpoints and the ways they're the same and the ways they're different. It could have been a super boring set of scenes and instead it's intense and interesting and beautiful. And it's a bottle episode! (She said, dying of excitement)
It starts with the writing- smart lines hurled back and forth instead of long monologues about what characters believe, so it feels organic. From there the scenes are in the hands of two incredibly capable actors and a director that keeps the scenes moving at a blistering pace. The result is an episode where you walk away with every ounce of information you need about this character to understand the rest of the season, but you feel like you just watched a gorgeous episode build into something explosive.
So keep that in mind, fellow writers. Exposition as ammunition.
Also, cast Jon Bernthal in everything. Every single thing you can get your hands on. The man is a genius.
Happy watching!
CT
A few years ago I went to a writing conference and got one of the best bits of writing advice I've ever heard: Exposition as ammunition. You see, as a writer there are times when you have to give out information (about your world, about your characters, etc) and it's one of the hardest things you have to do as a writer. When exposition is done badly, it's the worst thing to watch. Characters explaining who they are and what they want and what's keeping them from getting what they want in a way that makes you change the channel forever.
So exposition as ammunition means that one of the best ways to get information across to your viewer is to have your characters use the exposition against each other. It's changed my writing. It's the way to build out your world without those boring long speeches.
I've been watching the second season of Daredevil, and there's a truly magnificent scene/set of scenes that blew my mind. It's one of the best examples of writing, directing, and acting to build character that I've ever seen. Not that scene from the first season, the one that everyone loves. Sorry Vincent Donofrio, you do a great monologue but I'm here to talk about Daredevil and The Punisher on that rooftop.
 |
| Image from IMDb |
In the third episode, a set of scenes play out where Matt Murdock is trapped on a rooftop with the vigilante they've been tracking, Frank Castle. Murdock and Castle go back and forth about their philosophies, because in many ways what they're doing is shockingly similar. But in Murdock's mind Castle is a villain because he kills the criminals he tracks. And in Castle's mind Murdock is a child. But here's the thing- it's really, really, really important that we understand their viewpoints and the ways they're the same and the ways they're different. It could have been a super boring set of scenes and instead it's intense and interesting and beautiful. And it's a bottle episode! (She said, dying of excitement)
It starts with the writing- smart lines hurled back and forth instead of long monologues about what characters believe, so it feels organic. From there the scenes are in the hands of two incredibly capable actors and a director that keeps the scenes moving at a blistering pace. The result is an episode where you walk away with every ounce of information you need about this character to understand the rest of the season, but you feel like you just watched a gorgeous episode build into something explosive.
 |
| Image from IMDb |
So keep that in mind, fellow writers. Exposition as ammunition.
Also, cast Jon Bernthal in everything. Every single thing you can get your hands on. The man is a genius.
Happy watching!
CT
Comments
Post a Comment