Planning - Script Writing

The first step Nicole and I wanted to complete for our planning process was to write our script. While we had a clear idea of what we wanted our opening to look like based on our storyboard and research, we needed to write it down in an organized way to fully develop the story. This script will act as our guide for everything else in the pre-production phase, from rehearsing with actors to planning shot lists to organizing our filming schedule. Without a script, we'd just have loose ideas, but with one, we have a concrete plan.

The First Draft of Our Script

Challenges:

The biggest struggle Nicole and I had when writing this script was telling a story opening without telling a full story. We found it difficult to write a movie opening instead of a short film because we had to establish characters, conflict, and tone in just two minutes without resolving anything. We needed to give the audience enough information to understand who Audrey and Mattias are and why their relationship matters, but we couldn't show them getting together or even really acknowledging their feelings beyond that final frozen moment when their hands touch and the spark lingers.

What helped us figure this out was thinking about the opening sequences I analyzed from Anyone But You and The Fall Guy. Both of those openings introduce the main characters and establish their dynamic, whether it's the awkward turned hostile reunion in the club or the stunt man thinking about the woman he loves but they don't resolve anything. They're setting up questions that the rest of the film will answer. That's what we tried to do here: set up the question "Will these rivals realize they actually like each other?" without answering it.

Another struggle we had was keeping this script mostly non-dialogue heavy. From my research, I found that most movie openings don't have extensive conversations because they need to establish setting, character, and mood through visuals and action. However, we noticed it was harder than we thought to get ideas across without our characters speaking. We wanted the audience to understand that Audrey and Mattias are competitive rivals who have history, but showing that purely through action would have taken too long.

We solved this by using short, snappy dialogue that reveals character through what they say and how they say it. Their banter during the argument tells us they're competitive, they know things about each other (like Mattias recognizing Audrey immediately), and they're evenly matched in terms of wit and energy. The dialogue moves quickly enough that it doesn't slow down the action, but it gives us crucial character information that visuals alone couldn't convey as efficiently.

What made writing this script easier for me was that I took creative writing last year, and we did a whole section on script writing. I learned about proper formatting, how to write action descriptions versus dialogue, and how to indicate camera directions and character emotions. It was really enjoyable to guide Nicole through the script writing process using what I learned in that class. We worked together on structuring the scenes, crafting the dialogue, and making sure the pacing felt right for a two-minute opening.

Establishing the Genre:

Even though this is a movie opening, Nicole and I still wanted to establish clearly that this is a romantic comedy. While we plan on doing this through color grading and music in post-production, we wanted to establish the relationship dynamic from the very beginning.

I researched different types of meet-cutes from my previous blog posts and found that rom-coms use several approaches: the instant attraction (love at first sight), the slow-burn (friends who gradually realize feelings), and the enemies-to-lovers (rivals who fight their attraction). We decided to use an enemies-to-lovers approach because it immediately creates conflict and tension, which is more interesting and can be more comedic than instant attraction. The audience wants to see these characters work through their rivalry, which creates the "will they, won't they" tension that keeps rom-coms engaging.

The physical comedy of fighting over the hockey ball adds the comedic element that defines the genre. Rom-coms need humor, and physical comedy is a great way to create laughs while also building chemistry. When Audrey and Mattias are pushing and pulling over the ball, they're physically connected, which mirrors the emotional connection they're fighting against.

In our script, we have the moment when their hands touch briefly during the struggle over the ball, and "the spark of something unspoken lingers in the air." This is one way to signal the romantic element, that brief physical contact that changes everything. However, we're also planning to extend this physical comedy sequence so that after the ball flies away, the momentum from their struggle causes them to stumble and fall into each other's arms. This falling-into-arms moment will be the visual climax of the opening, shot in slow motion with careful composition using the rule of thirds. We're still working out exactly how to choreograph this with our actors during rehearsals, which is why the current script draft focuses on the hand-touch moment but leaves room for us to develop the full physical sequence.

Script Format and Technical Choices

We formatted this script following standard screenplay format with scene headings, action descriptions, and dialogue. We included camera directions (close-up, mid-shot, whip pan, cut to) because this is a film brief where the technical execution is part of what's being evaluated. In a professional screenplay, we might not include as many camera directions, but for this project, we wanted to make our vision clear to anyone reading the script, including our actors and our teacher.

We also included sound cues (the soft indie instrumental music at the beginning, "music intensifies" at the title card) because sound design is a crucial part of rom-coms. The contrast between the calm music during Audrey's run and the intensified music during the title card helps create the romantic and comedic atmosphere we're aiming for.

The note about Audrey's smartwatch or phone showing "Birthday: 3 Days" is important for establishing the timeline and giving context to why she's working out and wants to feel confident. It's a quick, visual way to convey information without needing dialogue.

Good and Bad: 

What we think works well in this script is the banter between Audrey and Mattias. Their dialogue feels natural and reveals their personalities quickly. Audrey is sharp, direct, and doesn't back down. Mattias is charming but also competitive and unwilling to admit fault easily. Their chemistry comes through in how they verbally spar, which sets up the potential for romance.

We also think the physical comedy sequence will work well visually. The image of them fighting over a hockey ball, their hands touching during the struggle, and then (as we plan to develop it further) stumbling into each other's arms when the ball flies away, is a strong visual that communicates the accidental nature of their connection. The composition with the ball in focus and them blurred in the background creates an interesting way to frame the title card moment.

What we're less confident about is whether the pacing works. On paper, the argument might feel too long or too short; we won't really know until we shoot it and see how long it takes in real time. We might need to cut some dialogue or add more action to make the rhythm feel right.

We're also wondering if the moment when their hands touch feels earned enough, or if it comes too suddenly. We think adding the falling-into-arms moment will help extend that beat and give it more emotional weight, but we'll need to test this during rehearsals with our actors. If Nadia and Evan can sell the moment with their reactions, it'll work. If not, we might need to adjust the script to give that beat more buildup.

Next Steps

Now that Nicole and I have a first draft, our next step is to show this script to our actors, Nadia and Evan. We want to do a read-through where we go through the dialogue together and see how it sounds when spoken aloud. Hearing the dialogue read will tell us immediately what works and what doesn't. Some lines that look good on paper might sound awkward when spoken, and a read-through will reveal those issues before we start filming.

We're also open to updating or changing the script based on feedback from our actors. If Nadia or Evan have suggestions about how their characters would react or speak, we want to hear those ideas. Good actors often bring insights that writers might not think of, and since they'll be the ones performing these lines, their input is valuable. We might adjust dialogue, add or remove reactions, or refine the physical comedy sequence based on what feels natural during rehearsals.

Based on the feedback we receive from our actors, we'll write a revised draft that tightens the pacing, clarifies any confusing moments, and strengthens the emotional beats. We might also add more specific action descriptions for the physical comedy sequence once we've worked out the choreography with Nadia and Evan during rehearsals. Specifically, we need to figure out exactly how the falling-into-arms moment will happen after the ball flies away, like what angle they'll be standing at, how they'll lose their balance, and how we'll frame that moment for maximum romantic impact.

Additionally, we need to start thinking about the specific music tracks that will play during this opening. The script describes "soft indie instrumental music" at the beginning and notes that "music intensifies" during the title card, but we need to find actual songs or instrumental tracks that fit this description. We're thinking about using an upbeat, contemporary instrumental during Audrey's run that has a light, hopeful feel. During the argument, the music might build slightly to add energy, then swell romantically when their hands touch and they fall into each other's arms, creating that emotional climax before the title card appears.

Reflection

Writing this script with Nicole was both exciting and challenging. It forced us to think about storytelling in a very condensed format, where every line of dialogue and every action needs to serve multiple purposes, like establishing character, advancing the plot, creating humor, and building romantic tension all at once.

What I learned most from this process is that writing for film is different from other types of writing. Everything has to be visual and audible. We can't rely on internal thoughts or lengthy descriptions. Instead we have to show character through action and dialogue in ways that will translate on camera. This means being meaningful with words and trusting that the actors, cinematography, and editing will fill in the emotional gaps.

I'm happy with where this first draft landed, but I'm also aware that it's just the beginning. Scripts evolve through feedback, rehearsals, and even during filming when you discover things that work better than what you originally planned. Having that creative writing background from last year gave me confidence in the formatting and structure, but collaborating with Nicole brought fresh ideas and perspectives that made the script stronger.

The script gives us a clear roadmap for what we need to accomplish during our filming day, and it gives Nadia and Evan something concrete to work with as they develop their characters. Most importantly, it captures the tone and energy we want for our rom-com opening: playful, competitive, romantic, and fun. Now we just need to bring it to life on camera.

Links Used:
https://screencraft.org/blog/top-10-tips-for-writing-better-dialogue/
https://www.premiumbeat.com/blog/guide-to-writing-opening-scene/
https://industrialscripts.com/romantic-comedy/
https://www.goldenscript.net/post/tips-on-writing-a-rom-com-script