There’s a reason why filmmaking has always been seen as a continuous process. What seems so important and invaluable on paper can suddenly be rendered inadequate or even completely disposable when it’s time to actually film. Screenwriters tend to experience this journey most visually, having to watch their precious screenplays change and evolve through each stage of production until they arrive at something completely different. than they originally envisioned. For the lucky ones, this can lead to an even better end product than they intended.
Krysty Wilson-Cairns was definitely a rising star after her work on the Showtime series “Penny Dreadful”, which eventually led to the credits for big screen productions like “1917”, “Last Night”. in Soho” and now this year “The Good Nurse” (Chris Evangelista’s / Film reviewed here). In a conversation with /Film, Wilson-Cairns went on to describe how she really likes to tell the directors she works with to cut entire dialogue from the script.
“One of my favorite things on set is going to the director, ‘We don’t need those lines.’ It’s too liberal. Sometimes there are lines that I’ve spent 10 years with and I really like those lines, but this is better. I mean, it’s a real privilege. It’s important to act. actors. You don’t need to write a 16-page scene; do it in two pages if you can, and let the silence, leave it empty. Let this space be filled by people.”
Actors love to dive into a monologue or commercial satire, so sometimes less really can be more.
“The Good Nurse” premieres on Netflix on October 26, 2022.
https://www.slashfilm.com/1065242/1917-and-the-good-nurse-screenwriters-favorite-trick-is-to-cut-dialogue-exclusive/ 1917 And the good nurse screenwriter’s favorite trick is cutting the dialogue [Exclusive]