The two faces of the Script Analysis

by Marc Agues

“Birdman” (Iñárritu, 2015)

The situation of script in the film industry is as follows, on a national or international level: there’s thousands of scripts circulating it, looking for a producer who will take the reigns of the project and will make it happen.

The reality is that a lot of these projects will never see the light of day; to not say that a majority probably won’t. As good as they might be.

It is known that, for example, the Hollywood studios keep garages with mountains and mountains of un-produced scripts. In other words, they stayed scripts forever. If we had a look through some of them, I’m sure we’d be surprised of the names that’d pop on the cover of each.

Piles of scripts in the office of a Hollywood studio.

And what does this have to do with a script analysis? Very simple. A script analysis isn’t only a tool so that a screenwriter can improve it’s script. That is its main function, but it’s also a tool to compare scripts. To decide which is the best to produce. Because, like it or not, the truth is there’s thousands of scripts out there and production companies (even the small ones) receive hundreds of these, piling up somewhere around the office in most cases.

And, in front of the perspective of having to read ten, twenty, thirty or more scripts, the analysis becomes a tool with which to known quickly which project is mature enough, which one needs more rewrites, which one is more viable commercially because of its tone, execution, originality…

Recently I read an example that was pretty clarifying about the importance script analysis have.

Having an analysis that validates and certifies your script as good or very good and that it shouldn’t be looked passed, it can mean that your project might materialize in time, putting you on the map, as a screenwriter, as well. And then also, that will give you direct access to production companies and show them what could become your future work.