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.
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.