The author creates a film in my mind in two ways. The first is the use of technical jargon incumbent to all screenwriting. “Angle on Book” forces my brain to think of Book, in the case I'm thinking of, shuffling through the pig pen. The second way involves what the writer chooses to talk about. We do not see all of the world his characters live in, but rather the general place and then the very specific things we need to see in order to experience the film in our head. More generally though we learn from the subtext of the script, no direct comments on the characters emotions, like in life. I guess I more mean that there is nothing in a script to take away from the experience that you're watching in your head.
1. If you were forced to have a writing partner, what traits would you like him or her to have?
2. Do Book's actions in Philadelphia put Rachel and Daniel in unneccessary danger?
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