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Screenwriters Taxonomy

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Inspired by the biological classification system of the Linnaean taxonomy, screenwriter Eric R. Williams developed the Screenwriters Taxonomy in 2017 to create a common language of creative collaboration for filmmakers.[1]  Williams’ central thesis in The Screenwriters Taxonomy: A Roadmap to Collaborative Storytelling is that the term “genre” is used so broadly to describe films that the modern use of the word has become meaningless.[2]  The Screenwriter's Taxonomy proposes seven categories for discussing the creative process of telling cinematic stories.[3]

  1. Type [4]
  2. Super Genre [4]
  3. Macrogenres [5]
  4. Microgenres [6]
  5. Voice [7]
  6. Pathway [8]
  7. Point of View [9]

Type

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In the broadest sense, Williams contends that all narrative fiction films can be broken down into two types: Comedy or Drama.  The difference between these types is simply based on whether or not the film is more serious (drama) or humorous (comedy). There are ten different brands of drama, and a dozen brands of comedy.[10]

BRAND OF DRAMA DESCRIPTION FILM EXAMPLES
Dark Drama Dramas dealing with intensely serious issues. ·  Oldboy

·  Requiem for a Dream

Docudrama Dramatized adaptation of real-life events. While not always completely accurate, the general facts are more-or-less true. ·  Into the Wild

·  Zodiac

Docu-fiction Different from docudramas, docu-fictional films combine documentary and fiction, where actual footage or real events are intermingled with recreated scenes. ·  Interior Leather Bar

·  Your Name Here

Dramedy A serious story that contains some characters or scenes inherently humorous to the audience. ·  Everything Must Go

·  Hustlers

Hyper-drama Coined by film professor Ken Dancyger, these stories exaggerate characters and situations to the point of becoming fable, legend or fairy tale. ·  Fantastic Mr. Fox

·  Maleficent

Light Drama Light-hearted stories that are, nevertheless, serious in nature. ·  The Help

·  The Terminal

Satire Satire can involve humor, but the result is typically sharp social commentary that is anything but funny. Satire often uses irony or exaggeration to expose faults in society or individuals that influence social ideology.   ·  Birdman

·  Dr. Strangelove

Straight Drama This broad category applies to those that do not attempt a specific approach to drama but, rather, consider drama as a lack of comedic techniques. ·  The 39 Steps

·  Ghost World

Tragedy Stories that explore human suffering, and end in devastation. ·  Million Dollar Baby

·  Fruitvale Station

Tragicomedy A story that explores human suffering, but with an uplifting ending and/or with enough comedic elements to keep the audience laughing throughout the tragic story. ·  50/50

·  Man on the Moon

·  Moonrise Kingdom

BRAND OF COMEDY DESCRIPTION FILM EXAMPLES
Bathroom Comedy Comedy that is indecent, often about sex, bodily functions and containing a healthy dose of profanity. ·  Animal House

·  Dumb and Dumber

Comedy of Ideas Uses comedy to explore serious ideas such as religion, sex or politics.  Often the characters represent particular divergent worldviews and are forced to interact for comedic effect and social commentary.   ·  M*A*S*H

·  The Player

Comedy of Manners Emphasizes verbal gymnastics above all else, utilizing clever insults and witticisms to entertain. ·  The Graduate

·  Under the Tuscan Sun

Dark Comedy Humor that makes light of subject matter typically considered taboo. ·  American Psycho

·  Deadpool

Farce Exaggerating situations beyond the realm of possibility – thereby making them entertaining. ·  In the Loop

·  Some Like it Hot

Observational Comedy Finding humor in the common practices of everyday life. ·  Carnage

·  Fast Food Nation

Parody (or Spoof) Humor based on imitation. All parodies are based on a pre-existing work that is widely recognized by the intended audience. The work is summarily exaggerated to the point of mockery and trivialization. ·  Hot Fuzz

·  Young Frankenstein

Sex Comedy Humor that is primarily derived from sexual situations and desire. ·  Don Jon

·  Knocked Up

Situational Comedy Humor that comes from knowing a stock group of characters (or character types) and then exposing them to different situations to create humorous and ironic juxtaposition. ·  Galaxy Quest

·  The Princess Bride

Straight Comedy This broad category applies to those that do not attempt a specific approach to comedy but, rather, used comedy for comedic sake. ·  Clueless

·  Mrs. Doubtfire

Slapstick Comedy Humor that uses tripping, falling, and cartoon-like violence as the core element. ·  The General

·  The Three Stooges

Surreal Comedy Storytelling that includes behavior and storytelling techniques that are illogical; includes bizarre juxtapositions, absurd situations and unpredictable reactions to normal situation. ·  Monty Python and the Holy Grail

·  Swiss Army Man

Super Genre

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Williams argues that there are only eleven true genres, which he calls “Super Genres”. [11]  Super genres are defined by three elements (each consisting of specific components):

  • Character (consisting of the types of central characters, those characters’ goals, and stock characters that support the story)
  • Story (consisting of central themes, the rhythm of how the story is told and the classic tent pole scenes that the audience expects)
  • Atmosphere (consisting of locations, costumes, props and visceral experiences for the audience)

According to Williams, the eleven super genres are:

  1. Action
  2. Crime
  3. Fantasy
  4. Horror
  5. Life
  6. Romance        
  7. Science Fiction
  8. Sports
  9. Thriller
  10. War
  11. Western

The super genre “Life” is further divided into

  • Day in the Life (where the main character's daily struggles are the central conflict in the story)
  • Slice of Life (stories focused on how community copes with every day issues).[6]

Macro Genres

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While there are a limited number of super genres, there are at least fifty macro genres.  A macro genre contains interchangeable elements that pair with super genres to create a more detailed story.  By pairing a macro genre with a super genre, more specific expectations emerge within a story.  For example, “Time Travel” is a macro genre.  It can be paired with a variety of super genres to create a time travel fantasy story, or a time travel romance.  Multiple macro genres can be used for a single story. The fifty macro genres identified by Williams are (although he contends that there are probably more):[12]

EXAMPLE OF 50 MACRO GENRES
1. Addiction

2. Adventure

3. Alien Invasion

4. Apocalyptic

5. Artificial Intelligence

6. Biography

7. Bro- / Wo- mance

8. Demonic

9. Disaster

10. Disease / Disability

11. Epic / Saga

12. Erotica

13. Escape

14. Family

15. Gangs / Punks / Brothers in Arms

16. Gangster

17. Ghost / Spirits / Angels

18. Heist / Caper

19. Historical

20. Holiday

21. Identity

22. Killing

23. Law Enforcement

24. Legal

25. Love

26. Magical

27. Martial Arts

28. Medical

29. Military

30. Mission

31. Monster

32. Mystery / Detective

33. Political

34. Procedural

35. Protection

36. Psychological

37. Religious

38. Revenge/Justice

39. Romantic Comedy

40. Science Fantasy

41. School Films

42. Showbiz / Artistry

43. Slasher

44. Spy / Espionage

45. Superhero

46. Super Powers

47. Survival

48. Terror

49. Time Travel

50. Workplace

An example of how the “mystery” macro genre would pair with each super genre:


Micro Genres

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Macro genres can be paired randomly with any given super genre.  Micro genres work differently.  Each micro genre is particular to a given macro genre – providing even more specificity and nuance to the story, characters and atmosphere. Therefore, each macro genre has its own set of possible micro genres.  For example, the “biography” macro genre has at least six possible micro genres:[13]

  1. Biography of the rich and/or famous (The Social Network or Malcolm X)
  2. Biography of an entertainer or athlete (Ray or Cinderella Man)
  3. Biography of a politician (The King's Speech)
  4. Biography of an unknown person doing something remarkable (Schindler's List)
  5. Biography of a group or organization (Remember the Titans)
  6. Biography of a newsworthy or historical event (Apollo 13 or The Imitation Game)

The micro genres for each macro are as follows:

EXAMPLE OF FIFTY MACRO GENRES AND THEIR MICRO GENRES[5]
Macro Micros
Addiction Actions, Alcohol, Drugs, Gambling
Adventure Battle, Exploration, Piracy, Quest, Rebellion, Space
Alien Invasion Earth-centric, First Contact, Space-centric
Apocalyptic Actively within, Post-apocalyptic, Pre-apocalyptic
Artificial Intelligence Androids, Cyborgs, Robots
Biography Entertainment, Everyman, Group/Organization, Political, Newsworthy, Temporal, Rich and Famous
Bro- or Wo- mance Stronger Bond, Traditional, Tragedy,
Demonic Devil / Occult, Possession, Witchcraft
Disaster Global, Local, Personal
Disease/Disability Personal, Societal
Epic/Saga Discovery / Exploration, Event-specific, Historical, Person-specific
Erotica Fetish, Mainstream
Escape Impossible, Non-Prison, Tale, Traditional
Family Drama Family Bond, Family Feud, Family Loss, Family Rift
Gangs/Punks/Brothers in Arms Interest-specific (biker, surfer), Ideology-specific (punk rock, politics), Location-specific (neighborhood, school)
Gangster Anti-hero pov, Authority pov
Ghost/Spirits/Hauntings/Angels Across the Divide, Emotional, Mystic, Reincarnation, Traditional
Heist/Caper Impossible, Procedural, Tale
Historical Alternate, Modern, Period
Holiday Event, Family, Origin
Identity Gender/Sexuality, Humanity, Loss of..., Racial, Religious
Killing Serial, Slasher, Stalker, Unintended, Reflection
Law Enforcement Community, Personal crime, Process and Life of..., Rescue, True Crime, Undercover/Vice
Legal Courtroom, Investigation, Tales of the System, Underdog / Whistleblower
Love Traditional, In disguise, Nonconventional, Obsession, Unrequited
Magical Locational, Vocational, Wonderment
Martial Arts Form (Karate, Kung Fu, Mixed), Philosophy (Ninja, Samurai)
Medical Biography, Non-Hospital, Seemingly Impossible, Tale
Military Biographical, Historical, Mission, Tale
Mission Impossible, Tale
Monster Alien, Creature, Mutant, Mythic (Mummy, Vampire, Werewolf, Zombie, etc.), Scientific, Swarms
Mystery/Detective Crime specific (murder, theft, kidnapping, etc.), Hard boiled, Pulp, Whodunit
Political Contemporary, Historical, International, Local, National
Procedural Artistic, Investigative, Legal, Medical, Political, Scientific
Protection Babysitter, Bodyguard, Family/Loved Ones, Legal
Psychological Conspiracy, Evil, Mistaken Identity, What if? Worst Case
Religious Biographical, Religious Text, Spirituality
Revenge/Justice Legal, Psychological, Settle a Score, Vigilante
Romantic Comedy Adult, Child, Non-conventional, Remarriage, Teen
Science Fantasy Discovery, Dying Earth, ET Relations, Mad Scientist, Space Opera, Sword & Planet
School Films College, Elementary, High School, Specific School (law, culinary, medical, etc.)
Showbiz/Artistry Biography, Culture, Creative Process
Slasher Splatter, Survival, Teen
Spy/Espionage Corporate, Military, Political, Secrets (sports, school, etc.)
Superhero Origin Story, Personal Battles, Save the World
Super Powers Intelligence, Life extension, Mental, Physical
Survival Captivity, Experiences (abuse, training, disaster, etc.), Nature/Outdoor, Rescue
Terror Man-made, Natural, AI / ET encounter, Paranormal, Stalker, Survival
Time Travel Discovered, Exists, Secret Invention
Workplace Boss’ story, What it's like, Worker's story

Voice

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“Voice” does not address the genre traits of story, characters and atmosphere.[14]  Instead, voice concentrates on how the story is told.  A traditional Hollywood story is told:

  1. as a linear narrative
  2. made using modern filmmaking techniques
  3. written for a broad audience
  4. with live-action, human characters
  5. that speak their dialogue
  6. as oblivious participants in the screenwriter's story.[15]

According to the Screenwriters Taxonomy, within this definition of how a Hollywood story is told, six questions can influence the screenwriter's voice:

1. Will the story be told linearly, or will there be an alternative voice that uses:

2. Should the filmmaker expect to use modern filmmaking techniques, or will there be an alternative voice such as using:

3. Is the story being written for a broad audience, or will there be an alternative audience addressed with this voice, for example:

4. Will the story be presented with live action, human actors or will there be an alternative voice that uses techniques such as:

5. Will the characters speak their dialogue, or will there be a different approach to communicating, for instance:

6. Are the fictional characters oblivious that a film is being made, or will there be an alternative technique in play, for example:

Pathway

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Pathways describe the trajectory of how the audience will move through the story.  Regardless of genre, each story sends their protagonist(s) along a specific trajectory (or pathway).   The pathway becomes a subconscious roadmap for the audience – a tool to guide them through the story. There are twenty different pathways, including the traditional pathway with which American audiences are most familiar. The traditional pathway has five elements:

  1. A single protagonist goes through a change.
  2. The audience and protagonist generally learn information at the same time.
  3. The protagonist follows the Hero's Journey.
  4. The central pay-off for the audience is the protagonist battling an antagonist character.
  5. In the end, our hero is victorious and is rewarded.

These five elements take an audience through a film in a familiar way. As an example, in the 1991 Academy Award Winning film Silence of the Lambs, the audience joins Clarice Starling on her metamorphosis from fledgling to experienced FBI agent.[16]  They go through the story with her. What she learns, they learn.  She starts in the world of law enforcement, makes her way into the world of the criminally insane, and eventually returns, victorious, to her home at the FBI. The visceral pay-off for the audience comes from her mental battle with Dr. Lecter and Buffalo Bill.  In the end, Agent Starling is rewarded for the battle that she waged.

In addition to the traditional pathway, there are nineteen others:

NON-TRADITIONAL PATHWAYS
1.  Buddy Movie

2.  Chase/Hunt

3.  Coming of Age

4.  Fish out of Water

5.  Gang Falls Apart

6.  Lost Innocence

7.  Human vs. Nature

8.  Human vs. Self

9.  Human vs. Society

10. Human vs. Technology

11. Melodrama

12. Noir

13. Rags to Riches to Rags

14. Reunion Films

15. Reunite the Gang

16. Road Movie

17. Screwball Comedy

18. Tale of Madness

19. Unlikely Ensemble

These nineteen pathways diverge from the traditional pathway in one of seven ways:[17]

#1: Defeated Underdog

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The protagonist may battle an antagonist, but the more important struggle is often against some larger force. The audience's enjoyment comes from watching this larger force destroy the protagonist.  In this pathway, the protagonist is typically destroyed.  Or, if he survives, the survival itself is the victory. Rarely does the protagonist “come out on top”.

Pathways in this category:

  • Noir
  • Tale of Madness
  • Rags to Riches to Rags

#2: Defeated Underdog + Subverted Journeys

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The protagonist may confront an antagonist, but the central focus is watching the protagonist endure an extreme personal tragedy.  The protagonist is often destroyed emotionally, and rarely “comes out on top”. Additionally, in this pathway, the hero's attention to personal tragedy diverts them from their original heroic journey.

Pathway in this category:

#3: Subverted Journeys

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The protagonist rarely returns home – literally or metaphorically.

Pathways in this category:

#4: Multiple Protagonists

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These Pathways to not use a single protagonist to carry the story.  Instead, they split the story equally across multiple protagonists. Each story is shorter because each character has a full story with their own beginning, middle and end. Protagonists may or may not confront an antagonist.  If they do, the antagonist is often a broad, two-dimensional character. The audience is more engaged in the emotional relationship between the various protagonists than they are in external conflicts.

Pathways in this category:

#5: Multiple Protagonists + Unknowing Audience

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These pathways do not use a single protagonist to carry the story.  Instead, they split the story equally across multiple protagonists. Protagonists may or may not confront a specific antagonist.  Often the story revolves around an event that the group must endure, or a mission that the group must accomplish.  Each character serves as the antagonist in their colleague's story. What sets this pathway apart from the simple “Multi-Protagonist” pathway is how the backstory is provided to the audience. In this pathway, the audience is perpetually playing “catch up”.  The protagonists know each other, and have known each other for some time.  However, the audience joins the characters’ story already in progress.

Pathways in this category:

  • Reunion Films
  • Gang Falls Apart

#6: All-Knowing Audience

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In these pathways, the audience knows more than the protagonist. The audience doesn't learn information as much as they remember information.  Enjoyment comes from reminiscence, and the central pay-off comes from watching the protagonist go through an awakening, not from battling a powerful antagonist.  

Pathways in this category:

  • Coming of Age
  • Lost Innocence

#7: Non-Character Antagonists

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In most stories, the protagonist battles an antagonist: another flesh-and-blood sentient being. These pathways diverge from this expectation by telling stories of a protagonist's battle against something non-sentient. These are stories of circumstance, where the “antagonist” does not set out to willfully engage and destroy the protagonist. Yet, the protagonist's life or livelihood is in danger, nonetheless.

Pathways in this category:

  • Fish Out of Water
  • Human vs. Nature
  • Human vs. Self
  • Human vs. Society
  • Human vs. Technology

Point of View

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From the outset of any story, the screenwriter must decide how much information the audience will have.  Point of View (POV) as a decision tree with three central questions.

  1. Will the storyteller limit what the audience can see, or will storyteller allow them to be omniscient?
  2. Will the story be told from a primary or secondary character's perspective?
  3. Is this story being told objectively, or is there a subjective element to the events?

By finding the answers that best help to tell their story, screenwriters determine a POV for their screenplay.[18]  The Screenwriters Taxonomy boils the answers to these questions down into the five most common POVs:

Filmmaker Omniscient

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The characters are unaware that a film is being made, and so have no narrative voice.  Instead, the filmmaker crafts a story by taking us on an omniscient tour of characters and events, designed to intrigue and entertain the audience by showing the perfect piece of the story at the most impactful time. This type of filmmaking is almost always objective, since the very nature of watching a movie is predicated on the filmmaking being truthful.

Primary Omniscient

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The story is viewed through the main character's perspective. The story is often biased, and the actions told in retrospect – in order to tell the “bigger story” in which the primary character has been caught.  Alan Ball used this technique in his final draft of American Beauty.[19]

Primary Limited

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A greater sense of objectivity is created when the protagonist's POV is limited. Although the story is told from a single person's subjective interpretation of events, this POV may seem more authentic and objective in certain situation.

Secondary Limited

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Secondary limited is unusual, but not out of the question.  In fact, some of the most famous stories of all time – like the tales of Sherlock Holmes – are told from a secondary, limited perspective.  Of course, the story is about the primary character (Sherlock Holmes), but it is told from the perspective of a secondary character (Dr. Watson).  Sir Arthur Conan Doyle, as the author, reveals only what Watson would logically know or be able to infer about how Sherlock Holmes solved the crime.

Secondary Omniscient

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Secondary omniscient is even more unusual, and typically occurs when the character is reflecting back on her life or has some sort of special power that causes omniscience.  The Coen Brothers used this POV in No Country for Old Men, with sheriff Bell reflecting back on a particular case.[20]

Case Studies

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As with the Linnaean taxonomy, Williams claims that each “narrative Hollywood film” utilizes each category: type, super genre, macro genre, micro genre, voice, pathway, and point of view.  Each category further defines the film and allows for more specific discussion, analysis and/or creative decision making.

An example of eight films and their categorization according to the Screenwriters Taxonomy:[21]

CASE STUDIES OF EIGHT FILMS USING THE SCREENWRITERS TAXONOMY
12 Years a Slave[22] Argo[23] Shrek[24] Butch Cassidy &

the Sundance Kid[25]

Imitation Game[26] Casablanca[27] The Godfather[28] The Godfather II[29]
Type Drama

Docudrama

Drama

Docudrama

Comedy

Satire

Drama

Light drama

Drama

Docudrama

Drama

Hyper-drama

Drama

Dark drama

Drama

Tragedy

Super Genre Day in the life Thriller Fantasy Western  + Crime Crime Action Crime Crime
Macro: Micro Genres Biography: Historical

Survival: Captivity

Historical: Modern

Mission: Tale

Adventure: Quest

Bro-mance: Traditional

Love: Non-traditional

Historical: Period

Bro-mance: Stronger bond

Epic: Events

Biography: Historical

Workplace: Worker story

Military: Historical

Love: Traditional

Workplace: Company story

Identity: Loss of...

Historical: Period Gangster: Anti-hero

Family: Family bond

Historical: Period

Gangster: Anti-hero

Family: Rift

Voice Traditional voice except written for an adult audience. Traditional voice except written for an adult audience. An animated film filled with modern pop music that helps guide the story. Traditional Voice that occasionally uses sepia tones, title cards and photographs to remind us of its historic nature. Non-linear narrative Non-linear narrative. Traditional voice except that it is written for an adult audience. A non-linear narrative written for an adult audience.
Pathway Fish out of water Unlikely ensemble Buddy movie Buddy movie

Chase/hunt

Unlikely ensemble

Lost innocence

Man vs. society

Man vs. technology

Noir

Reunion films

Man vs. self

Lost innocence Coming of age
POV Primary limited Filmmaker omniscient Filmmaker omniscient Filmmaker omniscient Faux Primary omniscient

Filmmaker omniscience

Filmmaker omniscience Filmmaker omniscient Filmmaker omniscient

References

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  1. ^ Williams, Eric R. (2018). “Episode #3: Movie Genre: It's Not What You Think.” In How to View and Appreciate Great Movies. The Great Courses / Audible.
  2. ^ Williams, Eric R. “The Need for a Road Map.”  In The Screenwriters Taxonomy: A Roadmap to Collaborative Storytelling, 3–12. New York, NY: Routledge, 2018.
  3. ^ Eric., Williams (2017). Screenwriters Taxonomy. Focal Press. ISBN 978-1-351-61066-7. OCLC 1006975143.
  4. ^ a b Williams, Eric R. “Movie Types and Supergenres.” In The Screenwriters Taxonomy: A Roadmap to Collaborative Storytelling, 15–46. New York, NY: Routledge, 2018.
  5. ^ a b Williams, Eric R. “Macro Genres and Micro Genres.” In The Screenwriters Taxonomy: A Roadmap to Collaborative Storytelling, 47–87. New York, NY: Routledge, 2018.
  6. ^ a b Williams, Eric R. (2019). “Episode #9: Other Genres: Where There is Love.” In Falling in Love with Romance Movies. Audible Original.
  7. ^ Williams, Eric R. “Voice.” In The Screenwriters Taxonomy: A Roadmap to Collaborative Storytelling, 101–125. New York, NY: Routledge, 2018.
  8. ^ Williams, Eric R. “Pathway.” In The Screenwriters Taxonomy: A Roadmap to Collaborative Storytelling, 126–142. New York, NY: Routledge, 2018.
  9. ^ Williams, Eric R. “Point of View.”  In The Screenwriters Taxonomy: A Roadmap to Collaborative Storytelling, 143–157. New York, NY: Routledge, 2018.
  10. ^ Williams, Eric R. (2019). “Episode #3: Comedy and Tragedy: Age Does Not Protect You.” In Falling in Love with Romance Movies. Audible Original.
  11. ^ Williams, Eric R. (2018). “Episode #4: Genre Layers and Audience Expectations.” In How to View and Appreciate Great Movies. The Great Courses / Audible.
  12. ^ Williams, Eric R. “Recognizing your Genre.” In Screen Adaptation: Beyond the Basics: Techniques for Adapting Books, Comics, and Real-Life Stories into Screenplays, 103–133. New York: Routledge, Taylor & Francis Group, 2018.
  13. ^ Williams, Eric R. (2017). Screen Adaptation : Beyond the Basics. New York: Focal Press. ISBN 978-1-315-66941-0. OCLC 986993829.
  14. ^ Williams, Eric R. (2019). “Episode #6: Voices: Though the Stars Walk Backward.” In Falling in Love with Romance Movies. Audible Original.
  15. ^ Williams, Eric R. (2018). “Episode #24: Filmmaker's Voice and Audience Choice”. In How to View and Appreciate Great Movies. The Great Courses / Audible.
  16. ^ Tally, Ted. “Silence of the Lambs.” Film script. Third Draft, August 25, 1989.
  17. ^ Williams, Eric R. (2019). “Episode #7: Pathways: Love Recognizes No Barriers.” In Falling in Love with Romance Movies. Audible Original.
  18. ^ Williams, Eric R. (2018). “Episode #23: Point of View in Script and Screen.” In How to View and Appreciate Great Movies. The Great Courses / Audible.
  19. ^ Ball, Alan. “American Beauty.” Film script. Final Draft, Undated.
  20. ^ Coen, Joel and Ethan Coen. “No Country for Old Men.” Film script. Final draft, Undated.
  21. ^ Williams, Eric R. “Case Studies.” In The Screenwriters Taxonomy: A Roadmap to Collaborative Storytelling, 158–166. New York, NY: Routledge, 2018.
  22. ^ 12 Years a Slave. Directed by Steve McQueen. Written by John Ridley. United Kingdom and United States: Fox Searchlight Pictures and Lionsgate, 2013.
  23. ^ Terrio, Chris. “Argo.” Film script. Numbered shooting script, 2011.
  24. ^ Elliott, Ted, Terry Rossio, Roger Schulman, and Joe Stillman. “Shrek.” Film script. Twenty-first draft, March 15, 2001.
  25. ^ Goldman, William, “Butch Cassidy and the Sundance Kid.” Film script. Final draft, July 15, 1968.
  26. ^ Moore, Graham. “The Imitation Game.” Film script. Unknown draft, 2013.
  27. ^ Epstein, Julius J., Philip G. Epstein, and Howard Koch. “Casablanca.” Film script. Draft, June 1, 1942.
  28. ^ Puzo, Mario and Francis Ford Coppola. “The Godfather.” Film script. Third draft, March 29, 1971.
  29. ^ Puzo, Mario and Francis Ford Coppola. “The Godfather Part II.” Film script. Second draft, September 24, 1973.