How to Break Down a Screenplay

Writer confession: I really hate reading screenplays. I find them clunky, counter-intuitive to narrative flow, either too descriptive or not descriptive enough. As technical documents—blueprints for the films—they must adhere to strict industry standards. But while this might make them ‘easy’ to read, it don’t make ’em fun. The reason I wanted to open with this confession is that I don’t think I’m alone in my thinking. Screenplay format locks a lot of people out! So today, we’re going to look at how to break down a screenplay: we’ll crack one open, analyse it and find all the exciting things inside…

To break down a screenplay, you should start by familiarising yourself with the material and performing close analysis of the text. Then, break the script into beats before determining your character’s objective, so that you can keep your goal in mind throughout the scene. Finally, examine the action of the script for any hints as to framing, so that you might be ready to calibrate your on-screen performance accordingly.

To make this article as practical and helpful as possible, we will be looking at one of our free StageMilk sample scripts, available over on our Practice Scripts for Actors page. We’ll also link to the full script HERE for additional reference. Before we get started, take a second to look over the page below.

Break Down a Screenplay as an Actor

You might be wondering about the benefits are for learning to break down a screenplay as an actor. So let’s imagine, for a moment, that you received the above page from your agent. They want you to self tape for Jessie Talone, and although you received this page at 9:30 on a Sunday night, it needs to be with the casting director first thing Monday morning.

Breaking down a script will give you an enormous head-start when it comes to the meaning of the piece, the subtext, character motivations and actions, as well as how the scene might be shot. It takes time and practice, but it’s never a waste.

Sure, you could skim the page and start memorising lines. But that’s what 90% of your colleagues will be doing at the exact same moment. Invest your efforts and learn how to break down a screenplay. It’ll give you one hell of an edge.

Read the Script

Be totally honest with yourself: did you read the entire screenplay page below the intro? Or did you skip to the dialogue? Without scrolling back up, how well could you describe the location of this scene? The relationship between the characters? And without the second page to follow on, what do you think the scene could be about?

The first step in any process of working with a script—be it for stage, screen or even a commercial—is to read the script as many times as you can before your eyes fall out. It might sound like obvious advice to give, but there’s a reason that actors need to be reminded of this over and over. Most can’t be bothered, or think that a quick glance through before they start memorising lines is enough.

A screenplay is a document of a visual medium. It’s not the definitive version of events like a stage play, it’s a blueprint for something that is yet to exist—which, funnily enough, is intended to replace the original script and render it obsolete. Every word is fought over, edited, revised or replaced. So know why every single one of them is there.

Script Analysis

Once you’ve read the script hundreds of times, you can perform a close analysis of the text. We spend a lot of time talking about this in a dedicated page called Script Analysis: How to get the Most out of a Scene so we’ll keep doubled-up info to a minimum here. The most important parts are:

• Examine the text. Look for the meaning behind word choice, character vocabulary, punctuation, structure and style.
• Determine the facts. What is 100% confirmed and supported by the words on the author? Establish the rules and logic of the scene.
• Ask questions. Anything that isn’t provably a fact is a question. Avoid assumptions, be meticulous. Petty, even. These questions, when answered, will start to shape your personal interpretation of the scene—while still being supported by the original text.

Here’s a few points I’ve scribbled down to get you started on “The Fan”:

The Fan Script Analysis Notes

• Lots of description of the record shop “Harry’s Vinyl”, feels like the vibe of the location is important.
• Interesting that we know Jessie’s name but not The Fan…
• Dialogue is short, staccato. It feels like neither character is a great conversationalist.
• Lots of repetition. Lots of questions as well? 
• Rhythm is an important thing to play with in this scene: this exchange could be drawn out with lots of pauses, or ping back and forth between the characters.
• Facts: We are in a record shop called “Harry’s Vinyl”. It is dimly-lit. One or two customers are present. The place is a dump. There is a character named Jesse sitting at the counter. They are trying to stay awake. There is a bell over the door. A second character, known only as The Fan enters. They have a confidence that irritates Jessie. The Fan stares at Jesse. They smile faintly. The Fan asks about seventies (records?) The fan asks if Jessie is Jessie Talone. Jessie denies being Jesse Talone. The Fan insists they recognise Jessie.
• Questions: Does Jessie work at this shop? What is The Fan’s name? Is Jessie actually Jessie Talone? Did The Fan track Jessie down, or is this a chance encounter? Do the other customers know who Jessie is (if Jessie is who The Fan claims they are?)

The process of script analysis is never something you’ll completely finish. Whenever you discover something new, come back to your notes it down.

Character and Objective

With script analysis underway, you’ll have a clearer understanding of your character, as well as a lead on their objective within the scene. Character traits can be minimal in screenplays, as the action (the non-dialogue big print) is focused more on visuals and physical detail than description. So it often falls to the actor to imagine who their character might be.

Take Jessie, for example. There’s no description of this person in the text, only that they’re sitting behind the counter at a record shop barely able to stay awake. That being said: I bet you’ve got an image of them in mind. Jessie doesn’t strike us as business-casual, clean-cut. They conjure up images of tattoos, grunge—the kind of person that dozes the day away at a dump like “Harry’s Vinyl”. Let that inform your characterisation. What can you draw from that?

Next, your character’s objective. This is, without a doubt, the most important thing you need to find when you break down a scene. Your objective has to be achievable within the scene, and involve the scene partner, whose own pursuit of an objective provides the obstacle for your character to overcome. So what does Jessie want in this scene? Is it clear? Does it change?

Of course, you only have a page to work with. Who knows what’s going to happen in this scene later on that might turn things on its head! Don’t make assumptions. Work with the script you have, and your choices will feel grounded and truthful.

The Fan Character Notes and Objectives

Jessie: Gives the impression of a typical rocker/record store owner or patron. Bit dirty, bit grungy, perhaps they look older than their years? Objective: to get The Fan to leave them alone.

The Fan: Not much to go on, although the script specifically mentions “this kid”. Are they an upstart? Youthful? Obnoxious? Objective: to get Jessie to admit they’re Jessie Talone.

Remember, the objective is the reason your character has shown up in the first place. Let it inform your choices from the very start of the scene.

Finding the Beats

Beats are the building blocks of scenes. Their beginnings and ends signify changes in the circumstances of the scene: perhaps an emotional shift, an external plot happening or something revealed as characters interact.

It can be difficult to determine exactly when a beat change happens in scripts, as so much of them are tied to feelings. They’re actually easier to find in screenplays, as they are usually signified by action, a change of shot (if the script speaks directly to the types of framing) or words like “pause”, “a moment”, or even, literally, “beat”.

In “The Fan”, I’ve highlighted five beats:

If you’ve gone through the piece and found different beats, that’s completely fine. Beats are subjective, and different things will jump out at different points. For me, these beats signpost important—if subtle—shifts in the piece. I like to give beats names, like chapter headings in a book:

1. Jessie at Peace in Harry’s Vinyl. This beat establishes the story; it shows Jessie in their element in the record store. This beat is ended by the arrival of a new character and, therefore, a new complication:
2. The Fan Arrives. The antagonist appears and engages Jessie in conversation. All goes well until:
3. Jessie is Recognised. This changes everything. Suddenly, Jessie has to work harder to achieve their objective, as new information has rendered the obstacle of dismissing The Fan much harder. Jessie doesn’t bite, and so The Fan backs off:
4. Breathing Room. With the curt “Okay” The Fan illustrates that they won’t bang their head against a brick wall to get their objective. They give Jessie some space … which also allows them to regroup:
5. A New Tactic. The Fan pursues their objective again, but this time they change their tactic. What first read as “inquire” is now closer to “insist”. The tension builds.

Note how each beat flows into the next: causes the next to happen. When you are aware of beats, you can shape the story accordingly and build tension. Characters might back off (as The Fan does in Beat #4), but only so they can attack again, differently, more effectively.

Examining the Action

Once you’ve analysed the text, worked on your character and objective, beat the script out and plotted your tactics, take one final look at the action: the big print that describes all the non-dialogue. Is there anything that can help you determine how the scene might be shot? Some scripts are meticulously set out in shots, describing the action directly to the reader. Others, like “The Fan”, leave shot choice up to the filmmaker (and the reader’s imagination.)

However, the text still suggests how certain moments might be framed. Doesn’t a line like “The faintest smile.” read like a close-up? The director might ignore that completely—they often do, in order to put their own stamp on proceedings. But if it’s in the text, be ready to make an offer informed by the writer’s words.

Screen acting is about two things: consistency and knowing your framing. Know how to rein in your performance so your work doesn’t become too big in a close-up, or meticulous in a wide. This is a tricky point, as it requires a lot of practice in the field of screen acting. Even more than that, it requires you to communicate and trust your director—whose job it is to support you and ensure you’re delivering an appropriate performance for the shot they’ve selected.

Conclusion

So there you have it: our comprehensive guide on how to break down a screenplay as an actor. My final piece of advice to is this: like so many things in the actor’s toolkit, breaking down a screenplay is a skill. Skills can be learned, practiced and mastered. So take every opportunity you can to read scripts and pull them apart, ready to make it yours. It’s free, it’s rewarding and it will make you a better actor.

Go for it!

Additional Resources

Finally (finally), here are a few other helpful resources to keep you on the path of breaking down screenplays and giving good performances:

• Screen Acting Basics
• Script Analysis: How to Get the Most Out of a Scene
• Acting for Camera: How to Use the Frame (Framing Technique)
• The Difference Between Stage and Screen Acting
• StageMilk Original Scripts Database

And if you’re looking for focused help and feedback for your screen acting, why not consider giving our online Scene Club a try? Each month, industry experts look over your work and give you tailored tips and criticism to better your craft!

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