THE THIEF by Mihriban Yalınkılıç              



Every screenwriter can write what we call to dialogue, but writing good dialogue is not an easy task. You must have a good ear. You must also work hard and be patient to achieve this ability. Reading books in abundance is a prerequisite. Dialogue is the most crucial element of scriptwriting. In the scenario, conversations are called dialogues, but not everyday speech or junk conversations are called dialogues. Because real speech is boring. When you read the text of a real conversation, you realize that no matter how important the topic is, it is quite absurd. The real conversation is a speech without context, that can grow like chewing gum, loose and likely to lose focus. And it mostly contains very little information. A well-written dialogue advances the story but allows the characters to be skimmed.

                In this "really" short film, we witness the conversations between two friends that test their friendship. No surprises come to an end. For example, as of the first moment when the egg item is presented to the audience, it can be easily predicted that the egg will break. The purpose of such short films should generally be to present "unpredictable" events. The film has no problem with acting. Primarily Trevor Murphy performs very well with his facial expressions. The other player has an above-average acting skill. However, the problems of the movie are not related to her acting skills. The dialogues are shallow, the final is not striking, in terms of image management, there is no trick, except for the camera following the players' speech in turn. There is also a need for a good subtext analysis. The words written on the paper are the sub-text and the hidden meaning that is not explicitly expressed by the characters or actors but underlies when they say it. This meaning becomes understandable for the audience with the progression of the scene, sequence, or story. In this respect, the content of the film and the texts should be enriched with general outlines.

                So what could be done? We could meet Chuck. At the end of the movie, an image or image of his own could be shown. We could come across a screen after Credits. During the dialogues, we could provide additional information with a flashback. However, as I understand it, additional expenses and scenes were avoided to keep production costs at a certain level. This is a respectable situation. However, if we make such a decision, the scenario and dialogues should be more striking.

                It can be a really good example of a single space / low budget movies. However, it needs a lot of updates, especially cinematography, to reach the level of "short film" that has a problem to tell.