Fiction and Non-Fiction scripts (P1.7)

Fiction and non-fiction media products can have differing pre-production requirements that can impact the planning and writing of the script to achieve an affordable, appropriate and successful product.

Non-Fiction

Blue Planet

Chernobyl

David Beckham Documentary

True Crime Documentaries

Police Interceptors

Fiction

Grand Theft Auto

Fast and Furious

NCIS

Harry Potter

Game of Thrones

Fiction and Non-Fiction Scripts Issues

Some issues arise with nonfiction, as some nonfiction scripts, such as Jeffery Dahmer, have been over-scripted and overdramatised, which makes them nonfiction; however, with how much they are scripted, they can also fall into fiction. Also, non-fiction scripts must film everything before they can script the narrative and the voiceovers. Issues with Fiction scripts in video games have to have multiple options and directions that players can pick, so they have to create multiple storylines and scripts for each section.

Considerations Of Non-Fiction

There are a lot of considerations when making a non-fiction show such as a love police action documentary. Simplicity, clarity and directness are some of the most important considerations in making a non-fiction show. Also risk assessments on how dangerous it is and what could happen to the film crew. Also, the actions and scripts will not be made up and will be live from the police offer, as you cannot script on the go. The script needs to be real, fast action and show the true extent. Shows like this should be action-packed with police chases, raids and running chases, drug busts, etc.

Considerations Of Fiction

Before making a video game like an open-world game, considerations have to be made for all actions and paths that the player can take. So, they will have to pre-plan all actions that the player can do before making the script. If the player does actions or goes ahead before carrying on the script, it would not make sense. They must plan all of this so the video game makes sense at all points.

Night Stalker is a four-part true crime series streamed on Netflix.

•It tells the story of the police investigation into a serial killer in LA in the 1980s.

•It consists of a combination of interviews (e.g. with detectives, journalists, and surviving victims), archive footage (e.g. original news footage and shots of LA) and modern footage (e.g. recreations of crime scenes, a CGI map showing locations of crimes, etc).

•There is no presenter or narrating voice-over for this documentary, and interviewers’ voices are not heard – only the voices of the people interviewed.

Pre-production and production considerations:

•Research needed – hire researchers into events covered in the documentary.

•Finding interviewees, arranging & filming interviews.

•Collating factual information into a compelling narrative (e.g. enigmas and answers)

•Accessing existing footage (e.g. news footage) and getting permissions.

•Planning new footage (e.g.  Reconstructions, atmospheric, explanatory graphics).

•Hiring actors e.g. to provide voice-overs.

•Legal and ethical concerns surrounding handling sensitive real-life information.

Line of Duty is a crime drama broadcast on BBC 1 and streamed on iPlayer.

•There were six series in total.

•The storyline follows a police anti-corruption unit, whose investigations into corrupt police officers reveal wider conspiracy and corruption.

•The drama has several consistent lead characters (the investigators), plus additional different lead characters (being investigated) in each series.

•There are recurring indoor locations (e.g. office, interview room) and many external, mainly urban, locations (e.g. streets, prison rooms, court)

Pre-production and production considerations:

•Research, to achieve verisimilitude (a believable police drama).

•Writing a compelling narrative (e.g. three-act structure, character development).

•Hiring of actors.

•Locations for filming – scouting, risk assessments etc.

•Filming, lighting, sound, editing – all necessary equipment and skilled professionals for high-production value drama.