One effective way to write film dialogue is not to write.
As long as you can create a visual expression, don't write dialogue. If the torrent of text is all speech, let the character walk into the room, sit down on a chair, stay there sluggishly, and keep talking, the exquisite dialogue will be submerged in these avalanche-like conversations.
Of course, no one will refuse the wonderful dialogue. When a highly visualized film is transferred to the dialogue at the necessary moment, the audience's interest will be stimulated (the sword is already hungry and thirsty), and they will naturally listen to it.
A law of decline: the more dialogue you write, the less effective the dialogue will be. (Unless you make a fuss about the narrative structure)
Examples of restaurant flirting:
Introduction: Anna went to the restaurant downstairs to tease the waiter deliberately (to pave the way for the plot later) in order to achieve the purpose of coming to the house for sex, so that she can use an afternoon style to stimulate her sister.
How to write the "waiter seduce the customer" scene?
1. The waiter opens the menu and recommends these dishes
2. Ask if you live in a hotel and if the journey is still far away
3. Compliment how she wears
4. Ask if you are familiar with the city, and then deliberately say that you will be off work later, and I am willing to take her to stroll around the city.
Talking, talking, talking, balabala...
So
Bergman's version:
The waiter walked to the table and deliberately dropped the recovered coins on the floor. When he bent over to pick it up, he sniffed Anna's feet from head to bottom. In response, she slowly, almost deliberately lost a long breath.
Needless to say, when the related narrative lens reappears, the audience will suddenly realize that they were out of the lens as long as they had made a promise.
Cut in, they are in the hotel room.
Erotic, pure visual, no necessary dialogue.
Alfred Hitchcock said: "When the script is written and the dialogue is added, we can start shooting."
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