What are the most effective strategies for analyzing the subtext of a script to inform your production?

After you have read the script several times, I would suggest you then have a couple of voice actors read it for you at a table read. I got volunteer stage actors from the local Rialto Theater which I had connections at. Another good source could come from a local area Toastmasters group. Typically they are more than happy to be a part of something fun, and will work for food and appreciation. I did this and was amazed at how much I learned and how much I missed with my TV Sitcom script.

If you think your script is nearly finished, read it loud and in front of a camera. Analyze this first reading carefully to find the No-Go's, the passages in which you lose the balance between the several characters or in which the language of the characters is too much similar to that of the other characters. The second step is to find actors or friends, who can read this for you. Read at a table or in a circle several times. The first round slowly, the second round faster. Discuss the script with your actors/ friends. Pay attention to the elements of subtext and discuss them in the group. Take notes very carefully and introduce the suggestions and remarks in the script, to finish it - or to have another round of reading.

Your role is to analyze the background of the script and the author. The major question is, to which extent the author introduced his own biography or cultural background into the script. Reflect the major topic and the critical reception of the script. What is the major influence, the intention and the meaning of the script. Use your knowledge about books and other scripts of the author. If this is the first script of the author, try to reach out to her/him, to talk about these points. Do not forget to consult the internet, the archives and libraries, this will help you to classify the background and the subtexts of the script.

Good suggestions, but be careful not to have your precious time flushed down a bottomless pit of procrastination and non-essential activities. The original Screenwriter would have already done much of this research before creating this "world" for the movie. Another consideration, and let's just be practical and consider did George Lucas ever go into Space for research before he wrote and Directed Star Wars? Did James Cameron go into a futuristic World to research before he wrote and Directed Avatar? And yes, Cameron did get in a submarine and visit the Titanic before that movie, so there is something to be said for doing some research. Just be careful how you manage your time doing the research.

Your first and major objective should be to develop a coherent and consistent vision, that is supporting the script and it's subtext. Ask the team members, especially of the creative team, to share their reflections of the script. Sit down with them, read the script with them in some of the most important parts and discuss it. What is their opinion about the contribution of their artistic work to the script and it's subtext. Do they see to support and transport this subtext and to introduce some elements of strengthen it, or are they interested in concentrating on other necessary points of the script? If they are experienced, they will help you to classify the necessity of the subtext being especially supported, or not.

This step consists of different methods: Test all options to express the subtext of your script and to provide it to your audience. Be creative and use all instruments possible, depending of the budget of your production enterprise. If you have enough money, invite Focus groups of different origins to see parts of your work or unfinished versions of it. Ask them for their impressions and use the results of the discussions to change the final result. If the artistic work is finished, ask a media group to evaluate the opinion of your audience and the critics. The most interesting question is, to which extent and quality your artistic vision was realized. Be open for any kind of feed-back, but always trust your instincts.

Considering the fact, that the subtext is a major part of your production, make the analysis of the script a permanent part of your daily routine. Try to improve the script and the whole production process every day. Is the production still interesting and relevant for the audience? Is it fitting in the range of their expectations, including questions of language, style and taste. Try to make the production as perfect as necessary, but always leave a certain clearance for interpretation. The production must be a singular experience for your audience.

This is critical advice if you plan to ever make another Project. It is also the RIGHT thing to do, and is considerate to those people who helped you! I always brought praise and a good assortment of food and snacks to my productions, and it was much easier to find volunteers on subsequent projects. I personally have volunteered for people who were stingy with the praise and the food, but especially with the "thanks"! Needless to say, I would always be "unfortunately busy" when I would get calls/messages from them on their later projects. It's human nature, and let's not forget how much people will do for you extra when they know and are told by you how much you appreciate their help and efforts on the Project.

First of all, you have always to celebrate each finished step of the production and the script, if you work alone or in a team. This helps you and your team, to find enough productive breaks for reflection and gratitude. Nota bene: Include always the whole team. Everybody should be welcomed, respected and appreciated. The more appreciation and gratitude you will give to your whole team, the more you will contribute to motivation and teambuilding. It will help you to find another level of talking to each other, to learn more about your teammates and their reflections, and to integrate these knowledge in your next production.

In my experience, the most important fact is, that we are learning organizations. There is no difference between large or small, big or small funded, indie or commercial productions. Be always open to learn from your peers, from the whole team and the crew, ask them for feed-back, critic and advice.