Screenwriting : Definition of a "Short" Script by Don Dobrez Jr

I offer services for reading, coverage and script notes. I wrote and directed a short nearly a decade ago - not quite ;) - that ran 34 minutes and qualified for the Academy Awards. You can have a 30-page short, but they are easier to program in festivals if they are closer to 25 pages, though, there are of course, exceptions to the rule. If you are interested, I offer very competitive pricing. Feel free to peruse the films I've written, directed and produced - shorts and features - on IMDb. As a producer and director, just some of the actors I've worked with have included Oscar-Winners Benicio Del Toro and Ernest Borgnine (a dear friend), Oscar-Nominees Sally Kellerman and Mickey Rooney, legendary actor Paul Sorvino (Goodfellas), 3-time Emmy-Winner Keith David and Natasha Lyonne. I can help you get your script ready. In addition, if things break right in my schedule and I like the script, I may be willing to help produce by helping with the casting, the production, film festivals and potential distribution. (Now, that's potential mind you, no promises.) But, if you are interested in serious coverage, please reach out to me. Friend requesting you now. ;) GOD BLESS and STAY FRESH!

Well, there really isn't an "official" consensus or definition for the length of a short film. Under 40 minutes is eligible for the Academy Awards, under 50 minutes for Sundance, and for many other festivals, it depends. Some are 20-25 minutes and/or much much less. Me, as an audience member, I prefer very short shorts, under or around 10 minutes. Just the word "short" sets my expectation. I don't care to sit through something too long... it's not a feature film, not a pilot. Although, one of my favorite shorts clocks in around 18 minutes—Penny Dreadful, written and directed by Shane Atkinson. Anyhoo, I guess it truly depends on budget, the quality of the short, and your plans — its purpose, and how will it be shared and/or distributed, or entered into festivals or not, or just to create. Me, I'm currently working on a short that's 5 pages and should be about 5 minutes. And I'm having a blast. ;)

Oh, if you are not aware there's a great site that features shorts from around the world: https://www.shortoftheweek.com. Best to you!

From what I researched, the sweet spot for festival shorts is 10 minutes (also, twist at the beginning and twist at the end). Check out “Dead in a Room” on YouTube :^}

Don:

Unless you are looking for a price break on script coverage or are going to try to get your work into a film festival, I wouldn't worry too much. Your project sounds like a half-hour teleplay. However, here's a good article from Sundance programmer Mike Plante. He says shorter films (ten minutes or less) have a much better chance of getting screened at Sundance. https://filmmakermagazine.com/99583-shorter-is-better-sundance-programme...

Glück mit Ihrer Drehbuch-Arbeit!

A short film is any film not long enough to be considered a feature film. No consensus exists as to where that boundary is drawn: the Academy of Motion Picture Arts and Sciences defines a short film as “an original motion picture that has a running time of 40 minutes or less, including all credits”.

Don, as you can see, you've gotten several different answers - some drastically different. It is true that the Academy defines shorts as 40 minutes or less, however, it also is true that shorter shorts - 10-12 minutes - can be easier to program at film festivals. HOWEVER, if your content is engrossing and entertaining it doesn't have to be that short. Usually under 30 can still be programmed into a film festival. It all DEPENDS on your material, the story you are telling. That's why I think you should have someone who knows what they're doing - be it me, or whoever - look at it and give you their opinion on what to do. I also think you should concentrate on making each short separate (even if the stories connect). It is much easier to make short films, get them in festivals and get some form of online or home video distribution (and that's STILL an effort) than it is to sell a television series without names or a ton of experience and contacts. Trust me, Don. show it to someone. Again, look up my track record - Awards won, film festivals, who I've worked with, distribution, press coverage, etc, etc, etc - and if you'd like to achieve such things, by all means, please reach out to me.

When I write a short, I aim for 10 pages. While technically they can be longer and qualify for festivals, etc., I think you'll find that most filmmakers/producers prefer 10 minutes.

The Academy defines a short as total RT of <40 minutes and since they are the biggest monkey in the room, we all just sort of accept that as the 'rule'- it's easier than arguing with a fence post. Many of the live action short Oscar winners are in the 20 minute range. I,ve seen some very good shorts in the 10 minute range and I've seen some good shorts stab themselves fately by running to long. Writing a compelling short is an art form unto itself.

Shelly Paino, no disrespect intended, but that's quite a generalization. I have a friend who made quite a compelling short - Curfew - and it wound up winning the 2012 Oscar for Best Live-Action Short. It was 19 minutes and I consider it to be the Best Short I've ever seen. My own short that qualified for the Oscars several years earlier, was 33 minutes. But, the majority of the Oscar shorts seem to hover between that 12 and 25-minute mark, with most leaning towards the latter. Personally, I like shorts that tell a story - and they differ in length, depending on the story. Currently adapted a short story and am producing and consulting with the young director on a 12-minute short with one of the stars of LOST for one of my acting students. I also directed and co-wrote a seven-minute short that had some festival success and featured one of the actors from The Sopranos. My point is that I think it's a misnomer to say that "most filmmakers" prefer 10-minute shorts. As was stated above, writing a short is an art-form unto itself, so it's hard to put an exact length on it. Different stories require different lengths. But, the majority seem to hover close to that 20-minute mark - give or take a few minutes. And, I've seen many shorts play from so many different festivals ranging from Tribeca to the Northeast Film Festival to the FLICKERS Rhode Island International Film Festival to Newport Beach to WorldFest Houston, just to name a few. I've even been to Cannes. While I predominantly make features for theatrical distribution, I still make shorts and am involved with many festivals, so shorts are something I've paid attention to. And, I don't disagree with you that some filmmakers prefer shorter shorts, many still like being able to take their time and tell a more lengthy story. So, it's hard to pinpoint a "general" length. Different stories take up different amounts of screen time. I do agree if you can keep it to 25 minutes or less it's easier to program into a festival. And, certainly a 10-minute short has an advantage on being programmed, assuming the various length shorts are of equal quality and value. Anyway, GREAT DISCUSSION! ;) GOD BLESS and STAY FRESH!

Sam - I loved Curfew; It's up there on my list of all time favorites right up there with The Phone Call. I didn't remember that it had a 19 min RT (The Phone Call is a 20 min RT).but generally I agree that it takes that sort of time to develop a truly compelling story & character arc in a short film format. Having said that, I've seen some extremely fine shorter films (Red Earth Calling - RT 12 min). It's the festivals that like the 10 min shorts (not necessarily the filmmakers) for scheduling purposes. Most typical run-of-the-mill festivals block out two screening periods so the shorter the films, the more they show (it's a money thing!).

p.s. Sam - what are those guys over at Fuzzy Logic up to now?

Doug, I definitely agree it's easier to get a 10-minute short programmed. Most of the Festival Directors want to squeeze as many of the shorts in a block as they can - and rightfully so. I get it: More filmmaker support, more fans, friends and family of each film, more general interest in more films = more revenue. And, I certainly don't blame them for that. And, I too, have seen some compelling shorts in the time-frame of 7-15 minutes. I just generally prefer the longer ones, as you mentioned - they allow for the story to develop more. And, I think as long as you're 25 minutes or under - while not being 10 - you can still get it programmed if it's a quality short. I think it's when you get to 30 and above it has to be absolutely GREAT with either a name or a hook or both, because now it's taking up so much time in the two-hour block. Also, I think luck of the draw - meaning the particular festival, number of submissions, their particular taste, are you an alumni or do you have an "in" there, etc, etc, etc - has a great deal to do with it, as well. But, all excellent points you made! Shawn Christensen, who wrote and directed Curfew and runs Fuzzy Logic, has become something of a player - and I mean that in the MOST POSITIVE SENSE! He transformed Curfew into a feature, Before I Disappear, won SXSW and received theatrical distribution from IFC Pictures. He then wrote and directed another feature Sidney Hall with a wonderful cast, not the least of which is Elle Fanning. Suffice to say, he's doing pretty well. ;) GOD BLESS and STAY FRESH!

Sam, If you know Shawn please tell him that the scene in Curfew when the uncle introduces himself to the girl and her wonderful deadpan response is a cinematic gem as is her dance along the bowling alley. Unfortunately he's over on that other coast - he's the kinda guy I like to work with. All the best, Doug

Doug, He's a great guy. After I saw Shawn at the Tribeca Film Festival in 2012, he congratulated me for my feature Night Club with Oscar-Winner Ernest Borgnine, Natasha Lyonne, Sally Kellerman and Paul Sorvino. I said to him, that Curfew was such a great short, he was going to win an Oscar. He was hesitant to claim that honor. Nearly a year later, he physically claimed the trophy and actual honor on the Academy's Stage for Best Live-Action Short. I actually want to cast Shawn as an actor in a short for Oscar consideration, but it all depends on his schedule. He thanked me for thinking of him. Definitely the kind of guy most people would love to work with. And, deservedly so. GOD BLESS and STAY FRESH!

Ernest Borgnine was a very professional actor in every sense of the way. I recall working on a project in the Sonoran Desert back in the early 70s with him and a few years later on a TV movie - I think it was called Airwolf. My apologies to Don Dobrez for hi-jacking your thread.

Ernie was a dear friend and a gentleman all the way.