From picture to picture: How is the script written?

This book represents a comprehensive and integrated educational course about cinema as seen by Farhadi, experienced by him, and as he aspires to it. In the first chapter titled "The Idea from the Mental Image," he reviews the foundational concerns and the embryonic aesthetic approaches to the idea of the cinematic film. In the second chapter: "Starting to Write," he continues the effort aimed at creating the first nucleus of the screenplay, which, as we all know, is the birth or death certificate of the film. In the third chapter: "Sign and Symbol," Farhadi shines as a cinematic thinker closely related to some main topics in cinema semiotics. As for the fourth chapter, the author appears as a skilled film critic in addressing some pivotal moments in Kieslowski's film "Blue." In the following chapter, Farhadi relies on his extensive experience in screenplay writing to discuss the main character, secondary characters, artistic character, gray characters, and the pattern, with their goals and dimensions. Then, in the sixth chapter, Farhadi emerges as an applied critic illuminating the famous classic film "A Streetcar Named Desire" by Elia Kazan. The next chapter is dedicated to discussing questions of cinematic dialogue, before completing this in the eighth chapter by emphasizing the most prominent cinematic unit, the scene. In the subsequent chapter, Farhadi dedicates his insightful vision to presenting cinematic sequences and methods of employing them, then returns in the tenth chapter to his beloved subject: the screenplay, this time explaining how to present information within it. This is followed by valuable tips offered by the author in the context of revealing the most important elements to focus on when writing a project proposal for a film. Subtly, Farhadi completes this effort at the conclusion of the book by citing the opening of his film "Beautiful City" along with an analytical vision. Abdullah Habib - Omani poet and film critic