Dallas: Behind the Scenes Part 2

The production of the television series Dallas utilized a specific structural approach to scriptwriting and storytelling that distinguished it from other programs of its era. The show’s creative process emphasized character development over plot progression, relying on a disciplined system of script distribution and revisions.

The Scriptwriting Process

Scripts for the series were primarily produced by house writers, though the production occasionally employed freelancers. When freelancers were used, they were provided with a step-outline, which served as a scene-by-scene guide for the episode they were assigned to write.

The workflow for these freelance writers involved a two-week process. According to supervising producer Peter Dunne, writers spent the first week reflecting on the outline and were encouraged to contact him with questions. Following this period, writers met at the offices located on the MGM lot to discuss action and motivation. They then spent a second week writing the actual script.

Completed scripts typically reached approximately 52 pages in length, which corresponded to roughly one page of dialogue per film minute. Writers received approximately $16,000 for each script.

Structural and Creative Philosophy

The series employed a scene structure that was notably shorter than that of most other television shows. While scenes in other programs could run between five and eight pages, the average scene in a Dallas script consisted of approximately two to two and a half pages of dialogue.

This structural choice was tied to the show’s creative direction. Katzman noted that there was an emphasis on character and a deemphasis on plot. Despite the brevity of individual scenes, the production aimed to ensure that more events occurred within a single episode of Dallas than in almost any other show on television.

Production and Revision Standards

The production maintained a strict system for tracking script versions. The initial draft of a script was bound between red paper covers and was referred to as a red cover.

Original scripts used prior to post-production included slug lines and personal direction, although they generally omitted camera direction. These documents served as the primary blueprints for the cast and crew before the final filming and editing phases.