Personally, I think the flashback is important, but most think they make you look like an amatuer when used to frequently. What if thats the only way I can get the point across? Half the story happens whle the main character is knocked out for 10 years so I gotta have a few flashbacks to make stuff make sense.......my point being, how can I avoid flashbacks but still make the story logical?

That would mean he was in a coma.

Anyway, yeah the "FLASHBACK" is a bit of a hit and miss in screen writting. Do you use it all the time? No.  Why would you?


I think a "FLASHBACK" used effectivly is a great thing, but you toss it in to many times and it loses it's effect, quickly turning it into a defective part of your script.

I think if the story calls for several FLASHBACKS then it's the only way to do it, however if you can get away without using them and come up with a new and inovative way of implementing them... do it that way.

I've never used one in a single one of my screenplays and I've wrote over 60 now.

If a FLASHBACK isn't needed, it isn't needed.

That's my rule of thumb.

But if I dont use flashbacks, the whole thing would be a lot more confusing to understand. Is that good or not? DO people want to know 'everything or nothing?' (yeah, accidental James Bond advertisement.....)

Less is better. It gives us all more to go with actually. It lets us use our heads and minds more. Did This happen or did that happen? Is this what was intended or was that what was intended?

Those are always the best movies. Movies that let the viewer interact with them and piece together what "THEY" think it's all about.

MUHALLAND DRIVE was a great movie that challenged the viewer this very question.

Memento was a great movie that relied on flashbacks the entire picture.  

Res Dogs also used flashbacks throughout much of the film, but they also revealed plot information through dialogue.  Your character could  reveal what you need the audience to know about his past through conversation.

The flashback is really a hit or miss, but if you use a Flashback too much,  it gets annoying and signifies writing weakness, especially when you're trying to reveal character backround.

Memento was pretty good, I loved it on the DVD when Christopher Nolan recut the movie so it wasn't backwards anymore, that was genius.

Resevoir dogs did a good job with flashbacks, I always wondered why Tarantino can always break the rules and yet new writers are told not to... curious.

In my opinion, flashbacks only suck when they re-use film from earlier in the same movie.  If the flashback presents new material, it's alright.

Quoted from sheepdogg_plankton, posted July 13th, 2004, 3:21pm at here I always wondered why Tarantino can always break the rules and yet new writers are told not to... curious.

I've always wondered about that. I've wondered too why scripts are supposed to follow such a rigid structure and format. No wonder all the Hollywood movies are the same garbage.

Maybe they're not supposed to but people actually listen to what there fed like drones or robots, flashbacks are important in one form or another depending on what type of screenplay it is

I doubt they'd matter in a dramatic tear jerker as much as it would in an adventure story that you need to get a character across without alienating the whole plot

Maybe, maybe not.

look peoples, this is my problem. My story is an epic. TOO epic. Its got to much compicated alien race battling and most of it happens HUNDREDS of years before I have a main character. Which leads me to my second problem. Its really confusing, and I could only explain it through LONG mono parts or (lengthy) flashbacks. Shoud I just cut the crap outta my story and make it straight forward or what?!

Quoted from sheepdogg_plankton, posted July 13th, 2004, 3:21pm at here The flashback is really a hit or miss, but if you use a Flashback too much,  it gets annoying and signifies writing weakness, especially when you're trying to reveal character backround. Memento was pretty good, I loved it on the DVD when Christopher Nolan recut the movie so it wasn't backwards anymore, that was genius. Resevoir dogs did a good job with flashbacks, I always wondered why Tarantino can always break the rules and yet new writers are told not to... curious.

because taratino used his own money he made from selling A SPEC SCRIPT to produce his own film...he was in a unique situation with lawrence bender, and by chance harvey kietel came on board and they made Res Dogs as an Independant Film.  Indy films dont adhere to conventions or traditions, so the filmmaker does whatever he wants.  But QT DID sell True Romance to finance Res Dogs, and it was sold as a SPEC script.

Quoted from Old Time Wesley, posted July 13th, 2004, 10:44pm at here Maybe they're not supposed to but people actually listen to what there fed like drones or robots, flashbacks are important in one form or another depending on what type of screenplay it is I doubt they'd matter in a dramatic tear jerker as much as it would in an adventure story that you need to get a character across without alienating the whole plot Maybe, maybe not.

Its not a case of brainwashed drones, its a case of a unionized industry.  Hollywood IS ran a specific way, and many movies ARE made specifically to make money and not for artistic "love of cinema" reasons.  With all these union regulations, it is difficult to make a large budget film without using union workers.  Everyone is unionized in hollywood.  So as it is, to make money in this industry, the highest probable way to make money (which is still great odds in and of itself) is to deal with unions.  You CAN be black balled by a union, like the WGA is you sell a script when the union is on strike.  And this becomes a serious career matter.  No union person will work with you.  You are painted into a corner.  So if you want to SELL a screenplay and actually make money, you have to adhere to the standards and formats of the industry.  They require these formats, because the volumn of applicants if you will.  Many directors/producers recieve countless amounts of unproduced scripts to read.  If they arent in format, many will  not read them.  

Heres an example.

You have an international writing contest.  You recieve thousands of entries.  The best one, might be written in korean, but you'll never know, because you dont speak korean, and you dont have time to learn.

The people reading your scripts dont have the time to sort through a convoluted structure or "on the fly" format.  QT does it how ever he wants because he MAKE THE FILMS HE WRITES.  And the films he wrote but did not direct NATURAL BORN KILLERS and TRUE ROMANCE are formated properly and written in industry standard.  And guess what?  He sold those for thousands and now he makes his own films however he wants.

Quoted from dangeroussamurai, posted July 13th, 2004, 11:06pm at here look peoples, this is my problem. My story is an epic. TOO epic. Its got to much compicated alien race battling and most of it happens HUNDREDS of years before I have a main character. Which leads me to my second problem. Its really confusing, and I could only explain it through LONG mono parts or (lengthy) flashbacks. Shoud I just cut the crap outta my story and make it straight forward or what?!

perhaps you should consider writing a book instead of a screenplay.  

Have a look at epics like LOTRs and starwars ect.  The characters are introduced early and the plots and developments occur in the same ACT structer as traditional films.  

Maybe writing a book first would help get everything out of your system, then you could write a screenplay based on the world you created, but with structure to make it a feature length.  Ie 120 pages.

Actually, I am doing the book. This is for the book. But even as a book.........I fund it hard presenting all the material in a manner that isnt flashbacks----without making occasional boring parts. I will make a script of it though, but THAT wont make ANY sense, believe me.

why dont you try just writing it linear and then only use flashbacks where they are important to the story.  Instead of your character having a flashback, just write that scene first so he doesnt have to have it later in the story.  Once its linear, then you can chop it up however you want and put it in whatever order you choose.

YES. Thats one of the problems Im having. I've written 3 different outlines, every time trying to figure out the best way to present the story and back story. I think I've got it now though (on the 4th draft) that A: It should be slight comedy, so the narroration and explanations are entertaining to read, and B: have action, then no action, then some action, etc. So you dont get bored. Currently its an alien invasion and conspiracy, slight comedy (I've been reading a lot of Douglas Adams).

If used properly they can work well. Look a Memento or Kill Bill for good examples of this.



Ian

Memento doesn't have flashbacks - it has scenes repeatedly shown through someone else's POV - not the same thing.

And Kill Bill is awful.

Yes, the flashback in OUATITW was good, but I had to rewind it, i didn't even realize it was a flashback originally.  What I would do is spread everything out on a timeline, then decide about the flashbacks.

Did somebody just say Kill Bill is awful? I just watched it for the fourth time yesterday! I do think the flashbacks werent very good-----almost unnessasary at some points.

Kill bill is not awful.  I hope quentin tarantino honors his original intentions and cuts the two films seamlessly into one on DVD, it'd be cool to see if it works or not.

Kill Bill is a great film.

I'm using flashbacks in my current script. I find they work well if necessary in the parameters of the story.

I have to have flashbacks in my script i'm owrking on right now, because it has really crappy pacing if i don't put them in at the right spots.

I'm not sure if anyone's mention this but "Gothika" has loads of flashbacks in the screenplay which you could get an idea from. The script is up on the site. Hope this helps you  

Flashbacks work if they are skillfully used to further the plot.

I was told by a producer that they knew that some producers didn't like flashbacks, but they thought flashbacks were an essential part to the story, to give a backstory into why things are happening the way they are.

On another note, what did you think about  the flashbacks in 21 GRAMS? They made my daughter nuts, they made me nuts, but I still had to keep watching.
Cindy

I think flashbacks are fine if they are needed. The real virus is VOICE OVER. It is overused and the sign of a lazy storyteller. There are exceptions of course, but I refuse to use it if I can tell the story another way.

I just wanted to get this thread started again because my script, 'The Burnout' has seven of them.

I've used flashbacks in my script because, while the story takes place in present day, events in the past are important to show how the main character got into the situation he's in.  By using the flashbacks, the viewer learns about the character as I want him to.

I can't go into detail without spoiling the story, but if there was no other way to explain his past, short of one character telling another "Why is he like this?  Well, it all began twenty years ago..."  That, and most of the flashbacks are going through the main character's head and no one else's.

My two cents' worth....


Phil

I have been switching the beginning of a screenplay around till I'm blue in the face.  

In scenario one:

I introduce protag., then antag., then they meet in the inciting incident.  THEN, flashback to a scene of antag. as 12 y.o. boy.  Move ahead 6 years to see the antag. as 18 y.o. man.  THEN ahead to present immediatelyafter inciting incident.

In scenario two:

I begin with antag. as a 12 y.o. boy.  Move ahead 6 years to see the antag. as 18 y.o. man.  Then move ahead 14 years to the present.  Introduce protag.  Introduce 31 y.o. antag. and THEN inciting incident which occurs on page 9.

---------------------------------
I like scenario one because it introduces the protag. immediately.  Downside: a 20 year flashback, followed by a scene 6 years later.  Then back to the present.  It reads well to me.  The flashback immediately after the inciting incident seems to work.

In the second scenario, everything is chronological, but it begins by introducing the antag. instead of the protag, which might seem awkward because it sets up antag. background, then changes to the community of people around the protag.
-------------------------------------

I'm reluctant to replace these two flashback scenes with dialogue because they  establish the antag's humanity and why he turns bad.  They also show him finding a special object that's a key element of the screenplay.

_______________________________

I suppose my question is...   What's more desirable, introducing the Protag. immediately, then flashing back to antagonist history.  OR  Beginning chronologically even if that means introducing the antagonist first.

Thanks,

John

Id need to know your characters to help you, mainly protagaganist:  what is available to him?  is he rich poor?  any powers?  

and for your antagonist:  what happened to him 18 years ago?  what happened to him six years from then?  in what relation is he with the protag?  what evil thing does he plan on doing?

answer those and I might be able to help

Hey,

 Say when you have a flashback/fantasy/dream sequence that extends for awhile and you don't want to let your "reader" know it's actual flashback...blah...blah sequences, do you when you come back to "reality" put something within the heading, ie: CONTINUOUS? Or do you simply have to add/imply by using something that it was only a blah...blah...blah?

Thanks to anyone who replies.

-ONEY

In regarding to formatting, you treat the flashback as if it was another scene.  In regards to the storytelling part you have to convey that it was a flashback.

My script, The Burnout, has several flashbacks in it.


Phil

Formatwise, you would end a flashback this way:

END FLASHBACK

However, I think I know what you mean by not telling the audience it is a flashback. This would be akin to Raising Cain where the movie went from reality to fantasy and didn't tell you which it was doing. In this case, you just tell the story how it would be shown to the audience. Give the reader the same information the theatregoing audience would have. You risk losing people because I'll admit that Raising Cain was a little confusing until it all came together at the end, but it's your story.

One way to do this so that those who pay attention would get it and those that weren't won't is to format your headings during the flashback like this:

EXT. BATTLEFIELD - NIGHT - FLASHBACK

INT. HOUSE - DAY - FLASHBACK

Normally here is where you would write: END FLASHBACK, but if you skip it...

INT. HOUSE - DAY

Of course, you risk getting the feedback that you forgot your end flashback tag...

With The Burnout, I also number the flashbacks as I had five of them and used one twice (with some 'embellishing').

Instead of writing 'end of flashback' the next header included the word 'present' in it (I think).


Phil

George and Dogglebe,

Thank you guys for the suggestions, now I have an idea

Ok, I am not sure how to do this. I have a series of scenes which hop back and forth in time. Not time travel, just that one minute one scene will show the character aged 10, then 28, then back to 10 again. Are these flashbacks or scenes in their own right?

Would you put the year in the header part like this -

INT - GARDEN - 1986 -- DAY

OR, would you have to describe how the character looks each time you jump timezones to let the viewer know that it's a different year now?

I just have a few characters in these scenes, do I have to describe their ages and visuals each time for the reader, or can I rely on the date being put in the header bit?

Lemme know if this made sense or not, I'm struggling with this and it seems to be adding a lot of narrative each time by having to repeatedly describe everyone!!

Cheers,
Andy

They're flashbacks, Andy (you cheeky monkey).  Your slugline is correct.  When your characters enter the scene, introduce them as if it's your first time.  Use upper case letter and include their age in parenthesis afterwards.

INT.  GARDEN.  1986. -DAY

JOHN SMITH (15) enter the garden, dressed in his Sunday best.

If you're going to have several flashblacks, you may want to number them.

INT.  GARDEN.  1986. -DAY (FLASHBACK 1)

I use several flashbacks in The Burnout.  Two of the flashbacks are actually the same flashback from a different viewpoint.


Phil

Thank you, kind sir  

My script starts in the past but it's a flashback!!

Should I just write it as a normal scene in the past and then later, when we leap back again, make that the flashback?

This did my head in when I was writing my script for college... It started in the past, jumped forward to modern day and then bounced back and forth in time... I almost wept trying to put it together... I'll be finding out on Thursday if I've succeeded...

Ian, that's exactly what I'm stuck on. Now I wish I approached this script differently, but I'm a bit too burnt out now to do a new re-write.

I started the scene as a regular scene, in 1986, then jumped forward to 2005 and then when I went back to 1986 I made that flashback 1 - then I went back to 2005 and went back again to 1991 as flashback 2. I think that makes sense!!

I hope so, I'm so confused now. I hope you got on ok too by the way, let us know hon  

I will do... I spoke to the lecturer about how to format flasbacks in screenplays and he advised something different from your slugline example above, so now I'm confused again...

There is no one correct way to format a script, but as long as it's relatively the same as the others (and consistent), then it's okay.

How did your teacher say it should be?


Phil

Well, he pretty much advised to leave anything out of the slugline that wasn't the usual int/ext - place - night/day

Everything else was to be bunged into the description... He said to just be as honest as possible as to when the scene was to take place... The structure of mine was pretty complex as I placed a lot of scenes out of order and this did my head in when trying to figure out how to present this, I'm not too sure I did it too well... He's giving me feedback on Thursday so I'll find out what he says then...

I don´t use timezones in sluglines. In my opinion, every information you put on your script should be able to be noticed by both: the reader, and the audience (for those lucky bastards who have their scripts produced).

So, when you put "1986" in your slugline, the reader knows which year is, right. But what about the audience? Unless you use a SUPER, the audience won´t be able to tell the year in which the scene takes place. Therefore, I think the timezone in the slugline is not needed. The audience will only be able to know which year is because of how you write dialogue and action (i.e. your main character is younger, one of your characters takes a look at a calendar, etc)

The same with flashbacks. When you watch a movie, you don´t have anyone telling you that this or that scene is a flashback. You just know it because of how the story flows. Therefore, I think the reader of the script should not be told in sluglines wether the scene below is a flashback or not. If the script is well written, the reader would gather it´s a flashback.

I think using flashback in the slugline is okay, as long as your description that follows backs it up.

You're right that the "1986" is redundant although it is accepted (according to the screenwriter's bible)

Here's the way I'd do it:


INT. GARDEN- DAY (FLASHBACK)


INT. GARDEN- DAY (PRESENT DAY)


You can use the character description to suggest how far back we have gone. We don't need a date but it's helpful to state in the slugline that this is a flashback.

If you flash back to the same location in a different time, describe how it's different. Same with characters, how much younger are they etc.

Incidentally, flashbacks are widely regarded as a cheap device for easy exposition. That said, it'll be interesting to see if anybody can takle Dogglebe's game without using flashbacks.

When I wrote the flashbacks to The Burnout, I simply said how old the characters were during the flashback.  The exact years were not important.


Phil

Ok, I've read everyone's comments and this is what I think I will do.

I will not put the year in the slugline nor will I write flashback. I will just re-introduce the characters with their appropriate age to that specific scene and when they've aged or become young, I will re-write the new age and give them a new phyiscal description to reflect the change. As Phil said, write them as if the first time.

I will see in my feedback how this approach goes down!!

I agree with what Mr Z had to say about if you can't see it, don't write it. I think that's a general rule of thumb.

Thanks everyone!
Andy

I think you have to indicate it from the beginning, somehow.  Putting 'flashback' in the slugline just seems to be the easiest way.


Phil

LMAO!! I'm soooooooo confused!! I just want to get the format right and not get slammed too much for doing it wrong  

I think that I'll split this approach in half. No dates in the slugline, just flashback only. I have just 2 and I think the description each time indicates clearly that we're in a different timezone and that the characters look different too. I hope so anyways.

I'll try not to get too hung up on this as I know it will be a learning exercise once people have read my short and I can learn from their feedback too.

Seems like we're all learning a bit from this game, Phil!

I do look forward to hearing from Ian when he gets his script back just to see what his teacher had to say on the matter.

Andy  

I'm merely saying that if your slug line states that it's a flashback, the story will be easier to follow.

EXT.  FAIRGROUNDS.  WINTER.  DAY -FLASHBACK
explains things pretty better than explaining that your main character suddenly is fifteen years younger.


Phil

I added 'Flashback' to two scenes and just put the age in brackets as an opener again and a brief physical description of the character. Only takes a line to re-address.

If I haven't made it clear, I'll learn from you guys when my script is posted.

Looking forward to seeing how everyone adapted your concept now, Phil!!

Andy

Cheers to all for the help!

Hey Ian,

I wondered how you got on with your script this week? I remember you said you would be getting feedback on the whole timezone thing. If you have a spare minute, can you share with me your lecturer's advice please if you think it will be of use?

Cheers hon, and have a great weekend  

Well, my lecturer did have some issues with my script, however the 'presentation' of the flashbacks and timezone shifting wasn't one of them as I stuck to his advice.

I'll paste the slug-lines and opening description from four scenes which should give you an idea of what I was told... I'll probably post the whole thing at some point in the future. The first 3 scenes below are the 3 opening scenes, the fourth appears later on.

--------

INT: JOE'S OFFICE - DAY

We open in 1988, and we are in a comfortable looking home office.

On one side of an expansive wooden desk sits JOE DELANEY, 55, an imposing and serious looking man. On the other side sit CHARLIE MARX, 45, wiry, and JOHN RICHARDSON, 18, a fresh-faced and handsome guy who is looking ill-at-ease.

As we join them Joe is addressing Charlie.

[snip]

----------

INT: WAREHOUSE - NIGHT

We move to present day 2005 and John, now 35, is in a large darkened warehouse, illuminated only by a dimmed portable electric light on the floor. John is using a mallet to furiously whack at an object we cannot see. The sound of a VICIOUS THUNDERSTORM can be heard outside when the METALLIC SOUND of John's STRIKES die down.

[snip]

----------------

INT. JOE'S OFFICE - DAY

We now see a scene from earlier in the day. We are back in a room that we can recognise as Joe's office, but the decor is obviously more modern - yet still classical.

John is sat across the same desk from Joe Delaney, now 72. Neither man looks happy.

[snip]

------------------

EXT. JOHN'S HOME - DAY

We jump to a scene which follows the one in Joe's office.

We see John's home, a detached house in a pleasant looking neighbourhood. On a neatly cut lawn we see an Estate Agent's 'Sold' sign, and on the driveway there are two vehicles - a family saloon car and a small removal van.

Even from outside we can hear the raised voices of an argument underway in the house.

[snip]

----------

So, nowt but the basics in the slugline and then everything else in the description along with very clear notes as to where in the tieline the scene is suposed to appear...

I hope the above has helped some...

Just read an interesting article about this topic and wanted to share.

http://www.scriptsecrets.net/tips/Tip266.htm

What if the majority of my story is actually a flashback to tell the plot and the story comes to the present sometimes? How would one write that? Do I have to write "flashback" in most of the headings or no?

There're a lot of films that have done this. I think you could just write flashback for the first scene and then continue on normally. If you came back to the present, you could just do it again. I think the reader would presume it was a flashback in any case.

Thanks, but could you show me an example?

You start the flashback with FLASHBACK in the heading and then use PRESENT DAY when you bring it back.

Cheap plug department:  My only feature script The Burnout includes several flashbacks, including one flashback that was used twice and embellished a little the second time.


Phil

Cool. Thanks. The first scene is going to be present, and then it goes to a flashback for a long duration. That's still workable with what you just said, is it not?

Virtually all of the Green Mile was a flashback. All he did was tell the year in the first heading and set up the whole thing with dialogue.

http://www.horrorlair.com/scripts/The_Green_Mile.txt

With the exception of about five minutes, 'No Way Out' is one long flashback.


Phil

Regarding flashbacks and dreams, I always tag such information at the end of the sluglines. For example:

INT. HOSPITAL - DAY (FLASHBACK)
or
EXT. WOODS - NIGHT (DREAM)

But I also like to think that when writing a script, one's goal is to create, for the reader, what the audience of the movie would see (in extreme moderation, of course), therefore if the plot would consist of a dream sequence that the audience thought was in real time, would you label it as a dream after the scene or before it?

I don't want to spoil the "surprise", so to speak, that the scene is a dream, so putting this in the slugline would defeat the effect for the reader, I think. How then could I accomplish this? Any suggestions would be greatly appreciated.

The dream sequence in particular is the same as the following scene, just with different events (the dreamer imagines an event to occur a certain way, but awakens to experience it happening another), so something too subtle might be confusing.

Don't say it's a dream at all if that'll give something later away.  If you've writtten your stuff good enough those fragmented "dream" scenes will all make sense at the appropriate time.  Also, that is what the viewer would be seeing, and so that's what it should be.

Really, the only time you would label anything as a Flashback or Dream is when you want the moviemakers to know that the audience is supposed to know it, and so they'll film it accordingly. If you're doing something like Raising Cain where there are multiple storyline variations and one of them might even be real, label nothing. If the audience is supposed to be confused, confuse the reader too. The key is to "show" your movie in the script.

Quoted from George Willson Really, the only time you would label anything as a Flashback or Dream is when you want the moviemakers to know that the audience is supposed to know it, and so they'll film it accordingly. If you're doing something like Raising Cain where there are multiple storyline variations and one of them might even be real, label nothing. If the audience is supposed to be confused, confuse the reader too. The key is to "show" your movie in the script.

In regards to the flashback, it would simply be easier to put the year in the header if it's in the distant past:

EXT.  MAIN STREET.  DAY (1979).

This way you don't have to explain that everything you see is from the period.


Phil

Quoted from George Willson Really, the only time you would label anything as a Flashback or Dream is when you want the moviemakers to know that the audience is supposed to know it, and so they'll film it accordingly. If you're doing something like Raising Cain where there are multiple storyline variations and one of them might even be real, label nothing. If the audience is supposed to be confused, confuse the reader too. The key is to "show" your movie in the script.

I think I've decided to do this, thanks for confirming that this would be acceptable.

Quoted from bentley_trails I've seen this within :   Fades to :  ,  Fades of :   ...Etc

I've used fades and such for known dreams and flashbacks. but for this particular scene, it might come off as too obvious (of a flashback).

Quoted from dogglebe In regards to the flashback, it would simply be easier to put the year in the header if it's in the distant past: EXT.  MAIN STREET.  DAY (1979). This way you don't have to explain that everything you see is from the period.

I thought about this, but again, felt too obvious.

Thanks for the suggestions - think I've figured it out. If the audience is confused, then my goal will be complete.

Quoted from Alexander If the audience is confused, then my goal will be complete.

I believe a greater goal will be instilling confusion during the story, but bring order to the confusion once the story is complete.

Right - wouldn't want to leave anything unanswered or misleading.

It's becoming a more difficult thought-task than I anticipated - that is, coming up with a way to explain something confusing without dumbing the audience down and coming right out with it.

I would to ensure it is fully explained first. If the explanation is too much then you'll either notice it on rewrites or someone will catch it on a read. Priority one is for the story to make sense.

If you start a screenplay in a flashback of the character at a younger age do you need to describe hair and stuff or will that only matter when you see them at the age where you will follow them through the adventure?

You need to desribe what we see, it doesn't matter what time in the script it happens. If it's a young kid for example, he'll probably look totally different than the older character.

From the script V for Vendetta written by Larry and Andy Wachowski

FADE IN:

INT.  SUBURBAN HOUSE

A young Evey sits on her father's lap, combing her Barbie's
hair.

                    EVEY (V.O.)
          I was born near the end of the
          millennium, the year 1997.  My
          father used to say that people were
          so afraid that the world was going
          to end that they were willing it to
          happen.

(A few pages later)

EXT.  EVEY'S APARTMENT

There is a radio on a small makeup table.

                    FATE (V.O.)
          -- that Braxton and Streathon are
          quarantine zones as of today.

Evey is now a young woman.  She slips into a dress that is
little more than a nightgown.  She tries to adjust it,
pulling it down at the hem, pulling it up at the thin
shoulder straps, but it is like trying to hide behind a
lamppost.


From what I see it really doesn't matter.  The Wachowskis are more credible than anyone on here and this was a "spec script" because they weren't even the directors.  I don't think I have ever described a character's appearence in more than one line.    It's a personal choice, I think.  Some people here think that is more important, but I really don't.  A young character is a young character.  Unless his/her appearance is absolutely necessary for the progression of the story, who cares?  That's how I write.

Then again, nearly everyone on here is a Nazi when it comes to "proper formatting" anyway so maybe I'm wrong.  

If you start with a voice over, stating it was twenty years ago, or simply with SUPER:  TWENTY YEARS AGO, you don't have to describe everything.  It's understood that everything is within that period of time.

You may want to describe a character in a way that we'll know it's him/herself later on.  In the second, or third Indiana Jones movie, it opened with a flashback trying to recover a stolen artifact and how he first got that hat of his.  The hat is used as a transition to present day (his present day, anyway).


Phil

Any help here would be helpful.

I have two main characters, one with a scar on his forehead.  During my second act I have a flashback scene involving two young boys.  These are the two main characters as children, and ends with one suffering a head injury.

My question is, do I use character names like 'Young ....' or use their 'name' from the outset.  I ask this because I it isn't clear to the viewer who they are during the flashback until its conclusion.

This has baffled me for some time and I keep going back to it and changing it.

Hope I explained it well enough.  Any help please...

Young Bob and Young Steve would be fine.


Phil

Cheers for the response phil.

I wasn't sure if I was supposed to keep it a secret from the reader as well as the viewer until they work it out for themselves.

how do i introduce a flashback?

Quoted from George Willson A little searching will go a long way on your questions. This thread is 5 pages long on the topic of Flashbacks, etc. http://www.simplyscripts.net/cgi-bin/Blah/Blah.pl?m-1089664690/

It actually isn't necessary to specify that they are young in the character names. The description should be sufficient as well as the information given that we are in a flashback. If you describe the characters as 10 (or whatever) and then indicate that we've gone ahead a few years and now they're 30, then it'll be obvious. The key is to use the same character name for every character all the way through. Only use the YOUNG designator if the script continually flips back and forth between present and past and it is needed to be clear. But even in The Butterfly Effect (script that is online) Evan is always referred as just Evan regardless of his age.

Cheers for the advice.  I've read over many posts on this subject and there are many opinions on what is right and what is wrong.
I read one that seems to suit but unsure if its acceptable.  It said its good to let the audience AND the reader to work out who people are for themselves.
I dont want to tell viewer OR reader the young characters are the two main characters, i want them to work it out at the end of the scene.  It SO confusing!!
At the moment I have no indication its a flashback and the characters are introduced as two young boys.  When they have dialouge its OLDER BOY and YOUNGER BOY.

Sorry if this has been asked before but I did search the forum but couldn't find an answer.

my question is;

I started my script with two characters in their twenties, then have a flashback but I haven't indicated it as being a flashback.  The two characters are now younger but again I haven't introduced them as being the same people until the end of the flashback when their names are used.  Is this wrong?

Also after this short flashback I continue with the characters being in the twenties again.  How do I make it aware that they we are now back to their older age/

this may read as complicated but I wanted it to be a surprise that the children were the two characters.  Should this not be a surprise to the reader also?

Hope someone can follow this and offer some advice.

If you don't want the moviegoer to know until the end, you should write that way for the reader.  Just make sure it's clear when you're done.

And don't include FLASHBACK in the header.



Phil

cheers phil, thats what I was going for.  I just dont know how to continue when i jump forward again.  the characters are now older again so should i indicate this and how?

Just use a header where the story continues.  Include PRESENT at the end of it.


Phil

Would you use PAST for the opening header of the flashback, since you use PRESENT in the end header?

You can include the year in the header:

EXT.  JOE'S GARAGE. 1976

You don't have to describe everything as period if you do this.  It'll be understood.


Phil

Cool, that doesn't sound very hard. Thanks phil.

Hey there,

I wrote a short for one of the one week challenges - it had flashbacks and according to the readers, I did an ok job of conveying the flashbacks well and I put "flashback" in my header. Some of the reviewers seemed to think it was fine that way, can't seem to find many objections about it in my thread.

(I didn't go back and re-write the script without the "Cut-to's" etc, but please ignore them!!)

Script thread - http://www.simplyscripts.net/cgi-bin/Blah/Blah.pl?m-1121873212/

"House of Fun" Script, direct link - http://www.simplyscripts.com/scripts/houseoffun.RTF

Hope it helps in some way. I have another short which has a montage scene in it, and again, it seemed to work ok according to the readers here.

Andy x

Thanks everyone for the advice.

In my first feature posted here, The Burnout, I used seven flashbacks, two of which were from the same moment in time but told through different perspectives.


Phil

I have seen these done two ways now.

1) dates in the scene taglines  
2) flashbacks written as such

I am seeing the dates more and more.  Is this the preferred way to handle them?

Unless an exact date is needed (like a time traveller going back to the day Kennedy was assassinated), I would just include FLASHBACK in the header.  If you can slip the date into the scene or dialogue, all the better.


Phil

What if you don't initially want the viewer to be aware it's a flashback, unless they work it out of course?

Like you don't realise it's a younger version of a main character and it only becomes obvious at the end of the flashback.  Would you still include FLASHBACK in the Slug?

Then just write it as a scene, but leave some indication somewhere that it was a flashback.  Otherwise, it'll confuse people.


Phil

Cheers Phil, that's how it is at the moment so i'll leave it be.

I've been looking through this thread for some info about Dream Sequences, but most of this thread seems to be focused on Flashbacks.

Anyway, my question is this: Is it okay to write a dream sequence without telling the reader that they are about to read a dream sequence? I wanna pull a fast one on the reader and I will, of course, make it very clear later that it was a dream sequence.

Of course.

You can do anything you want.

That particular technique is fairly common I would say.

Man Without a Face had a great dream sequence that didn't let on it was a dream sequence until after it was over.


Phil

Thanks a lot guys.

Say if you were writing a script where a substantial amount of your main characters ended up dying, but then you wrote a few more pages from a time where days were better...kinda like The Godfather II....is that done anymore?

Like Reservoir Dogs?

Flashbacks are a little difficult to write.  Keep them to a minimum if you need to use them.


Phil

No, Dogs wouldn't be it....imo, its completely different from what I'm thinking.

Say if Godfather II didn't jump back and forth from the past to the present, but only kept the Christmas dinner scene at the end.  That's what I mean.  I'm toying around with something like that.