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All About Sluglines (currently 6964 views) |
Old Time Wesley |
Posted: November 23rd, 2004, 5:54pm |
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LocationOntario, Canada Posts2908 Posts Per Day 0.38 |
So I was writing a scene and than I noticed I have no clue how to format this part
so it goes INT. BASEMENT - NIGHT right and than after that scene there a dream sequence in the same place I'm not sure how to transition from the basement to the dream than after the dream we go back to the basement again in real time and cut to the same place
Do I continue to write int. basement or just say subtitle: awhile later? |
| Practice safe lunch: Use a condiment. |
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Hypnos |
Posted: November 25th, 2004, 9:56am |
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Posts33 Posts Per Day 0.00 |
How about INT. BASEMENT - NIGHT (DREAM SEQUENCE) And say in the description that it's the same area from before only "this" and "that" is different.
Then CUT TO: (Or slam cut to) INT. BASEMENT - NIGHT And the reader should know it's nolonger a dream. |
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Reply: 1 - 118 |
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Old Time Wesley |
Posted: November 25th, 2004, 1:49pm |
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LocationOntario, Canada Posts2908 Posts Per Day 0.38 |
Thanks, I really needed that or else I couldn't move further in the episode |
| Practice safe lunch: Use a condiment. |
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Reply: 2 - 118 |
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Hypnos |
Posted: November 25th, 2004, 7:12pm |
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Posts33 Posts Per Day 0.00 |
No problem. What did you need this for? |
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Reply: 3 - 118 |
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Old Time Wesley |
Posted: November 26th, 2004, 1:46pm |
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LocationOntario, Canada Posts2908 Posts Per Day 0.38 |
Well the first couple of scenes in episode 2 of my drama series Better Days there's a scene and than this dream sequence that kinda breaks down the walls between show and real life where the characters learn there characters for our entertainment
The scene is dumb but it fits my series and I like it
I just didn't want to skip ahead in the episode and write the rest and than come back to because it throws the story off |
| Practice safe lunch: Use a condiment. |
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Reply: 4 - 118 |
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Dragan |
Posted: June 6th, 2005, 5:54am |
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Problem with SLUG lines... Is it good formating?! Give the tips where I do wrong...
INT. THE BOSSES HOUSE - DAY
Monday morning, the Boss is coming from auto salon. They wait in a van in front of Bosses house and observe installed cameras... GUY (seriously, wisely) This is it! He's ordering money!!! You just do that, you'll see what happens later! Ha ha!
The Boss pours himself a drink, opens the safe and takes out the check book. He takes the wireless phone, types in the number and calls the bank.
Ordinary, elderly women who works at a bank counter answers the phone. BANK CLERK Hello! This is Golden Bank. How can I help you? THE BOSS (seriously) Hello! (with class) I have an account opened here and I wish to order 200 000$ for next Monday. BANK CLERK No problem! Your name, surname and account number, please. THE BOSS (he opens his check book, and says) The account number is...
The bank clerk types in the data and she's a bit bewildered when she sees the whole amount on the account... BANK CLERK (seriously, wisely) OK, no problem! Your 200 000$ will be ready on next Monday. THE BOSS (joyfully) OK, thanks! Good bye!
The Boss comes down the stairs, leaves the house and gets in the 850csi and drives off with tires shrieking...
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Reply: 5 - 118 |
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Martin |
Posted: June 6th, 2005, 7:52am |
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Been Around
LocationFrankfurt, Germany Posts607 Posts Per Day 0.09 |
"Problem with SLIG lines... Is it god formating?! Give the tips where I do rong..." For starters, it's SLUG lines not SLIG lines... sometimes I wish it was God formatting but sadly we have to do it ourselves. Anyway, I'll give you some advice on the example you posted (not just the slug line use) Your slug line "INT. BOSSES HOUSE- DAY" is fine if we are inside the bosses house but the description that follows is confusing. Firstly, we have no way of knowing that it's Monday unless you show us somehow- this could be a calender or dialogue on the radio- whatever. The information you describe needs to be something we can see (or hear) "the Boss is coming from auto salon" - is this inside his house? If not, your slugline is wrong. "They wait in a van in front of Bosses house and observe installed cameras..." - this is outside the house so your slugline should be EXT. We don't know who "they" are (unless this is described in the previous scene) Who is GUY? Is he in the van? You need to make this clear and introduce him as GUY in your description e.g. A GUY waits in the van and observes... This way we know who's talking. Basically, you need to focuse on what we can SEE. If the action takes place outside, your slugline should tell us EXT. HOUSE, when it moves inside your slug should change INT. HOUSE Take a look at this link for more info on slug lines http://www.snappyquick.com/Scr.....4446_13_article.html |
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Dragan |
Posted: June 6th, 2005, 11:48am |
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(unless this is described in the previous scene)
so, this is the scene which mostly repeats the actions... so I am asking u how to put slug lines for actions like in the cat - in the house - on the phone third party...
OK? |
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Reply: 7 - 118 |
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George Willson |
Posted: June 6th, 2005, 1:35pm |
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Of The Ancients Doctor who? Yes, quite right.
LocationBroken Arrow Posts3591 Posts Per Day 0.51 |
If you're looking for sluglines for changing venues within the location the slugline (or Master Scene Heading) designates, those are called secondary headings. Such as:
INT. HOUSE - DAY
Stuff happens
IN THE KITCHEN
Other stuff happens. And then the guy walks
IN THE LIVING ROOM
where he watches TV.
If the setting changes from the house or the time of day changes, then you need a new master heading. And never end a sentence with a secondary heading.
If you want to indicate it is Monday Morning, then you would write:
SUPER THE LEGEND: Monday Morning
or even more simply:
SUPER: Monday Morning
The opening scene in your sketch appears to be EXT. BOSS'S HOUSE - DAY and then it seems to change to INT. BANK - DAY.
Sluglines should always be INT. or EXT. depending on where the CAMERA is supposed to be. You can have EXT. HOUSE and write "Person gets stuff off of kitchen counter visible through back door. He walks outside." After INT. or EXT. you have the Location and then the time of day whch should be either DAY or NIGHT. You should avoid the use of DAWN, EVENING, TWILIGHT, DUSK, etc. unless those are very important to the story.
If you have a movie like Star Wars with multiple planets and then multiple locations on each planet, you could do something like this:
EXT. HOMESTEAD - TATTOOINE - DAY
These would go from specific to general. If you wanted to be long winded throughout a house, you could say:
INT. BATHROOM - BOB'S HOUSE - NIGHT
INT. BEDROOM - MARIE'S HOUSE - NIGHT
If you have multiple years you need to keep straight you can say:
EXT. HILL VALLEY COURTHOUSE - DAY - 2015
These heading are for the filmmakers or reader to keep everything straight.
If you are doing a flashback, you could also have a slugline like this.
EXT. BATTLEFIELD - GETTYBURG - DAY - 1863 - FLASHBACK
It's a little excessive and there are other more concise ways of doing flashbacks, but it is a legal formatting option. A slugline is your only chance to control the direction, since past that point, it's all show not tell. |
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Reply: 8 - 118 |
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Martin |
Posted: June 22nd, 2005, 8:35am |
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Been Around
LocationFrankfurt, Germany Posts607 Posts Per Day 0.09 |
As far as I kow, CONTINUOUS isn't always necessary. I only use it when it seems necessary to avoid confusion. Most of the time it's not needed. For example:
EXT. JON'S HOUSE- DAY
Jon walks up the driveway.
INT. JON'S HOUSE- CONTINUOUS
John enters.
INT. LIVING ROOM- CONTINUOUS
Jon walks in and sits down.
This is an example of unnecessary usage. The reader can easily figue out that this is continuous. If it is not continuous you would write INT. LIVING ROOM- LATER or somethig similar.
An alternative to using continuous is "SAME" which is also widely accepted.
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Reply: 9 - 118 |
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dogglebe |
Posted: June 22nd, 2005, 10:53am |
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CONTINUOUS is not necessary if the condition remains the same. Using the above headers as an example, you could just write:
EXT. JON'S HOUSE -DAY
INT. JON'S HOUSE
INT. JON'S LIVINGROOM
If time has elapsed since the livingroom scene, you would then mention the time. If Jon went back out, you would then say:
EXT. JON'S HOUSE -NIGHT
Phil |
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Reply: 10 - 118 |
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NW3 |
Posted: June 22nd, 2005, 2:48pm |
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Posts121 Posts Per Day 0.02 |
There is an excellent summary here: http://www.simplyscripts.com/glossary.htmlYou'll get differing opinions on this one but the issue is simple. If you don't know what CONTINUOUS is used for, don't use it. No insult, Mr.Z, but that's the question you asked ('Is it necessary'?) You acknowledge that it's rather annoying and that could be because it's another technical term when spec screenplay format is always moving towards elimination of such things. Here it is from the respected writer on screenplay format, Charles Deemer: 'Always use DAY or NIGHT as time (if afternoon, dusk, etc., are important, put them in action or in parentheses after day or night). Don't use CONTINUOUS and other variants -- some readers turn blue seeing them, why take a chance? Don't give them an excuse to dislike you.' |
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Reply: 11 - 118 |
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Mr.Z |
Posted: June 22nd, 2005, 4:20pm |
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Been Around
LocationBuenos Aires - Argentina Posts743 Posts Per Day 0.11 |
Thanks for your reply jonwood. Actually, I know what´s "CONTINUOUS" for, but as you well wrote, there are different opinions on this one, and that´s why I started this post. Your feedback is apreciated as well. |
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Reply: 12 - 118 |
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George Willson |
Posted: June 22nd, 2005, 4:41pm |
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Of The Ancients Doctor who? Yes, quite right.
LocationBroken Arrow Posts3591 Posts Per Day 0.51 |
In my own opinion, using Continuous is usually unnecessary because the reader should be able to decipher what is going on from the text and action. As you've noticed, reading continuous all the time does get tiring.
That part of the slugline is intended to be used for DAY or NIGHT, and occasionally LATER. Designations such as DUSK, DAWN, and TWILIGHT should only be used if it is necessary to tell the story. CONTINUOUS does not really add to the story and scenes from an audience perspective flow one into another anyway...only the action and setting tells us what is happening and whether it is back to back or not.
I either stick to DAY/NIGHT or omit the time designation altogether in a "continuous" setting, since it is not necessary for the reader. Such is my opinion. |
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Reply: 13 - 118 |
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lesleyjl21 |
Posted: June 24th, 2005, 1:27pm |
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LocationSouthern California Posts206 Posts Per Day 0.03 |
I don't really pay attention to the "continuous". That's a writer to writer preference. But doesn't bother me either way. I do it myself. Mentality of a reader here - you generally have so many to read, you just want to get through it as quickly as possible...and be hooked. But there's a signal a scene has possibly gone on too long and could be a pacing problem, you see too many of those "continuous" on one page and the same exact slug. JMO. |
| true love waits... i guess. |
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Reply: 14 - 118 |
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bez2k |
Posted: October 31st, 2005, 8:18am |
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Posts13 Posts Per Day 0.00 |
I want to show a plane flying above a forest. Should I either write it like:
EXT. SKIES ABOVE FOREST - DAY
or
EXT. FOREST - DAY
???????? |
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Reply: 15 - 118 |
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bert |
Posted: October 31st, 2005, 8:36am |
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AdministratorBuy the ticket, take the ride
LocationThat's me in the corner Posts4233 Posts Per Day 0.61 |
Depends on what you want us to "see". Are we looking up, through the trees, or looking down at the plane and the forest below? A jet or a bi-plane? High amongst the clouds, or low, just above the treetops?
None of the "slug laws" are written in stone. The important thing is clarity, and your own use of words will dictate the image that comes to mind.
If you do not have something specific in mind, try something like this:
AN AIRPLANE - DAY
High above a forest.
EXT. FOREST
Our character looks up through the branches at the passing jet.
You are suggesting angles, but the director still has a little freedom as to how this image is depicted, and they like it better that way anyways, you know?
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Reply: 16 - 118 |
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George Willson |
Posted: October 31st, 2005, 2:51pm |
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Of The Ancients Doctor who? Yes, quite right.
LocationBroken Arrow Posts3591 Posts Per Day 0.51 |
It really depends on the focus of the scene. A slugline is extremely objective and where you place the scene depends entirely on what you want the audience to be focused on.
EXT. SKIES ABOVE FOREST has been done before. It's passable.
I would suggest either:
EXT. FOREST and mention the plane flying above, if we're seeing the plane from the ground level.
EXT. SKY and mention the plane flying if we're supposed to be looking at the plane from above. You would, of course, mention the forest in the description saying that the plane is flying over.
Something like this is akin to writing EXT. LIVING ROOM or EXT. HOUSE when you have someone outside the dwelling watching the goings on through a window. Similar to above, either way works. It's all in the perspective you want the audience to have. |
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Stephen Wegmann |
Posted: March 2nd, 2006, 3:08pm |
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New huh.
LocationThe Americana Posts78 Posts Per Day 0.01 |
I have a scene that occurs on one side of a room and another on the other end. I dont want the reader to know it's in the same room until I (the writer) say so, for comedic purposes. Is this possible? And how do I do it?
Thanks |
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bert |
Posted: March 2nd, 2006, 3:26pm |
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AdministratorBuy the ticket, take the ride
LocationThat's me in the corner Posts4233 Posts Per Day 0.61 |
You can try using the character names as slug line, then reveal the entire scene with a new slug line later:
BILL
Sits at a table doing something.
SALLY
Sits at a different table doing something else.
INT. ROOM
Bill and Sally are in the same room. They look up and flip each other off.
That's one way. |
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Reply: 19 - 118 |
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Stephen Wegmann |
Posted: March 2nd, 2006, 3:36pm |
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New huh.
LocationThe Americana Posts78 Posts Per Day 0.01 |
That's actually not bad. But I'm going to be jumping between the two in the same room - and I actually dont want you to be able to tell that they're in the exact same room. You need some crazy camera tricks to do that. Or just really well worded scene headings - I dont know. |
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dogglebe |
Posted: March 2nd, 2006, 3:45pm |
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Go with what Bert said. Spec scripts should not have camera angles.
Phil |
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Reply: 21 - 118 |
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Mr.Z |
Posted: March 2nd, 2006, 4:51pm |
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Been Around
LocationBuenos Aires - Argentina Posts743 Posts Per Day 0.11 |
I actually dont want you to be able to tell that they're in the exact same room. You need some crazy camera tricks to do that. |
Or you need a crazy room (if it fits the story), different colours in different walls, different decoration, etc, will help to trick the audience. Phil´s advice about avoiding camera angles is a good one, and Bert´s example looks like a smart way of achieving that. |
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Reply: 22 - 118 |
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George Willson |
Posted: March 6th, 2006, 1:47am |
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Of The Ancients Doctor who? Yes, quite right.
LocationBroken Arrow Posts3591 Posts Per Day 0.51 |
If you are trying to hide the fact that they are in the same room, using secondary headings will give it away since you only use them in same or continuous locations.
An alternative to this is to make the two parts of the room relatively dissimilar so the different slugs can be used to begin with and then just intercut.
INT. BAR
Bill says such and such.
INT. RESTAURANT
Sally says such and such.
INTERCUT BAR / RESTAURANT
Bill and Sally say various things to their people.
INT. DENNY'S
Bob turns around to find Sally sitting in a booth just behind him. They flip each other off. |
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Braksnen |
Posted: September 15th, 2006, 7:45am |
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Posts65 Posts Per Day 0.01 |
Here's some questions that have been bothering me.
If you're in a cave, technically you aren't INdoors, so that would be EXT. but you say IN a cave, so that would be INT. Wich is it?
If you're on a canoe, is that INT. or EXT.?
If you're scooba diving in the ocean would that be INT. or EXT.? |
| I am an ex-con who has grown over the past several years. I hope it shows. |
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rpedro |
Posted: September 15th, 2006, 7:58am |
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LocationBelgium Posts84 Posts Per Day 0.01 |
INT. is inside a place : that should have four walls! For inside locations. Sewer, cave, house, room, ....
EXT. is all the rest. OUTSIDE locations. : Ocean, street, city,...
A canoa isn't INT. canoe since a canoe is not a location so to speak but an object.
So for exemple if you are in a canoe it should be.
****
EXT. RIVER - DAY
Braksnen is quietly going with the flow of the river on his canoe.
****
The canoe would be explained in the action.
hope this helps. |
| Scripts : - Hot Road (short) - The Mirror (short) - Listen Up (short) - Dawn (short) - One Day (short) - Steal (short)
Pedro Chaves
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bert |
Posted: September 15th, 2006, 8:07am |
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AdministratorBuy the ticket, take the ride
LocationThat's me in the corner Posts4233 Posts Per Day 0.61 |
Pedro's points are good. Another thing to keep in mind is that not every slug needs the INT or EXT designation.
Once you have established your locale, you can make them a little more specific, like:
EXT. LAKE - DAY
A canoe floats in the center of the lake.
IN THE CANOE
Braksnen holds a fishing pole. He feels a tug on his hook.
BENEATH THE WATER
A scuba diver tugs on the line. |
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Reply: 26 - 118 |
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George Willson |
Posted: September 15th, 2006, 8:25am |
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Of The Ancients Doctor who? Yes, quite right.
LocationBroken Arrow Posts3591 Posts Per Day 0.51 |
Another thing to keep in mind is that the INT. and EXT. are the only camera directions that a writer is allowed to give. Those tags indicate where the CAMERA is placed in relation to the action that is to follow. They follow what would basically be common sense in relation to objects, so with the cave example, how would you describe ourself in relation to this cave? If you're inside a cave, it's obviously INT.
Where the hiccup usually comes in is abiguous places like under water or driving. Again, this is whereever the camera is placed in relation to the action occurring. The scuba diver might be under water, but if the camera is supposed to stay out of the water, the action is constantly EXT. OCEAN and you would describe what the scuba diver is doing as it could be seen from a boat or over the water.
Cars are even more difficult. A lot of people like to use INT./EXT. for cars so it isn't specified whether the camera is inside or outside the vehicle. Some prefer to be specific and place the action completely inside the car. It's a matter of preference.
You know you're getting creative when you have a slug for EXT. HOUSE and yet describe the interior MOS action as seen through the plate glass living room window. |
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Combichrist |
Posted: January 18th, 2007, 8:29pm |
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Locationone man can change the world, with a bullet in the right place!!! Posts128 Posts Per Day 0.02 |
For those that do not know,
Writing Vertically in Spec scripts is what most producers/directors will look for. Why? Well it is a lot more easy to skim through the story than say having 3 paragraphs of 5 or so lines of writing all cluttered up into one.
Parenthetical in character speech should be avoided at all cost, rather than having the way a person says their line under their character name it should be placed in the description/action.
You do not under any circumstances place in the slug line, MORNING - NOON - MIDNIGHT and so on, only DAY or NIGHT and don't use a CONTINUOUS...
Although should the time pass then you can add (LATER)
Spec script is a hard format to master for the new screenwriter, but it can be mastered. Never over write descriptions, keep your action to a powerful minimum.
Transitions in Spec format have been dropped and are now out of fashion so do not use them. (CUT TO) is never used in a spec script anymore...
For those newbie writers, I hope this helps you all... |
| In nomine patris et filii et spiritus sancti - In the name of the father, son, and the holy ghost Lasset uns beten |
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Reply: 28 - 118 |
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Alex J. Cooper |
Posted: January 18th, 2007, 9:23pm |
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LocationAustralia Posts316 Posts Per Day 0.05 |
You do not under any circumstances place in the slug line, MORNING - NOON - MIDNIGHT and so on, only DAY or NIGHT and don't use a CONTINUOUS...
Although should the time pass then you can add (LATER)
Spec script is a hard format to master for the new screenwriter, but it can be mastered. Never over write descriptions, keep your action to a powerful minimum.
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Oh okay, so if i want it to be continuous I... do nothing: EXT. SHANTY TOWN - DAY ... INT. SHANTY TOWN .... Is that what your saying? |
| Shorts: I Named Him Thor Footloose, Cut Loose Tainted Milk Marshmallows Confucius & The Quest For Nessie Wondrous Presentation |
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Reply: 29 - 118 |
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Zombie Sean |
Posted: January 18th, 2007, 11:14pm |
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Old Timer
LocationColorado Posts1547 Posts Per Day 0.23 |
That's what I do. If it's a different location but on the same day, I don't put - DAY
I usually make it as:
INT. SCHOOL - DAY
Students rush through the hallways to get to class.
EXT. CITY
Like the students, adults rush through the streets to get to their work.
Sean |
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George Willson |
Posted: January 19th, 2007, 12:27am |
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Of The Ancients Doctor who? Yes, quite right.
LocationBroken Arrow Posts3591 Posts Per Day 0.51 |
You do not under any circumstances place in the slug line, MORNING - NOON - MIDNIGHT and so on, only DAY or NIGHT and don't use a CONTINUOUS... |
Using MORNING - NOON - MIDNIGHT seem to have very limited to no purpose in screenwriting because the time of day is used to say whether it is dark or light outside, however other "subforms" of the time of day such as TWILIGHT or DUSK are not entirely taboo. They should only be used if absolutely clarity of the time of day is necessary. In most cases DAY or NIGHT is enough, but in rare instances, it is important to know about TWILIGHT or DUSK, which are an entirely different lighting scheme and signal the transition to either DAY or NIGHT. Their need is rare, but you are allowed to use them if you NEED to. The only place I uses them is in my Fempiror work because of the need to know if we're closing in on day or night in some stories. I will sometimes have pivotal moments occur as the sun is rising or setting, a time of day that is neither day or night. Just like everything else in a screenplay, clarity is the key, and everything you do should be to that end. If you don't need it, don't use it. And if your action is continuous, the time signifier is optional, but preferred. One might wonder whether it is still day, or the screenwriter forgot the time part of the slug. About the only time I leave it out is between the rooms of a location when I can't really justify a secondary slug. |
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Combichrist |
Posted: January 19th, 2007, 8:17am |
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Locationone man can change the world, with a bullet in the right place!!! Posts128 Posts Per Day 0.02 |
Oh okay, so if i want it to be continuous I... do nothing:
Is that what your saying?
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If you want it to be a continuous, the scene runs on. It can be used, sparingly... Other terms such as DUSK and so on, can be used if absolutely necessary. Remember you should never use to much but never to little. But use of Continuous is not good. If the scene continues, and in a new location you don't add INT. SCHOOL - DAY chanage below. INT. SCHOOL - GYM - CONTINUOUS (this is not how it is) And yes Alex, you do nothing... As I posted above, that is how you write it. Sean you have it nailed mate. Not like a lot of these people. But as I stated you can feel free to use a CONTINUOUS sparingly, but I am telling you now... How Sean is doing it is how I do and how it is in SPEC FORMAT... In a production script however you will see a CONTINUOUS why? because it is just that A production script, not a Spec script. |
| In nomine patris et filii et spiritus sancti - In the name of the father, son, and the holy ghost Lasset uns beten |
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Reply: 32 - 118 |
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silent0saint |
Posted: March 3rd, 2007, 3:43pm |
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I wrote only 2 pages of my script then posted is on the"My Work So Far" forum, and it got ripped apart , i didnt know about spec format so my writing was stuffed with detail. Im actually glad that the replier was honest becuase this made me realize how crapy it looked but anyways i re-wrote a part of it, please tell me if this is right or if theirs anything i need to touch up on
thanks, Andrew
FADE IN:
EXT. FRANCE -DAY
The shore is crowded with soldiers, horses, and wagons. Anchored ships line the edge of the beach, unloading their supplies.
A manmade dirt path runs parallel with the shore. At the end of it lies a tarp, providing shade for a SLEEPING SOLDIER
He lies comfortably on a supply crate with a sandy helmet covering his face.
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dogglebe |
Posted: March 3rd, 2007, 7:56pm |
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Just listing the country is not enough. When you said France, I immediately thought Paris with the the Eiffel Tower in the back. Try this: EXT. LONGERE BEACH. FRANCE -DAY. or, better yet: EXT. LONGERE PORT. FRANCE   AY. If this is a period piece (ie: World War II), you would include the year: EXT. LONGERE PORT. FRANCE. 1942   AY You description could be a little more tightened and active. Try something like this: Supply ships envelope the port, hastefully load cargo from endless lines of wagons. Soldiesr and civilians make their way along dirt trails between the wagons. A sleeping SOLDIERS lays on an unattended crate, his head covered by his sandy helmet. Phil |
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silent0saint |
Posted: March 4th, 2007, 9:43am |
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Quoted from dogglebe If this is a period piece (ie: World War II), you would include the year: EXT. LONGERE PORT. FRANCE. 1942   AY You description could be a little more tightened and active. Try something like this: Supply ships envelope the port, hastefully load cargo from endless lines of wagons. Soldiesr and civilians make their way along dirt trails between the wagons. A sleeping SOLDIERS lays on an unattended crate, his head covered by his sandy helmet.Phil |
, I was going to put "April 1,1917 8 days before that battle of..." as a superimposition buti wasn't quite sure how to do it. thanks |
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IceRose |
Posted: March 4th, 2007, 11:19am |
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New Want: Producer, and/or Publisher
LocationRural Utah Posts91 Posts Per Day 0.01 |
I'm somewhat confused. What do you mean by writing vertically? Because all the stuff I write is horizontal left to right with new lines for sluglines, action, dialog and so forth but it's still horizontal.
As for yours silent saint, you would probably want a subtitle to show you want it inserted onto the screen, or you could superimpose it.
SUBTITLE: D-Day 1942
or
SUPER: D-Day 1942
Whatever you wanted. Subtitles go at the bottom, superimpose goes across whatever picture you have. |
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dogglebe |
Posted: March 4th, 2007, 12:04pm |
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There should be plenty of white place on the page. Short descriptions split up by short dialogue. You should be able to skim a script (reading vertically). Heavy paragraphs slow down the reading.
Phil |
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IceRose |
Posted: March 4th, 2007, 12:42pm |
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New Want: Producer, and/or Publisher
LocationRural Utah Posts91 Posts Per Day 0.01 |
Ah, I understand you Phil. I was picturing a script printed out in portrait style and couldn't quite wrap my head around why that would be a good thing lol. |
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Combichrist |
Posted: March 7th, 2007, 9:25pm |
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Locationone man can change the world, with a bullet in the right place!!! Posts128 Posts Per Day 0.02 |
Basically writing vertically means,
Writing down the page, say a new line for every new shot you see in your description.
EXAMPLE FOLLOWS:
Joe brings a cup of coffee to the table.
He sits down, flips open his paper and leers at some articles.
Closes the paper and sips his coffee...
Vertical writing means the reader can skim it more quickly, it is a lot more easy than trying to read paragraphs of 5 or so lines all jumbled together. |
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sniper |
Posted: March 24th, 2007, 2:37am |
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Old Timer My UZI Weighs A Ton
LocationNorthern Hemisphere Posts2249 Posts Per Day 0.48 |
A quick question, looking for some advise.
I'm writing a scene where a man is trapped between two rooms (both INT. shots). His upper body is in room1 and his lower body is in room2. I'm cutting back and forth between the rooms.
I've been contemplating on how the scene heading should look. Could it be done like this?
INT. ROOM1 / ROOM2.
Or is there another way to do it?
Cheers Rob
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Combichrist |
Posted: March 24th, 2007, 10:01am |
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Locationone man can change the world, with a bullet in the right place!!! Posts128 Posts Per Day 0.02 |
I would write the scene as in one room, this is a spec script so the shift changes in camera angles would be apparent to the reader. |
| In nomine patris et filii et spiritus sancti - In the name of the father, son, and the holy ghost Lasset uns beten |
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Mr.Z |
Posted: March 24th, 2007, 3:46pm |
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Been Around
LocationBuenos Aires - Argentina Posts743 Posts Per Day 0.11 |
The general rule would be to use diferrent scene headings ("INT. ROOM 1 - DAY" and "INT. ROOM 2 - DAY") to describe what happens in each of these locations.
However, if you need to cut back and forth between them, multiple scene headings could disrupt the natural flow of the scene; to avoid this problem use: "INTERCUT - ROOM 1 AND ROOM 2"
Under the INTERCUT heading you can describe actions happening in both rooms without need to include a new slugline, which contributes to a faster read.
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danhostler1985 |
Posted: April 1st, 2007, 11:41am |
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I was wondering about how to do this myself. thanks for that information. |
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Schazi |
Posted: April 19th, 2007, 1:16pm |
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I don't know, this is confusing for me. Is INT only for inside buildings, homes, etc? Or can it be for inside a vehicle? Does it depend on the view? Like, use EXT if we're seeing it from outside but if the view is INSIDE then we can use INT? Wha? Also, is it okay to go from INT to EXT rapidly? Dumb Example: INT - TACO STAND.
Bob goes near the door. He steps out.
EXT - TACO STAND FRONT.
He stands. Then goes back in.
INT - TACO STAND.
He explodes.Can INT/EXT ever be too excessive? Does it matter? Does it look tacky and unprofessional? |
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Mr.Ripley |
Posted: April 19th, 2007, 1:31pm |
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January Project Group Writing
LocationNew York Posts1979 Posts Per Day 0.30 |
IMO,
INT is used more for locations that the viewers need to see inside such as a building or home or a car. EXT. is used more for locations that the viewers need to see outside such as the street or outside a building or car. it just provdes the readers with a certain perspective on looking at the scene.
Any technicalities, descriptions can solve. it provides information to the director on what angle he should film from. And gives you space in between these headings so it does not look so rapidly.
If it's tacky and unprofessional why is it a rule to always write a heading starting INT. OR EXT.? It's not. Helps the reader understand where the location is.
Gabe |
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SwapJack |
Posted: April 19th, 2007, 3:30pm |
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New Dare to be different!
LocationUnited States Posts187 Posts Per Day 0.03 |
i always write INT. CAR when the scene takes place inside a car - which is correct.
and if it's a convertable car i just write.... INT./EXT. CAR - MOVING which is acceptable and used as an expample in the Screenwriter's Bible |
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George Willson |
Posted: April 19th, 2007, 7:23pm |
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Of The Ancients Doctor who? Yes, quite right.
LocationBroken Arrow Posts3591 Posts Per Day 0.51 |
INT. and EXT. are about the only camera directions permitted in a spec script. They are not used to designate where the action occurs, though the action usually does occur there. These are used to indicate where the camera is placed in relation to the location indicated. You can write EXT. HOUSE, but through the action indicate that the action is being seen through the kitchen window and actually inside the house, though viewed from the outside. To cross the line, each indicator shows where the audience is. The action paragraphs are used to tell where the characters are.
INT./EXT. is rare, but completely allowable when the camera will pass in and out of something, usually a car. Again, this won't happen a lot, but it's there.
These directions are a part of the screenwriting process, and their use is required, so it can't be considered excessive. |
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Zack |
Posted: June 3rd, 2007, 10:24pm |
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January Project Group
LocationErlanger, KY Posts4503 Posts Per Day 0.69 |
How would you right the time of day when the enviroment is in space? After all, there is no night or day? Would I just write
EXT. SPACE
Any help would be appreciated! |
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dogglebe |
Posted: June 3rd, 2007, 10:49pm |
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You don't. If you don't know what time of day it is, you leave it out. Examples:
EXT. DEEP SPACE.
INT. SPACE SHIP GALABO.
Phil |
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Zack |
Posted: June 3rd, 2007, 10:53pm |
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January Project Group
LocationErlanger, KY Posts4503 Posts Per Day 0.69 |
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Zack |
Posted: June 4th, 2007, 9:10pm |
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January Project Group
LocationErlanger, KY Posts4503 Posts Per Day 0.69 |
How would you write a header when the scene takes place underwater?
INT. LAKE- NIGHT
This doesn't seem right? Anyone know the correct answer? |
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chism |
Posted: June 4th, 2007, 9:24pm |
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Posts1053 Posts Per Day 0.16 |
I don't know what the "correct" answer is, but I always just use;
EXT. UNDERWATER
Hope this helps.
Matt. |
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Zack |
Posted: June 4th, 2007, 9:27pm |
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January Project Group
LocationErlanger, KY Posts4503 Posts Per Day 0.69 |
Thanks Matt. I'll use that. |
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dogglebe |
Posted: June 4th, 2007, 9:28pm |
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This is a judgement call. I'd personally use exterior with underwater scenes, unless it's an indoor pool.
Phil |
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Zack |
Posted: June 4th, 2007, 9:32pm |
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January Project Group
LocationErlanger, KY Posts4503 Posts Per Day 0.69 |
I thought on top of water is written
EXT. LAKE- DAY
And underwater is written
INT. LAKE- DAY
But then again, I'm the amature. |
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bert |
Posted: June 4th, 2007, 10:10pm |
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AdministratorBuy the ticket, take the ride
LocationThat's me in the corner Posts4233 Posts Per Day 0.61 |
Another option you have is something called a subheader, Zack. This has come up before.
Once you have established the scene, not every header needs to have INT. or EXT.
It could read like this:
EXT. LAKE – DAY
A rowboat sits on the lake.
UNDER THE WATER
A giant shark swims towards the boat.
IN THE BOAT
Zack baits his hook, unaware of the bloody fate that awaits him.
Subheaders can free up your format, and help you move the narrative quicker.
But you do need to go back to INT. or EXT. when you begin a new scene. |
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Zack |
Posted: June 4th, 2007, 10:17pm |
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January Project Group
LocationErlanger, KY Posts4503 Posts Per Day 0.69 |
Thanks Bert. It seems Subheaders would work really good for a scene involving a moving car. |
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George Willson |
Posted: June 4th, 2007, 10:21pm |
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Of The Ancients Doctor who? Yes, quite right.
LocationBroken Arrow Posts3591 Posts Per Day 0.51 |
Since there is neither day nor night in space, you actually would not specify either, as Phil stated. The same would apply to inside (or outside) a space ship that isn't in an environment where day or night would matter as well as any slugline for a scene where there is neither day or night such as an enclosed room or non-locational dream states. |
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George Willson |
Posted: June 4th, 2007, 10:26pm |
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Of The Ancients Doctor who? Yes, quite right.
LocationBroken Arrow Posts3591 Posts Per Day 0.51 |
It's all about clarity for this one, since you want to be specific as to where the camera is in relation to everything else going on under water. Frankly, I am of the persuasion that if you're underwater, you would be INT. LAKE or INT. OCEAN.
Some might argue, though, that if you were looking at a submarine and then going inside that sub, you'd be INT. OCEAN and then INT. SUB which would be weird, but again, it's going to be about clarity. Technically, if you were writing about a school, you could be INT. SCHOOL *or* EXT. CLASSROOM while standing in a hallway outside a classroom, and in technicality, both would be correct.
That being said, there is no truly correct answer to the question. As long as the way you've written the slugline is correct and it is completely clear where the camera is in relation to everyone else, then it doesn't matter how you write it. But from a vernacular standpoint, when you go swimming, you are *in* the water, which would imply "INT."
As for moving cars, that's a whole other debat topic. Some would say INT./EXT. would be appropriate there at any time, while others would argue that it would depend as to whether the camera ever left the car. Anyway... |
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Zack |
Posted: June 4th, 2007, 10:30pm |
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January Project Group
LocationErlanger, KY Posts4503 Posts Per Day 0.69 |
Well, thanks for all the help. At least now I have an idea of how to write underwater headers. |
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Mr.Z |
Posted: June 5th, 2007, 9:19am |
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Been Around
LocationBuenos Aires - Argentina Posts743 Posts Per Day 0.11 |
Bert’s example is correct; secondary headings are one way to go. But if you’re going to use full scene headings for and underwater scene, use EXT.
Underwater scenes are exterior scenes, and the fact that your characters/props are surrounded by water doesn’t change that. The opposite criteria would force you to write the rest of the scenes in your script as ‘INT. EARTH’S ATMOSPHERE’ because your characters are always surrounded by air.
Think more about structures (i.e. a submarine, a shark cage) to write ‘INT’ scenes underwater.
Here a couple of random examples I quickly collected.
In The Phantom Menace when the jedis swim with Jar Jar toward his city: “EXT. NABOO LAKE – UNDERWATER”
And when they reach the Gungan City: “INT. OTOH GUNGA - CITY SQUARE”
In Return of the King, when Deagol finds the one ring: “EXT. UNDERWATER, RIVER ANDUIN – DAY”
Hope that helps. |
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Gaara |
Posted: June 5th, 2007, 7:57pm |
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New I had an itch on my face...so I scratched it
LocationSunderland, England Posts161 Posts Per Day 0.02 |
not sure if this is correct but it is taking directly from the script for Jaws 2 (found on this site)
they have it as
UNDERWATER - SEA BOTTOM - DAY
so if it was a lake and at night it would be
UNDERWATER - LAKE - NIGHT |
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Zack |
Posted: June 7th, 2007, 5:34pm |
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January Project Group
LocationErlanger, KY Posts4503 Posts Per Day 0.69 |
I figured that. Thanks for making it clear George. |
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icrooker |
Posted: August 2nd, 2007, 12:56am |
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I am having trouble with format. I am writing a screenplay that takes place, for the most part, in the cars of several characters, but also houses. First off, I saw it used, and I just want to double check if it's OK to use, INT./EXT. "JEFF"'S CAR in order to describe both the action in the car and the action of the car itself or whether I have to say EXT. STREET first. Also, I have two characters that live next door to one another and one scene where a character crosses the lawn of one house, walks to the lawn of the other house and I don't know how to head that. Also, I have several scenes that start inside a car that is parked outside a house and lead into the exterior of that house. Can I describe those scenes as also, INT./EXT. JEFF'S CAR? Also, can I use EXT. STREET to describe two different streets? Sorry if these are fundamentals, but they are really confusing me. |
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chism |
Posted: August 2nd, 2007, 1:44am |
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Posts1053 Posts Per Day 0.16 |
INT/EXT is perfactly acceptable. Use it as much as you like.
For the lawn crossing scene, you could have the following:
EXT. FIRST MAN'S HOUSE
First man exits his house, walks across the lawn and comes to --
EXT. SECOND MAN'S HOUSE
-- second man's lawn.
Or you could have:
First man exits his house, crosses the lawn and walks up to second man's house.
It's all right to ask questions about the fundementals. As long as you're learning, it's all right. By the way, welcome to the site! Have fun here.
Matt. |
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icrooker |
Posted: August 2nd, 2007, 1:55am |
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thanks a lot. You've been really helpful. And thank you for the welcome. |
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chism |
Posted: August 2nd, 2007, 2:09am |
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Posts1053 Posts Per Day 0.16 |
Hey, no worries. We were all "the new guy" once, hehe. It really is a great site for aspiring screenwriters. You'll learn a lot, I guarentee it.
Matt. |
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dogglebe |
Posted: August 2nd, 2007, 6:20am |
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Keep in mind that you don't have to show him actually crossing the lawn. You could do it:
INT. JOHN'S HOUSE.
John opens the front door and steps out, SLAMMING the door behind him.
INT. PAUL's HOUSE
Heavy, rapid KNOCKING forces Paul to rush to his front door. He opens it. John stands there.
JOHN We need to talk.
No one is going to complain that they didn't see John walk over to Paul's house.
This is actually a problem I've seen with a lot of scripts. The writer includes every step of something when it's not needed.
Phil |
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sniper |
Posted: August 2nd, 2007, 7:10am |
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Old Timer My UZI Weighs A Ton
LocationNorthern Hemisphere Posts2249 Posts Per Day 0.48 |
I agree with Phil.
Keep the descriptions lean. You should only touch on details when it serves a point. |
| Down in the hole / Jesus tries to crack a smile / Beneath another shovel load |
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Death Monkey |
Posted: August 2nd, 2007, 7:35am |
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Been Around Viet-goddamn-nam is what happened to me!
LocationThe All Spin Zone Posts983 Posts Per Day 0.15 |
Yup, like Phil said one of the most common newbie mistakes is doing the "transportation scenes" when they're not needed.
If you show JIMMY get up in the morning and shutting off his alarm-clock, then you can cut to Jimmy on the bus or Jimmy at work and the transportation that got him there will be inferred.
Of course transportation scenes can have meaning, especially in montages, but you should ask yourself when writing: do you wanna convey something in the transportation scenes or are they simply there to show your subject go from A to B? If the latter is the case, then, in most cases, they're not necessary and will end up as filler. |
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tweak |
Posted: August 5th, 2007, 6:43pm |
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Posts76 Posts Per Day 0.01 |
I have seen times show up in the scene headings in scripts for Doctor Who and Life On Mars. Is this a British trend?
tweak |
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ABennettWriter |
Posted: August 5th, 2007, 6:59pm |
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Been Around
LocationSan Francisco, CA Posts864 Posts Per Day 0.14 |
If the time is important to the plot, I don't see any problem with it.
So:
INT. BEDROOM - NIGHT (9:00PM)
That's how I'd format it. |
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Jonathan Terry |
Posted: August 6th, 2007, 12:33pm |
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New Co-Founder of The ImagiNation
LocationSpartanburg, SC Posts149 Posts Per Day 0.02 |
Most of the time, however, the time isn't important to the scene and should be left out of the scene heading.
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The Working Screenwriter |
Posted: August 9th, 2007, 7:10pm |
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Posts69 Posts Per Day 0.01 |
Having the time in the scene slug (as in a previous example) tells the audience nothing, so if the time is pertinent to the scene, it needs to go in the scene itself. Do it something like this:
INT. BEDROOM - NIGHT
Jack is in bed. The clock on the bedside table reads 9:15.
If you don’t have a clock to show us the time, then you can have it superimposed over the scene, like this:
INT. INTERROGATION ROOM – NIGHT
Jack sits wearily at the table with the two detectives.
SUPERIMPOSE: 11:00PM
You can also show us the time over a black screen, something like this:
BLACK SCREEN. Over this...
SUPERIMPOSE: MONDAY, 10:00PM
INT. FBI OFFICE – NIGHT
A dozen armed AGENTS fill the room... |
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EBurke73 |
Posted: August 9th, 2007, 9:18pm |
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If it's a British trend it's recent. I've read scripts for Classic Doctor Who and they have the usual slugline of NIGHT or DAY. |
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dogglebe |
Posted: August 9th, 2007, 9:34pm |
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Unless the exact time is needed, don't include it. If you want to show the time, throw a clock in the background, or something like that. In a couple of scripts I've started writing, I show what time of year it is by the holiday decorations in store windows.
Use your imagination.
Phil |
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sniper |
Posted: September 4th, 2007, 7:53am |
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Old Timer My UZI Weighs A Ton
LocationNorthern Hemisphere Posts2249 Posts Per Day 0.48 |
Is it okay have an INT. scene and still use NIGHT or DAY extenstion in the slugline?
Ex.
INT. HOUSE - NIGHT
I have a scene that takes place inside a house and one of the characters is looking out through the window into the night.
Cheers Rob |
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michel |
Posted: September 4th, 2007, 8:08am |
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Old Timer
LocationFrance Posts1156 Posts Per Day 0.18 |
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sniper |
Posted: September 4th, 2007, 8:13am |
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Old Timer My UZI Weighs A Ton
LocationNorthern Hemisphere Posts2249 Posts Per Day 0.48 |
Merci Michel. |
| Down in the hole / Jesus tries to crack a smile / Beneath another shovel load |
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ReaperCreeper |
Posted: October 25th, 2007, 10:11pm |
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Been Around
LocationWisconsin Posts974 Posts Per Day 0.15 |
If a scene takes place inside an apartment room, and I have my character walking to different places within it (example: from his kitchen to his bedroom) should I include another complete slugline for it? Right now, I'm writing something like this...
INT. ROOM WHATEVER - DAY
RANDOMDUDE gets up from his couch and walks into the--
BEDROOM
--Where he plops down on his bed.
Is this okay or should I include the whole INT. APRTMENT - BEDROOM - DAY? 'Cause I feel that's a bit too much.
--Julio |
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Sandra Elstree. |
Posted: October 25th, 2007, 11:25pm |
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Of The Ancients What if the Hokey Pokey, IS what it's all about?
LocationBowden, Alberta Posts3664 Posts Per Day 0.60 |
Julio, that's a good question and the way I have learned so far is that yes, when you change rooms, you are changing scenes so that's what you do.
When you think about it, it makes sense from a "shooting" standpoint. Movie makers might shoot all of the bedroom scenes first or last or whatever and play with the necessary lighting.
... but still, I feel awkward doing it the apparently "right" way.
Sandra |
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Shelton |
Posted: October 25th, 2007, 11:25pm |
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Of The Ancients
LocationChicago Posts3292 Posts Per Day 0.49 |
The way you have it is acceptable, but you could write the complete slugline as well. |
| Shelton's IMDb Profile
"I think I did pretty well, considering I started out with nothing but a bunch of blank paper." - Steve Martin |
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mgj |
Posted: October 26th, 2007, 12:13am |
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LocationBritish Columbia, Canada Posts253 Posts Per Day 0.04 |
I've seen this before:
INT APARTMENT - VARIOUS ROOMS - DAY
and then just describe each room as he walks into it.
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dogglebe |
Posted: October 26th, 2007, 6:11am |
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If the scene in one continuation, all you need is the first slugline.
Phil |
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ReaperCreeper |
Posted: October 27th, 2007, 11:07pm |
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Been Around
LocationWisconsin Posts974 Posts Per Day 0.15 |
Thanks you guys. I'm keeping it how it is for clarity's sake. |
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George Willson |
Posted: October 29th, 2007, 1:27pm |
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Of The Ancients Doctor who? Yes, quite right.
LocationBroken Arrow Posts3591 Posts Per Day 0.51 |
Your first example (using secondary headings) is the best way to do it if the scenes are continuous. It reads very cleanly and makes the different rooms stand out so they're easy to find. The other options are acceptable, but placing the rooms in descriptions makes the changes harder to find and putting individual slugs for each room is tedious to read for a quickly changing scene. |
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ABennettWriter |
Posted: November 11th, 2007, 1:58am |
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Been Around
LocationSan Francisco, CA Posts864 Posts Per Day 0.14 |
I'm gonna ask this here since it's a slugline question.
I've started work on my first feature (WOO HOO!) and in the beginning, I have INT. ALEX'S BEDROOM.
Then around page 30, he flies back home, and now I have another INT. ALEX'S BEDROOM, for the scenes that take place in his childhood home.
I don't think this is okay. Should I do INT. ALEX'S APARTMENT - BEDROOM or INT. ALEX'S CHILDHOOD BEDROOM or INT. ALEX'S OLD BEDROOM or something else? For the rest of the childhood home, I've got INT. BECKY'S ____. Becky's his mom.
Thanks in advance! |
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Reply: 87 - 118 |
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Tierney |
Posted: November 11th, 2007, 4:23am |
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If you're using a lot of common interiors across different places I'd suggest something like:
INT. BEDROOM - ALEX'S APARTMENT INT. BEDROOM - ALEX'S CHILDHOOD HOME
When the scene report gets generated you have a consistent "place within location, location" format.
You can also reverse it to INT. ALEX'S APARTMENT - BEDROOM if you'd prefer.
It's just important to stay consistent with either "place within location, location" or "location, place within location" throughout the piece.
Hope that helps. |
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Reply: 88 - 118 |
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ABennettWriter |
Posted: November 11th, 2007, 1:11pm |
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Been Around
LocationSan Francisco, CA Posts864 Posts Per Day 0.14 |
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Reply: 89 - 118 |
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sniper |
Posted: August 17th, 2008, 3:36pm |
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Old Timer My UZI Weighs A Ton
LocationNorthern Hemisphere Posts2249 Posts Per Day 0.48 |
I just went through the "All About Sluglines" thread but couldn't find what I am looking for.
My question is this: When you have a long scene that switches to several location (and by that I mean in the same general area), should you use continous and is it even necessary to use DAY or NIGHT?
Example:
INT. HOUSE - NIGHT
John grabs his coat and opens the front door.
EXT. HOUSE - NIGHT
John exits the house and heads for
EXT. CORNFIELD - NIGHT
John runs down a narrow passage.
EXT. SHED - NIGHT
John spots a shed up ahead.
INT. SHED - NIGHT
John storms inside and hits the light.
Instead of night I could have used CONTINOUS (which I'm not going to do cos' it looks terrible) but is it even necessary to state the time of day when it's a long continous scene? Or should I just go for clarrity even though all the NIGHT-mentions really clutter up the script?
Cheers Rob |
| Down in the hole / Jesus tries to crack a smile / Beneath another shovel load |
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Reply: 90 - 118 |
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Sandra Elstree. |
Posted: August 17th, 2008, 4:15pm |
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Of The Ancients What if the Hokey Pokey, IS what it's all about?
LocationBowden, Alberta Posts3664 Posts Per Day 0.60 |
Sniper,
You are more experienced than me, but this is obviously a sequence; so my question would be: Might we label a sequence something like: "Escape Sequence Continuous - Night"?
Good question, because sluglines still confuse me-- especially when you've got someone looking out a window for instance, and the shots are back and forth. We might have a whole pile of back-and-forth sluglines that seem like a waste.
Sandra
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Reply: 91 - 118 |
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Scar Tissue Films |
Posted: August 17th, 2008, 4:21pm |
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Posts3382 Posts Per Day 0.63 |
It's not really necessary.
If you have established that it is NIGHT and then you simply change scene, it will be presumed that it is still the same time until the point that you change it to DAY again. |
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Reply: 92 - 118 |
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Sandra Elstree. |
Posted: August 17th, 2008, 4:44pm |
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Of The Ancients What if the Hokey Pokey, IS what it's all about?
LocationBowden, Alberta Posts3664 Posts Per Day 0.60 |
Yes, night would look terribly redundant and definitely clutter the script I think.
I've researched this and found out one possible solution:
Type in SERIES OF SHOTS as your slugline; then list them as an action sequence in ABC format.
He's on the run:
A. The barn, but vicious dogs race suddenly from the house
B. Turns sharply, scuttles a chain-link fence
C. Jumps down the other side as the dogs bark wildly
D. He hurdles over rough terrain and makes it to
E. His car where he guns it
The radio plays happy-dappy music while the engine roars and the tire's squeal.
It seems to me that this kind of formatting is less blocky looking then writing a bunch of Sluglines, but I really don't know.
Sandra
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Reply: 93 - 118 |
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bert |
Posted: August 17th, 2008, 5:43pm |
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AdministratorBuy the ticket, take the ride
LocationThat's me in the corner Posts4233 Posts Per Day 0.61 |
No, Dec's short answer is right Sandra. If the scene is "continuous" -- and I do not use that either, Snipe -- we do not need constant reminders that it is night. He can leave them off.
But what you've got is not quite right, Sandra. A "series of shots" -- kind of a second cousin to a montage -- are for actions that would be much to long to show in their entirety. Such as making a bomb, or cooking lasagne.
We would see everything in the action scene you've described -- being chased by dogs and scurrying up the fence would be scripted out in its entirety, and a series of shots would be inappropriate.
Not trying to be argumentative -- but a slight correction is warranted here to keep from muddying the waters. |
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Sandra Elstree. |
Posted: August 17th, 2008, 5:51pm |
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Of The Ancients What if the Hokey Pokey, IS what it's all about?
LocationBowden, Alberta Posts3664 Posts Per Day 0.60 |
But what you've got is not quite right, Sandra. A "series of shots" -- kind of a second cousin to a montage -- are for actions that would be much to long to show in their entirety. Such as making a bomb, or cooking lasagne.
We would see everything in the action scene you've described -- being chased by dogs and scurrying up the fence would be scripted out in its entirety, and a series of shots would be inappropriate.
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So the answer here is: Don't use continuous. And only use SERIES OF SHOTS To bridge time and/or action where it's too long to script the whole thing out in its entirety. Is that correct? Sandra |
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Reply: 95 - 118 |
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dogglebe |
Posted: August 17th, 2008, 5:54pm |
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If it's continuous, I don't think you need the sluglines at every scene. You can start with the first one and write every afterwards. When the story changes to the next 'chapter,' you use another slug line.
Phil |
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Reply: 96 - 118 |
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Murphy |
Posted: August 17th, 2008, 6:37pm |
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Quoted from dogglebe If it's continuous, I don't think you need the sluglines at every scene. You can start with the first one and write every afterwards. When the story changes to the next 'chapter,' you use another slug line.
Phil |
I would suggest going back to basics, the idea of a slugline is to highlight to the director, cinematographer, lighting dept etc... where this scene takes place. What they need to prepare and what they should expect etc.. So as long as you keep that in mind it should come quite naturally when deciding what to write in your slugs. i.e. unless the light changes then you do not need to mention a time of day. if however you next scene takes place later on in the evening then you do. Of course you would use the slug to denote a passage of time, i.e. the next day. This helps the props and wardrobe dept prepare for a change of clothes etc.. But this does mean that when action moves from say a parking lot to an indoor market then yes I would say you need to change the slug, a new location is needed. But if it is just generic action taking place outside in a series of streets/gardens etc. then probably not. So if you read your scene from the directors point of view and think that it would require a new location, and thus an extra days shooting, then yes you should add a slug. |
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Reply: 97 - 118 |
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bert |
Posted: August 17th, 2008, 6:39pm |
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AdministratorBuy the ticket, take the ride
LocationThat's me in the corner Posts4233 Posts Per Day 0.61 |
Nothing is absolute. Everybody does things differently. That is why it is so important to read scripts. You have to find what works best "for you".
I do not. I find it redundant, and it seems to have fallen out of favor lately anyway. That said, plenty of people use it, and they are not wrong to do so.
And only use SERIES OF SHOTS
To bridge time and/or action where it's too long to script the whole thing out in its entirety. |
Very generally, yes -- that is my understanding. A montage is big -- like a courtship between lovers, or a road trip across the country -- while a "series of shots" is smaller, like cleaning a house. That said, there are very likely to be different and better definitions out there. Look for "series of shots" in the scripts you read and see how it is utilized. |
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Reply: 98 - 118 |
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dogglebe |
Posted: August 17th, 2008, 6:53pm |
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Quoted from Murphy
I would suggest going back to basics, the idea of a slugline is to highlight to the director, cinematographer, lighting dept etc... where this scene takes place. What they need to prepare and what they should expect etc..
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When writing a shooting script, you should have sluglines everywhere. Things are different with spec scripts, though. Spec scripts should be an easy and quick read and such sluglines are just unnecessary hurdles. I remember reading a script, here, where a character left his bedroom and walked through several room before leaving his house. All the sluglines (and spaces around them) took up about three quarters of a page of paper. Completely unnecessary. Phil |
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Reply: 99 - 118 |
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Grandma Bear |
Posted: August 17th, 2008, 7:44pm |
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Administrator
LocationThe Swamp... Posts7962 Posts Per Day 1.35 |
Write a kick ass story. Make sure it's understandable and anyone can follow the action... That other stuff is details that not that many people really worry about... I'm now waiting for someone to tell you I'm soooo wrong and that the reader at the All Important Studio will throw your script away if you fuck this detail up. IMO, the most important thing is to make sure your first ten pages blows the reader away. If it does, no one gives a damned about details like that. That's just me though and I'm nobody. |
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Reply: 100 - 118 |
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dogglebe |
Posted: August 17th, 2008, 8:22pm |
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IMO, the most important thing is to make sure your first ten pages blows the reader away. If it does, no one gives a damned about details like that. |
Keep in mind that, while this is very true, adding unnecessary sluglines and other formatting thingies will take away from the story.
That's just me though and I'm nobody. |
You're someone to me, Pia. Phil |
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Reply: 101 - 118 |
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bert |
Posted: August 17th, 2008, 8:31pm |
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AdministratorBuy the ticket, take the ride
LocationThat's me in the corner Posts4233 Posts Per Day 0.61 |
That other stuff is details that not that many people really worry about... |
You may be right, but Sniper asked a very specific question that deserved a response, and even sparked a little discussion. We are all aware of the recent trend to "buck" the rules a bit, but let's not go leaping onto every thread shouting "rules be damned!" when a formatting discussion is going on, OK? |
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Reply: 102 - 118 |
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Mr.Z |
Posted: August 17th, 2008, 9:30pm |
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Been Around
LocationBuenos Aires - Argentina Posts743 Posts Per Day 0.11 |
Rules be dammed! |
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Reply: 103 - 118 |
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Sandra Elstree. |
Posted: August 17th, 2008, 10:27pm |
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Of The Ancients What if the Hokey Pokey, IS what it's all about?
LocationBowden, Alberta Posts3664 Posts Per Day 0.60 |
I think it comes down to the old "know the rules first before you break them".
First, I'll try and learn how to color inside the lines, and then someday I might paint a masterpiece.
But first, I have to... What was it I was going to do? Oh yeah! I gotta go buy some more Crayolas.
Sandra
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Reply: 104 - 118 |
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sniper |
Posted: August 18th, 2008, 1:39am |
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Old Timer My UZI Weighs A Ton
LocationNorthern Hemisphere Posts2249 Posts Per Day 0.48 |
Hey guys, Thanks for all your input.
It's not really necessary.
If you have established that it is NIGHT and then you simply change scene, it will be presumed that it is still the same time until the point that you change it to DAY again. |
That's exactly how I feel. I did that in one of my script but a reviewer pointed out that my slugs didn't have time of day (even though the opening slug did), so I got unsure about that.
Quoted from dogglebe I remember reading a script, here, where a character left his bedroom and walked through several room before leaving his house. All the sluglines (and spaces around them) took up about three quarters of a page of paper. Completely unnecessary. |
I totally agree with you, Phil. However, the way I see it, that would mainly work with INT. shots.
Oh, I will!! |
| Down in the hole / Jesus tries to crack a smile / Beneath another shovel load |
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Reply: 105 - 118 |
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Sandra Elstree. |
Posted: August 18th, 2008, 2:01am |
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Of The Ancients What if the Hokey Pokey, IS what it's all about?
LocationBowden, Alberta Posts3664 Posts Per Day 0.60 |
Hey guys,
Thanks for all your input.
That's exactly how I feel. I did that in one of my script but a reviewer pointed out that my slugs didn't have time of day (even though the opening slug did), so I got unsure about that.
I totally agree with you, Phil. However, the way I see it, that would mainly work with INT. shots.
Oh, I will!!
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Let us help you edit and revise it and then give us a teensy tinesy reference of some sort and we'll be happy. Lots of good vibrations at ya!!! Sandra |
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Reply: 106 - 118 |
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JonnyBoy |
Posted: May 20th, 2009, 11:43am |
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January Project Group
LocationLondon, England Posts994 Posts Per Day 0.18 |
Hey guys, again I'm choosing to revive an old thread rather than start a new, probably uneccessary and short-lived one.
I'm back to writing my first feature, and actually am making some pretty good progress with it. I have a quick question about the distinction between SERIES OF SHOTS and MONTAGE. I have three bits of the script that will use either of these devices, depending on which is appropriate. Two of them I've written - one near the opening of the story, and one near the end (I've written the beginning and end am now filling in the middle - weird, huh?). Rather than try and describe them and get into a whole theoretical debate, I'm just going to paste them in here and ask you which would be more appropriate.
Both of them are compressed journeys characters take across London. Both are SERIES OF SHOTS...for now.
Sequence One:
- Charlie puts his Tube ticket into the barrier. It doesn't work. He tries again. It doesn't work. A TFL STAFF MEMBER comes over to help him out.
- Sam and Charlie stand on a Tube platform.
- Sam and Charlie stand in a crowded, swaying Tube carriage. Sam glances sideways at Charlie, who looks glum.
- Sam and Charlie ascend on an elevator.
Sequence Two:
- Charlie closes the door to Maria's house. He walks away, turning once to look back as he keeps walking.
- A Tube train pulls into a quiet platform. Its door open, and Charlie boards.
- Charlie walks up to Sam's house, puts the key in the lock.
- Charlie closes the front door, glances around the quiet, empty hallway.
- In Sam's bedroom, Charlie finishes packing his suitcase. He puts the lid down, begins to zip it up.
- Charlie exits through the front door, locks it, and puts the keys through the letterbox. He grabs the suitcase handle and heads off down the street.
- Charlie sits in a quiet Tube carriage, his suitcase in the adjacent seat. He stares straight ahead, in a world of his own.
The section in the middle - where one character (Maria) shows another (Charlie) round her favourite bits of London - feels like it would be more appropriate as a montage. I haven't written it yet, so we'll see. But the two above are more 'series of shots' type material...yes? Or am I way off?
Basically, are the two above sequences best put as
A) SERIES OF SHOTS or B) MONTAGE
Cheers guys. I really want to finish this! |
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Reply: 107 - 118 |
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Sandra Elstree. |
Posted: May 20th, 2009, 1:17pm |
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Of The Ancients What if the Hokey Pokey, IS what it's all about?
LocationBowden, Alberta Posts3664 Posts Per Day 0.60 |
Hello Johnny,
Michael Cornetto once elaborated that a montage is usually used as a "time passage" device. For instance, a child growing up-- showing the relevant parts you want to show. It might be "how a criminal became a criminal", with relevant moments depicted. In this way, the action is drawn with a kind of connectivity to prove one point.
One way "Series of Shots" is used is to tell a story within the greater story. It has dramatic action and/or resolution.
Sandra
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Reply: 108 - 118 |
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JonnyBoy |
Posted: May 20th, 2009, 1:41pm |
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January Project Group
LocationLondon, England Posts994 Posts Per Day 0.18 |
So...my sequences should be montages? Or is the passage of time they are depicted too short? |
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Reply: 109 - 118 |
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Sandra Elstree. |
Posted: May 20th, 2009, 2:32pm |
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Of The Ancients What if the Hokey Pokey, IS what it's all about?
LocationBowden, Alberta Posts3664 Posts Per Day 0.60 |
So...my sequences should be montages? Or is the passage of time they are depicted too short? |
There's a fine point here that I think needs to be discerned. In the case of your above examples, it would seem to me that they are more "series of shots". The reason why, is because they seem to exist to "move" the character along in time and place, but they're not necessarily to serve some "grand idea". Right now, it seems to me that a montage is more of a "grand notion". Like a wedding sequence montage. Or a "touring Paris" montage. That's the way I'm thinking of it, but I could be wrong. For instance, I haven't read the script, but in the last Bourne movies, it would seem to me that you've got a lot of "series of shots" that help us to identify "where" we are and move from place to place with the character, but they're not all "la-te-da this is "the mood and feeling" type with a definite context. Wait and see back for some more responses on this because I know it can be confusing. Sandra |
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Reply: 110 - 118 |
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michel |
Posted: May 20th, 2009, 2:32pm |
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Old Timer
LocationFrance Posts1156 Posts Per Day 0.18 |
I think the difference between MONTAGE and SERIES OF SHOTS is: as said before MONTAGE is to tell a short cuts of a story. (i.e. the "Ain't No Sunshine" sequence in Notting Hill) SERIES OF SHOTS can be at ramdom. A bit of this, a bit of that, a little bit of this... with no evident pattern. Michel |
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rendevous |
Posted: May 20th, 2009, 2:38pm |
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Old Timer Away
LocationOver there. Posts2354 Posts Per Day 0.43 |
I'd say the first sequence is fine, it makes sense as it is. As for the second one as long as you've scenes in Sam's house, bedroom etc before this sequence then it should be fine too. Hope that makes sense. |
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JonnyBoy |
Posted: June 2nd, 2009, 10:14am |
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January Project Group
LocationLondon, England Posts994 Posts Per Day 0.18 |
Okay, another question now. Rather than getting involved in the big, sweeping, theoretical arguments, I think I'm just gonna stick to asking specific questions I don't know the answers to.
Do we like bold, under-lined sluglines? I mean as a community, are you against them, or are they an okay personal choice?
Because a lot of professional scripts seem to have them, and I actually think they look good and work really well - help to highlight the beginning of a new scene, give a bit a visual variety. I also remember Rob used them on his latest script (Escape from the Killing Fields), and I think they worked pretty well there.
I'm trying out the first few pages of an action/horror/comedy script - finished exams, had a good idea and thought I'd try it out, also practising writing action sequences - and think they look good. My question, I suppose is this: if I were to use them in a script, would you comment on them? And if so, why? I understand that 'we sees', camera direction etc. can be accused of taking the reader out the story, but what's the problem with bold, underlined sluglines?
Cheers. |
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Reply: 113 - 118 |
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Why One |
Posted: June 2nd, 2009, 10:46am |
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I can imagine people here being bothered by bold slugslines. But I don't think the industry batters an eyelid to them as I've seen them quite a number of times in specs by newbies. But then again, I can't speak for the industry. |
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sniper |
Posted: June 2nd, 2009, 11:03am |
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Old Timer My UZI Weighs A Ton
LocationNorthern Hemisphere Posts2249 Posts Per Day 0.48 |
Do we like bold, under-lined sluglines? I mean as a community, are you against them, or are they an okay personal choice?
Because a lot of professional scripts seem to have them, and I actually think they look good and work really well - help to highlight the beginning of a new scene, give a bit a visual variety. I also remember Rob used them on his latest script (Escape from the Killing Fields), and I think they worked pretty well there. |
It's definitely a matter a taste but I personally think the bold/underlined slugs more clearly separate the different scenes. Plus, a few of the pro scripts I've read lately also uses the bold/underlined slugs (that's actually what inspired me to use them). I would not comment on them either way. |
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steven8 |
Posted: June 3rd, 2009, 2:55am |
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Old Timer The Ed Wood of Simply Scripts
LocationBarberton, OH Posts1156 Posts Per Day 0.22 |
I have not read this entire thread, so this may be covered already, but what is the difference between a master scene heading and a slugline? |
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sniper |
Posted: June 3rd, 2009, 2:57am |
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Old Timer My UZI Weighs A Ton
LocationNorthern Hemisphere Posts2249 Posts Per Day 0.48 |
Those are the same, Steven. |
| Down in the hole / Jesus tries to crack a smile / Beneath another shovel load |
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steven8 |
Posted: June 3rd, 2009, 3:04am |
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Old Timer The Ed Wood of Simply Scripts
LocationBarberton, OH Posts1156 Posts Per Day 0.22 |
Thank you. |
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