I was wondering which is the best way to write multiple actions in a scene.


EX.1

Ext. House
Joan walks up the stairs. Jack sits on the couch and unfolds his paper.


or

EX.2

Ext. House

Joan walks up the stairs.

JACK
Sits on the couch and unfolds the paper.



I think the latter is more for when you need to emphasize in a scene. So what is the best way to write multiple shots in a screenplay?

This is a problem for me as well; that and also montage sequences.

I understand the idea of intercut, but what about really fast paced choppy scenes?

Must the writer begin each new scene with a new slugline?  It does seem entirely reasonable for filming, but it's distracting to read.

Any information or examples of these kinds of dilemmas would be appreciated.

Sandra

If you were to use either of the examples you've written, you'd have Jack sitting on a couch and reading the paper outside.

EXT. HOUSE - DAY

Joan walks up the front steps.  Through the window she sees, JACK (capitalized if this is the first time he's seen).  He sits on the couch and reads a newspaper.

Really fast paced choppy scenes should get a new slugline, unless you're in the same building, like a house.  I think then you can get away with using just the room name.  I normally do full slugs myself, though.

Thanks Mike.

It really does make sense.  Whenever you change locality, there's the whole physical change aspect, so purely from the filming aspect, once you've got the room set up and the actors there, you could obviously (possibly) film every scene done in "that" room from the beginning to end of the movie, demolish that set and it wouldn't make any difference.

So, I guess there is a whole set of individuals whose job it is to dissect scripts and decide how many "John in Living Room" scenes there are etc... And if John's in his living room, we'de better well know it clearly by the big capital letters.

Thanks.

Sandra

Quoted from Sandra Elstree. Must the writer begin each new scene with a new slugline?  It does seem entirely reasonable for filming, but it's distracting to read.

When writing a spec script, you only use slug lines when the story breaks.  IN the example you gave, you can just write it as:

EXT.  HOUSE

Joan walks up the front steps and opens the doors.  Inside, she sees Jack sitting on the couch.

You don't need a second logline as the story is still flowing.

Quoted from Sandra Elstree. So, I guess there is a whole set of individuals whose job it is to dissect scripts and decide how many "John in Living Room" scenes there are etc... And if John's in his living room, we'd better well know it clearly by the big capital letters.

In a shooting script, each location is given a logline and is numbered.  Someone keeps tabs on when each location is used so all the livingroom scenes (scenes: 3, 6, 11, 14, 18, etc) can be shot together.


Phil

Yes, that makes sense.

I'm wondering: In the example that "theprodigalson" gave, we've got the instance of the Ext. of the house being filmed with Joan walking up the steps.

And, we've addressed how it would be filmed from her point of view: looking in the window at Jack.

However, I'm considering how it would be written separately:

INT. JACK'S LIVING ROOM

Jack sits on his couch, unfolds his paper and HEARS FOOTSTEPS.

EXT. JACK'S HOUSE

Joan walks up the stairs and knocks.

INT. JACK'S LIVING ROOM

Jack's reaction to the visitor is wary.  He contemplates answering the door.

EXT. JACK'S HOUSE

Joan knocks harder.

Joan

Jack!  Are you in there?

My question is: What is the best way to handle a scene like this.  Is it more correct to write Intercut?

Sandra

Just use the opening header.  The rest aren't needed until you write a shooting script.


Phil

Thanks for the help guys.