I never use CUT TO or SMASH CUT TO. Are they important? How i use them and when? How to format them?

Also i use Celtx, and i cant find them ( not even CONTINUES). I mean these programs format your text automatically , so if i can find them it will be easy to format them correcly.......

Thanks in advance............

Dimitris,
The use of Cut to and smash cut as well as (continue) are no-no's in a spec script. These are usually reserved for produced scripts. As to the use of Celtix writing program, it is under the script options, then format option.

It's there, but don't use it. Not on a spec script.

Hope this helps.

Shawn......><

Dimitris

No.  Not important.  Do some people use them, yes but personally, I think it's unnecessary.  Wasted space.  

Your whole point is to tell a story.  PERIOD.  If that makes since.  As long as you have the FADE IN and FADE OUT, you should be fine.

I use Movie Magic Screenwriter.  I love it.  Celtix is generic, yes I know alot of people who do use it because it's free.  Which is good but it has too many kinks.  They need to work them out.

Good Luck,

Ghostwriter 22

The only "CUT" you should use in a spec script is INTERCUT. The rest are pointless.

Thanks guys.

These are the kind of things i wish to hear. Its very helpful for me not to use them.......
A relief........

I've used Cut To in The Key for one reason. A couple of sweary characters are swearing a lot duing an argument. So they carry on swearing and we CUT TO the next scene as we get the idea. Normally I wouldn't, but it was quite funny. Well, I thought it was.

My advice is Fade In, tell the story then Fade Out and stick to those if possible.

RV

Quoted from rendevous I've used Cut To in The Key for one reason. A couple of sweary characters are swearing a lot duing an argument. So they carry on swearing and we CUT TO the next scene as we get the idea. Normally I wouldn't, but it was quite funny. Well, I thought it was. RV

I think it's also interesting to note RV your use of Cut To at that point (from memory) imo acts as a break in rhythm. Maybe you're saying the same thing?

Dimi, I think in this case (Check out The Key) this example works quite well (it functions as a breather before a completely different scene comes into play)and it's not intrusive unless you make a habit of using it over and over, which would not be right.

If they're used sparingly - I know it falls under the category of 'directing' but jump-cuts/smash-cuts etc. if you know what you're doing well, once again they can add colour to what you're trying to 'show' us.

Loosen up, try it out - or not. Bugger the 'rules' - I sometimes say. And then, sometimes it's better to stick to them.

Minimal use - that's the safe road - especially to begin with.

Quoted from L C Dimi, I think in this case (Check out The Key)

She's right you know. You should. She's a wise girl that one...

For God's sake don't mention Celtx! Balt'll come in here swinging...

Yeah, it's definitely a case of 'best used in extreme moderation, if at all'. I understand it's best to avoid this kind of 'directing off the page' in spec scripts - if you use it brilliantly, and get away with it, then good for you. But most of the time, it'll just some off as uneccessary.

Ok i read the Key.....
I fully understand how you use the CUT TO , nice example , but i feel there is a way to do the same thing without it. The transition between the scenes makes the trick.

Nice script by the way, i will read the two sequels too.

CUT TO is actually really pointless if you think about it. When you put up a new slugline, you're basically cutting from one scene to another. CUT TO has a brother called DISSOLVE TO as well, which tells the real story of what it's for. These are editing directions. Typically a CUT is a hard transition from one scene to another going on at bout the same time. A DISSOLVE is a transition from one time frame to another (usually later). A SMASH CUT is exactly the same as a CUT except that it's used to indicate an unexpected scene end and an abrupt beginning to the next. For instance, the end of the Final Destination visions are SMASH CUTS since they end abruptly and the character immediately does the jump thing one does after a disturbing dream (or at least they do in movies which means they really do, right? Right?).

Now, the one that I find some measure of value in is MATCH CUT. MATCH CUTs are beautiful things when they work. Basically you end one scene with a certain visual and the next scene's opening visual matches to it. Apocalypse Now matches the helicopter blades to the spinning ceiling fan. Goldeneye matches traveling through a rifled gun barrel to the road. A lot of movies use doors opening and closing. Now a good director will find MATCH CUTs on his own, but coming up with a clever one in the script is rather nice if you have one that works.

Format-wise, these all go at around 4.5 to 5 inches in from the margin (or 5.5 to 6 inches from the edge, if you prefer) or they can be left-justified.

Quoted from George Willson Now a good director will find MATCH CUTs on his own, but coming up with a clever one in the script is rather nice if you have one that works.

Spot on as usual George. Good work fella.

Quoted from George CUT TO is actually really pointless if you think about it. When you put up a new slugline, you're basically cutting from one scene to another. .

I don't agree that they're pointless. You make some excellent points, but in the example I used of RV's I still believe it is more effective 'on that specific page' and more effective than a simple change of slug for the reader.

Quoted from George CUT TO has a brother called DISSOLVE TO as well, which tells the real story of what it's for. A DISSOLVE is a transition from one time frame to another (usually later).

Likewise with dissolves if used occasionally they do just that - give the reader a specific 'view in time' of what's occuring and convey that time change more efficiently for the reader. So, I think you're saying there is a place for them. Right, George?

Quoted from George These are editing directions. A SMASH CUT is exactly the same as a CUT except that it's used to indicate an unexpected scene end and an abrupt beginning to the next. For instance, the end of the Final Destination visions are SMASH CUTS since they end abruptly and the character immediately does the jump thing one does after a disturbing dream (or at least they do in movies which means they really do, right? Right?).

Absolutely right. So aren't you saying in the right hands (i.e. a really capable writer) they're indeed adding another dimension to the screenplay.  Not trying to be argumentative here.

A director is going to do what he/she decides regardless -but in some of the screenplays I've read their addition means the finished product reads beyond a boring old 'I'm going to stick every rule 'spec script.'

Quoted from George Now, the one that I find some measure of value in is MATCH CUT. MATCH CUTs are beautiful things when they work. Now a good director will find MATCH CUTs on his own, but coming up with a clever one in the script is rather nice if you have one that works.

Again, couldn't agree more.

AND, I'm not suggesting a novice pack all these into their script.

I just love them when they're done well.
When they're done badly - it can be a complete mess.

Dimitris, sounds like you're going to keep it spare anyway which is good. I'll bow out now - just mho.

Quoted from LC So aren't you saying in the right hands (i.e. a really capable writer) they're indeed adding another dimension to the screenplay.

True, but the capable writer will create the illusion of a SMASH CUT without ever using the words SMASH CUT. The same thing goes for DISSOLVE - which is actually extremely easy to re-create on paper.

Just like with everything else in a screenplay...show - don't tell. Show me a SMASH CUT, don't tell me.

Having said that, even the most capable writer will never truly create the "SMASH CUT" effect on paper as well as you can in a movie. In the movie, a SMASH CUT involves more than just cutting from one scene to the next, 9 times out of 10 it also involve a sound - be it music or a sound effect.

I agree with what LC is saying.

I use the CUT TO for rhythmic and dramatic purposes.  There are a number of ways to use them.

One example could be building suspense in a scene where a character is about to be attacked from behind by an axe wielding murderer.  As the murderer raises his axe behind our character, we CUT TO another scene where something else is happening.  Maybe a meat cleaver coming down on a chopping board.