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Hey Everyone. Chad here. This is only my second post to the site, but I have learned a lot from countless hours of loitering. So, thanks. I am in every sense a newbie screenwriter. Anywho, got a couple questions I'd like to ask. I am currently working on an Independent spec script. Drama. Some action. I envision long camera shots and single takes. As opposed to quick cut Hollywood type movies. Often in Indy movies we see random shots of trees or maybe someones house. Could be anything really. Doesn't really matter. That's not the point. Is it our job as the screenwriter to write those random little scenes? How would you even write that? EXT. PAUL'S HOUSE - DAY
A shot of Paul's house.
Then go to the next scene? Seems to me like that might clutter up a screenplay and become an annoyance to someone trying to read it. Is it the writers job to leave out those shots and let the director choose those scenes based on tone? Geez, I hope that made sense. Ok question two. I promise to make it quicker. Three people in a room. You only want to show one of them at a time. Without the reader knowing about the other people until it is their turn to show up on screen. Make sense? Probably not. Anyway, I feel like the only way to accomplish this would be to start the scene with a closeup shot of someone. Seems fine but I sorta remember hearing spec scripts shouldn't contain things likes zooms and closeups. Is this correct? Any other way to write this? Whoo....Thank you to anyone who has read all this. I appreciate any and all replies.
Don't write it as if you're directing it...unless you are directing it. Leave out the unnecessary scenes but keep in mind that many of these unnecessary scenes are more important than you think. And, unless you're directing, leave the 'long camera shots' out.
In many of the Harry Potter films, they always show that willow tree with a bad attitude. Why? Because those shots tell us what time of year it is. If there's snow on the tree, it's obviously winter. If birds are trying to nest, it's obviously spring.
As the writer, your job is to tell us the story. That's all.
Three people in a room. You only want to show one of them at a time. Without the reader knowing about the other people until it is their turn to show up on screen.
Introduce your characters as they become important in the script. If the bar has ten people in it, don't list them all up front; no one will remember their names if the don't become relevant for five or ten pages.
And, for the love of God, don't describe someone in a bar by telling us their job (unless they work in the bar).
JOE (45), a proctologist, raises his scotch to his lips.
A lot of writers will tell you not to direct the film in your script. The reality is that you are directing a film to a certain degree no matter what you write. Just writing dialogue is telling the director what the characters are going to say. You can't write what we see on screen without telling the director what we’re going to see on screen.
The reason you shouldn’t put a bunch of camera angles in your script is because there are lots of ways to shoot something. It’s pointless for the writer to be so confining when you have no idea what the best way to shoot the scene will be at the actual time it’s shot.
A writer simply can’t write every little detail of a film out on paper. It’s more important for you to set the tone of the film. If you paint the picture right, readers will get your meaning.
Writers should never expect to be able to write exactly everything that will be seen on screen, or that it should never change. One of the first things that will happen when someone is interested in your script is they will start talking about changes. It’s pointless for a writer to be married to any part of your script.
Just write the story as succinctly as you can. Set the tone of the story as best you can. Accept that it will probably never be made into a film exactly the way you envision it.
Scripts have to be designed to withstand change. The more set in stone your script is, the less it can be adapted to whatever conditions the filmmakers are faced with. If you put yourself into a position such that you have to find filmmakers for whom your script is an exact match, that will reduce your odds of getting your script produced to near zero in a market where the odds are already stacked against you. You need every advantage.
Could be anything really. Doesn't really matter. That's not the point. Is it our job as the screenwriter to write those random little scenes? How would you even write that?
Those scenes do matter. They're there for a reason. They're messages that guide you subconsciously, create linkages etc. So the answer to your question is: you write them with function in mind.
It is your job, as a screenwriter, to come up with an effective, yet clean way to introduce your characters. Want 30 characters in your movie? Make us care by introducing them in memorable ways... Don't string everyone together like they're pieces of popcorn or a paper chain.
It is your job, as a screenwriter, to come up with an effective, yet clean way to introduce your characters. Want 30 characters in your movie? Make us care by introducing them in memorable ways... Don't string everyone together like they're pieces of popcorn or a paper chain.
What if you're writing The Human Centipede (Second Sequence)?
What if you're writing The Human Centipede (Second Sequence)?
Ha, bizarre... I haven't read the script, but the movie was an abstract time. It was one of those movies where you sit back after it's over and reflect on why it upsets you. I don't want to crop it into the same picture as "Last House On the Left", "The Hills Have Eyes", "I Spit On Your Grave" (The originals, not the worthless remakes) and countless others... but it certainly left me with the same vibe. Very depressing.
I have a funny story using this quote... Well, actually it's sad.
When I was a kid, about 12 or 13, I really liked this girl and somehow she ended up at my friends house with some of her friends. Well, I really liked her but she wasn't into me at all... But she liked my friend. I got mad and huffy about it, I think, looking back on it I probably just watched "Pretty n' Pink" for the millionth time -- But that's neither here or there. Anyways, I got upset... Jelly, perhaps, and locked myself in his room and refused to come out. Very humiliating talking about this in retrospect, but I found a Garfield book in his room and wrote "Eat Shit & DIE" on it... Shoved it underneath the door open faced.
I musta sat in the room for 2 hours before anyone came to check on why I was so butt hurt. She found the book and took it back to the others and I heard universal laughter coming from the living room. This went on for awhile too. When I finally gave up on them feeling sorry for my stupid ass I went out to confront them -- My eyes were probably pink and misty too -- But I didn't care. Then they showed me what I wrote...
It wasn't "EAT SHIT & DIE" rather it was "EAT SHIT & DYE". Why am I telling you all this? Well, I thought it would break whatever tension and turmoil you may have and have a good laugh at my expense.
Well, I thought it would break whatever tension and turmoil you may have and have a good laugh at my expense.
That was extremely kind of you Balt. But I'm not tense and I'm pretty sure Murphy isn't either (I could, of course, be wrong about that but I don't think so).
However, I have to ask, Balt. Are you ok? Ever since you came back you've been so, well, nice. And it's not like I'm complaining about it or anything but it's just very different than you were before. So me and I'm sure a bunch of other people are curious, what happened?
I know I can always depend on Mr C. to know when I am joking, my sense of humour causes me trouble from time to time but I do hate pointing out I am joking when making a joke, It always seems such a waste.
A lot of writers will tell you not to direct the film in your script. The reality is that you are directing a film to a certain degree no matter what you write. Just writing dialogue is telling the director what the characters are going to say. You can't write what we see on screen without telling the director what we�re going to see on screen.
The reason you shouldn�t put a bunch of camera angles in your script is because there are lots of ways to shoot something. It�s pointless for the writer to be so confining when you have no idea what the best way to shoot the scene will be at the actual time it�s shot.
A writer simply can�t write every little detail of a film out on paper. It�s more important for you to set the tone of the film. If you paint the picture right, readers will get your meaning.
Writers should never expect to be able to write exactly everything that will be seen on screen, or that it should never change. One of the first things that will happen when someone is interested in your script is they will start talking about changes. It�s pointless for a writer to be married to any part of your script.
Just write the story as succinctly as you can. Set the tone of the story as best you can. Accept that it will probably never be made into a film exactly the way you envision it.
Scripts have to be designed to withstand change. The more set in stone your script is, the less it can be adapted to whatever conditions the filmmakers are faced with. If you put yourself into a position such that you have to find filmmakers for whom your script is an exact match, that will reduce your odds of getting your script produced to near zero in a market where the odds are already stacked against you. You need every advantage.
Good luck.
Breanne
I couldn't have said it better myself. @ the OP, listen to Breanna. She knows what she's talking about.
However, I have to ask, Balt. Are you ok? Ever since you came back you've been so, well, nice. And it's not like I'm complaining about it or anything but it's just very different than you were before. So me and I'm sure a bunch of other people are curious, what happened?
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Awesome question about scenes!
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