How would you write a script segment for walking into a building with a labeled door from outside?  I kind of used the John August example for computer screens here- https://johnaugust.com/2005/formatting-text-shown-on-screen

So this is my approach, is it right?  If not how would you do it?

EXT. OFFICE TOWER - DAY

William sheepishly walks towards an upscale office building.  He buttons up his jean jacket, brushes his hair with his hand and straightens his sleeves as he is certainly no match for the dress code that is expected inside.  

He reaches the main entrance.

ON THE DOOR

GRANT TOWER:  LUXURY PRIVATE OFFICES

ON WILLIAM

William tries to open the door, but it opens electronically, slowly as if sensing that he does not belong.  He enters.

INT. OFFICE TOWER - DAY

William finds himself inside a lavishly decorated atrium, with marble pillars reaching three stories high.  He is immediately approached by a SECURITY GUARD...

--it seems like this is a lot for just entering a Building- 2 whole scenes.  But what do I know?

thanks

How about starting with the door and eliminating the building entrance scene? We’re going to get how great the building is from the inside decor.

You can put grant tower on a door sign?

Like: “grant tower luxury private offices is on the door tag.”

Gabe

Here's how I've done it. This is the opening line to the feature version of my Cyborn script.

INT. GRIMY CORRIDOR - DAY

A frosted-glass door declares this is the office of BRAXX DRYDEN - PRIVATE A.I.

INT. BRAXX DRYDEN’S OFFICE - DAY

etc. etc.

You're right that the script should not call this out as a distinct shot unless there is a very specific story-related reason to do so, and it doesn't sound like there is. Just give the information in action, and let the director decide how to weave it in.

My variation on the technique Mark mentioned:

EXT. GLASS HOUSE - NIGHT

A gloomy night blankets an old Georgian-style mansion at the top of a wooded hill surrounded by stone walls. A dull light illuminates the mansion’s many windows from within.

The gate opens automatically for a black limousine which stops near the main entrance. Engraved above the entrance is the name GLASS and a family crest.

Quoted from FrankM You're right that the script should not call this out as a distinct shot unless there is a very specific story-related reason to do so, and it doesn't sound like there is. Just give the information in action, and let the director decide how to weave it in. My variation on the technique Mark mentioned: EXT. GLASS HOUSE - NIGHT A gloomy night blankets an old Georgian-style mansion at the top of a wooded hill surrounded by stone walls. A dull light illuminates the mansion’s many windows from within. The gate opens automatically for a black limousine which stops near the main entrance. Engraved above the entrance is the name GLASS and a family crest.

Agreed.  This is how you want to do it.

Like both Mark and Frank's suggestions. They are concise and clear

Is it necessary to say Grant Tower: Luruxy Private Offfices?

Aren't all offices private pretty much?

What is a luxury office? I've been in luxurious tower offices of a law firm, but I'm not sure it would ever say this on a high-rise, which probably has all kinds of offices.

Just wondering if you can show here instead of tell. It seems what you're trying to accomplish is that the character is underdressed and uncomfortable because of it.

Is the script comedy or drama/something else?

You can show a group of expensively-dressed people leaving, and right after he tries to adjust his own clothes.

As far as formatting, make it clear and simple, as with the suggestions. Or any way that is clear and allows the reader's eye to go down the page quickly.

Agree with Frank and Mark also. No need to give camera directions in a spec.

You can also write it as part of the action

Joe enters a door that reads “John Doe, Private Eye”

Yeah, that's too much.  Remember our job as writers is to tell WHAT happens, not HOW it happens.  Some color commentary is okay if it helps paint the mood or atmosphere you're going for, but don't over-do it.  Remember the KISS rule.

EXT. GRANT TOWER - DAY

Thirty shimmering floors of office luxury.  William approaches, clearly out of place in his modest jean jacket.  He self-consciously straightens his sleeves and pats down an errant lock of hair.  Gathering his nerve, he tries the electronic door -- only for it to resist, as if to remind him that he doesn't belong here, before slowly opening itself.

INT.  GRANT TOWER ATRIUM - DAY

William enters to lavish decorum and magnificent marble pillars, and is immediately confronted by a SECURITY GUARD.

Not saying this is exactly how you should write it, but it gets across all the information you're trying to convey in 1/3 of the page space, and without a single camera direction, "angle on," insert or any other trick writers often use to try and direct the scene.

Good luck. Keep writing.