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

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

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.

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

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.

Quoted from bert 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.

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

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

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.

Quoted from Sandra Elstree. So the answer here is:

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".

Quoted from Sandra Don't use continuous.

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.

Quoted from Sandra 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.

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..

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

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.  

Quoted from Grandma Bear 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.

Quoted from Grandma Bear That's just me though and I'm nobody.

You're someone to me, Pia.


Phil

Quoted from Grandma Bear 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?  

Rules be dammed!

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