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Alan_Shore posted:Rise from your grave! 1) No rule that you can't use quotation marks in scene headings. If "Bruce" is your main ship though (that the protags fly on for instance), I think INT. "BRUCE" - SUBSECTION is plenty enough, especially if you lead with describing "BRUCE" pretty much off the bat. And yes, for consistency's sake italicizing in dialogue in action is a good practice but not really required. 2) Well treat other ships as you would characters or enemies. Is that one important? If it's a chase scene do I need to know that our heroes are outrunning "Stallion" and "Bushwhack"? Or are they just 2 generic spaceships chasing them that'll eventually crash into some asteroids or something? And on the other side of the coin, would you not say name the enemy flagship, and describe it in detail as much as you would any other character? 3) It's all up to you but again, formatting doesn't really matter as long as it's clear where we are. I've read scripts where it takes place almost entirely on a ship so they never even bother with proper scene headings and just go like "CUT TO CIC", "CUT TO BRIDGE", etc. If you're jumping back and forth from other ships or planetside or other characters in different locations then best practice would be to keep your sluglines clear.
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Jun 8, 2016 19:53
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Are there any forums or online communities for screenwriting that aren't totally bad? Maybe a slack channel or something? I feel like I want to network and critique scripts but most of what I've seen, like most writing communities in general, is either really small, dead, or kinda lovely.
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Jun 11, 2016 05:21
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http://www.clickhole.com/article/hollywood-screenwriters-share-their-best-writing-t-4456 Are tents INT. or EXT:? What about cars?
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Jun 13, 2016 02:04
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My general rule is enclosed space = interior, but people will know what you mean either way you write, jokes from Clickhole aside.
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Jun 13, 2016 02:23
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FreudianSlippers posted:http://www.clickhole.com/article/hollywood-screenwriters-share-their-best-writing-t-4456 Tents - INT Cars INT/EXT (since how they'll usually end up getting shot, unless you have some specifics about never seeing the outside of the car)
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Jun 14, 2016 08:02
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Baby Babbeh posted:Are there any forums or online communities for screenwriting that aren't totally bad? Maybe a slack channel or something? I feel like I want to network and critique scripts but most of what I've seen, like most writing communities in general, is either really small, dead, or kinda lovely. Would also love to know this as well. Any community I've come across is subpar at best. I would definitely get involved in a slack channel or something similar. We writers need to keep each other accountable!
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Jun 16, 2016 00:25
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I was just reading on Screencraft that now you should have a TV show script in the bank as well as a movie because a lot of agents won't touch you unless you can prove you can do TV. TV/Netiflix is the bees' balls right now, but do you agree? Guess I'd better think of a poo poo hot TV prospect... *procrastinates, crying wank until unconscious*
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Jun 23, 2016 17:49
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I'm the opposite right now, can't really come up with a feature length script to save my life, but I could probably slap a pilot together in a reasonable amount of time.
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Jun 23, 2016 17:59
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Alan_Shore posted:I was just reading on Screencraft that now you should have a TV show script in the bank as well as a movie because a lot of agents won't touch you unless you can prove you can do TV. TV/Netiflix is the bees' balls right now, but do you agree? Guess I'd better think of a poo poo hot TV prospect... *procrastinates, crying wank until unconscious* TV is where you make money these days, that's why agents want TV talents.
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Jun 24, 2016 23:45
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Is it possible to write scripts anywhere and make a living? I live in Asia but would like to try my hand at screenwriting but I don't particularly want to move to the United States, I just wanted to know if it might be feasible.
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Jun 27, 2016 08:23
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I guess it's possible but very, very improbable.
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Jun 27, 2016 11:22
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Apocron posted:Is it possible to write scripts anywhere and make a living? I live in Asia but would like to try my hand at screenwriting but I don't particularly want to move to the United States, I just wanted to know if it might be feasible. If you can get involved in your local filmmaking scene it's... theoretically possible. It won't be easy. If you're not fluent in the local language it'll be super difficult.
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Jun 27, 2016 11:50
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I mean could I live in Asia and sell scripts to America? Or do you have to be part of a team in the country doing things like rewrites?
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Jun 28, 2016 02:26
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Apocron posted:I mean could I live in Asia and sell scripts to America? Or do you have to be part of a team in the country doing things like rewrites? For television you absolutely have to be here. For features... your agents, producers, managers, directors, etc. are going to want to sit down with you, meet you, have lunch, discuss new directions and whatnot. A lot of people banter about the whole "with skype and email you can be anywhere and work", but I can think of very few people who live outside of NY/LA in the US who make it work (and most of them secretly have homes here/spend months at a time out here) Asia? I can't imagine it really working out. It'd be a good time to hide out and write specs if you're eventually planning on coming out to LA/NY, but I couldn't imagine making a consistent living outside the country.
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Jun 28, 2016 03:15
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Just for someone from Canada who wants to come down, it's already a huge barrier of entry on top of a big one. At least if you live in the US you can just pack up and move to LA and chase the dream. Every day I think about it, the less likely it seems and the more likely the best that will happen is getting work locally.
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Jun 28, 2016 06:10
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NeuroticErotica posted:For television you absolutely have to be here. Thanks for the helpful advice. I guess I'll try and develop any ideas I have in novel format then.
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Jun 29, 2016 03:26
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I've been writing a ridiculous TV show thanks to the advice here. I have a formatting question. I've written: They enter INT. CAPTAIN'S OFFICE - DAY The captain's office belongs to... I just want a smoother way of them entering the office, instead of writing something like "They open the door and walk in." But do I need something after "they enter"? Like "they enter..." OR "they enter --" etc.? I guess it's a stylistic choice? Also, I've been using the free Writerduet and it's pretty wonderful. I used to use CELTX but they discontinued the program and it has a fair few bugs. Writerduet has a lot of useful features, so it's worth a try!
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Jul 5, 2016 12:29
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Alan_Shore posted:I've been writing a ridiculous TV show thanks to the advice here. I have a formatting question. I've written: Without knowing too much about how the scene is supposed to go this sounds like a stylistic choice based on how you want the scene to flow. Is it terse, leisurely, romantically charged? Those will affect your word usage.
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Jul 5, 2016 17:53
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Alan_Shore posted:I've been writing a ridiculous TV show thanks to the advice here. I have a formatting question. I've written: What needs to be communicated by the way they walk in? Is there a reason why they need to walk in beyond "that's how they got there"? Just start the scene with them already in the office if it doesn't matter.
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Jul 5, 2016 18:15
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Well the two cops are having a conversation, then they stroll into the captain's office where the captain starts berating them (of course). It's a TV pilot so it has to read as quick as possible! It's a comedy.
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Jul 5, 2016 18:46
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Alan_Shore posted:Well the two cops are having a conversation, then they stroll into the captain's office where the captain starts berating them (of course). It's a TV pilot so it has to read as quick as possible! It's a comedy. Again, unless the act of walking in is communicating something or somehow integral to them transitioning from a private conversation to a berating, is it necessary? Walk-and-Talk is fair game as a stylistic choice, sure. But again.. is it necessary? Is that the tone of your show and its dialogue? Cutting from a private convo to the middle of an rear end-chewing can be funny, too. And it reads faster than an extra sentence or two.
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Jul 5, 2016 22:12
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Double-posting for example.code:.. Unless there's more that needs to be communicated through the action text. Hope that makes sense.
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Jul 5, 2016 22:25
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Yeah, that makes a lot of sense! Thanks for the advice. That example was pretty funny too!
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Jul 6, 2016 09:16
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Is this an acceptable way to write a flashback? It's the same comedy TV show. BEGIN FLASHBACK INT. BASEMENT LAB - DAY TERRY (V.O.) A few days ago I was having a tea and thinking about running some blood samples on that murder case. That's when I noticed that strange button, the one that says "DO NOT PRESS. EVER". BURGER (V.O.) Well, what did you? TERRY (V.O.) I pressed it. Nothing happened. So I thought "bugger this", ripped out the wiring and followed it. INT. POLICE HQ - DAY TERRY (V.O.) I followed it all around the building. It went everywhere. Like it was put in by gypsies. PAUSE IN FLASHBACK INT. BASEMENT LAB - DAY CHIPS That could be considered racist. TERRY It could? Sorry, I've been trying really hard recently. He pulls out a notebook, and under the heading "THINGS THAT ARE RACIST?" adds "GYPSIES" to a long list of blunders. CHIPS I know, and Abdul in IT really appreciates it. BACK TO FLASHBACK INT. BASEMENT LAB - DAY TERRY (V.O.) So like I was saying, I followed the wires and it lead right back to where I started, only to the floor. So I cleared up the pile of newspapers and dirty magazines and that's when I discovered... it. END OF FLASHBACK
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Jul 20, 2016 14:14
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RISE FROM YO GWAVE I have a question apart starting a short film with titles. You know, white text on black. Would this be OK? FADE IN: TITLES Blah Blah blah blah Blah END TITLES EXT. So I need to denote that they are three separate titles? Should I use SUPER instead of TITLES? EDIT: Also, should I write my titles in CAPS? Alan_Shore fucked around with this message at 07:30 on Sep 12, 2016 |
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Sep 12, 2016 07:28
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Remember, formatting doesn't have to be so strict as long as it's readable. Personally I would do: code:Titles in screenplay format I suggest just throwing into all CAPS. Putting something in all caps usually draws attention to it be it a particular object, action, etc. Just don't overuse it unless you mean it.
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Sep 12, 2016 10:01
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Sober posted:Remember, formatting doesn't have to be so strict as long as it's readable. It's not the film title, it's three cards that introduce the short film. One sentence each. Then we start the movie. So you'd do ON BLACK, FADE IN: TITLE ONE TITLE TWO TITLE THREE FADE IN Although it's accepted to always start your screenplay with FADE IN right? Even on titles even if it's maybe not entirely correct.
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Sep 12, 2016 11:47
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Your script doesn't always have to start with FADE IN. It can be a variety of other things. Again, readability and establishing an interesting hook even before the picture comes up can work. If I'm understanding you right, I believe this is something around what you might want?code:
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Sep 12, 2016 20:43
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That looks absolutely perfect to me, just what I wanted. Thanks! Still getting a handle on this whole readability vs accepted formatting thing. Screenwriting is so hard in the sense that there are all those rules that you SHOULD follow, but you don't have to if YOU think it works, but that doesn't mean the important person reading your script will agree with you and won't dump it instantly if you stray too far from accepted industry standards.
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Sep 13, 2016 01:37
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Alan_Shore posted:It's not the film title, it's three cards that introduce the short film. One sentence each. Then we start the movie. Are you worried we're going to steal your rad logline? You should present the titles in whatever way makes them most effective and interesting. That's hard to judge when you redact all specific information from your questions.
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Sep 13, 2016 04:38
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Max22 posted:Are you worried we're going to steal your rad logline? You should present the titles in whatever way makes them most effective and interesting. That's hard to judge when you redact all specific information from your questions. No, I'm not worried, I just haven't written them yet but knew that I wanted to start with three titles over black. I didn't think it mattered WHAT the titles said, the formatting would remain the same (I thought!).
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Sep 13, 2016 04:43
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crossposted from my threadRace Realists posted:I thought alot about making this thread, and it might crash and burn but here goes: I'm a Film student in Georgia. I have two films under my belt, want desperately to break into the business ( if this counts as spamming let me know
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Oct 21, 2016 05:12
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if you think I don't know this is an insane, impossible hill to climb) and at the very least commune with fellow goons who are in the same boat as me. The Film/Video and Cinematography thread are loving ghost towns as far as industry discussion goes.
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Race Realists posted:I ask: Are there ANY goons out there working (or have worked) professionally in the film industry? Yes. But I'm not going to post stories, and I don't think many others will either. It's a tough, stubborn business. Takes a lot of sacrifices to stay in it. Entertaining people in a thread is not worth jeopardizing the small thing I've carved out. But I'm always happy to answer questions about the industry in the Film Business thread (or screenwriting in this particular one). Or PMs.
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Oct 23, 2016 01:06
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Are there any good books/sites about adapting books? Besides the movie Adaptation, I mean. I just read Day of the Triffids, and now I'm watching the 1962 movie. Yikes. The book is SO similar to The Walking Dead, I'm surprised it hasn't been re-made.
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Nov 7, 2016 00:30
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magnificent7 posted:Are there any good books/sites about adapting books? Besides the movie Adaptation, I mean. Jodorowky's Dune? I remember reading an article years ago about The Purple Cloud, and how that book has been interpreted and adapted so much its basically a genre of it's own. Wish I could find it again. There's also essays written by Stephen King about his movies being adapted and about how he handles rights, etc.
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Nov 7, 2016 17:05
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magnificent7 posted:Are there any good books/sites about adapting books? Besides the movie Adaptation, I mean. Are you looking for information on the business or the art of it? Because when it comes to the art of it, one of the more useful things to do is just compare and contrast books and their film adaptations. Note similarities and differences in story, character, tone. Think critically about why each choice was made and turn that same critical thinking towards the book you want to adapt. What makes the work cinematic? What makes the story worth telling in a different medium?
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Nov 7, 2016 21:27
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hotsoupdinner posted:Are you looking for information on the business or the art of it? Because when it comes to the art of it, one of the more useful things to do is just compare and contrast books and their film adaptations. Note similarities and differences in story, character, tone. Think critically about why each choice was made and turn that same critical thinking towards the book you want to adapt. What makes the work cinematic? What makes the story worth telling in a different medium?
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Nov 7, 2016 22:12
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magnificent7 posted:GREAT feedback, thanks. I've done that part, (compare, contrast book vs. film) but I was wondering if there are any common principles (rules hahah no seriously) when approaching an adaptation. The only rules are don't bother adapting a book unless you own the rights and don't bother buying the rights unless you're certain you can sell the script.
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Nov 9, 2016 04:46
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THE ARRIVAL IS REALLY GOOD and Eric Heisserer wrote some really cool stuff about how he went about making linguistics and stuff interesting and engaging.
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Nov 15, 2016 21:32
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SkaAndScreenplays posted:THE ARRIVAL IS REALLY GOOD and Eric Heisserer wrote some really cool stuff about how he went about making linguistics and stuff interesting and engaging. Loved the film. Met Heisserer once and he's got some great ideas that I can't wait to see more of.
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Nov 15, 2016 21:38
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