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Have you read Syd Field's Foundations of Screenwriting? If so, he's got an entire section dedicated to replacing the word "camera" with framing terminology. If you haven't read it, then why the hell haven't you read it! Off the top of my head, you can use: Angle On; Wider Angle; POV; Over the Shoulder; Close Shot, and a few others I'm probably forgetting. Oh, and Insert of course. To be honest, I'm not quite sure why it would be harder not to "direct" found footage sequences as opposed to normal scenes. Both instances are equally cinematic.
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Aug 15, 2011 07:16
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I have a question I was hoping some of you guys could help me with. I've been working on a script outline for the past month and I've hit a complete wall regarding a key point: I have a major plot point happen right in the middle of the screenplay. I've got a great scene for Plot Point 1 and a pretty good revelation for Plot Point 2, but this one scene/instance fits perfectly smack-dab in the middle of the screenplay. So my question is... is that okay? I know that these pacing rules aren't set in stone, but I can't see this scene/instance happening anywhere else. So, opinions, advice? TheMilkyNutBall posted:I just finished writing a short (13 pages) about two high school kids who find themselves in a horrible situation during a school fire alarm. I definitely need some objective, and honest critique's so if any goons want to read it let me know.
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Aug 30, 2011 08:48
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This is really last second, but I've written a tiny screenplay (6 pages) just to see if I remember how to format everything. Is there any chance I could get someone to take a quick look at it tonight and let me know if I've messed anything up?
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Sep 15, 2011 04:56
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Quick question: anyone know of any good resources to read scripts for short films? I've gotta write a few for a class and I'd like to see how the writers have formatted their structure.
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Sep 25, 2011 09:47
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Would anyone be willing to look at a short I just wrote? It's 15 pages and I have to whittle it down to 10. Any input would be appreciated. Good luck with your pitching tomorrow, Griff!
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Nov 21, 2011 08:32
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Sent it yesterday, did you get it?
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Nov 23, 2011 04:17
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Thanks for your input!
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Nov 23, 2011 06:17
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So this is semi-off topic, but do any of you have any familiarity with stage plays? I have to write one, and I'm absolutely stuck on the formatting. I want to have people (who aren't characters in the play) speaking through the audio/speaker system. Since they're not actually in the play, I have a feeling that what they would say would happen in the action section (italicized), and not in individual lines of dialogue, since they're not characters in the play. Anyone have any idea how to format this? Thanks in advance.
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Apr 5, 2012 05:34
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Sorry to bump the thread on this, but last night a script that I wrote was picked as a winner of a 72 hour film contest. Six different production teams choose their favorite screenplay from all of the submissions and have until Sunday to shoot, edit, and submit the finished (short) film. So yeah, this is the first screenplay of mine that'll ever be produced, and the film will be completed and screened at a film festival... the day after tomorrow. Pretty standard turn-around, right? Mike Works fucked around with this message at 05:42 on Mar 30, 2013 |
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Mar 30, 2013 05:40
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Yeah, don't let formatting get in the way when you're in the discovery/writing process, but absolutely make sure your formatting is 100% up to snuff before you send it out. I can't tell you the number of times a producer has told me they've thrown out a script because the writer didn't format the title or first page correctly.
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Apr 27, 2013 06:31
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I have a question for you guys. I'm writing an R comedy feature (aiming for 90 - 100 pages) and I'm curious where you guys would aim to put these events. Here are a few bullet points: - Protagonist decides to move from North America to another continent to pursue a teaching job - Protagonist meets romantic interest - Protagonist discovers something shocking about romantic interest (let's say she's an assassin) Right now I'm thinking I should want him moving around (pg 10) for the inciting incident, meeting her a bit more than halfway through the first act (pg 20), and discovering the shocking detail as the first plot point (pg 30). I'm not one to hardcore map out each incident on a chart, as I like to just write scenes without length in mind and see where they go (and then edit back), but do those instincts seem right to you? I'm using The Hangover as a comparable, and it seems the night/blackout/wtfmorning transition hits around (pg 15). As for your question Division, I think there's a better logline out there for your script. Explain it to us: how does her being deaf (seemingly) impact his job as an ad executive? Right now you could make him a construction worker or a vice president and I don't see how her being deaf would impact his job position any differently.
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Jul 11, 2013 04:39
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DivisionPost posted:Is there a reason why we need to see him move? Your story's about an North American expatriate who gets involved with a complicated woman. Why is his reason for moving pertinent to the reader/audience? Hope that helps. quote:Not my question, but good advice for both myself and screenwritersblues anyway. And Max: Save your gold for Maureen's workshops!
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Jul 11, 2013 06:37
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I've seen a movie where a jock goes after a nerd who wants his girlfriend. Seen it a bunch. Why should I want to see yours? Within the answer to that question you'll probably find a better logline.
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Mar 6, 2014 10:54
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Completely random question: Can I get away with showing clips from a Disney movie that are playing on a device in-scene? I want one of my characters to be watching a scene from Aladdin with the subtitles on (without sound) and I'm wondering if I can actually show footage, or if I'd need to zoom in on just the subtitles and infer that it's Aladdin. This would be for a short film that would presumably be shown in festivals/possibly make money/etc. Anyone know?
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Mar 18, 2014 07:44
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There's no dialogue at all except for the narrator, who I suppose could reference the movie/lines/scenes either directly or indirectly. I'd miss out on some visual contrast I was hoping to retain, but I'd rather compromise than cut it out of the script.
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Mar 18, 2014 09:37
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For the record, I never insert actual songs into my scripts (I'd consider if it was absolutely vital to the action on screen, but so far that hasn't come up yet). I mulled over instances where this has (probably) happened, and came up with this scene from Shaun of the Dead featuring Don't Stop Me Now by Queen: https://www.youtube.com/watch?v=F18-WFYzOQ4 Was this written into the script? Probably. It matches up well with the action and there's a joke that directly references the song. However, could this have been pulled off without mentioning the song (in the script)? I think so. The pool cues whacking the guy could be matched up to most upbeat songs, and perhaps the "queen" dialogue joke was adlibbed. It probably wasn't, but if they took out that one joke it wouldn't kill the scene. Anyway, bringing it back to my original question, can I write that scene without showing or perhaps even referring to Aladdin? Probably. But I think the scene would be better if I kept it in. That's not to say I'm married to it; I'm just seeing if there's a way I can make it work. But if you were to ask me if it's going to be in the final draft of the script at this point, I'd say probably not. Don't want to put in any unnecessary risk if I can avoid it.
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Mar 19, 2014 02:23
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| # ¿ May 4, 2024 08:13 |
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SkaAndScreenplays posted:Hey quick question for you goons. https://www.scridx.com
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Aug 31, 2015 20:08
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