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the Bunt posted:I know it's probably a cardinal sin professionally speaking , but I hate using BEAT for silences and especially pauses in dialogue. A playwriting teacher once told me it was coined by a French director who was actually saying "Pause for a BIT here" or something but people heard it as beat and used it henceforth. That's why I just write "Pause."
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Aug 16, 2011 10:47
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I recently started an internship reading scripts at an LA production company (I'd rather not say which) and I just wanted to mention that today I read a script written from a second person perspective. So the action descriptions would be like "You walk over to the sink and splash water on your face, then gaze at yourself in the mirror." It was a confusing read, and seemed to imply that it was intended to be shot entirely POV, which seems like it would suck. I've also heard there's a script out there written from first person perspective, I think called "Passengers"? I guess my question is, has any so-written script ever been produced? Or is it just a writer masturbatorily pushing the textual limits in a form whose textual limits are totally irrelevant?
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Sep 29, 2011 05:19
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Mordecai Sanchez posted:That's not my question. I'm asking which is the correct option/element, if there even is one, when writing the one line of text starting and ending each act in a teleplay, such as "END OF ACT I" I would use the Transition element for END OF ACT I and Scene Heading for ACT II, etc.
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Sep 6, 2012 21:14
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Best of all worlds? When a quiet bookworm gets the chance to tutor his cheerleader crush, he must endure the wrath of her psychotic jock ex.
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Mar 6, 2014 08:44
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I read scripts for a production company, mostly material submitted by agents and managers. When I see a specific song title I don't recognize, I don't discredit the writer, but I definitely don't stop to look it up. I basically try to assume what it should sound like from the context, or just ignore it completely. More often than not, it's the latter. And that holds true for songs I DO recognize - I don't put them on, and I don't try to 'hear' the song as I'm reading. Basically I say "cool, you like a song, and there's a music cue here" and move on to understanding the story. I read one today written by a director, with tons of named songs in it. Presumably there are some lyrics that "fit the theme" or whatever the gently caress, but it amounts to saying the same thing as "rock music as we transition to..." Granted, I'm not ONLY a script reader. I read 0-2 scripts per day and I don't have to write a lot of coverage. A professional reader at a studio or whatever, who has a million scripts to get through, MIGHT trash you for specifying songs, or specifying certain expensive songs. Bottom line in my opinion: it's not worth an extra line on the page.
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Mar 19, 2014 04:29
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Lethemonster posted:I'm trying to work on my logline for a piece. So far I have; I always try to fit a logline into this airtight format to make sure it works before I start jazzing it up and making it original: "When [inciting incident happens], a [protagonist descriptors] must [action of the script], or else [stakes]." For you, it sounds like it would be something like "When a disgraced policeman disappears, a young woman must face her past traumas to track him down, or else she may never know the truth about what happened to her." I'm sort of guessing on the stakes since your other loglines don't have it... But they should!
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Aug 19, 2014 01:57
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Lethemonster posted:Is it worth continuing to read for the extra perspective on writing or should I move onto better books? It's a short book, you might as well finish it, since you're already in it. It might not help the actual quality of your writing at all, but the beat-sheet structure is well-understood by every development person in Hollywood, whether they think it's good or bad. If you're trying to write marketable material to sell to a studio or even an independent company, it can't hurt to understand the frame in which your potential buyers will view it. For the record, I loved Blank Check as a kid. Sumo suits are at the top of my Get Rich, Buy This list.
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Aug 26, 2014 23:24
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York_M_Chan posted:Also, I am looking for structural advice on short 15-20 minute films. Short films always seem so kitchy or almost like a joke: quick set-up, punchline. My work is more character based, which lends itself to longer pieces. Anyone have any advice or even great short films to point me towards that exemplify character based short works? I'd say your assessment is true for short films of 5 minutes or less, but then again those are sketches, and they're supposed to feel that way. I find that shorts in the 15-20 minute range are most often either very character-focused or mood/stylistic pieces, in both cases with a plot that's either non-existent or largely irrelevant. If you want to write a 20 minute character-based short that you can actually make, it's probably going to be a mix of talking scenes and visual metaphor. Just don't be boring. It's not the best but it's at the top of mind, and sometimes a failure is better illustration than a success, so I'll reference it here: Joe Lynch's "Truth In Journalism" which is on YouTube. It clocks in at around 17 minutes (too long IMO) and there's barely any plot to speak of - it's literally about a film crew following around Eddie Brock, trying to get inside his head. Then at the end, he turns into Venom and kills them all. That might be an example of the sort of "punchline" moment you're pushing back against, but having a punchy memorable moment doesn't detract from your character study at all (unless it doesn't follow). Besides, you gotta end the fucker somehow!
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Aug 29, 2014 16:58
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Mordiceius posted:Odd question that I'm not sure if anyone knows - What are the laws regarding remakes/adaptations of foreign films? In short, the same as English-language IPs. You have to buy the rights in order to sell a remake.
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Feb 22, 2016 08:19
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INTERCUT: INT. KITCHEN - NIGHT / EXT. DREAM GARDEN - DAY
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Apr 9, 2016 02:14
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| # ¿ May 4, 2024 10:03 |
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Under those circumstances you might want to just use a new scene heading for each cutaway. It would also make sense to write the taco guy's character line as TACO MAN B but I could see that getting confusing without separate scene headings.
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Apr 9, 2016 04:31
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