Screenwriting : Characters In Scene Heading by Imo Wimana Chadband

I don't see the point of doing that. The action tells us who is in the scene. I can't see what it offers. Is it the original script, a shooting script or an actors copy your looking at. Maybe it alludes to a close up scene, two talking heads so to speak. I don't know I can't recall the scene.

Imo, you want to go back to the format used 45 years ago?

Karen: I'd assume shooting script due to the direction given throughout the script. But it was intriguing to me, because it was the first time seeing it done this way. It wasn't only used in this scene but in other parts throughout the script as well. It is true that it doesn't change anything really, but it also didn't throw me off from reading. But that could just be me and others may find it a nuisance.

Pierre: I never stated I'm going to use this writing style, but the script did teach me certain things I'm lacking in my own skill level. This particular writing style in the Scene Heading stood out to me so just getting the viewpoint of other creatives.

Nightcrawler was film worthy, and it did something that most would say is outlandish within the writing. Sometimes a different format still works to the advantage of the script and achieves it's goal once used in the correct manner.

More common for a shooting script. No longer used because Final Draft and other software can give you cast lists for scenes automatically.

Agency and Prod company Readers will think you're old school. Even the great Lawrence Kasdan has changed his writing style from 1970s typewriter era to current.

Imo, I would not format a scene heading as shown above. What’s missing is DAY or NIGHT. I would suggest learning and being inspired by the great story, its structure, great characters, etc, but not look too strongly to a 45-year-old formatting style for guidance for today’s more lean and succinct preferences. Sure, some things are similar to the more current styles of today, but the scene headings are missing information and/or contain unnecessary elements. ;) Nightcrawler... that’s a unique personal style by the film’s writer/director, Dan Gilroy.

Ah! Point of views makes sense. And Beth, that's exactly why I came to this script, was actually recommended for that purpose and not so for the formatting. That particular format just caught my eye when I was having a read. I tend to still appreciate different styles of writing when I come across them. Never know, it may set me in the path of one day etching my name into the history books, developing my own unique style :D A guy has to dream big, right?

That's real old school - even before my time (& I'm from the Jurassic era). It omits the third slugline element and it sticks character names unnecessarily in the action text. There are only two speaking characters in the scene... what's wrong with using he/she? (The dead guy doesn't say a thing.)

The copy I have of Gone With the Wind is sometimes like that except the character name is still followed by - DAY or - NIGHT.

Haha Doug. Seems some of times past adopted that style of writing, Kay.

Funny thing is, I enjoyed reading the script, not only for the story, but it was interesting seeing the format. It was new to me, given the modern layout you'll normally see. It was nice getting a taste of how some wrote back in earlier days.

It is a style choice. You have to get the feel, mood and story of your film across in the most efficient way.

I am reading all three Nolan Batman scripts at the moment. He uses scene headers when he wants a break in the reader’s thought. Like a hard cut in an edit. Otherwise it is transition shots and descriptions.

Craig - I'd argue that it's not really a 'style' choice if your intent is to sell your script in the contemporary Hollywood market. The first Intern who reads it will pass.

And that intern will be sacked when that is found out.

Crap work can have perfect formatting.

Great work can have bad formatting. Great work gets made/sold/handed around.

Interns don’t read Robert Towne. His scripts go straight to Bosses.

One time I accidentally opened an envelope with Bruce Joel Rubin’s script. Almost got fired for peeking at page 1.

sample

other sample

I think that the 'Gone With the Wind' script is a little dated by contemporary formatting standards.

That's the point.

IMO: The reason I love this script and recommend reading it to other writers is because it flows beautifully, the narrative and dialogue are great and this Robert Towne script made one of the best films of all time. Chinatown and Godfather II came out the same year and they were both game changers. However, I wouldn't format my scene headings like that.

Loving the opinions and perspectives on this.

Phillip: I see why you recommended it. Reading through I can see those points stated. I'm back rewriting the draft on my script, and I'm having a better handle, thus far at least...I'm going to rework it again after finishing up this revision. The new knowledge I've gained from your advice and watching the movie and reading the script seems to have had some positive side effects, so, hope it transforms the script to a satisfactory end result.

Imo: That's awesome!

When I first took a stab at screenwriting in 1980, the books I learned from held up "Chinatown's" screenplay as the industry standard. (Instead, I learned from "American Graffiti's" script.)

I'm squeamish about putting the character's names in each scene heading (that's my tough, tough luck!)...but they weren't wrong at all about what Robert Towne brought to the table as a screenwriter.

Thanks for posting, Imo!