Gals and guys, I need you once again.
Coming from comic book / graphic novel writing, I stumble upon the very little rocks on the way.
When I have a scene, starting in a location (let's say a stairwell) and follows the Characters (inside a flat, through a door in this stairwell) seamlessly going forward:
Would that be two scenes in the script and any gets the appropriate location header? Or would it be a generic location header plus a hint in the action description on how/when to change the backdrops?
And how about an aerial establishing shot of a building, before going inside? (In comic books we often do so with starting the dialog in the establishing shot, already.)
Any hints appreciated.
Cheers
Heinz
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For the aerial shot, I would definitely make that a separate scene. For someone mapping out the shooting, that is an entirely different shot, equipment etc.
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If you need to move really fast in the same area, use informal scene headings called "sluglines."
INT. HEINZ HOUSE - NIGHT
Heinz marches in, surveys the area. He follows a squealing sound to --
KITCHEN
He peeks in, sees the stove is boiling water in a teapot. Laughing from another room catches his attention --
BEDROOM
Heinz rushes in, sees his wife with a knife.
Warning. This technique was used a lot in the 90's so you risk dating yourself to savvy readers.
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Heinz Olaf Klöppel An aerial shot is a separate scene. And it's entirely filler in the script, being just a shot. So think whether it adds to the story. For the other, you can use sub-scene headings but BETTER is to simply use something like "Warehouse I/E" (for intereior-exterior) possibly with a "they are walking thorugh" in general text. Be aware that no director wants to see your idea of a shot in the script, and will likely expunge them from it before going into preproduction. Too much of it may also alienate a director as it is not your job as a writer to dictate anything like this. Such directions are a two-edged sword - they may be useful for a "sales" script where you are seeking to grab the attention of the reader visually. But there are ways to do that without dictating shots. I understand that you are adapting a graphic novel and want to capture that genre feel. But that is the director's and DP's job. Also, if you over-complicate with such concerns, the script can quickly become extremely difficult (read: expensive and time consuming) to break down for budgeting purposes. As a line producer, I see it's a recent trend for writers to overuse shots, angles, POVS and other camera directions in their scripts. Again, while possibly useful for sales purposes, they are production-wise irrelevant. They are also often just plain distracting because they are almost by definition not story-driven. When I write, I don't use them at all unless I am directing the piece as well, in which case they are already part of my personal storyboard.
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When you change a time or location you need a scene heading. The script is also used by the crew for planning the shot as well as to demonstrate the creative side. Different rooms will be different locations.
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Dan & all - LATER can be a shot header within a scene when no location change occurs.
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This can be handled a couple ways. Yes, a new scene heading every time is one. You can also use slug lines. So you might have INT. BUILDING - DAY for your scene heading. Then when they move to the stairwell you insert a slug line that just says STAIRWELL. But if you go outdoors to the roof, you need a new heading to indicate EXT. so production can schedule appropriately. Generally a short establishing shot that specifies the camera is unnecessary as that will be decided by the director and can be disteacting to readers. But if it’s important to the plot, it’s fine. No need to specify dialogue starting over a quick establishing shot though because that’s editing. Focus on telling the story and not how you want it to be filmed and edited. Just remember your script is a blueprint for a team of collaborators. So be as efficient and clear as possible. When they film the establishing shot, they’re not actually going to record the dialogue at that time too.
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Thank you all for the helpful comments. I understand the options and that there is not one 'correct' way, but among the correct, there are still 'wrong' ways to avoid.
About the "what should/shouldn't be in the script" discussion: Thanks for your valued opinions. For me this stays the hardest part. It's about leaving room for other peoples creativity (I embrace that) but not looking lazy or inapt as a writer. Feels like riding on razors edge.
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Everything @juliaMorizawa just said.
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Major difference whether ure doing assignment or speculation script...with speculation every rule counts, wanna leave best impression of you as possible hire...
Got this director I've worked with and he now attached his pet writer with him...guy's writing disaster but get's scripts turned into movies anyhow...as I said - he's pet