Screenwriting : To Intercut or not to intercut by Rachel Amy Ritchie

You should check out this article: https://nofilmschool.com/how-to-intercut-scenes-the-godfather

This is how I intercut

INT RESTAURANT CRAIG’S TABLE

some stuff

INT RESTAURANT RACHEL’S TABLE

some more stuff

INTERCUT CRAIG/RACHEL

stuff happens

———

I am not sure if that is the most effective way.

Perhaps be more narative.

Rachel sits at her table she eats.

At Craig’s table soup arrives and he look pleased.

Rachel looks across the Restaurant annoyed that Craig has been served first.

I think as long as there is no confusion in the read you are pretty much okay.

Technically, the INTERCUT is a new SCENE in that there is a new camera location, lighting & sound set up but I like to think of it as a MASTER SCENE in which there are multiple shots in each location that are CUT into sequence during Editing. It's just an abbreviated way of writing multiple scenes that saves a lot of paper.

Traditionally, intercut is only used when the characters are physically separated (like on the phone) - being in the same restaurant wouldn't qualify as separated.

Tradition.

Ultimately, writing the scene in the most compelling way for the reader is best, traditional or not.

Personally, I wouldn't use intercut in this case. If I was the reader, it would interrupt the flow of the story. Rather, I'd write:

INT RESTAURANT

Craig and Rachel on a date.

Across the room Bud and Alma spy on them, whispering.

At yet another table, Donald and Daffy also plot mayhem for Craig and Rachel, unaware of Bud and Alma.

This set up allows for mutliple conversations/actions to happen simultaneously, with context and subtext intermingling. And without the distraction of unnecessary slugs.

Just my opinion.

Hi, I wrote this exact scenario for my first feature, and I didn't use Intercut. I used it the way Craig described it above. When filming, we shot all the "Table A" scenes in one go, then all the "Table B" scenes in one go. Our slate looked weird (Scenes number 26,28,30,32,34,36 on one occasion, which is weird), but oh well... It worked. The editor thanked us for not cutting it up, so did the actors.

edited to add: in the scenario above, 26,28,30,32,34,36 were scenes at table a, whereas 27,29,31 etc were scenes at table b. Effectively switching from one table to another - both tables were in view of one another.

That was a fun shoot for continuity let me tell you...

Hi Rachel.

You will always get various answers to such questions. However, I believe the answer comes down to the formatting preferences of which -studio, network, industry professional- you're writing for.

Here's an example I've used in the past.

INT. RESTAURANT - DAY

(insert scene description and action)

TABLE 1

[character 1] scoffs down a plate of food, completely unaware of the prying eyes of [character 2] seated behind him/her.

TABLE 2

[character 2] inconspicuously hides behind a food menu and peers in the direction of [character 1].

I've been told this method is easier-to-read and an easy-to-follow approach to intercutting scenes.

Again, just a suggestion, which I hope can help.

Naithan - not the preferred method. Both the Director & Editor will cast a spell upon thee.

John - you're moving/focusing and lighting for each shot - obviously you're not going to shoot sequentially. The INTERCUT is well known in the industry and has a long tradition. Just KISS - it will save you from a lot of frustration.

To all: Hollywood is not to change its evil ways for you (or I). Learn to go with the flow.

Ever watched "Leon: Professional"? Leon says to Mathilda in one scene: the closer u get to the "client" the more pro u are...last weapon to train is a knife (most simple weapon)...

Same here...the more scene directions you have on a spec, the more distant u are from the client...

Doug Nelson, you're absolutely right about Intercut being an industry standard.

I didn't get the impression that the OP was going to direct this script, so I was commenting from the perspective of a writer trying to sell a spec, in which case, anything that would interrupt the flow of the story would be a hindrance to the sale.

Just my opinion! :)

Flow and clarity is key. Spec scripts aren't shooting scripts.

I wouldn't use Intercut here regardless. It isn't the right application. If there is any confusion over multiple scenes set in parts of the same location, pick key identifiers (e.g main table, corner table, by main window, next to kitchen, etc) and use either slugs or mini-slugs depending on your writing style.

There's no issue with directing on the page and advice here is overly dogmatic. If anything makes the read better, use it. You don't want to be working with, or at the mercy of, the kind of people who throw scripts out over stuff like that.

CJ - facts. My example was a slugline which I believe makes for an easier read.

Frankly, there have been a lot of comments stating that an intercut should not but used, in the described situation. But I'm not seeing anyone give and actual resolution, (answer) to the question. If an intercut should not be used, the what should be used.

Basically the scene is described has "characters in the same restaurant, but at different tables. There is a back and forth in the action between the two tables." How would that the be written.

Personally, I would use an Intercut. I'm not an expert, but still not ashamed to say, that's how I would do it. And I wouldn't look back. Someone mentioned that a Spec Script is not a Shooting script. I bet it would be safe to say that most of us are writing spec scripts. If the gatekeepers are having trouble with a single single scene in a spec script. Then they've forgotten what they're there for. Sorry for the rant but I needed to say it.