I am finishing a script based on a friend's bio. It involves a lot of interplay with deaf parents. I have searched many books and sites on how to handle formatting this in the script and have not found a really concrete solution. Maybe one of you guys with more experience can shed some light on it for me.
In the script when one of the deaf characters communicates using sign language, I simply put (signing) after the character name and then write the dialogue.
I have copped out on how to show this on screen with a note at the start of the script leaving the solution to the director, i.e, use subtitles, voice over, etc.
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As I already have a pretty solid producer lined up, I am not worried about having the script accepted. However, I would like to present it in the most professional way possible. Any help on this would me greatly appreciated.
What you've done sounds good.
Yeah, that sounds about right. Maybe take a look at the Mr. Holland's Opus, screenplay. Towards the end of the film his son is deaf and there is a number of exchanges there. Might be worth it to see how they framed it up.
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Allen. Thanks for the heads up on that film. Got the screenplay and see that I should be OK on this.
Thanks Dan. Seems I got it right. Or at least enough to get it past the reader!!! One of the comments mentions italics. In the courses I have taken and books I have read there seems to be a general opinion to avoid italics in scripts. For what that's worth.
Have you tried formatting it like a telephone conversation? It may help to think about what you're trying to achieve in the scene. The key to keeping the story moving forward is in the reaction shots. I have typed 'INTERCUT AS NECESSARY' prior to a conversation, to avoid interrupting the flow.
For other ideas, I suggest checking in with Dave Trottier via his text Dr. Formatting Tells All. You may also try contacting Dave directly via Twitter @DRTrottier.
Hope this helps!
Richard, I noticed that you're in Spain but nobody has ask you if you're formatting your script for the U.S or the European market?
A.S., obviously Dirk Gently was NOT a spec script.
Pretty insulting to infer that people here are stupid, A.S., when they are trying to be helpful.
Dirk Gently script is a shooting script. Not a spec. There is a difference. So not a good comparison.
And no, I don't think the occasional italic is an issue for a reader, but a ton of italics, bolds, underlines and camera direction might be distracting enough for a reader to discard the script altogether.
My comment was going to be what you did. Make a note when X character is speaks it's through sign language with subtitles. You don't want the reading to be chore for the reader and you want it to look like any pro script you would find. I think with Mel Gibson Apocalytpo and Passion of the Christ it was written in English with a note that they are speaking in another language with subtitles I imagine it would be the same with ESL.
I don't know what the "punching bag" comment is all about, considering the dismissive rudeness of your previous (now deleted) post.
And yes, if a script comes across an execs desk with the name Max Landis on it, it is guaranteed to be read. He could write it in crayon on a yellow notepad and it would be read.I dunno, I go by what I've been told by working screenwriters, producers, managers. But whatever works for you, go for it.
Jody, that's the very reason I'm not so quick to offer my incite any more.
Over the decades I've been a writer, a reader, a director and a producer. I can not speak to European script writing format but I can express my thoughts on the use of bold, caps, italics, underlining in spec scripts for the US market: Just don't use 'em. As a writer, I prefer not being distracted from reading/following the story by having my eye drawn somewhere else on the page - these tend to take me away from the story.
The Director in me is going to make notes when I move your spec script to a shooting script. That's part of the director's job description. In the case of giving deaf characters lines of dialog like you mentioned - I would shoot that MOS (including the score) and use subtitles - the silence gives meaning to the deafness. Because deaf people can't hear their own speech, their voice is often distorted s VO is not a good choice - and I wouldn't want to draw attention to that.
Anyway, that just my pov.
Agree w Dan. There are a lot of "Hollywood kids" with connections who are also big nobodies, because while the connections might help open doors, you won't go much further if there's no talent. No matter who your daddy/mommy is.
Dan, just because 300 industry participants read it - that doesn't mean that they all liked it. And yes, I'd tell 'I'm to cutout bold, italics and underlines and hold the exposition to a minimum
Jody, you're correct - example; I went to school with Steve Martin's kid. Have you ever heard of 'I'm?
Dan G, You're correct; all those things modified, added, subtracted and all that other stuff get done to a spec script during its transit thru production hell - aka story development - by all sorts of folk (Director, AD, Actor, DP, Editor, Prop Master...) If it's a really good script, it's subject to what I call the fire hydrant principal: that is, every big dog on the lot wants to pee on it to mark it as his.