Interview - what's the scene location?

[Inarius]

Suppose a rapper's producer is being interviewed. The interview goes simultaneously with the rapper himself doing something on different location, but he is not watching the interview on TV. So there should be intercuts between the rapper and the producer. What should be the location of the interview?

Example

EXT. RESIDENCE WITH A SWIMMING POOL - DAY

Max is giving a rap performance near a swimming pool, surrounded by sexy girls.

INT. (WHAT LOCATION?) - DAY

Will is giving an interview.

                             INTERVIEWER
                 As the producer of a new rising star,
                 the VoXDrop, what would you say 
                 about the Rap world and rappers in 
                 general? What tips would you give to 
                 a fresh performer?

                             WILL
                 First of all, Rap is not about money, 
                 not about girls.

INTERCUT with the residence with the swimming pool.

Max raps about money, fame and girls, using a low brutal voice.

INTERCUT with (what location?).

                             WILL
                 Rap is about being real. One should 
                 never be blinded by fame. A rapper
                 is supposed to give an example. He's
                 being watched, admired and looked
                 upon... by millions of people! 

INTERCUT with the residence with the swimming pool.

The sexy girls dance around Max. His lyrics are about himself being the coolest, 
unmatched. He removes his T-shirt.

INTERCUT with (what location?).

                             WILL
                 He shouldn't show the Rap culture 
                 as a media show off. The day one 
                 allows himself become a cheap celeb, 
                 makes him lose his fans' support, 
                 which in turn marks his downfall.

INTERCUT with the residence with the swimming pool.

Max grabs one of the girls by her torso, showing a rap gesture with his other hand, 
posing in front of the cameras.

What should I write instead of the "what location?"

 

[FantasySciFi]

Wherever he's being interviewed: television studio, home, office, etc. You should only use INTERCUT once since it establishes who is where.

EXT. RESIDENCE WITH A SWIMMING POOL - DAY

Max gives a rap performance near a swimming pool, 
surrounded by sexy girls.

                                                        INTERCUT WITH:

INT. STUDIO - DAY

Will gives an interview [COLOR="Blue"][I]as he sits in the chair opposite the
interviewer in the talk show studio[/I][/COLOR].

                             INTERVIEWER
                 As the producer of a new rising star,
                 the VoXDrop, what would you say 
                 about the Rap world and rappers in 
                 general? What tips would you give to 
                 a fresh performer?

                             WILL
                 First of all, Rap is not about money, 
                 not about girls.

Max raps about money, fame and girls with a low brutal voice.

                             WILL
                 Rap is about being real. One should 
                 never be blinded by fame. A rapper
                 is supposed to give an example. He's
                 being watched, admired and looked
                 upon... by millions of people! 

The sexy girls dance around Max. His lyrics are about himself 
being the coolest,  unmatched. He removes his T-shirt.

                             WILL
                 He shouldn't show the Rap culture 
                 as a media show off. The day one 
                 allows himself become a cheap celeb, 
                 makes him lose his fans' support, 
                 which in turn marks his downfall.

Max grabs one of the girls by her torso, shows a rap gesture 
with his other hand,  and poses in front of the cameras.

END INTERCUT:

It's best to avoid "is/are X-ing" and use the active voice.

 

[Inarius]

But there are multiple intercuts between the two scenes, all the time. Or maybe Will's comments should better be Voice Over?

You call the scene "STUDIO". Is that really enough? Because there is already a "INT. RECORDING STUDIO" in my script. Won't that confuse the reader?

 

[FantasySciFi]

But there are multiple intercuts between the two scenes, all the time. Or maybe Will's comments should better be Voice Over?

The idea of an INTERCUT is that it alternates between two individuals talking as in a phone scene. I will warn you, not all producers approve of INTERCUT. They prefer that you use separate sluglines because it makes it easier to track locations for budgeting. I seldom use INTERCUT for that reason. Only use voice over if you don't want to see his manager. Since Max is singing, the VO would be lost.

You call the scene "STUDIO". Is that really enough? Because there is already a "INT. RECORDING STUDIO" in my script. Won't that confuse the reader?

You can use whatever you want for your script. Just be conscientious to use the same name if more than one scene occurs there. The slugline should be concise and descriptive. The description of the studio can occur in the paragraph after the slugline. "Recording Studio" is fine too.

 

[Inarius]

Now about the active/passive. If I can write "the remaining people" instead of "the people who remain", why should I avoid it? It's the same thing! And what about:

Shivering hands
Trembling teeth
Nice-looking girl

or:

The crowd keeps shouting "VoXDrop!", despite Max's attempt to begin rapping.

 

[FantasySciFi]

Now about the active/passive. If I can write "the remaining people" instead of "the people who remain", why should I avoid it? It's the same thing! And what about:
Shivering hands
Trembling teeth
Nice-looking girl

or:
The crowd keeps shouting "VoXDrop!", despite Max's attempt to begin rapping.

I don't know how familiar you are with grammar. The "-ing" form is called both a gerund and the progressive participle depending on its use. It can be used as an adjective or noun in English. When it follows a form of the verb "to be", it is called the 'progressive participle' and forms the 'progressive tense' because the action is in progress. There are similar forms in Hebrew.
Kothev = I am writing Kthivah = written, writing (though in Hebrew, the latter cannot be an adjective)

"shivering hands" is no different than "green hands". Grammatically the gerund and present participle are not the same thing despite their appearance (-ing). Using its participle form as an adjective is fine.

It is unnecessary to use it in the progressive tense when the active (direct) form is usually shorter. Again, this is not a rule that you must always follow, but it makes your script easier to read and shortens the lines.

In your second example "attempt to begin" really means the same thing as "attempts". 'Attempt' means to 'try unsuccessfully' and carries an implication of 'beginning'. In this latter case, "The crowd keeps shouting 'VoXDrop!', despite Max's attempts to rap." It means the same but is a bit shorter.

Passive is different and uses the 'past participle' (-ed or -en form) = ... am/are/is X-ed/X-en.
The cake was eaten. = Somebody ate the cake.
The man is eating the cake. = The man continues to eat the cake.
The man eats cake. = The man is capable of eating cake.

I'm not a grammar policeman. I point it out only so you can make a conscious choice when writing your scripts.

 

[Inarius]

So the point is to avoid using the present continuous form? I go, I write, I eat instead of the I'm going, I'm writing, I'm eating?

P.S.
Written = Katuv. Ktiva means "writing" as noun. For example: Script = Ktiva. Writing craft = ktiva.
Kotev CAN be an adjective. Ben adam kotev = A writing man.

 

[Inarius]

I will warn you, not all producers approve of INTERCUT. They prefer that you use separate sluglines because it makes it easier to track locations for budgeting. I seldom use INTERCUT for that reason.

What about phone conversations, where both sides need to be seen? I use INTERCUTS after I set the scene lines for the first time. You mean that some producers prefer that I set the scene lines every time I want to "intercut" between the scenes? Or if I have actions that happen in 3 scenes simultaneously

 

[FantasySciFi]

So the point is to avoid using the present continuous form? I go, I write, I eat instead of the I'm going, I'm writing, I'm eating?

P.S.
Written = Katuv. Ktiva means "writing" as noun. For example: Script = Ktiva. Writing craft = ktiva.
Kotev CAN be an adjective. Ben adam kotev = A writing man.

So kotev behaves like the present participle. Very cool.
That is correct, you want to limit the use of the present continuous form. I won't say 'never' because sometimes it is needed. However, most times it's not.

What about phone conversations, where both sides need to be seen? I use INTERCUTS after I set the scene lines for the first time. You mean that some producers prefer that I set the scene lines every time I want to "intercut" between the scenes? Or if I have actions that happen in 3 scenes simultaneously

Intercut is a way of conveying moving between two scenes quickly that are short without a lot of action or other characters. When scenes have more than one actor talking or have background action, it can become very confusing for a reader. Even more so for the assistant director or producer who needs to breakdown the script. In those cases, I've seen writers add line descriptors.

INT.  PHONE BOX - DAY
Jared presses against the side and glances about with
the phone cradled under his chin.
                      JARED
       Listen, I'm tellin' ya, somethin' really
       weird is goin' down here.

INT.  NEWSPAPER OFFICE - DAY
The chair squeaks as Robert leans back in the chair and
props up his feet.
                     ROBERT
        That's why I sent you.  You're my
        best reporter.  Now suck it up!

Light blinks on the multiplex phone.
                      ROBERT
        Hold on, I got another call.

His chair squeaks as he leans forward and presses a button.

                                                                 INTERCUT WITH:
EXT.  MANHATTAN STORE - DAY
A drop dead gorgeous blonde stands waiting for a taxi.
She's surrounded by bags.
                       LOLA
         Robbie, I need a lift.

A whistle blows in the distance over the sounds of traffic.

                      ROBERT
         I can't doll, I'm wrapped up in business.

PHONE BOX:
Jared rolls his eyes.  He holds out the phone and
                       JARED
          Get back on the line you, effin'
          moron!
Elevator music answers him.

DEPARTMENT STORE:
                       LOLA
          Are you sayin' you don't love me!

OFFICE:
Robert smiles to himself.

A reporter enters with a story.  Robert gives a gruff gesture
and the reporter drops it on his desk and hurries out.
                       ROBERT
           Of course not!  I have someone in the
           field who can pick you up.

                        LOLA (V.O.)
                (over telephone)
           Well, hurry!  It's cold.  I'm at Macy's.

                        ROBERT
           Just hang tight, babe. 

The phone clicks on the other end.
Robert shakes his head and presses a blinking button.
                        ROBERT
           Jared, I got a little assignment for you.

PHONE BOX:
Jared listens to the phone then his face reddens.
                        JARED
           What?!  I'm not a effin' cab driver!
           Look, I just saw some ...  Are you
           serious?  I'm ...

Phone clicks and there is a dial tone.  Jared stares at the
phone before slamming back on the holder.

END INTERCUT:

It doesn't save much over the sluglines but it keeps the location of the action and dialogue clearer. And it makes it easier for breakdowns.

 

[Inarius]

About is/are. How about this description text? (it's from a different script)

A SMALL ISLAND, nearly 20 on 20 meters, stands in the middle of the ocean, with no sign of 
land on the horizon. The land itself is a rock, with only A MONOLITH STONE in the middle 
of it. There is an ANCIENT RUNE drawn on it.

Or the present continuous as explanation:

A TRANSPARENT BRIDGE emerges, connecting the desolate island and the city gates.

Or this one:

DAVID’S P.O.V. of one of the workers grinding a block. The worker is not a human, 
but a pale gray humanoid creature. It is very slim, hairless, walks on all fours, and 
wears only a loincloth. It seems tired and works slowly.

 

[FantasySciFi]

Both of these read well. I might change the first a little to highlight features and suggest shots, but it would be fine as it is.

About is/are. How about this description text? (it's from a different script)

A SMALL ISLAND, nearly 20 on 20 meters, stands in the middle of the ocean, with no sign of 
land on the horizon. The land itself is a rock, with only A MONOLITH STONE in the middle 
of it. There is an ANCIENT RUNE drawn on it.

[COLOR="Blue"]
EXT.  SMALL ISLAND - DAY
No larger than a parking lot, it sits in the middle of the ocean 
with no land in sight.  Its surface is barren, rocky and volcanic.

In the center towers a stone monolith.  Deeply etched in its 
center is an ancient rune which seems alive.
[/COLOR]

In this case, 20m x 20m is hard to visualize. I gave a reference that is more easily imagined. By breaking it up, I draw the attention inward. The monolith will likely be the focus of its own scene. The capitalization isn't really needed. If you are capitalizing something, then it should probably be given extra description. If you are using a slugline for the island then you can simply refer to it. If you have someone viewing it through binoculars, you would bump it down, "A small island no ...".

Or the present continuous as explanation:

A TRANSPARENT BRIDGE emerges, connecting the desolate island and the city gates.

In this case, 'connecting' is a participle and the predicate phrase("connecting the desolate ...") functions as an adverb that modifies 'emerges'. Screenwriting readers are cool with that usage generally. If you enter the print world though, different editors might suggest "to connect" or "and connects" instead as more grammatically correct. Print publishers tend to be more concerned with grammatical precision and have "prescriptivist" grammarians as proofreaders.

 

[FantasySciFi]

"DAVID’S P.O.V. of one of the workers grinding a block. The worker is not a human,
but a pale gray humanoid creature. It is very slim, hairless, walks on all fours, and
wears only a loincloth. It seems tired and works slowly."

preferred:
"David peers through the leaves at

a pale gray humanoid creature which grinds a block with slow, tired effort. It is very slim, hairless, walks on all fours, and wears only a loincloth. "

The above in a spec script suggest that David appears in one shot and the humanoid appears in the second. It allows the director the discretion of choosing how to shoot this will suggesting the humanoid shot is a POV. It's important to not direct from inside the script.

 

[Inarius]

Many people suggest and recommend that I do use the "POVs", because unlike other camera directions, it doesn't take extra space and gives the casting crew a clear vision of what should be seen from where.

 

[FantasySciFi]

Many people suggest and recommend that I do use the "POVs", because unlike other camera directions, it doesn't take extra space and gives the casting crew a clear vision of what should be seen from where.

You're always welcome to use a suggestion as you see fit. A single or infrequent use of POV will not cause a script to be dumped. In my circles, they recommend against it. If your people work inside the film industry and/or it is for a film you are working on with them, fine. POV, if used too often, is a crutch to avoid developing good transitions or descriptions.

Just be sure it's clear what David is doing prior to the shot so it makes sense what "David's POV" refers to. If the preceding description says, "David hears a scraping, edges closer to a clearing and presses back the leaves to see -" that's pretty much the equivalent of "David's POV" so it becomes irrelevant to lead with that in the next line.

"David hikes through the forest towards a grating sound.
DAVID'S POV: a pale gray humanoid grinds ..."

Using "David's POV" is basically telling the director how to shoot the scene. It's not really relevant to telling the story but how you visualize the scene. Your visualization isn't relevant if you're not the director. My suggestion of "David pushes aside leaves to see ..." basically lets the director choose from: David's POV, a two shot, over-the-shoulder shot, a close shot of David panning to the humanoid, etc. If you are directing, go for it. If you want to sell this as a spec script, be careful that you focus on the story and not directing from within the script.

To re-echo my point, in a spec script a writer should focus on story and not "give the [director] a clear vision of what should be seen from where." If you are the director or writing a shooting script, that's what you're paid to do--visualize how to shoot the movie to tell a story. If you're writing to shoot this yourself, go ahead. If someone buys/options your script, they are looking for story, not how you think it should look. I won't say 'never' use POV or other directions, but often there are other ways to do it in a spec script that focuses on story and not on 'what I would do if I were director'.