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Script Terminology
- Thread starter echopage
- Start date
Use the scene headings to distinguish where/when the dialogue is taking place. You don't want to be constantly cutting back and forth- unless it's absolutely necessary- as that seems more of an editing decision.
As a general guide, often you don't need CUT TO in a spec script. It is implicit when you change scene locations. Think of CUT TO as an exclamation mark that emphasizes a major change in the action, as between the main story and a secondary story. For example
Code:
INT. CAVERN - DAY
Tom and company make their way through the tunnel.
INT. MAIN CHAMBER - DAY
Dr. Woodward stops when his assistant stumbles.
Tom helps her to stand.
The party looks out at the vast molten magma.
CUT TO:
INT. ARMY TENT - DAY
Lt. Hill looks over a map trying find a safe place to blast
a hole to rescue the party.
EXT. ARMY TENT - DAY
A jeep pulls up and General Henning steps down.
...
The "industry at large" doesn't care. In other words using or not
using FADE IN and FADE TO BLACK is not a deal breaker nor is
it necessary rule of formatting.
I, personally, never use either. As the story teller I don't really
care if the editor decides to use a fade or a cut at the beginning
or end of the movie.
Same with "CUT TO" - I, personally, find them completely unnecessary
even when writing different scenes in different places that take place
at the same time. the slug line will tell the reader that there is a
"cut" from one scene to the next. Good writing will tell the reader
the scenes are happening at the same time.
Yeah, I didn't really think of FADE IN or FADE OUT as shooting or editing instructions. I erroneously thought that they were commonly used like bookends to the story. Since you don't use them, Rik, I think I'll make a point to not use them either, especially since some seem to actually take offense to their presence. If the rest don't care, then why include them?
The good news is there isn't a reader, producer, agent or
exec who takes offense to their presence. Anyone who does
is a fool. and we all run into many of them on message boards,
don't we.
Once these were standard. Today it doesn't matter.
I agree with Directorik that their presence or absence won't make a significant impact, though having them tends to suggest an older style. There are still those writers who will tell you to start every script with FADE IN. You'll find it in many professional scripts. It's a personal choice.
I tend to favor practical considerations. Space on the page is an important commodity. Why waste it putting in transitions which are implied. Obviously there will be an introductory title and film credits. However the transitions getting between them is yet to be determined by the director and editor.
The CUT TO is a matter of practicality. In many scripts there is no reason to include a CUT TO as the flow of the story and action makes it clear to the reader/viewer. In more complex pieces with interweaving story lines, a judicious CUT TO will help the reader. But remember the film viewer doesn't have that luxury and is simply seeing the sequence of scenes. However, as a marker it can help the director who will probably want to find a creative transition to help the audience rather than simply jump to the next scene.
Since I feel the script is in part a blueprint for the movie, it can be a helpful marker. But as with most features in a script, use it very sparingly. The bread and butter of the written spec script should be the slugline and the dialogue with a balance of white space on the page. Reserve camera shots and transitions largely for the shooting script. There are always exceptions, but these are guidelines to keep in mind.
I have seen a few scripts that show a new trend. I'm not advocating for or against but I will mention it. It's a bit risky for spec writers. There is a "pre-film" segment sometimes without a slugline that precedes the start of the "film". I first saw this in Lucas' Star Wars script. But it has appeared in others since then. Occasionally it will have FADE TO, FADE IN, etc. after the prelim materials but not necessarily. Since this is a continuation of action, a CUT TO would not be needed.
I tend to favor practical considerations. Space on the page is an important commodity. Why waste it putting in transitions which are implied. Obviously there will be an introductory title and film credits. However the transitions getting between them is yet to be determined by the director and editor.
The CUT TO is a matter of practicality. In many scripts there is no reason to include a CUT TO as the flow of the story and action makes it clear to the reader/viewer. In more complex pieces with interweaving story lines, a judicious CUT TO will help the reader. But remember the film viewer doesn't have that luxury and is simply seeing the sequence of scenes. However, as a marker it can help the director who will probably want to find a creative transition to help the audience rather than simply jump to the next scene.
Since I feel the script is in part a blueprint for the movie, it can be a helpful marker. But as with most features in a script, use it very sparingly. The bread and butter of the written spec script should be the slugline and the dialogue with a balance of white space on the page. Reserve camera shots and transitions largely for the shooting script. There are always exceptions, but these are guidelines to keep in mind.
I have seen a few scripts that show a new trend. I'm not advocating for or against but I will mention it. It's a bit risky for spec writers. There is a "pre-film" segment sometimes without a slugline that precedes the start of the "film". I first saw this in Lucas' Star Wars script. But it has appeared in others since then. Occasionally it will have FADE TO, FADE IN, etc. after the prelim materials but not necessarily. Since this is a continuation of action, a CUT TO would not be needed.
Code:
A vast sea of stars serves as the backdrop for the main
title. War drums echo through the heavens as a rollup
slowly crawls into infinity.
"It is a period of civil war. Rebel spaceships, striking
from a hidden base, have won their first victory against
the evil Galactic Empire. ..."
The awesome yellow planet of Tatooine emerges from a total
eclipse, her two moons glowing against the darkness. A tiny
silver spacecraft, a Rebel Blockade Runner firing lasers from
the back of the ship, races through space. It is pursued by a
giant Imperial Stardestroyer. Hundreds of deadly laserbolts
streak from the Imperial Stardestroyer, causing the main solar
fin of the Rebel craft to disintegrate.
INTERIOR: REBEL BLOCKADE RUNNER -- MAIN PASSAGEWAY.
An explosion rocks the ship as two robots, Artoo-Detoo (R2-D2)
and See-Threepio (C-3PO) struggle to make their way through the
shaking, bouncing passageway. Both robots are old and battered.In a phone conversation in a script, a lot of times writers write
INTERCUT BETWEEEN JIM AND LISA
or something like that when they want to cut back and forth. Can you do that with both locations, to save you from having to constantly remind the reader with scene headings, which will take up more room in your script?
INTERCUT BETWEEEN JIM AND LISA
or something like that when they want to cut back and forth. Can you do that with both locations, to save you from having to constantly remind the reader with scene headings, which will take up more room in your script?
You have to be careful with INTERCUT. The idea is that two characters are interacting with each other in different locations.
Code:
EXT. STREET - DAY
The rain pours in sheets as Jim runs under the awning
of a nearby store. He pulls out his cell phone.
JIM
Hey, Lisa, I'm, uh, ...
INTERCUT WITH:
INT. LISE'S APARTMENT - DAY
Lise holds her phone glancing at the steaming pots on
the stove.
LISA
Don't tell me you're held up
at work again.
JIM
For our anniversary? Have
you looked outside?
KITCHEN
A pot starts to boil over.
LISA
Oh no!
She drops the phone and runs over.
JIM
Lisa? ... Lisa?
STREET
He looks out to see the bus sloshing its way towards the
bus stop.
He hangs up and presses the phone into his pocket as he
pulls the jacket over him and he dashes across.
END INTERCUT:George Nolfi made an interesting use in "Ocean's 12". But I don't recommend it for new spec writers. He uses it as a pseudo-'CUT TO' to allow characters from one scene to comment while we watch another. His use of intercut this way is not standard. While I strongly recommend that writers read professional and produced scripts, I do urge caution in trying to adopt some of their practices. What one can get away with as a writer/director (like Tarantino, Coen Brothers, etc.) or established writer is often quite different for someone starting out. I read these scripts for trends and style. They give a good sense of balance and pacing though often have non-standard features. Here's his segment:
Code:
INT. HOTEL SUITE -- DAY
Danny rolls his eyes.
BASHER
Scotland Yard said he’s the new LeMarc.
RUSTY
Scotland Yard never saw LeMarc.
“Clowns Can’t Sleep”
INTERCUT -- EXT. PRIVATE HELIPORT -- NIGHT
A helicopter lands on a massive Lake Como estate. Toulour
gets out. New clothes. New woman.
DANNY (V.O.)
Personal information?
LINUS (V.O.)
Some say he’s one of these guys
that thinks because he was born in
a penthouse, he controls the
elevator business. Others say he
turned out okay when you consider
how rich his parents were.
SAUL (V.O.)
Taxes over here are brutal. People
don’t realize.
...
Code:
INT. HOTEL SUITE -- DAY
Danny rolls his eyes.
BASHER
Scotland Yard said he’s the new LeMarc.
RUSTY
Scotland Yard never saw LeMarc.
“Clowns Can’t Sleep”
CUT TO:
EXT. PRIVATE HELIPORT -- NIGHT
A helicopter lands on a massive Lake Como estate. Toulour
gets out. New clothes. New woman.
DANNY (V.O.)
Personal information?
LINUS (V.O.)
Some say he’s one of these guys
that thinks because he was born in
a penthouse, he controls the
elevator business. Others say he
turned out okay when you consider
how rich his parents were.
SAUL (V.O.)
Taxes over here are brutal. People
don’t realize.
...I'd rather not confuse the OP further with possibilities. It is best to simply stick with the sluglines when moving between ordinary scenes. There are different script devices that are useful in specific situations but the INTERCUT and CUT TO really should be used frugally.
To me depends on the content and situation of the same time. Movies like Pulp Fiction and Atom Egoyan's movies tends to fast forward or back on scenes as long as the storylines comes together in the end.