I've worked with Nancy Meyers on "Holiday"... boy, such long hours! Good pay, but man, the appearance of lack of confidence in getting one shot. David Fincher is the same! I think he has the record of 99 takes on one shot!
Okay, now with the differences I've been taught between a SCENE HEADING and a SLUG LINE... A SCENE HEADING opens up your scene with a location, sub-location and time of day. A SLUG LINE, from what I read up on and was taught is a change of sub-location within the same location. aka... INT. HOME - KITCHEN - DAY... then the character goes into the LIVING ROOM. (that's the slug line). Then if they head up to their BEDROOM. etc...
My gliche I was using too much was an Ellipses ( ... ). Man it was so bad! I was told, like you were for other facets of formatting, do not use too many and the most common usage for them is then there's an action sequence interrupting a character's dialogue. What do you think?
Okay within the dialogue, the use of extensions, especially for a phone conversation, I've been taught is (V.O.) not (O.S.)... O.S. is used for a voice of a character, let's say from another room within the location. Then there's (O.C.) (Off Camera). This one is trickier, it's so close in usage to (O.S.) that a lot of people get confused which to use when... what do you think?!
Okay, with a Parenthetical, be careful not to place an action inside it. I've been taught or told it's for mainly an expression cue for the Character/ Actor reading it. Like (Lovingly) or (Speaking in his/her Native tongue/language). Then the difference of using one for someone (Yelling) vs using ALL CAPS in the dialogue has been a quandary of sorts. What do you think?
Yes, I agree with finding your own style of writing and how to use and not to use the basic Screenwriting Formatting (so-called) rules. They are a little bendy and somewhat flexible, but we all can agree that there still is a basic ground roots style for a standard screenplay format. Do you agree?
Okay, the whole ALL CAPS within the Action Sequence - there's been a few renditions of how to use it besides the introduction to a new Character. Some say you use ALL CAPS for extreme sound effects. Some say for the use of Props. But when do you or do you use ALL CAPS within the dialogue? Some say you can use it to over-express a phrase or word. What do you think?!
Okay, with 'Transitions', be careful not to over use them. It's more the Director's choice how to break up two scenes. Most state today that there's no need to use FADE IN: to start your screenplay. The only time I use FADE OUT: is if a character blacks out or is knocked out, then I will use FADE IN: then to bring us back into the story. Do you ever use DISSOLVE TO: ?
Which screenwriting software do you use?
Microsoft Word! Amazing video. I think I’m may finish the script quick now, I will definitely share it with you once it’s down
Thank-you for this brilliant advice
That’s pretty helpful❤😊
I've worked with Nancy Meyers on "Holiday"... boy, such long hours! Good pay, but man, the appearance of lack of confidence in getting one shot. David Fincher is the same! I think he has the record of 99 takes on one shot!
Thank you! :)
Okay, now with the differences I've been taught between a SCENE HEADING and a SLUG LINE... A SCENE HEADING opens up your scene with a location, sub-location and time of day. A SLUG LINE, from what I read up on and was taught is a change of sub-location within the same location. aka... INT. HOME - KITCHEN - DAY... then the character goes into the LIVING ROOM. (that's the slug line). Then if they head up to their BEDROOM. etc...
My gliche I was using too much was an Ellipses ( ... ). Man it was so bad! I was told, like you were for other facets of formatting, do not use too many and the most common usage for them is then there's an action sequence interrupting a character's dialogue. What do you think?
Okay within the dialogue, the use of extensions, especially for a phone conversation, I've been taught is (V.O.) not (O.S.)... O.S. is used for a voice of a character, let's say from another room within the location. Then there's (O.C.) (Off Camera). This one is trickier, it's so close in usage to (O.S.) that a lot of people get confused which to use when... what do you think?!
Yes, I agree with MONTAGES. And you begin and end the same way with FLASHBACKS. BEGIN & END: How often should you use Flashbacks?
Okay, with a Parenthetical, be careful not to place an action inside it. I've been taught or told it's for mainly an expression cue for the Character/ Actor reading it. Like (Lovingly) or (Speaking in his/her Native tongue/language). Then the difference of using one for someone (Yelling) vs using ALL CAPS in the dialogue has been a quandary of sorts. What do you think?
Yes, I agree with finding your own style of writing and how to use and not to use the basic Screenwriting Formatting (so-called) rules. They are a little bendy and somewhat flexible, but we all can agree that there still is a basic ground roots style for a standard screenplay format. Do you agree?
Okay, the whole ALL CAPS within the Action Sequence - there's been a few renditions of how to use it besides the introduction to a new Character. Some say you use ALL CAPS for extreme sound effects. Some say for the use of Props. But when do you or do you use ALL CAPS within the dialogue? Some say you can use it to over-express a phrase or word. What do you think?!
Okay, with 'Transitions', be careful not to over use them. It's more the Director's choice how to break up two scenes. Most state today that there's no need to use FADE IN: to start your screenplay. The only time I use FADE OUT: is if a character blacks out or is knocked out, then I will use FADE IN: then to bring us back into the story. Do you ever use DISSOLVE TO: ?
Less is More!