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git-svn-id: svn://svn.lyx.org/lyx/lyx-devel/trunk@2824 a592a061-630c-0410-9148-cb99ea01b6c8
1736 lines
25 KiB
Plaintext
1736 lines
25 KiB
Plaintext
#LyX 1.2 created this file. For more info see http://www.lyx.org/
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\lyxformat 220
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\textclass hollywood
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\language english
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\inputencoding auto
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\fontscheme default
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\graphics default
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\paperfontsize default
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\spacing other 0.90
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\papersize letterpaper
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\paperpackage a4
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\use_geometry 1
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\use_amsmath 0
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\use_natbib 0
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\use_numerical_citations 0
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\paperorientation portrait
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\leftmargin 1.5in
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\topmargin 48bp
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\rightmargin 0.75in
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\bottommargin 30bp
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\headheight 12bp
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\headsep 24bp
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\footskip 6bp
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\secnumdepth 2
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\tocdepth 2
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\paragraph_separation indent
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\defskip medskip
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\quotes_language english
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\quotes_times 2
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\papercolumns 1
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\papersides 1
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\paperpagestyle fancy
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\layout General
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[NICHOLL FELLOWSHIPS in SCREENWRITING]
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\layout General
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http://www.oscars.org/academy/nichollindex.html
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\layout General
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\begin_inset ERT
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status Open
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\layout Dialogue
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\backslash
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thispagestyle{empty}
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\end_inset
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\layout General
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Formatted text courtesy of Ann Garretson
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\layout General
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http://www.halcyon.com/aga
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\layout General
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Copyright 1998 by the Academy of Motion Picture Arts and Sciences
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\layout General
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----------
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\layout General
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FILE NOTES
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\layout General
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----------
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\layout General
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Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
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\layout General
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- The NICHOLL FELLOWSHIPS in SCREENWRITING
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\layout General
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- http://www.oscars.org/nicholl/index.html
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\layout General
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- E-mail: Greg Beal, gbeal@oscars.org
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\layout General
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File Info: April, 1998 (online)
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\layout General
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- http://www.oscars.org/nicholl/format_a.txt
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\layout General
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- View in a monospaced font -- preferably 12-point Courier.
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\layout General
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Copyright 1998 by the Academy of Motion Picture Arts and Sciences
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\layout General
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----------
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\layout General
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Permission to use this script as a LyX example file was kindly granted by
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Greg Beal, gbeal@oscars.org.
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\layout General
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I added a few lines at the end of script about binding.
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The original script ended with the words
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\begin_inset Quotes eld
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\end_inset
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I'd never let you miss a meal.
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\begin_inset Quotes erd
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\end_inset
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There were also references to tabs, which don't exist in LyX, so I made
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minor changes in the text.
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Apologies and kudos to Ann Garretson.
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Be sure to thank her when you get your Oscar.
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\layout General
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Garst R.
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Reese
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\layout General
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\pagebreak_bottom
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reese@isn.net
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\layout Title
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FOR A FEW DAYS MORE
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\layout Author
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\added_space_bottom vfill
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by
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\newline
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April Rider
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\layout Right Address
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\pagebreak_bottom
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April Rider
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\newline
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555 George St.
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NNW
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\newline
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Kaplan, ND 77777
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\newline
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999-999-9999
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\layout FADE IN:
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\begin_inset LatexCommand \label{Joe}
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\end_inset
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\begin_inset LatexCommand \label{April}
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\end_inset
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\layout General
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\begin_inset Note
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collapsed true
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\layout General
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Use Layout->Document
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\layout General
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Spacing Other to set the spacing between lines.
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A value of .85 is probably the minimum.
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\end_inset
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\layout General
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\begin_inset Note
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collapsed true
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\layout General
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To change:
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\layout General
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\backslash
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setlength{
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\backslash
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dialogindent}{1in},
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\layout General
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\backslash
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setlength{
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\backslash
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parenoffset}{.5in},
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\layout General
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\backslash
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setlength{
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\backslash
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dialogLength}{4in},
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\layout General
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\backslash
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setlength{
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\backslash
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parenLength}{2in},
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\layout General
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\backslash
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setlength{
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\backslash
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speakeroffset}{1.2in}
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\layout General
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click TeX and enter new values as above.
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\layout General
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Parenoffset is the offset to the left of parentheticals from speaker names.
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\layout General
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Speakeroffset is the offset to the right of the dialog margin, so changing
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dialogindent will automatically change the position of parentheticals and
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speaker names.
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\end_inset
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\begin_inset Note
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collapsed true
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\layout General
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You can put your Speaker names in labels, the insert cross references to
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the labels.
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The printed version will automatically be capitalized in Speaker even if
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the label is not capped.
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This way you can use them in dialogue also, and change all references to
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your Speaker's names just by changing the label.
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\end_inset
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\layout General
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\begin_inset ERT
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status Collapsed
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\layout Dialogue
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\backslash
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setlength{
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\backslash
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parenLength}{1.7in}
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\layout Dialogue
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\backslash
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setlength{
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\backslash
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dialogLength}{3.2in}
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\end_inset
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\layout INT.
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DRISKILL HOTEL SEMINAR ROOM - DAY
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\layout Description
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JOE and APRIL burst through the doors into a clean, well-lit seminar room
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\layout General
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\begin_inset Note
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collapsed true
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\layout General
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Use the description after INT.
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or EXT.
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to keep it on the same page.
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Narrative is the same, except that it allows a pagebreak before it.
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Notice that I did not use the labels for Joe and April here because they
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are upper-cased in discriptions only the first time they are used.
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You could make extra labels, but I think it would be error-prone.
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\end_inset
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\layout Speaker
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Dialogue
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Are we in time?
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\layout Speaker
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\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Dialogue
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How could they start without us? We're the main attraction.
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\layout Narrative
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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catches his breath as he leans against the podium at the front of the room.
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\layout Speaker
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Parenthetical
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looking about the room
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\layout Dialogue
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We are?
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\layout Speaker
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\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Dialogue
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Don't be a moron.
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You know we've been invited to Austin to discuss script format.
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\layout Speaker
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Dialogue
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But why is the room empty?
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\layout Narrative
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\begin_inset LatexCommand \ref{April}
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\end_inset
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and
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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both look out across the room -- rows of empty chairs and nary a person
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in sight.
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\layout Speaker
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\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Dialogue
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Okay, okay, don't panic.
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\layout Narrative
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She takes three deep breaths.
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Then she looks at her watch and smiles.
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\layout Continuing
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\layout Dialogue
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We're an hour early.
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We should rehearse.
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\layout Speaker
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Dialogue
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Okay, you start.
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Margins?
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\layout Speaker
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\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Dialogue
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Left, 1.5 inches.
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Right, 0.75 inches.
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Top, 1.0 inch to the body, 0.5 inches to the number.
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Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
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\layout Speaker
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Dialogue
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Page break?
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\layout Speaker
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\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Dialogue
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Right above me.
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Rules for breaking a page.
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Scene headers, like INT., remain attached to Description.
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If a page breaks between a Speaker and a one sentence Dialogue, move it
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above the Speaker.
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A long Dialogue passage would be split -- but I'll get to that later.
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\layout Speaker
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Dialogue
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What about fonts?
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\layout Speaker
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\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Dialogue
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Courier, 12 point, 10 pitch.
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Make sure it's a non-proportional version of Courier.
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\layout Narrative
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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's grimace suggests that he's deep in thought.
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\layout Speaker
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Dialogue
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What about bold-face or italics? Or a Gothic font? I love to jazz up my
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scripts.
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\layout Speaker
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\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Dialogue
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No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
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Stick with Courier.
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That's the industry standard.
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\layout Speaker
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Dialogue
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Oh, we're talking about industry standards?
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\layout Narrative
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Suddenly,
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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bolts from behind the podium and runs out into:
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\layout INT.
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DRISKILL HOTEL HALLWAY - DAY
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\layout Description
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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glances up and down the hallway, then reaches back to open the door.
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\layout Speaker
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Parenthetical
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calling
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\layout Dialogue
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\begin_inset LatexCommand \ref{April}
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\end_inset
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-- come on! There's no one here.
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\layout Speaker
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\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Parenthetical
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walking through the door
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\layout Dialogue
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Ah, a scene heading.
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Or a slug line, as I was taught in film school.
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Always CAPPED.
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What happens if we \SpecialChar \ldots{}
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\layout EXT.
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TEXAS CAPITOL BUILDING - DAY
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\layout Description
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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pinches himself as he stands with
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\begin_inset LatexCommand \ref{April}
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\end_inset
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before the seat of Texas politics.
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\layout Speaker
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Dialogue
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How'd you do that?
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\layout Speaker
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\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Dialogue
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There was a cut -- from the hallway to the capitol.
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What'd you want to do -- ride in a cab?
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\layout Speaker
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Dialogue
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Dialogue margins.
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\layout Speaker
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\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Dialogue
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Left, 3.0 inches.
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Right, 2.5 inches.
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Of course, you can cheat those a tad.
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\layout Dialogue
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\begin_inset Note
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collapsed true
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\layout General
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These are from the paper edge, but you specify them from
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\layout General
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the left margin using dialoglength and dialogIndent.
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\end_inset
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\layout Speaker
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Dialogue
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So, you have about 3.0 inches for each line of your dialogue?
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\layout Speaker
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\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Dialogue
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You've got it.
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Though you can go out another three or four spaces to the right and no
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one will hold it against you.
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\layout Narrative
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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jots down several notes on a 3 x 5 card, studies the card for a moment,
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then scribbles another note.
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|
\layout Speaker
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|
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\begin_inset LatexCommand \ref{Joe}
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\end_inset
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\layout Parenthetical
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|
looking up
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\layout Dialogue
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|
And the position of the speaker's name?
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\layout Speaker
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\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Dialogue
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All CAPS, and about 2.7 inches from the left margin.
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|
Some writers center all the speakers' names.
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|
\layout General
|
|
|
|
|
|
\begin_inset Note
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collapsed true
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|
\layout General
|
|
|
|
Use More to break up a dialogue across a page boundary.
|
|
It will put (MORE) at the bottom of the page, and insert the current speaker
|
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name and (CONT'D) at the top of the next page.
|
|
You should not break mid-sentence.
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\end_inset
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\layout More
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\layout Dialogue
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Personally, I don't think it matters.
|
|
The look of the script pages is slightly different in either case.
|
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\layout Speaker
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|
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\begin_inset LatexCommand \ref{Joe}
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|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Hey, what happened?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
A page break appeared in the middle of my dialogue.
|
|
You use (MORE) at the bottom of the page to show that the speaker's dialogue
|
|
continues onto the next page.
|
|
Then (CONT'D) next to the speaker to show that it has roots in the previous
|
|
page.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
But not everybody uses MOREs and CONT'Ds, do they?
|
|
\layout INT.
|
|
|
|
CAPITOL BUILDING - DAY
|
|
\layout Description
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
stares up into the dome.
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
examines the portraits of Texas governors on the nearby walls.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Some writers just plan their page ends so as to avoid them.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Parenthetical
|
|
|
|
considering
|
|
\layout Dialogue
|
|
|
|
What about parentheticals?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Start them about a half-inch to the left of the speaker name.
|
|
In our case that would be at 2.2 inches from the left margin.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
And what are they for?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
For years, parentheticals were used to express emotion, the manner in which
|
|
a speaker spoke her lines.
|
|
Loudly, passionately, sadly, and so on.
|
|
In recent years writers have often used them for brief bits of action.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Parenthetical
|
|
|
|
going up a stairway
|
|
\layout Dialogue
|
|
|
|
Something like this?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Parenthetical
|
|
|
|
following him
|
|
\layout Dialogue
|
|
|
|
Exactly.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
How wide are parentheticals?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Not very -- about 1.5 inches.
|
|
And they should wrap to the following line when they extend beyond that
|
|
point.
|
|
\layout Parenthetical
|
|
|
|
pointing up to the top of the page
|
|
\layout Dialogue
|
|
|
|
If you place a parenthetical in the middle of a dialogue passage, it should
|
|
remain distinct from the dialogue.
|
|
\layout EXT.
|
|
|
|
MISSISSIPPI RIVERBOAT - NIGHT
|
|
\layout Description
|
|
|
|
A gambling boat rolls slowly along the mighty river.
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
and
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
wander about its upper deck.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
I have to ask -- what happened to CUT TO:s between scenes.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
|
|
scenes.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Those would introduce a new scene header?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
And typically a different time and/or place.
|
|
But many writers have dispensed with such transitions, feeling that a new
|
|
scene header signifies a cut without the need of any additional indicator.
|
|
\layout Narrative
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
stares out at the river.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
How did we reach the Mississippi and when did the sun set?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
If you'd like \SpecialChar \ldots{}
|
|
|
|
\layout EXT.
|
|
|
|
AIRPLANE - SUNSET
|
|
\layout Description
|
|
|
|
A jet liner cruises East across Texas.
|
|
\layout INT.
|
|
|
|
AIRPLANE - SUNSET
|
|
\layout Description
|
|
|
|
A customized interior, replete with lounge chairs and sofas.
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
and
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
sip margaritas.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Is this a flashback?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Or it could be tomorrow.
|
|
Or next week.
|
|
\layout TITLE OVER:
|
|
|
|
October 19, 1997
|
|
\layout Continuing
|
|
|
|
\layout General
|
|
|
|
|
|
\begin_inset Note
|
|
collapsed true
|
|
|
|
\layout General
|
|
|
|
Selecting
|
|
\begin_inset Quotes eld
|
|
\end_inset
|
|
|
|
Continuing
|
|
\begin_inset Quotes erd
|
|
\end_inset
|
|
|
|
will insert the current Speaker followed by (continuing) as a parenthetical.
|
|
Don't worry, it will look right on the printed version.
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
You see, a few weeks have passed.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Okay, I didn't notice.
|
|
But I thought only DAY and NIGHT were allowed on scene headers.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Production managers would certainly prefer it that way, but many writers
|
|
use headers as a means of showing a particular time of day, especially
|
|
SUNRISE and SUNSET.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
So that's allowed?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
On writer's drafts, without a doubt.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
A writer's draft?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Essentially, any draft that hasn't been paid for.
|
|
Any draft to be sent to agents, studio execs, production companies, development
|
|
people.
|
|
Those are writer's drafts.
|
|
And they all should be FIRST DRAFTs, no matter how many versions the writer
|
|
has actually written.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
You really think so?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
That's my recommendation.
|
|
\layout INT.
|
|
|
|
BLUE CAMARO - DAY
|
|
\layout Description
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
drives along Austin's Congress Avenue as
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
rides shotgun.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
You speak any foreign languages?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Parenthetical
|
|
|
|
in French
|
|
\layout Dialogue
|
|
|
|
Why do you ask? (Pour quoi tu demandes?)
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
What about action scenes?
|
|
\layout Narrative
|
|
|
|
SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
|
|
them.
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
|
|
trail of rubber.
|
|
The Camaro takes a left, then a quick right to accelerate into -- A DARK
|
|
ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
|
|
pulls into the alley, sealing it shut.
|
|
\layout EXT.
|
|
|
|
DRISKILL HOTEL DAY
|
|
\layout Description
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
leads a dazed and confused
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
to the front door.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
That's one way to do an action scene.
|
|
It's a variation on the Bill Goldman style that's used by many writers.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Parenthetical
|
|
|
|
coming to
|
|
\layout Dialogue
|
|
|
|
But other writers just use normal description and standard scene headers
|
|
for action scenes, don't they?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Many do.
|
|
\layout INT.
|
|
|
|
DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH - DAY
|
|
\layout Description
|
|
|
|
A slightly less dazed
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
speaks on the phone.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
I thought we were walking together.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
(O.S.)
|
|
\layout Parenthetical
|
|
|
|
filtered
|
|
\layout Dialogue
|
|
|
|
Well, we were, but I realized a phone call was needed.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
You're filtered?
|
|
\layout INTERCUT
|
|
|
|
\layout EXT.
|
|
|
|
STATE CAPITOL PHONE BOOTH - DAY
|
|
\layout Description
|
|
|
|
With the dome looming large behind her,
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
speaks into the phone.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Only when you hear my voice over the phone.
|
|
Radio voices and phone calls often are filtered, though it's a convention
|
|
that isn't used by everyone anymore.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Let's try something easy.
|
|
What about page numbers?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Number each and every page, though you can start with page two.
|
|
The numbers should appear in the upper right hand corner, about 0.5 inches
|
|
down and 0.75 inches from the right page edge.
|
|
Those dimensions are not set in stone, but page numbers should always be
|
|
placed in the upper right hand corner.
|
|
\layout INT.
|
|
|
|
DRISKILL HOTEL HALLWAY - DAY
|
|
\layout Description
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
walks slowly towards the seminar room.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
You know, that pronouncement almost seemed godlike.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
(V.O.)
|
|
\layout Dialogue
|
|
|
|
If it were, I probably would have spoken in a voice over and not on the
|
|
phone.
|
|
\layout Narrative
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
searches the ceiling, trying to decide just where this disembodied voice
|
|
is emanating from.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
What's a V.O.
|
|
used for?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
(V.O.)
|
|
\layout Dialogue
|
|
|
|
Oftentimes for narration, for a narrator's voice.
|
|
In film noir the protagonists often filled the audience in on their thoughts
|
|
or story details.
|
|
Documentary films are filled with voice over.
|
|
\layout INT.
|
|
|
|
DRISKILL HOTEL SEMINAR ROOM - DAY
|
|
\layout Description
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
races past
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
to reach the podium first.
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
walks slowly past the still-empty chairs.
|
|
|
|
\layout Description
|
|
|
|
At the podium
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
gestures with his hands as if he were making a major political speech.
|
|
\layout Description
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
sneaks up behind him and mimics his movements -- until he notices.
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|
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|
\begin_inset LatexCommand \ref{Joe}
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\end_inset
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|
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|
spins to confront her.
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|
\layout Speaker
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|
\begin_inset LatexCommand \ref{Joe}
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|
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|
\end_inset
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|
\layout Dialogue
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|
Why I ought'a \SpecialChar \ldots{}
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\layout Speaker
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|
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|
\begin_inset LatexCommand \ref{April}
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\end_inset
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\layout Dialogue
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|
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|
I was just demonstrating the way many writers break description into shorter
|
|
paragraphs.
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|
I've seen blocks of description covering an entire page.
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\layout Speaker
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|
\begin_inset LatexCommand \ref{Joe}
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|
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|
\end_inset
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|
\layout Dialogue
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|
|
|
That makes for tough reading, doesn't it?
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|
\layout Speaker
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|
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|
\begin_inset LatexCommand \ref{April}
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\end_inset
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|
|
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|
\layout Dialogue
|
|
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|
I know studio readers who just skip long description and read only dialogue.
|
|
\layout Speaker
|
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|
|
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|
\begin_inset LatexCommand \ref{Joe}
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|
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|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
But there are pros who write scripts with extended descriptive passages.
|
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\layout Speaker
|
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|
|
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|
\begin_inset LatexCommand \ref{April}
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|
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|
\end_inset
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|
|
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|
\layout Dialogue
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|
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|
When you make a half-million or so per script, you can pretty much use any
|
|
format you want.
|
|
\layout Narrative
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|
\begin_inset LatexCommand \ref{Joe}
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|
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|
\end_inset
|
|
|
|
climbs atop the podium.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
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|
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|
\end_inset
|
|
|
|
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|
\layout Dialogue
|
|
|
|
But when you're like me, you have to stick to format.
|
|
Is that what you're trying to say?
|
|
\layout Speaker
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|
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|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
That's the story.
|
|
\layout Narrative
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
jumps down from the podium and runs out the door just as conference ATTENDEES
|
|
begin to enter.
|
|
\layout Continuing
|
|
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|
\layout Dialogue
|
|
|
|
By the way, the first time you introduce a speaker in description, you CAP
|
|
his name.
|
|
And when you break dialogue with description, the standard is to place
|
|
"continuing" within parentheses when a speaker chatters on and on.
|
|
\layout Narrative
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
watches as a number of people sit down before her.
|
|
\layout Continuing
|
|
|
|
\layout Dialogue
|
|
|
|
Of course, many writers have dropped "continuing" from their repertoire.
|
|
I mean, it's obvious that I'm still speaking, isn't it? And that I never
|
|
stopped speaking.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
(O.S.)
|
|
\layout Parenthetical
|
|
|
|
shouting from beyond the door
|
|
\layout Dialogue
|
|
|
|
Hey,
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
, c'mon.
|
|
There's a buffet at the hotel and a shuttle leaving in two minutes.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Parenthetical
|
|
|
|
shouting
|
|
\layout Dialogue
|
|
|
|
We haven't mentioned master scenes.
|
|
\layout Narrative
|
|
|
|
A sheepish
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
enters, then glances about the room as he slowly approaches the podium.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
That one I know.
|
|
No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
|
|
Just scene headers, description and dialogue.
|
|
And no scene numbers.
|
|
Those are left to shooting scripts.
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
Don't worry, I would never let you miss a meal.
|
|
Do you know how to make a script sandwich?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{Joe}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
A script sandwich?
|
|
\layout Speaker
|
|
|
|
|
|
\begin_inset LatexCommand \ref{April}
|
|
|
|
\end_inset
|
|
|
|
|
|
\layout Dialogue
|
|
|
|
You need your script, two sheets of plain manila binding stock, a three
|
|
hole punch, and three 1.5 inch brass brads.
|
|
No title or name on the binding stock.
|
|
When you get it all assembled, you can hammer the brass brads down to make
|
|
it good and tight.
|
|
Now lets go eat.
|
|
\layout FADE OUT
|
|
|
|
\layout Speaker
|
|
|
|
THE END
|
|
\the_end
|