Sunday, January 21, 2007

Q. I like using all-caps to imply "virtual" camera shots, as below:

INT. CH-47 CHINOOK - CARGO BAY -- NIGHT

As one, the SWAT guys turn to look down at the 

CARGO CRATE

strapped to the floor of the hold...

                                SLAM CUT TO:

A ZIPPO LIGHTER 

is carefully placed on a table-top. It bears the word “AIRBORNE” and an eagle-head Special Forces logo. 

Then an unopened pack of LUCKY STRIKES is placed next to it, lined up with military precision.

PULL BACK TO REVEAL we are in

INT. WAREHOUSE - NEW YORK HARBOR -- NIGHT 

CLAY waits alone, patient as a rock.

Or should the slugline come first?

This is how I usually do it. You want to use correct screenplay format, but you're writing a reading script, not a production script, so you have some leeway. If you put the slugline first (as you would for the benefit of the production crew), it puts the image of a warehouse in the reader's head before you want it to be there. Whereas if you only tell us about the Zippo, we get the virtual closeup of a Zippo lighter you wanted.

On a minor note: CUT TO: has generally gone out of fashion, as has the use of (CONT'D) when a character speaks twice in a row. I guess the feeling is they're clutter.

Some people particularly object to SLAM CUT: on the grounds of "a cut is a cut." But I use SLAM CUT where it seems appropriate. A cut is a cut, but in a "slam cut," there's probably a sting on the soundtrack.

In other words, use standard screenplay format most of the time. It's there to make a screenplay easier to read. But don't hesitate to break it in order to achieve a specific effect.

Labels: craft

9:10 AM

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