#sluglines

[2nd-rate-film-school]

Hey Jules!, ive sent u an email w my first script written w proper screenwriting format, i just wanted to make sure is it sent? u dont have to rush but i just wanted to make sure u got it as i do need some feedback. yeah AND im reading darren aronofsky's mother!, one of my fav films, and its written using words descriptive of feelings, and he doesnt particularly use proper sluglines or anything, so is that a still acceptable way to write a script? or is it just hard to get a film made like that?

Hey Anon,

It’s possible but since you’re on anon I don’t know if I got yours. It’s been a hectic few weeks for me so I haven’t gotten a chance to really look over my email, much less answer them. I’m making my way through some scripts now so hopefully you’ll get a response this week.

As for mother! there are a few reasons it’s not 100% properly formatted. The first, of course, is it’s Darren Aronofsky, an established and very accomplished filmmaker (who is directing the same script he wrote). Therefore, he’s got more leeway than writers first starting out. He also opens the script purposefully not letting us know where we are, hence sluglines such as “FIRE” and “WHITE.” These are often acceptable when writing and purposefully putting the film in a sort of unknown space or time and, when executed properly, can have a really great effect. Finally, his script takes place all in one location - a house to be specific - thus there is no need for INT/EXT. Stylistically, the absence of DAY/NIGHT gives a sense of timelessness to the script, which is also creative way to evoke emotion.

Finally, there’s a difference between a selling script and a shooting script. Selling scripts take more liberties with format, but once the script is sold, it’s reformatted into a shooting script, with all the exact formatting so the script can be timed, budgeted, and broken down. This is why, as a new writer, formatting is even more important. When an exec reads your script and can automatically figure the budget/time to make the film, they are much more likely to purchase the script because they know what to expect. They don’t like taking risks and an improperly formatted script can (other than potentially denote inexperience) present a financial risk to a studio. After all, they are a business first and foremost.

That went on a bit of a tangent, but I hope that answered your question!

Jules

[gethooptie]

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[obriangunn]

"Shoppers Will Not Be Responsible for Any Possible Fraudulent Charges"

Vignette inspired by: Home Depot Tells Shoppers They'll Be OK If Hacked, CNN, September, 4, 2014   "When did we discover this?" "About two hours ago, sir." "Two ho--Why am I just now hearing a...

A sample of my new blog, "Sluglines & Vignettes," where I take recent news stories and use them as prompts for short stories. Enjoy! 

[rchive-co]

Know The Basics

Though buying screenwriting software is important, knowing screenplay format doesn’t end with plugging an open document. A monkey on a laptop could hit some keys on Final Draft and make it look like something that resembles a screenplay. That product will look just as good (or more appropriately, bad) to a professional reader as one that was written by a smart human being who doesn’t know the rules of screenwriting.

            There are tons of books, classes, interviews, and countless other resources to teach you how to write a screenplay. Take advantage of them. Don’t just write it your way because you think that’s creative or special. Creativity is for the ideas but it still has to come in the appropriate packaging.

            You must know what a slug-line is and what does/doesn’t belong in one. If you’re not capitalizing characters when they first appear or using the present tense, it’s a dead giveaway that you’re an amateur. If you’re lucky enough to get someone to read your screenplay, you need to give them the respect of knowing and following the rules. These rules are there for a reason, whether it’s to make the story clear, for production purposes, or just because someone started doing it that way once. There are variations and options when it comes to more specific details but there are many things that are universally done and it’s incumbent on a young writer to know what those are.

[conelradstation]

EXT. LAKE - DAY

He stands knee deep in the water, cane pole in hand, bare feet slipping deeper and deeper into the decaying muck of the lake bottom, trying to remember something from high school biology class.

[conelradstation]

INT. SHOPPING MALL FOOD COURT - DAY

An enormous plastic play structure is broiling with screaming children, their parents seated at a dozen cabaret tables crusty with nacho residue.

Table 1 is haggard.

Table 2 is resentful.

Table 3 is depressed.

Table 4 is repressed.

Table 5 is lonely.

Table 6 is talking about his high school glory days.

Table 7 is bleeding anguish.

Table 8 is collapsing.

Table 9 is agonizing over summer camp.

Table 10 is spilling lemonade on

Table 11 which is spilling hatred on

Table 12, which hasn’t gotten laid since New Year’s Eve.

[conelradstation]

INT. BEDROOM - NIGHT

A man lying on a bed

Waking from a dream

Missing something that wasn’t even there

[conelradstation]

INT. BEDROOM - DAWN

A puffy hand smashes against a screeching plastic box, its groggy digits fumbling for a button above glowing digits indicating the earliness of the hour. Flimsy, loud buttons breaking under pressure. It’s as if the end of the Renaissance can be symbolized by a puny, beeping box that says “Wesclox.”