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8

In the context you've provided, OFF Marie, left stewing now means "this is the last thing the camera sees before it moves off her to the next shot." These are framing directions to the camera person. Look at the parentheticals: PAMELA And it’s not an apartment, it’s a house that you live in? (off Skyler’s nod) Do you own outright, or is there a ...


4

...Just the same. Just note that this is open play and not the cutscene. Write all events, but note which part is a cutscene, which is a dialogue, which is plain action, which is a quicktime event... In case of linear games this is very simple, and doesn't differ from typical script by much. Now, in case of games with more advanced plot, the scripts are ...


3

For this script at least, the numbers correspond to the scenes. Each number in the left margin appears at the beginning of a new location. At a guess, this could simply be to make writing easier for the screenwriter, or perhaps to correspond to clapperboard information. These possible uses are only guesses, however. As seen in @Reed's comments, this is ...


3

Okay, you actually asked three different questions here, so let's break each one down. Are these online course certificates actually recognized by producers, agents, directors, etc., or will having this on your resume make no difference at all? To be quite honest, when it comes to selling a screenplay, you are probably going to start with ...


3

"Muzak" is also called elevator music. It is characterized by soft, usually slowed, instrumental versions of songs that are typically played in department stores, as hold music, or (per the name) in elevators. They are meant to be soothing and unobtrusive background sounds to avoid what could be uncomfortable silence. It is so named because the company most ...


2

I do not know if there is a standard way, but I would write it in whatever way makes it crystal clear when the events are taking place. I'd create distinct sluglines for each alternate universe and use them strictly and consistently. Because this is a screenplay (meant to be used as a working document to create a film, correct?) and not a novel or even a ...


2

A screenplay is written primarily for the production crew, not for the audience, so you don't have to be afraid of spoiling any plot points by mentioning that two apparently different persons are in fact the same character. When you want both the MASKED ASSASSIN and MARTHA MARIGOLD to be portrayed by the same actress, you would refer to both under the same ...


2

All the screenplays I have seen always use the form of the name that the character is known by to the audience. For example, if you tell the tale of Robert Williams, but all the other characters always address him as "Bob", you use "Bob" as the marker for this character. If, on the other hand, Mr. Williams is a teacher and only his wife calls him "Bob", ...


2

I've never seen CUT on its own in a script before, so I honestly can't imagine where you'd use it... CUT TO:s are rare in today's scripts. Years ago you'd use them above a new slugline. (Or FADE TO: or DISSOLVE TO: or whatever transition you wanted to use; but these choices are now considered to be the director's prerogative. The transition would always ...


2

Since we never put anything out on a public server, aka Cloud, I don't know if Trelby is what you need or not. On the bright side, it's FREE, so no harm in taking a look to see. I've never heard of Plotbot, but have used Celtx. The number one screenwriting software is Final Draft. It is expensive, crashes often, and not universal among platforms. For this ...


2

The primary difference between usage in the terms "screenplay" and "script" is the function of the document. The script the actors use during filming is primarily dialogue with minimal stage direction. This is similar to the 'spec scripts' given to agents and producers to generate interest in the work. The primary focus here is on telling the story, the ...


2

Why should the format of movie scripts from different movie making traditions be the same?!? Here is a typical Italian two column movie script: http://www.cinetecadibologna.it/imageserver/lightboxenlarge/files/biblioteca/sceneggiature/donati/photogallery/la%20grande%20caccia.jpg


2

I've tried to do this myself, so I'll pass along what I've learned. First, note that the audience hears a play about one-third as fast (150-200 words per minute) as they read a novel (500-600 words a minute). Because of that, a screenplay requires "crisper" writing, with fewer excess words than a novel. A novel might describe a hero's actions as follows: ...


2

Eh, it's almost impossible to sell screenplays in general. That you have a screenplay for a movie that would be R or NC-17 moves it from "almost" impossible to "very nearly" impossible. You know how many movies were released in 2013 with a NC-17 rating? Two, Blue Is The Warmest Color and something called Lucky Bastard. Which might not sound like much, but ...


2

The biggest different between a novel and a movie is that in a novel, things are described to the reader. The reader can get inside the character's head, be told what the characters are feeling, what the characters and thinking... This doesn't happen in a movie. A movie can only show, not tell. A screenplay has to be entirely visual (and auditory.) This is ...


1

From what I've been told, there are two important parts to a drama: 1) story (or "message" in your words), and 2) characters. That's because the characters are the medium by which your message is conveyed, and the interaction of the characters produces the plot, or "storyline."


1

Typically, you would change all the names and present it as fiction (perhaps as "inspired by a true story"). This is called a roman à clef and it's a widely used technique to allow poetic license with the truth while avoiding legal trouble. Even with this approach, however, people have still been sued, so you might want to use caution.


1

A good way to do it is to refer to files outside of the main script, like a map of the area that displays where the player may go, what they may do and what they may find. When you reach the area in the script, simply write something like 'Refer to: ' This will also give a clearer image to anyone else looking at this as to what the map will look like or ...


1

You cannot write a script without visualizing what's happening, so I say add what you have in mind. I've seen it done both ways (especially in animation). If you plan to direct the feature it can't hurt to add every shot, since everything can be modified later, and will be if it's worth a damn. And personally, I wouldn't want to read a script with some ...


1

College education in creative areas is for the most part a way for unsuccessful non-artists – that is: illustrators whom no one hires, writers whose books don't sell to support them, screen writers who don't sell scripts – to earn a living. There are some teachers who are also successful in their field, so check who will be teaching you. (Make sure they ...


1

A screenplay is a script written for a screen, whether television or feature, but it's only used when the specifics of what's being worked on might be in question. Formatting is very similar for both types of projects, the difference has to do more with pacing, the number of locations, acts and scenes than actual formatting differences. Also a stageplay ...


1

Number = Scene Screenplays are usually formatted in such a way that one page roughly equates to one minute, and, in a shooting script, the scenes are numbered. Notes on the length of The Battle of Algiers: A According to the French Wikipedia article, there is a French dubbed version of the movie that is 157 minutes long. Finding out when and why the ...


1

Normally they are minutes roughly 1 page equals about 1 minute of visual time. But it is not an exact science and here 146 pages translate to 120 minutes.. most likely this is caused by long descriptions which only take a short time time to show rather than tell. that 1 page= 1 minute is truest for talking and some action scenes, still as they are not ...


1

A production requires several experts who handle specific elements at the request of the director. The CAPS are specific to help those experts do their task. All props and foley sounds are in caps so the prop director and sound engineer are are alert to their task. CAPs are also used to introduce a new character (though only the first time they appear) and ...


1

Most of what you'll find on-line are not spec scripts, but production scripts which have been scene numbered or otherwise slightly altered by directors and ADs to facilitate shooting. Additionally, if you're reading a script of a writer/director, then you need to understand it might as well have been written in crayon as it was never going to be a spec ...


1

Your format is correct, although I believe you would typically place "CUT TO" above the new scene. Screenplays have a very specific, well-established format, so it's best to stick to the conventions. For people who are used to reading screenplays, it will seem natural, not clumsy.


1

In Final Draft 7, if you run the ScriptCompare tool (Tools > ScriptCompare) against the previous day's file, it generates a document that shows the changes from that version. You could send the changes file, along with the latest screenplay file, to your writing partner - or your writing partner could generate the changes file him/herself against their ...


1

Keep your script consistent. You do not want to confuse the readers. So, yes, always use the full name.



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