Welcome to the O.C., bitch
When you have a character talking on the phone who is not in the scene that the audience is watching (e.g. Bill is in a phone booth talking to Jim who we only hear but never see) — do you use (O.S.) or (O.C.) or something else?
– RMT
Los Angeles
I would use O.S., which means “off screen.” I think the distinction is supposed to be that O.C. (”off camera”) applies when the speaker is physically in the same space as the person he’s talking to, but just not on camera, while O.S. is when speaker and listener are in different places.
Your case is definitely the latter. It would look like this:
- Bill holds up a one-sec finger while he answers the payphone.
- BILL
- Ni hao.
- JIM (O.S.)
- Where the hell are you? He’s waking up, and I’m out of demerol.
I don’t think the distinction between the two terms is all that useful. In fact, I never use O.C., even in situations where it would probably apply — I just use O.S., and no one is ever confused.
I can’t say for certain what my aversion to O.C. is. It may be that on a subconscious level, I know that the “C.” stands for “camera,” and I try to never refer to the camera itself. I think it takes the reader out of the story, reminding them that what they’re reading is just a script.
However, there’s absolutely nothing wrong with O.C. — most readers will know what it means. So if it floats your boat, by all means use it in appropriate situations. Which does not include this one.
Articles
August 15th, 2005 at 4:46 pm
I’m slightly confused. I thought (V.O.) would be called for in the phone situation, as Voice Over implies the voice of someone who is not physically present in the scene, itself. Whereas O.S. (or O.C.) refers to someone speaking out of camera range who is physically present in the scene, even if we don’t see them in that moment.
I wonder how much of a difference it makes, really.
August 15th, 2005 at 5:02 pm
I thought V.O was for narration.
August 15th, 2005 at 7:31 pm
Hola! First time posting here and thanks for putting up such a valuable store of information.
I read somewhere where someone said use
and have been using that lately; thinking it perhaps indicates that they might use some FX on the voice. Regardless, producers have never commented whether I used O.S., O.C., or FILTER.
August 15th, 2005 at 11:00 pm
I was taught to do it this way:
August 16th, 2005 at 12:40 am
Y’know, if you guys read screenplays once in a while, you wouldn’t need to ask questions like this.
You should all know the difference between O.S., V.O., and O.C.–it’s something you understand/osmose from reading lots of scripts. Actually, you’ll see it within the first two or three you read, and it should be clear to you then.
If you have to ask this question, it means you’re not reading enough screenplays. If John hasn’t told you, you need to read hundreds of them to get a feel for the craft. Not dozens. Hundreds. Over time, thousands.
If you indicate that two characters are talking on the phone, and you want the off-screen character’s voice audible, use (O.S.). Don’t use FILTER. Ever. It goes without saying that there’ll be an effect added to make the voice sound like it’s coming over a phone line.
If you also want to show the off-screen character and cut back and forth between the two, use INTERCUT one time and drop the O.C.’s.
John, you HAVE to be getting more interesting, valuable questions from your readers than this.
Ben
August 16th, 2005 at 4:33 am
I agree with Ben. This is a pretty basic, boring question.
August 16th, 2005 at 6:22 am
‘Don’t use FILTER. Ever.’…which contradicts what you said earlier ‘if you guys read screenplays once in a while, you wouldn’t need to ask questions like this.’..because I have read many many scripts and the FILTER is used I am afraid to say. I guess you and I are reading different scripts eh?
August 16th, 2005 at 6:36 am
Ditto, Ben. I’m a baby screenwriter, only read half a dozen scripts, & even I know these rules.
August 16th, 2005 at 7:57 am
Like Ben, I have read many, many scripts. Unlike Ben, doing so hasn’t given me any special authority on the “rules.” In fact, the more scripts I read, the more convinced I am that there are no hard and fast rules. I agree with something John has said many times: the aim is clarity and simplicity. Do whatever you have to do to make the script an enjoyable reading experience. That said, all screenwriters should strive for mastery of the tools available to accomplish good storytelling within the confines of the film script format.
All the reader needs to understand is that the characters conversing are on the phone. In John’s example, this is clear as soon as Bill “answers the payphone” in the action. After that, the reader just needs a character extension to keep track of which voice is on the phone.
Personally, I use O.S. in telephone conversations. For some reason, I’ve always thought of O.C. as the television equivalent of O.S. Don’t know where I got that idea. Probably from reading too many TV scripts.
V.O. is for narration. Voiceover is something that Bill wouldn’t hear in the scene. Someone speaking that the audience can’t see but Bill can hear, whether on the phone or from behind the potted plant near the payphone, is either O.S. or O.C. I don’t think it matters which one you choose. Just pick one and stick with it.
One thing that Ben didn’t mention about reading those hundreds and thousands of scripts: not all scripts are created equal. Some are first drafts, some are later drafts written in response to notes, some are shooting scripts used in the actual production. If possible, it helps to know which one you are reading: if you are reading a shooting script, don’t freak out because it has a lot of terms that your spec script doesn’t have. I assure you, if your script gets made, industry lingo like “filtered” will be written in as the production goes along by lots of people who are not you.
August 16th, 2005 at 8:00 am
The quote below is from Terry Rossio’s wordplay website. It’s from the Point of Style article.
“#8. (filtered) A particular parenthetical, used when the dialog is coming from a phone, over a radio, or any electronic device that will modify the vocal.”
Not sure who I would go with, an Academy Award nominated screenwriter or someone who claims to know everything, yet doesn’t give any info about themselves and why you should trust their advice. This is probably one of those things where you can do it either way.
Sorry I just have a problem with people who act like they know everything when they don’t. There’s hardly ever one single right way to do anything.
August 16th, 2005 at 9:05 am
Y’know, claiming to know how screenplays should be formatted isn’t claiming to ‘know everything’. Honestly, there isn’t a whole lot to know. The rules are simple and you can figure them out in fairly short order by reading a bunch of scripts.
If you must know, I read screenplays for a living. All day long. For a major company here in LA. Been at it for many years.
The best thing a writer can do is look at every word in his script, every punctuation, every parenthetical, and ask himself if it’s necessary, precise, and succinct. As far as the Wordplayer website is concerned, O.C. is better than FILTERED because the fact that there’s going to be an effect added to the voice to make it sound like it’s coming over a phone line goes without saying.
OR, the director and/or editor won’t want the voice filtered, or the voice will switch back and forth between filtered and unfiltered, none of which falls within the writer’s purview.
So indicate the characters are on the phone in the description, and then just use O.C. If you first indicate the characters are on the phone and you don’t use O.C., that’s fine, too, because you don’t have to indicate it twice.
It’s like CUT TO:. Contrary to popular usage, you don’t ever need to use CUT TO:. Why? First, because it’s an editing command, and as a writer, it’s not your concern.
Second, if the scene or shot changes, it goes without saying that you’re ‘cutting’ to the next shot or scene. And remember, you’re not the director or editor, so it’s not your call whether it’s a DISSOLVE or a FADE or a SMASH CUT. Don’t use any of these, just do a scene heading– don’t ever direct or edit the movie from the page. It disrupts the reader’s imagination. Even when you’re cutting to make a joke or conveying some sort emphasis. If your writing is clear (and good), it’s already on the page so you don’t need to say it twice.
CONTINUED’s at the top and bottom of reading draft pages is another mistake. Page CONTINUEDS (not dialogue CONTINUED’s) are a production draft feature only. Why? Because what are you going to do, not turn the page? Turning the page to keep reading goes without saying, so leave CONTINUED’s off reading drafts.
Ben
August 16th, 2005 at 9:31 am
And another thing–don’t use more than one scene heading for a single scene. If two people are talking in the kitchen, and they walk into the living room while they’re still talking, you don’t need a new scene heading. Just indicate the room change in the description.
The same is true even for big action sequences. If it’s all one big long dramatic unit, just use a partial slugline/scene heading and go:
IN THE COCKPIT
Manny targets the bunker on his weapons display.
IN THE BUNKER
Sarah saws frantically on her handcuffs, hearing Manny’s plane overhead.
OUTSIDE THE BUNKER
Reiner shoots a henchman and sprints toward the bunker under a hail of bullets. Overhead, he sees Manny’s plane launch a missile–only a few seconds to help Sarah.
Ben
August 16th, 2005 at 9:55 am
I can tell you from years of experience on both ends of the field (writing and studio development) that as long as you’re story is well told and you know the basics of formatting, then this is all nit-picky stuff.
If your story is engrossing, nobody’s going to give a damn whether or not you use (O.S.), (O.C.), or (FILTER). Honestly. Everyone knows what you mean and know one will throw away your script due to this kind of stuff if your content is solid.
Wes Anderson’s scipts look different than JJ Abrams’, which look different than Richard LaGravenese’s. They all know what they’re doing (obviously), but they all break some of the “Golden Rules” that are constantly being preached. I guess the real question is, who’s preaching? Certainly not the successful writers.
August 16th, 2005 at 9:57 am
That should’ve been “your story”. : )
August 16th, 2005 at 10:49 am
O.C. is the tape-live version of O.S.; it’s for some sitcoms, live programming, and game shows. You can and should go your whole life without having to use it. Use of (filtered) or any other parenthetical aside from (over phone) is falling out of vogue. Because phone coverage is so good? Doubt it. Probably because page-space can’t be spared.
August 16th, 2005 at 12:59 pm
Dan H. is correct and so is Brandon. This is all nit-picky stuff. But Dan H. is the more correct because he mentioned page space. The less toner you put on your pages, the better. It makes for a faster, less cluttered read.
Ben
August 16th, 2005 at 1:13 pm
As a reader myself, I can tell you that most of the “nit-picking” will force itself out if you concentrate on keeping your story tight and well-told.
Parentheticals (FILTERED included) take up space and ruin pacing, so VERY few if any should be used. Most people dislike V.O.s so it’s best to write around them unless there’s absoutely no choice. And phone coversations should be used sparingly anyway, and since it’s not a VO, we go back to John’s explanation.
K.I.S.S. and you’ll be ok.
August 16th, 2005 at 5:08 pm
In reference to Ben’s comments about the usage of scene transitions.
We’re not book writers. We write screenplays. Transitions are necessary to convey how the action to play out. We may not be the director or the editor, but we’re writing a movie, and we want our visions to come across on screen. I feel scene transitions are quite necessary when we want things to play out a certain way, I’ve never found it jarring myself when reading, it’s like the start of a new chapter in a book. Yeah, director has final say, but it’s my story motherfucker.
True, overdoing can get annoying. And I completely agree with you on the CONTINUED thing at the top and bottom of pages I never use them, unless dialogue or Scene Action is crosses pages.
August 16th, 2005 at 7:52 pm
Mischa Barton is hot.
August 17th, 2005 at 10:19 am
20 comments on “formatting phone converstaions”! Geez, people. Please, John, explore more interesting questions than: “O.S. vs. O.C.”.
August 17th, 2005 at 10:42 am
Hey guys, the information is useful and I don’t remember seeing a sign on the door that says you must have a certain level of experience to ask, respond or read. If a topic isn’t of interest or necessity to you, wait for one that is rather than botching and moaning. This is, after all, free info.
August 17th, 2005 at 10:43 am
urm, that would would be bitching and moaning.
August 17th, 2005 at 10:31 pm
Don’t use “filter”? Ever? Don’t use “CUT TO:”? Ever?
Another rule that Ben forgot to tell you regarding how to write a screenplay:
Don’t take advice from people who preach in absolutes. Ever.
August 19th, 2005 at 12:02 pm
Personally I use (ON THE PHONE) when people are on the phone. That way you just can’t miss that they’re on the phone. Likewise (ON TV). I’m using them on the production rewrite I’m doing now.
I use (O.S.) when it is important that we are not looking at that person — for example we don’t know who’s talking.
For phone calls, though, usually I use an INTERCUT: and slug both locations, and then skip the (ON THE PHONE) because who knows who the camera’s gonna be on.
August 19th, 2005 at 3:38 pm
I always used O.C. because I thought O.S. was “over shoulder.” Granted, that’s one of those directorial notes writers are supposed to obstain from, but that’s been my logic.
August 13th, 2006 at 7:46 pm
do you what the hell ni hao means?Fv
October 3rd, 2006 at 8:52 pm
Ni hao means hello in Mandarin.
September 19th, 2007 at 9:12 pm
I love those little oranges!
October 24th, 2007 at 2:56 pm
more importantly loraine, “Ni Hao” means “hello” in warcraft gold farmer lingo.