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Formatting

Secondary scene headings

September 10, 2003 Formatting, QandA

questionmarkI have a very simple question that has to do with secondary scene headings. I know this differs writer to writer, but let’s say you have a character who walks into a closet — how do you label it in the script? Is it:

INT. CLOSET – MOMENTS LATER

INT. HOUSE – CLOSET – MOMENTS LATER

THE CLOSET

What is the best way to go? Thanks in advance.

–Dustin Tash
The Oreogod

Of course, there’s no one best answer that’s appropriate for every situation. In most cases, I would opt for the first format, without the "moments later," which I generally save for a minor time cut. So it would look like:

INT. CLOSET – DAY

This is assuming the character is in the closet long enough for there to really be a scene. That is, a few lines, or at least some dialogue. Anything less, and I might not break out the closet at all, and just let the scene description handle the location:

After searching the room from top to bottom, Jamie steps into the dark closet and begins pulling boxes off the shelves.

When in doubt, use the simplest form that works for the moment.

Various locations

September 10, 2003 Formatting, QandA

Can you tell me what is preferred/correct for this situation? Mabel is moving through a house (and, if necessary, outside):

INT. LIVING ROOM – DAY

Mabel searches for the cat.

INT. KITCHEN – DAY

Mabel searches for the cat.

EXT. STREET – DAY

Mabel searches for the cat.

Et cetera. Thanks very much.

–Arnold Sable

Yeah, that pretty much sucks, Arnold. Unless you are repeating the sentence for some effect, perhaps showing how intensely single-minded Mabel can be, almost anything else would be better.

The simplest choice would be to use a different scene heading that encompasses all needed locations, such as:

INT. HOUSE – VARIOUS ROOMS – DAY

Or, if you do want to show each location, try varying your descriptions of Mabel’s search so that they don’t repeat.

Finally, you could consider using a montage format:

MONTAGE as Mabel searches for the cat:

— She pulls open the dryer in the laundry room.

— Checks the kitchen cupboards.

— Searches under the porch with a flashlight.

— Pokes the broom under the sofa.

— Rechecks the kitchen cupboards again.

What format you choose really depends on the situation, and how much information you need the reader to know.

Script formatting

September 10, 2003 Formatting, QandA

Could you please refer me to a website that gives detailed information regarding the proper format that a film script is to be written before being passed around.

–Pat Meehan

If you’re using either Highland Pro or Final Draft, you can rest assured that the standard formatting
these programs recommend is fine.

If you’re not using either of these, I suspect you’re consulting one of the many screenwriting books out there, all of which will point you in the right direction in terms of margins and spacing.

But the best advice I can give you is to do what I did: find a properly formatted script and copy it exactly. Not only will looking at real scripts show you how they’re formatted, but it will also give you a sense of how standardized the format truly is, for better or worse.

Learn more about standard screenplay formatting here!

Read more professional screenplays with Weekend Read:

Weekend Read 2 makes it easy to import your own files, or discover something new in our curated, weekly screenplay collections.

Script length

September 10, 2003 Formatting, QandA

Your advice of 110 to 120 pages for script length agrees with what others
say, but upon sampling a large number of films I find their lengths usually
fall between 85 and 115 minutes, including five minutes of credits. At a minute
per page, something doesn’t click. Do producers expect 15 extra pages because
they feel scripts usually have fat that needs trimming? Or perhaps producers
know that during script development, writers find it less distressing to eliminate
scenes and hope no one notices, rather than turn them into something far removed
from the original vision. Just a thought.

–Ryall

It’s true that a lot of movies clock in at 100 minutes or less, and that the
one-minute-per-page rule of thumb really depends on whose thumbs are doing
the measuring. Moviemaking is more art than science, so it never holds up to
much mathematical scrutiny. Whatever the reason for the discrepancy, I assure you
it doesn’t come from producers trying to spare writers’ feelings.

One variable that really effects running time is pacing. GO was about 102
minutes long. The script was 126 pages, and almost nothing was dropped. The
movie never dawdled, however, which is how it got the story told so quickly.

Even movies that end up at 85 minutes probably began as screenplays in the
110 to 120 page range. In the course of production, or post-production, scenes often get cut. Either they are never filmed, or they end up on the cutting
room floor, just waiting for the DVD version.

Since scenes are going to get cut, why not just start out with a shorter script?
It’s not a bad question. In television, where programs have to be delivered
to the network at a precise running time (at ABC, it is 42 minutes, 20 seconds
for a "one-hour" drama), it is obviously preferable to avoid shooting
scenes that couldn’t possibly fit into the allotted time.

In terms of features, however, anything shorter than 100 pages "feels" too
short. It’s literally just not enough pages in your hand. And if you go much
beyond 120 pages, people get nervous. Even if it’s great, it feels long.

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