John August

Words on the page

On the radio

Formatting, QandA, Words on the page

questionmarkI’m working on a script that includes a few scenes where characters talk on police radios, or on megaphones.

So my question is this:

How do you write that? I suppose it’s just a matter of picking a format and sticking to it throughout the script, but I thought I would fire this question across your desk in case you’ve already standardized how it might look. Currently I’m toying with something that might go along the lines of:

INT. POLICE CRUISER – NIGHT

The radio crackles with three call tones. Perry grabs the receiver.

PERRY

Go for Perry.

DISPATCH (ON RADIO)

(filtered)

Your mother’s calling 9-1-1 again, Perr. Says you’re grounded.

PERRY

Tell her I’m working. I’ve got a job, and I’m working. I’m already on patrol, Walter...and I’m 30.

DISPATCH (ON RADIO)

(filtered)

She’s threatening the Playstation.

PERRY

Tell her I’ll be right there.

He tosses the handset, floors it, and cranks up the siren and lights.

The other format I’m trying to crack is when someone picks up a megaphone to address a crowd of people. So far I have something like:

EXT. PERRY’S HOUSE – NIGHT

The squad car screeches up in front of the house. Perry’s mom opens the top floor window and extends the Playstation over the ledge.

Perry jumps out, holds up a megaphone.

PERRY

(filtered)

Don’t do it, mom. Go back inside, and keep the Playstation where I can see it.

PERRY’S MOM

You’re a rotten kid, Perry. Rotten to the core.

PERRY

(filtered)

I mean it. I’ll use force if I have to.

I’m not sure if you need the word “filtered” in parentheticals in both examples, and if I do, should I put it on each line, or just the first? With the radio lines, I’ve put “ON RADIO” next to the name, and on each line. Do I need to include it on more than one, or is the first sufficient?

— Scott Benton
Los Angeles

In both cases, I would drop the “(filtered)” tag on the second line of dialogue. We get it, and reminding us that it’s filtered is just getting in the way of the jokes.

While we’re on the topic, I’m a fan of how you used **DISPATCH (ON RADIO)** in the first example. I find myself doing that a lot in situations where the speaker is not physically present in the scene. In some cases, it indicates a character we’ll never really meet (perhaps your Dispatcher), or a character we do meet who happens to be on a speakerphone or similarly off-screen.

Putting the parenthetical as part of the character name helps reinforce that the person won’t be seen. That’s clarity for the reader and for 1st ADs when it comes time to write the shooting schedule.

Including an important symbol

QandA, Words on the page

questionmarkI’m writing a film about a cop whose investigation leads him into the occult, and there’s a particular (real) symbol that crops up several times. It’s more than just a Star of David: in fact, it incorporates several familiar symbols, and also some Hebrew words… anyway, it’s complex. I’ve written the scene where someone in the know walks Our Hero through the symbology, but I want to make sure that my readers really know what it looks like.

Is it appropriate to include an illustration or figure of the symbol at the end of the screenplay? I’ve seen some scripts that have pronunciation guides at the back, so how is this any different?

— Sean Wolfson

You can probably get away with it.

My advice: think about it like a book. In the best-selling novel version of your script, would the author have included the drawing? If so, do it. But only once, and only if it’s really that important.

Two from the file

Film Industry, News, QandA, Words on the page

The mailbag gets a little backed up here. I thought I’d reach back a few years to look at two unanswered questions.

questionmarkI am working on a romantic comedy and much of the comedy is situational, physical comedy. Is it appropriate to specify in the script a generic location and the physical actions of the characters? For example, if someone was going to jump out of his chair and run to chase a dog only to grab the leash and be taken over the hood of a car as the dog jumped for a Frisbee (whew!!), would it be okay to specify all that? I have been under the impression that, as the writer, it isn’t my place to dictate specifics…that is for the producer and the director.

— Ryan O’Donnell
January 18, 2005

As the screenwriter, it’s your job to give readers the experience of watching a movie. If you’re writing a movie with a lot of physical comedy, that means writing a lot of physical comedy. The same holds true for car chases, dance numbers, fight scenes and every other kind of cinematic moment that a layman would assume “aren’t really written.” They’re written. By writers.

Might some of those beats change based on directors, actors, choreographers and stunt people? Certainly. But your goal is create moments so funny and original that all parties involved want to do it your way. (Or at least, try to top it.)

questionmarkI know this might be a little strange but you’re obviously in the loop. What’s going on with the movie “Stay” written by David Benioff?

Additionally your commentary on CA: Full Throttle was interesting. What are the Wibberleys like?

— Sean Sullivan
January 25, 2005

Unfortunately, Benioff’s once-promising career was killed by Stay. (Too many people thought it was a downbeat follow-up to Go.) Last I knew, he was making a good living writing those things you get in the stores with the covers, and the words and the pages…

Instruction manuals. He’s writing instruction manuals. Mostly for vacuum cleaners.

As for the Wibberleys, they’re lovely people. If only a producer could convince them to write something commercial, as opposed to the [high-minded literary fare](http://www.imdb.com/title/tt0436339/) they’re known for.

(In truth, David and the Wibbs are great and busy. One of the best developments since 2005 is that name-brand feature writers know each other better than they used to. The strike and the internet are equally responsible for this.)

One. Million. Dollars.

Words on the page

This fall’s ongoing financial indigestion is depressing, if not an actual capital-d Depression. The world’s smartest folks are busy asking difficult questions about the billions and trillions of dollars involved. I certainly don’t have the answers.

Instead, I’d like to attempt to answer a question that’s perplexed me for a while: What’s so special about one million dollars?

In movies, TV, and actual conversation it’s by far the most frequently quoted dollar figure to mean “rich,” despite inflation. The top-shelf reality competition shows (Survivor, The Amazing Race) use that as the prize figure. But it’s not just a lot of money. It’s been mythologized as the transformative tipping point between the life we have and some mythological Good Life in which profound satisfaction is possible.

Consider this discussion from Office Space:

PETER

Our high school guidance counselor used to ask us what you’d do if you had a million dollars and you didn’t have to work. And invariably what you’d say was supposed to be your career. So, if you wanted to fix old cars then you’re supposed to be an auto mechanic.

SAMIR

So what did you say?

PETER

I never had an answer. I guess that’s why I’m working at Initech.

MICHAEL

No, you’re working at Initech because that question is bullshit to begin with. If everyone listened to her, there’d be no janitors, because no one would clean shit up if they had a million dollars.

SAMIR

You know what I would do if I had a million dollars? I would invest half of it in low risk mutual funds and then take the other half over to my friend Asadulah who works in securities...

MICHAEL

Samir, you’re missing the point.

But he’s not. Samir has it right: the question of what you’d do if you had a million dollars is essentially the same as what you’d do with a million dollars. Sure, you could answer, “If I had a million dollars, I’d light myself on fire and jump out of a tree.” But the question strongly implies “What would you do that you couldn’t do right now if you had a million dollars.” And while rich people often do stupid things, stupidity itself is free.

And Michael is right, too. The question is sort of bullshit. I’d argue that the phrase “and you didn’t have to work” is easy to challenge. Could you really retire on a one-time windfall of a million dollars? Even before taxes and inflation, it’s [less than you think](http://www.usnews.com/articles/business/retirement/2008/06/03/is-1-million-enough-to-retire-on.html):

> If you drew down 4 percent of your $1 million nest egg every year, a share many financial advisers recommend as prudent, you would receive about $40,000 annually, before adjusting for inflation — a pretty comfortable salary outside major metropolitan areas, especially if your house is paid off. Of course, how far that $3,333 a month goes depends on your lifestyle, health, and inflation.

Forty thousand dollars is not what most Americans would consider rich. It’s not first-class to Paris.

Of course, this is logic talking. And our mythologizing of one million dollars is more emotional than rational. I have a few working hunches why a million dollars seems so special.

1. **We have no personal frame of reference for “million.”** Most Americans earn five figures ($10,000 to $99,999). If we buy a house, we’re likely dealing with six figures ($100,000 to $999,999). But few Americans will ever encounter seven figures in relation to their own finances. So it seems like a magical and unobtainable sum.

2. **All rich people are millionaires, so all millionaires must be rich.** This failure of the symmetric property has been pointed out in books like The Millionaire Next Door, which shows that cost-containment and steady investment is a more realistic lifestyle for the average millionaire. Along the same lines, having a million dollars isn’t the same as making a million dollars. It’s easy to confuse assets with income. When stocks and home prices were rising, an increasing number of Americans became millionaires on paper. ((“On paper” is really a terrible term, because I don’t know any millionaires who keep a million in gold laying around.)) But since that’s not spendable cash, it’s not what most people mean by millionaire.

3. **What matters is the million, not the actual value.** Americans would rather have the million dollars than 750,000 euros. And two million dollars doesn’t feel twice as good as one million.

When a million is meaningless
====

Despite these defenses, I think the million dollars’ cinematic days on top are numbered, and screenwriters would be wise to avoid the figure in scripts. It’s simply not enough money to have a clear meaning. Consider:

EVELYN

Have you met Tom, her fiancé? His apartment in New York cost almost a million dollars!

Is the proper response…

TAMI

I always knew she’d marry money.

or…

TAMI

What is that, a one-bedroom?

(In fact, a million could be as little as a loft.)

If you need to have characters talk about money, you’re much better off referring an object (or service) than its price.

EVELYN

Her ring cost more than my car.

TAMI

She gets her hair done by this woman who flies in from Paris. Can you imagine?

EVELYN

She ripped out the limestone in the bathroom because it wasn’t organic. Turns out they don’t make organic limestone. So she got this stone from Italy. Used to be a church.

Billion is the new million. Sort of.
====

For now, I think you can safely get away with calling a billionaire rich. ((I’m speaking of the U.S. definition of billion, which is a thousand million.)) Keep in mind, it’s a staggering amount of money, so any character thusly defined would have to have a plausible explanation. For example, rich as he is, Will Smith is likely not a billionaire. With rare exception, you become a billionaire though canny investments or lucky inheritance.

Do millionaires dream of being billionaires? I don’t golf, so I haven’t heard this topic come up in conversation. But my experience of earning money in Hollywood has been that one’s financial ambition caps out at a certain point. The dream of a million dollars is a life free from financial worry: paying for the mortgage, college, and retirement. Once those fears are addressed — at a figure likely significantly higher than one million dollars — there is less to reach for financially.

So while I don’t advocate using the million dollar figure in scripts, I think it still has some real-world years ahead of it as a psychological milestone. Wealth isn’t simply what you can buy; it’s how much protection you have from poverty. A million dollars may not be “rich,” but it’s a comforting distance from poor.