Search Results for: eighths

New Nines stuff in the Library

May 10, 2008 General

I’ve added two .pdfs to the [Library](/library). (Which is the rechristened “Downloads” section. Thanks to whichever reader suggested renaming it.)

* The visual FX breakdown for two of the sequences — the end of Part One, and the end of Part Three. Both are spoilers, so skip them if you haven’t seen the movie yet.

* The shooting schedule. This is pretty close to how we ended up doing it.

Shooting schedules are hard to read if you’ve never looked at one, so let me talk you through it.

strip

Starting at the left is the strip number. Because some scenes may have more than one part — for instance, a visual effect in addition the main action — you sometimes (rarely) need to refer to the strip rather than the scene number.

Next is the scene number. For The Nines, we numbered all of the Part One scenes in the 100s, Part Two in the 200s, and Part Three in the 300s. Most movies would just go sequentially from 1. [Read here](http://johnaugust.com/archives/2007/renumbering) for more info on scene numbers with letters.

The third column is a short description of the scene, along with INT or EXT, DAY or NIGHT. Note that the line producer or AD writes this description, so it’s not always what the writer would pick.

Fourth column is the length of the scene, measured in eighths of page.

The final column shows which characters are in the scene, by number. Generally, your most important characters are given the lowest numbers, with preference for the bigger stars. In the case of The Nines, our numbering system went as follows:

* Gary/Gavin/Gabriel = 1/5/18
* Margaret/Melissa/Mary = 2/7/19
* Sarah/Susan/Sierra = 3/6/20

To see how much work is scheduled on a given day, look down to the divider strips, marked “– END OF DAY…” This tells you how many pages you’re expecting to shoot.

As you’ll see, we shot 4-5 pages a day — fairly ambitious for a feature, though indies tend to shoot more pages per day simply because limited budgets mean short schedules.

You can find both documents [here](/library).

How to write a scene

January 9, 2007 Words on the page, Writing Process

One of the thing I admire most about [Jane Espenson’s blog](http://www.janeespenson.com/) is that she talks very directly about the words on the page, giving names to techniques I use but never really think about. The [two-percenter](http://www.janeespenson.com/archives/00000251.php), for example.

So one of my goals for 2007 is to get a little more granular in my advice-giving, and talk less about Screenwriting and more about screenwriting — in particular, scene writing.

Spend a few years as a screenwriter, and writing a scene becomes an almost unconscious process. It’s like driving a car. Most of us don’t think about the ignition and the pedals and the turn signals — but we used to, back when we were learning. It used to flummox the hell out of us. Every intersection was unbelievably stressful, with worries of stalling the car and/or killing everyone on board.

It’s the same with writing a scene. The first few are brutal and clumsy. But once you’ve written (and rewritten) say, 500 scenes, the individual steps sort of vanish. But they’re still there, under the surface. It’s just that your instinct is making a lot of the decisions your conscious brain used to handle.

So here’s my attempt to introspect and describe what I’m doing that I’m not even aware I’m doing. Here’s How to Write a Scene.

1. Ask: What needs to happen in this scene?
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Many screenwriting books will tell you to focus on what the characters want. This is wrong. The characters are not responsible for the story. You are. If characters were allowed to control their scenes, most characters would chose to avoid conflict, and movies would be crushingly boring.

The question is not, “What could happen?” or “What should happen?” It is only, “What needs to happen?” If you wrote an outline, this is the time to look at it.I’m neither pro nor anti-outline. They can be a useful way of figuring out how the pieces might fit together. They’re nearly essential in television, where many minds need to coordinate. But sticking too closely to an outline is dangerous. It’s like following Google Maps when it tells you to take Wilshire. If you didn’t, just come up one or two sentences that explain what absolutely must happen in the scene.

2. Ask: What’s the worst that would happen if this scene were omitted?
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Imagine the projectionist screwed up and accidentally lopped off this scene. Would the movie still make sense? If the answer is “yes,” then you don’t really need the scene, and shouldn’t bother writing it.

But it’s so dramatic! you say. But it’s so funny!

Tough. Put that drama or that comedy into scenes that are crucial to the movie.Do my own scripts hold up to this (admittedly harsh) standard? Yes, largely, but feel free to correct me where you disagree. Big Fish has quite a few meanders and detours, but that’s very much on-topic — it’s the reason the son is so frustrated. One thing you learn after a few produced movies is that anything that can be cut will be cut, so put your best material into moments that will absolutely be there when it’s done.

3. Ask: Who needs to be in the scene?
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Scripts are often clogged with characters who have no business being there. But because words are small, it’s easy to overlook that “Haversmith” hasn’t said or done anything for five pages. And sadly, sometimes that’s not realized until after filming.As an example: Kal Penn in Superman Returns. He’s basically an extra.

4. Ask: Where could the scene take place?
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The most obvious setting for a scene is generally the least interesting, so don’t be too quick to set your scene in the police bullpen, a living room, or a parking garage. Always consider what the characters could be doing, even if it’s not directly related to the focus of the scene. A father-and-son bonding moment at a slaughter house will play differently than the same dialogue at a lawn bowling tournament.

5. Ask: What’s the most surprising thing that could happen in the scene?
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Give yourself permission to step away from your outline and consider some wild possibilities. What if a car smashed through the wall? What if your hero choked and died? What if a young boy vomited up a finger?

Most of your scenes won’t have one of these out-of-nowhere aspects. But your movie needs to have a few moments that are completely unexpected, so always ask yourself, could this be one of them?

6. Ask: Is this a long scene or a short scene?
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There’s nothing so dispiriting as writing a great three-page mega-scene and realizing that you could have accomplished just as much in two-eighths of a page.Scenes are measured in eighths. You really do say two-eighths, not one-quarter. So ask yourself up front: How much screen time am I willing to give to this scene?

7. Brainstorm three different ways it could begin.
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The classic advice is to come into a scene as late as you possibly can. Of course, to do that, you really need to know how the previous scene ended. There’s often a natural momentum that suggests what first image or line of dialogue would be perfect to open the scene. But don’t stop at the first option. Find a couple, then…

8. Play it on the screen in your head.
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At least 50% of screenwriting is simply sitting there with your eyes closed, watching the unwritten scene loop in your head. The first couple of times through, it’s really rough: a blocking rehearsal. But eventually, you start to hear the characters talk to each other, and the vague motions become distinct actions. Don’t worry if you can’t always get the scene to play through to the end — you’re more likely to find the exit in the writing than in the imagining.

Don’t rush this step. Let the scene percolate. Mumble the dialogue. Immerse yourself as fully into the moment as you can.

9. Write a scribble version.
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A “scribble version” is essentially a cheat sheet so you’ll remember the great scene you just saw in your head. Don’t write sentences; don’t write full dialogue. It shouldn’t take more than five minutes. Just get the bare minimum down so that you won’t forget the scene in the next hour as you’re writing it.

I generally hand-write a scribble version in tiny print — sometimes literally on the back of an envelope — but you can also type. This is what a scribble version consists of for me:

DUNCAN waiting edge of seat
ITO
I was one of the doctors who worked on your wife
accident
injuries severe, trauma team, sorry, couldn’t save her
(sits, reflex)
nature of injuries, concern fetus wouldn’t survive in utero. paramedic able deliver caesarian boy healthy
(nodding not hearing)
nurse can take you to see him, know a lot to handle
what
a lot to handle
take me to see him?
yes
see who?
your son. paramedic was able to
(grabs clipboard)
I know this may seem
My wife wasn’t pregnant
Your wife didn’t tell you…
My wife has never been pregnant. been trying three years. fertility clinic last week
I examined the baby myself. nearly at term.
I don’t know whose baby, not hers.

It’s kind of a mess, and really wouldn’t make sense to anyone but me — and only shortly after I wrote it. But that doesn’t matter. The scribble version is only there so you don’t get lost or confused while writing the full version of the scene. Yes, it’s finally time to…

10. Write the full scene.
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If you typed up the scribble version, don’t just try to fatten it out. Start clean. The scribble version is deliberately crappy, and rewritten crap is still crap.

The scribble version is your outline for the scene. Yes, allow yourself the chance to detour from your scribble version if a truly better idea comes along. But if you’ve really spent the time to play it through in your head (#8), it’s probably on the right track already.

Depending on the nature of the scene, getting the dialogue right may be most of the work. Regardless, focus on choosing the best words to describe the characters, the action and tone, so your readers will see the same scene in their heads.

11. Repeat 200 times.
===

Glossary

ACT
A collection of scenes forming one of the main sections of a script. In stage plays and teleplays, acts are explicitly indicated in the script (e.g. "End of Act One"); in features, they are not. One-hour TV dramas are usually broken into four acts, plus a teaser, coinciding with commercial breaks. Half-hour sitcoms fall into into two acts, plus a teaser. Made-for-TV movies are divided into seven acts. Stage plays can have any number of acts. One and two-act plays are common, while Shakespearean dramas often have five acts. Since screenplays never show act breaks, an "act" is really a theoretical concept. Screenwriters talk about three acts, meaning "the beginning," "the middle," and "the end."

ACT BREAK
The end of an act. Generally, it’s a highpoint in the story in which something important occurs that thrusts the audience into the next chapter or stage. In television, an act will end just before a commercial break. In stage musicals, the act break is usually preceded by a big song to keep people humming through intermission.

ANTAGONIST
A major character in a screenplay whose values or behavior conflict with those of the protagonist. Sometimes, the antagonist does not have to be personified, but can be the elements, society, etc.

ASSOCIATE PRODUCER
See the Producer page.

BASE CAMP
During production, the area where most of the trailers are located. Sometimes base camp is several miles away from the set.

BIO-PIC
A film that tells the true story of a historical figure (e.g. A Beautiful Mind, Patton, Nixon).

BUMP
An increase in pay. For a writer, this would come on a new assignment. A writer may deserve a bump for having written a successful movie, gotten a big director attached, or winning a major award.

BUY
To understand and accept the logic of an assertion. “I buy that the hooker didn’t want to call the cops, but I don’t buy she would actually bury the body herself."

BUSINESS
A character’s action during a scene , which is generally not related to the content of the scene itself. “Can we give Rachel some business over by the copier while Joey and Chandler are talking?"

CHARACTER
Essentially, any person in a story who does or says something. It’s the addition of unique and meaningful details that elevates a character beyond purely functional status.

CIRCUS
The Canadian term for "base camp ." (Example: "If you’re going back to the circus, would you get me some coffee?")

CLOSE UP
A shot in which a character or item takes up a large portion of the frame. Often used for dramatic effect or to highlight something the audience should be paying attention to.

CO-EXECUTIVE PRODUCER
See the Producer page.

CO-PRODUCER
See the Producer page.

COPYRIGHT
The legal protection of creative ideas. A writer automatically owns copyright on anything she writes, even without official governmental registration. One exception is works-for-hire, in which the copyright rests with the entity paying for the work. Registering written material with the Writer’s Guild of America (WGA) is not the same as copyright, although it does help prove exactly when something was written.

COURIER
The standard typewriter font in which all screenplays are written. Twelve-point is the proper size. You could use a different font, but you’d look like an amateur.

CUT TO:
In screenwriting, a quick or marked transition from one scene to another. Moving from one scene to another automatically implies a CUT TO:, so you don’t need to use it unless you’re trying to convey a certain pace .

CUTTY
Using many quick edits between shots in a scene , often making the audience feel dizzy. Michael Bay movies tend to be cutty, even in non-action scenes.

DAY PLAYER
A non-star actor who is paid a flat daily rate, generally speaking only a few lines in a film. Characters who appear in only one scene are generally played by day players. This is sometimes a “bump " for an extra who is asked to read a line on-set.

DEVELOPMENT
The lengthy and often painful process in which a screenplay is re-written time and time again to satisfy all those involved with the project, namely studio executives, directors, and cast members. To quote Howard Rodman: “Development is the process of taking the screenplay only you could have written, and turning it into something anyone could have written.

DEVELOPMENT EXECUTIVE
A studio executive who is in charge of shepherding the writer through the “development process," giving them notes and feedback on the script.

DOCU-DRAMA
A film that tells the true story of a historical event (e.g. Schindler’s List, Tora! Tora! Tora!, Gettysburg).

EARNED
The sense that a story moment has come about organically and logically, particularly in terms of character motivation. (“I don’t think you really earned Megan’s decision to give up the baby on page 21.")

EDGY
A term used to describe a story or writing style that is unusually unsettling, exciting, or dark. Everyone claims to want edgy material, but then they end up making generic comedies.

EIGHTH
A unit of a written page, used for production. Script pages are broken down into “eighths of a page," approximately one vertical inch of text. A scene might be listed as 1 1/8th long, which means one page plus one-eighth of the next.

ENTRANCE
A character’s entry into a scene. “The scene is really wonky up until Chandler’s entrance."

ESTABLISHING SHOT
A written description of an exterior location, usually to set up the logistics of a place, rather than a specific story purpose.

EXECUTIVE PRODUCER
See the Producer page.

EXIT
A character’s exit from a scene . “Could we have him exit on Monica’s line instead?"

EXIT LINE
A character’s last line as he or she exits a scene . “I hate Joey’s exit line. Can we do a recall on the hoagie business?"

EXT.
A scene header that tells the reader the following scene takes place outdoors (e.g. EXT. BOB’S DINER – NIGHT).

EXTREME CLOSE UP
A shot in which a character or item takes up the entire frame of film, often used for dramatic effect or to tell the audience that this is important.

EYE CANDY
Something on-screen that is meant to be looked at and ogled, but rarely has anything to do with the development of the story. Examples include big pyrotechnic explosions, cool CG effects and gorgeous alien vistas.

FANTASY SEQUENCE
A scene or sequence that occurs outside the reality of the story, often to visualize a character’s dreams or wishes.

FLASH CUT
A quick edit in which a scene flashes to white before entering the next scene, often used to transition into dream or fantasy sequences .

FLASHBACK
A scene from the past used to explain something happening in the present. See also NON-LINEAR .

FLASHFORWARD
This is a scene from the future that appears out of the linear telling of the story, usually to highlight a dramatic moment.

GENRE
A category of films lumped together based on subject matter, theme or tone. Film genres include action, drama, comedy, horror, noir, musical, mystery, western, thriller, documentary, or science fiction. Many genres then have sub-genres, such as dark comedy, teen comedy, romantic drama, historical drama, sci-fi thriller, or sci-fi horror.

HACK
An unflattering term for a writer or director who carelessly puts together a script or film with little talent or regard for craft or storytelling.

HALF-HOUR
A television term for a comedy that lasts for a half-hour (eg. Friends, Sex and the City, Malcolm in the Middle).

HERO
The main character in a story, who drives the plot, or around whom plot is structured. Often, but not always the protagonist .

IN
The moment or manner the writer begins a particular scene . ("Could we come in later to the party scene, after Rich has eaten atomic goldfish?") See OUT .

INDUSTRY
Short for the film and television industry. At a party: "So, do you work in the industry?"

INT.
A scene header that tells the reader the following scene takes place inside (e.g. INT. BOB’S DINER – NIGHT).

LINE PRODUCER
See the Producer page.

MANUSCRIPT
The typed (as opposed to type-set) version of a novel, as originally submitted to the publisher by an author. Much of the editing and revision of a book takes place at the manuscript stage.

McGUFFIN
Often associated with Hitchcock, PageWise has a good definition: A device or plot element that catches the viewer’s attention or drives the plot. It is generally something that every character is concerned with. The McGuffin is essentially something that the entire story is built around and yet has no real relevance. That is, it’s what the movie says it’s about, even though it really isn’t. In the first Charlie’s Angels, the McGuffin was stolen voice-identification software; in the second, it was Federal Witness Protection List. In both cases, the villain’s real motivation was greed and revenge. In early drafts of Full Throttle, the Angels had to retrieve a glowing vial labelled “McGuffin Industries.”

MEET-CUTE
In romantic comedies, the moment when the destined-to-fall-in-love couple meets for the first time, typically in ironic or unexpected fashion.

MOMENTUM
The inertia within a story as it approaches its climax. "I really feel the five-minute break-dance number is slowing the momentum in the second act ."

MONTAGE
A series of short scenes , often used to show the passing of time, or the process by which something is done. In screenplays, the individual scenes within a montage sometimes don’t use scene headers , but rather list each action on a separate line.

MOTIVATED
When a character’s dialogue or action makes sense based on the information that preceded it. "Monica’s tirade about the dish drainer doesn’t seem properly motivated."

MOTIVATION
The wants, needs and beliefs that drive a character . "I don’t understand the drug lord’s motivation for wanting Salazar dead."

NOIR
A genre of film with a dark or disturbing tone. Noir films are typically thriller or crime stories.

NON-LINEAR
A style of storytelling in which plot does not unfold chronologically (e.g. Go, Pulp Fiction, Rashomon). One or two flashbacks does not make a film non-linear, but an extended flashback might (e.g. Crouching Tiger, Hidden Dragon).

ONE-HOUR
A television term describing a dramatic series that lasts for one-hour (e.g. ER, The West Wing, The Sopranos).

OUT
The moment or manner the writer ends a particular scene . ("Could we find a better out for the dinner party scene?") See IN .

PACING/PACE
The speed at which events unfold within a story. Action scripts are often described as fast-paced, while character dramas can be slow-paced.

POLISH
A small rewrite of a screenplay before it enters production, typically with the goal of smoothing out storylines or spicing up dialogue.

POST
The period after principal photography in which a film is edited, visual effects are completed, sound work is done, and a musical score is laid down, all leading up to the theatrical release.

PREP, PRE-PRODUCTION
The period prior to principal photography in which directors are hired, actors are cast, sets are built, costumes designed, and writers work on polishes.

PRINCIPAL PHOTOGRAPHY
The main period of filming for a movie, lasting days, weeks, or months.

PRODUCER
The person who (in theory) brings together all the elements to make a film. A producer shepherds an idea from scripting through the theatrical release, hiring and firing personnel as needed. The “Best Picture" Oscar goes to them. For information on the different types of producers, see the Producer page.

PROTAGONIST
The central character in a story, generally synonymous with hero . This character drives the plot and is typically changed the most based on what he or she encounters.

QUEST
The journey a hero takes to achieve his goal. Sometimes the quest is literal (take this ring to Mordor; win the cheerleading championship). In other stories, the quest is more abstract (improve the relationship with your brother).

RESIDUALS
Payments made to a film or television writer when his or her work is sold to another venue, such as a feature film sold on DVD, or a network television episode shown in syndication. These fees are negotiated and collected on behalf of the writer by the Writers Guild of America.

REVEAL
The moment in which previously withheld information about characters or plot is unveiled. “Could we move the reveal of Carrie’s father to the end of the first act?"

SCALE
The minimum amount of money a writer must be paid for their work, if the employer has signed a contract with the Writer’s Guild of America (WGA).

SCENE
A unit of story that occurs in one location at one time.

SCENE HEADER
The top of scene , which lists the location, time of day, and whether or not a scene is inside or outside. INT. BOB’S DINER – DAY tells the reader the scene takes place inside Bob’s diner during daylight hours.

SCENE NUMBER
Scripts in pre-production (and thereafter) have each scene numbered to the left and right of the scene header , in order to facilitate production (e.g. “Today we’re going shoot scene 17.") Before this point, most scripts do not number individual scenes .

SCREENPLAY
A script written to be a feature film (or possibly a made-for-television movie).

SCRIPT SUPERVISOR
The on-set person responsible for keeping track of “continuity of filming," ensuring that everything will cut together logically in the editing room. For every take, they make sure the actors repeat the same actions and dialogue. The script supervisor is also responsible for noting which takes of a scene the director prefers.

SET-PIECE
A scene or sequence with escalated stakes and production values, as appropriate to the genre. For instance, in an action film, a set-piece might be helicopter chase amid skyscrapers. In a musical, a set-piece might be a roller-blade dance number. In a high-concept comedy, a set piece might find the claustrophobic hero on an increasingly crowded bus, until he can’t take it anymore. Done right, set-pieces are moments you remember weeks after seeing a movie.

SEQUENCE
A collection of shorter scenes that tell a larger part of the movie (e.g. a car chase, a heist, a prom).

SINGLE-CAMERA
A television show that is shot more like a feature film, using one or two cameras with several setups for each scene , rather than recording all the action from multiple cameras. Most dramas are single-camera; most comedies are three-camera . "Sex and the City" and "Malcolm in the Middle" are examples of comedies that are shot single-camera.

SLOW-MOTION
The appearance of time slowing down, often used to heighten tension. In film, it is achieved in film by shooting at a higher frame rate, such as 48 frames per second rather than 24.

SLUGLINE
In screenwriting, a piece of description placed on its own line, in uppercase letters, to signify its importance in the scene . Often used to break longer scenes into manageable chunks.

SPLIT-SCREEN
A shot that is “cut" down the middle of a frame to illustrate action happening at the same time, but in two different locations.

STUDIO
In film, a company that finances, produces, markets and distributes motion pictures. Major American studios include Columbia, Universal, DreamWorks, Paramount, Warner Bros., MGM and Disney. In television, a company that finances and produces television shows. The marketing and distribution is handled by the network, which may or may not be related to the studio.

SUB-RIGHTS
The division of a publisher one calls to find out who owns all underlying rights to a creative property, be it a magazine article, novel or other written material.

TELEPLAY
A script written specifically for television.

TENTPOLE
A major motion picture, generally released in the summer or Christmas season, which is the primary focus of a studio’s marketing attention. The term comes from this analogy: if the tentpole fails, everything will collapse around it.

THREE-CAMERA
In television, the format of most situation comedies. Scenes are filmed in their entirety by multiple cameras in front of a live audience.

TRACKING
In regards to feature films, the process of measuring a soon-to-be-released film’s popularity within the general public. Tracking allows a studio to know whether or not a film’s marketing is effectively reaching the target audience. In regards to screenplays, the process of checking the internal logic of the plot. “Something about the HALO rings just isn’t tracking." In regards to development , the sharing of information between development executives about what screenplays are coming onto the market.

TRANSITION
The movement from one scene to the next. It can be as simple as a cut, or more dramatic such as a dissolve, fade out, fade in, etc.

VIDEO VILLAGE
On-set, the bank of monitors where a director watches what is being filmed. Generally, the script supervisor , director of photography and producers are also huddled around video village.

VILLAIN
The hero’s primary opponent in the movie, who must be defeated in order for the hero to succeed.

WE’RE-NOT-IN-KANSAS-ANYMORE
The moment, generally at the end of the first act , in which characters recognize their dilemma or setting has suddenly changed (generally for the worse).

WONKY
A moment that feels out-of-place or forced. “There’s something really wonky about how we get to the car chase."

WORST-OF-THE-WORST
The moment in the story, generally at the end of the second act , when things are at their absolute worst for the hero , and all hope seems lost. In an action movie, the hero’s plan to defuse the bomb may have failed. In a buddy comedy, the two friends may have gone their separate ways. In a romantic comedy, the guy and the girl aren’t speaking, and she’s about to marry the rich jerk. Even movies that don’t have a classic three-act structure tend to have a worst-of-the-worst, if only to allow the hero one last obstacle to overcome.

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