Screenwriting : Camera Angles? by Kiara Cortes

The way I look at it, unless it's absolutely essential to the story, I don't add camera directions. Although as writers we naturally have a vision for how the story will turn out, I think that camera angles take away from the focus of the story. You can always collaborate with a director later :)

Awesome, thank you so much Dakota :)

I would not add camera angles to a script, but would if if I felt like an Arc Shot or a Dolly Zoom or a Whip Pan Shot should be used.

Okay, cool thank you Bill :)

Camera Directions are added to the screenplay after by the Director. I am sure a lot of them don't appreciate when screenwriters try to doing their job.

I have a scene where incriminating footage from a handheld videocam is being viewed. It just so happens the camera was being held such that the lens pointed backward to catch some plot-critical action. All I wrote was "reverse POV" and left it at that. The director can do with that as she pleases.

You are writing your film. If you need a camera angle to tell the story do it. If you are doing because you can, then don't. It is not disrespectful to do the best job you can. The director, if they like what they read will do the best they can. Is it disrespectful that directors rewrite scripts, or that actors improvise, or that a producer changes location, no. They are all doing their best to make the best film they can.

Craig. It pretty unusual someone would need to use a camera direction in a screenplay but if they did I am pretty sure nobody would get upset over it or feel disrespected. At least the directors I now wouldn't care. However aspiring screenwriters writing spec screenplays should keep in mind that they are responsible for telling their story and the director is the person who will be responsible for how it appears on film. I break the so-called rules now then because maybe I am bored or I am in a hurry and just want to finish the script.

Filmmaking is a team effort and the writer is only one little cog in the wheel. Please don't put camera directions in your script. The magic only occurs when everybody - writer, actor, director, DP, casting... - gets to sprinkle a little pixie dust over the project. Every Director I know (self included) totally ignores any writer's camera direction entirely. PITA writers are generally the reason for closed sets.

EXT. RESTAURANT

Vitaly enters and slams the door,

VITALY: Where is he?

Vitaly enters the

WALK-IN COOLER

AERIAL SHOT: trays of beef briskets. Dozens and dozens of beef briskets.

ANZELOWITZ eats slices of beef briskets, and is shocked to see Vitaly.

VITALY: I gave you $30,000 to produce a proof of concept short, and you are supposed to give it to me tomorrow. Where is it?

ANZELOWITZ: I, er, uh...

VITALY: But you spent $15,000 on beef brisket!

ANZELOWITZ: Glatt had a 50% off sale.

VITALY: If you don't have the proof of concept by noon tomorrow, the Businessman will hang you in Brighton Beach like these beef briskets. Do you understand?

ANZELOWITZ: The Businessman? You mean...

VITALY: Yes, I mean...

Vitaly points to a hanging beef brisket.

ANZELOWITZ: But I thought there was no such thing as the.....

DOLLY ZOOM on Anzelowitz, trays of briskets in bg.

VITALY: Noon tomorrow, or..

A switchblade juts out of Vitaly's sleeve. He perfectly slices up a beef brisket in three seconds, and exits.

ANZELOWITZ: Oh, boy.

Doug. I agree. I just didn't want to get in this discussion with Craig again so if some people listen to him at least maybe they won't go overboard. I don't know any directors that would get upset if it happens only a few times in a screenplay. If there are more than just a few in a screenplay the odds are it won't ever reach the development stage anyway.

Bill - I'm tellin' you - Save yourself the aggravation; don't put camera direction in your script. You may want to argue about it all night - but just don't do it. 'nough said!

Dan G I just push back against the advice that's stifles creativity, "your script will be thrown across the room if you dare...". I take advice from people like John August and Craig Mazin that have and do writer huge budget films and are on boards with the WGA.

I think it's more fun to describe the view I want of the scene without mentioning camera angles. Kind of a challenge, but it makes the writing more fun.

Unless you plan on being the director or DC of your own script, do not add camera angles. Any other director or DC would look at it as you telling them how to do their job.

Camera angles are for the shooting script, not the screenplay. Except in very rare circumstances.

You shouldn't, but there is always a literary way of suggesting them if you feel like it helps, lets say, the dramatic line, the suspense of the story: example - "Mary's hand picks up the gun." or "On the deserted lot the gang park their cars ready for the race." - lets say... as you see, although I choose just same made up ideas, you can tell that the first is an insert and the second is a wide shot.

No need for any camera angles or cinematic notation. Just focus on the story. The story is what counts.

I don't do camera angles in spec scripts. Those are for shooting scripts.

Kiara - the simple answer is just don't put camera direction/call outs in your script. The Director will line your script to set up the shot list and will figure out the blocking to establish the visual flow (actually he'll use the AD for much of this.) Amateur writers tend to over think and complicate matters because generally all they know is CUT TO or ANGLE ON. Few understand X CUT, X FADE, CU, ECU, COWBOY, OTS, ONE-SHOT or much of any of the Director's jargon. You do your job as a writer; let the Director do his, same with the DP, Casting and everybody else on the production.

Never, ever, ever. Unless you're the director/writer and don't have anyone else to answer to. I'd even take them out for everyone else but yourself. Basically, if you want to establish a camera angle, be creative about it. There's a difference between, "CU of Mans Face From Above" and "we travel down to a man's pimply face." The first one you're directing the camera. The second one you directing the reader/telling the story.

Thank you all so much!

Bill C and Vitaly: I love you guys!

KIara: Simple answer. NO CAMERA ANGLES ARE REQUIRED FOR SPEC SCRIPT. And, no caps required in the previous sentence. I did it for EMPHASIS. By thy by, here is a nice article discussing this very question. This guy advises that leaner looking scripts are "in" right/write now.

http://www.scriptmag.com/features/spec-scripts-fail-shooting-scripts-vs-...

Here's a couple of short, oldie but goodie blog posts about this topic: https://johnaugust.com/2003/more-camera-angles; and: https://johnaugust.com/2003/camera-angles-and-edits.

And, Kiara, since you didn't share any specific context or give a specific example in which to discuss... I assume you're referring to general use in a spec script? If so, I highly recommend you add John August's blog and Scriptnotes podcast to your screenwriting resource repertoire. It's incredibly insightful! ;) While you certainly may not need specific technical camera directions in a spec screenplay (typically in a spec screenplay their use is kept to an absolute minimum and often deemed unnecessary), you may certainly use them if needed for specific, simple clarity or if/when appropriate. See A. S. Templeton's example above. Anyway, a screenplay is written to be cinematic, is it not? A screenwriter also often refers to costuming, settings, locations, character physical descriptions, tone, action, sound, etc, etc, etc in a spec screenplay—all these elements (jobs) would also be handled by others if the screenplay does indeed go into development/production, yes? The key is to give just enough to paint an image in the mind of your reader; give them an idea of what it COULD be—not what it should. Generally speaking... the purpose of a spec script is to incite interest, and be a calling card for the writer—to show writing knowledge, storytelling skill and voice. Plus any script itself is ALWAYS subject to change. If a director does come on board, then she/he will make changes as she/he sees fit. ;) I hope that helps, Kiara. Happy writing!

What I do think is that the directors love to add their knowledge to scripts written by writers other than themselves. No matter how beautiful a script is written be sure that they would still add or remove, that is why some writers do not completely illustrate their works, and the directors do like it like that. You know it does give them the space to input their own know-how into it. Their work is to direct, isn't it? So, to completely illustrate your work could truly look like an insult to them.

The name (can) reflect what they do rather than their character, or can be a clue to the resolution of the story. As long as it makes sense, subliminal or literal.

Just from my experience, Directors and Cinematographers ignore camera suggestions and collectively with Key crew members, they do a scene by scene, line by line breakdown of script & a physical walk-through on location scouts, break down shot list and a series of shots to shoot per day.

Everybody has a job to do. Do yours. Obviously if you are writing to direct or writing as a Producer, you can write however you want.

Take a filmmaking course. Learn how movies are physically made. most cases, the Writer is not on the production shoot.

Dan M. You are are right. A director will ignore them anyway so I am not sure why a screenwriter would want to wasting their time doing something they don't need to do.

A screenwriter isn't going to get paid more money because they inserted some camera directions. Screenwriting is just a job and like every other job I ever had I try to get away with doing as little as possible. If someone wants me to write a screenplay they are going to end up with 90-95 pages because that takes less time to write than 120.

"We See" is still trendy. Several "We see" suggestions won't make or break your script.

Dan & Dan are pretty much right. It behooves the writer to understand how a film is actually made and who is responsible for the various tasks involved. Do you tell the Editor or the DP how they should do their jobs? Then lay off the Director.

All you have to think about is this. Everyone in LA has a screenplay or multiple ones. Many people across the country and world have thousands of scripts they are trying to sell.

If you are trying to sell a spec script, you won't make it past page 1 if you put in camera/directing cues. Actors even hate acting cues, but we can get away with that.

So, your script, no matter how amazing it is will be tossed before read. I have worked as a reader. I have tossed your scripts.

My advice. Make a movie. I am completing my first feature at 43 years old. It cost me 10k to make. A script is the outline of a product. A feature length film is a product. Regular people buy products, only rich people/companies buy outlines. In the time it will take you to sell one script (going on 20 years for me), right now w/ VOD, you can make 10-20 movies, be your own boss and make money.

I don't know about you, but I'll never write a spec script again. I write only for me and my partners.

Another film revolution is going on. They will look at what's happen now the same way they looked at the 70's and early 90's w/ indies. We are in a very good position to tell our stories. How well they are told is a whole different matter. The best will always rise to the top when the everything is weighed fairly. VOD happens to be the fairest it's going to get right now! When you can release your own films (Amazon) anything is possible!

IMHO I draw a distinction between camera directions (directing) and minimal use of "we see", "we hear", Close-up/insert (like on a tv screen or photo) and slow motion. I'm ok with a limited use of things like. "We pass through" or "We look out on".

Verses: The camera pans up. The camera closes on. The camera shakes. Enters frame, moves off frame/off camera. etc.

In a spec environment a creative and effective (and it MUST be both IMHO to validate their use) and sparing use of the former I think can really add to the visual narrative and really showcase the vision you as the screenwriter has. You are writing a visual narrative. You're not directing the cameras. I think that's an important distinction.

If you wanna write camera angles, do it right. Read PT Anderson's There Will Be Blood's script. Very technical.

https://cinephiliabeyond.org/will-blood-paul-thomas-andersons-epic-take-...

Someday I hope to see an example where a camera angle is essential to the story. Where if a specific camera move or zoom or angle were not in that exact spot the story would not be clear.

I work as a reader, if I were to toss a script because of camera angles I would not be paid for the coverage and my boss would ask why I didn't even read it. If I were to "pass" on a good story because the writer put camera moves into the script and another producer picked it up I would not be employed much longer. That said, I don't like camera angles in a script. Most of the time the writer isn't a skilled DP so they use terms incorrectly - that pulls me from the story. Even when they use proper terms I am pulled from the story wondering why an arc shot or a whip pan or a dolly zoom is essential to the story.

D Marcus, so how many of those spec scripts w/ camera angles get on your boss's desk? Also, TWBB is directed by a well know auteur who can do whatever he wants. To base anything you should do on what Anderson, Kubrick, etc. can so is silly. Go ahead and write twenty pages of exposition w/o any dialogue or just a 60 page screenplay with almost zero dialogue. See how far that goes when you are not established to the point of total confidence. I'm not sure there is a director now but Spielberg that has that type of standing and that only because Spielberg owns everything he is standing on.

Wow. Disagree completely. Writers are the beginning. Pompous others who believe a writer's input is minimal may glance right by my name because they're not getting my script. We are not servants or tiny cogs. We're the beginning of the project. Producers ... whatever. They're the paycheck.

Point - write the idiot version for idiot producers, and the real version held for real ones. Write the real version how you want and humor the idiots with the 'cliff note' version they're accustom to.

Exhibit A - the majority of films made are shit. If you have a thing of beauty, don't throw it away on 'the way things are done'. Do it Your way. If you want to make more shit, do it their way.

For Gods sake No! Do not add camera directions to your script. I'm a filmmaker/director, editor, sound and animator, been doing it for over 25 years, I also write sci-fi and fantasy. If I read a script with junk in it, I guarantee you, I'll ignore the heck out of it and move on to another. Why, because as a filmmaker and director, I don't need a writer telling me how to shoot a scene.

The problem is, you may have this really cool thing in your head, but on the set, it doesn't work, then what? I should waist time (and money) trying to figure out how to do the writers fantasy or should I do what experience requires to get that shoot?

A really good script should read like a really good book, there shouldn't be anything in there to interfere with the flow of the story. No cut to's, fade to anythings, actors directions (like, she began to walk to the window and picked up the glasses with her right hand and put them on and watched the bird in the tree) or stuff that looks so amateuristic. No one has the patience for that.

The reason you don't put cut to's and fade to's in a script is simple, ask yourself, how do you film that? If you can't shoot it, then it doesn't belong there.

What I'm saying is don't do my job, write the best story you know how and let me worry about camera angles. www.mmtvfilms.com

"waste time trying to figure out" ... etcetera ... No, Rick. You tell the writer it won't work and get on with your JOB. It takes a second. If in fact you Do know your JOB, which is to interpret the WRITER's Work.

... breathe.

Much talk of what 'the greats' can get away with - How do you think they became great ? Unyielding Vision and the willingness to hold out for a better production. You know, where the director does his JOB.

As for the 'that takes more work i'm not getting paid for' writers ... you're the problem with Hollywood stories today. I've read many. Most lack a spine because they always do what they're told, to get paid. How could, for example, such an attitude generate a strong leading role which is actually believable ? It's why they usually aren't.

If you wish to serve, then serve, to get paid, then get paid. 'Greatness' or even just telling a story - tell the tale only you can tell and do it Your way. If someone you've actually Heard of ( ... ) wants a rewrite, make a choice. But ignore all advice from those who claim to have 'been in the industry for X amount of years' because if you haven't heard of them, they're just talking.

Aw geeze guys. A lot of you just want to flap our gums in an argument with a fence post. Just get over it & move along. From what I see in here - most of you are not screenwriters, nor will you ever be. Wear the shoe if it fits.

EXT. UNCLE PHIL'S CAVE - ESTABLISHING SHOT - NIGHT

Two chained up, slobbering, Standard Poodles guard the entrance of an ominous lair.

INT. CAVE

TRACKING SHOT - A group of bats fly out the entrance.

Uncle Phil hanging upside down from his perch, reading a smartphone, LAUGHING.

CLOSEUP - UNCLE PHIL'S FACE

UNCLE PHIL

That Doug Nelson, he's a riot!

Geez is right.. LOL! Let's please move on. Pretty pretty please. Don't see how this endless argument over camera directions further helps Kiara. :) Have a great weekend everyone. Cheers!

Because it reveals multiple points of view, and for myself and others has been quite educational. I now know where many stand and what sort of producers and directors to dismiss. Not trying to be argumentative, but many seem more interested in shutting down new ideas than learning from them. This, again, is why continuous tripe comes from Hollywood. With respect.

It seems more the nature of status quo to end discourse than to begin it.

Note that I've been attempting to encourage passionate writing over mediocre method.

I court specific directors, actors and producers who check out to my standards, then I balance between my vision and their expectations while writing them something new. Characters the actors want to play, ideas that fill the directors imagination and the balance of what they believe is worthy of cost or gamble. It's certainly a slower process, but goes quite well and leaves me in control of my characters, copyrights, and name. (and these people truly do inspire me) Anyway, what I've seen is that they don't have a rule about that, and in fact some of the greatest response I've received (and in fact put me on the desk) was a scene which I dictated Every shot, and music involved. But ! Characters seem to sell with only a light touch of scripted direction, again where it defines the character, so They can see what you mean. They may shoot it differently, but they will have understood that character better.

PS - sorry I was rude earlier, but there was much advice given that would lead to a weaker script, and does not match my experience at all.

Bradley, perhaps half a dozen a year. If the story is good and the characters something top talent may want to play, camera angles are not cause to stop at page one. As a studio reader my job is to cover scripts, not to stop reading because of camera angles.

Beth, this is a subject that many people love talking about. Why must we move on from something so interesting to many of us?

Claude, I believe we should worry about camera angles. It's an important aspect of screenwriting. We should "worry" about all aspects. Discussion is good.

I have sold screenplays and I never had anyone reject one because it didn't have camera angles. Most people are taught you don't put them in a spec screenplay so common sense would tell you that if your script has camera angles in it then your script is going to have to work twice as hard to convince someone that it is worthy or further development or production.

D Marcus. I did that job for a year as an intern. I guess I wasn't as good as you are. Like Dan said, one of the first things I learned was never to use camera angles or directing cues. It's a lazy form of storytelling.

Anyone trying to sell a spec script is just hurting themselves by doing this, so let's not make it like it's some great artistic choice. It will only hurt you. Like D Marcus said 6 scripts a year maybe make it to his bosses desk w/ camera/directing cues. 6. Those scripts must be so good that giving dp's cues to go in CU on a piece of poop from 7 inches away is acceptable.

If you want to be an artist and do artistic things, don't write screenplays on spec. It is a road to nowhere.

Make a movie. I am poor, eat one 7-11 sandwich a day, but I made a feature. I did that. Why can't you?

Scripts are NOT products. They are the proposal of a product. Movies are products. Make a movie.

For a writer humbly lacking delusions of being a director or cinematographer, there are many ways of implying shots, angles, and even framerate: A trickle of scarlet courses down his hand & past the tanline of his missing wedding ring. A single drop of blood gathers on a fingertip; time slows as it drips onto the torn-out newspaper obituary of his wife.

Just write a spec script that you can use it as a writing sample to get a TV staff job or meet people who will hire or recommend you to other people .

That is all. Camera angles or no camera angles, just tell us a good story with drama and emotions.

Appreciate that, D Marcus. Absolutely. But... In all fairness, there are many people who feel otherwise too—just saying. ;) This debate/argument often repeats with no resolution. Lol! And I agree, Dan M, there are many many many other writing tools, concerns and creative possibilities when writing a spec script. Plus not everyone has the same experience—it depends on specific context on a specific project with specific people and their preferences. Broad strokes don't quite address complexities or gray areas. We all know there are exceptions to everything in screenwriting. Of course it is sometimes challenging to talk beyond generalizations within a forum. But we try! We do our best. Again, have a great weekend everybody! ;)

To add... Just to share my personal experience. Those I have met (VP of Development, directors, producers, execs, consultants, pro writers) do not have the "never use" oppositional view, rather more cautionary. This is yet another tool. Practice common sense. Consider technical camera directions like a powerful spice; too much may ruin the pot. So know how to use that spice wisely. ;) I hope that helps! Cheers.

dunno about the lifestyle of eating a 7/11 sandwich per day and making cheap unprofitable movies. Why would a starving Writer want to follow that plan?

Three bucks for a 7/11 sandwich.....man.....that's 21 bucks a week....I could buy a nice piece of fish....a whole chicken.....a box of rice....a bag of beans and a bag of lentils......a head of red cabbage....a bag of carrots and celery hearts.....and eat properly. You need to get your mind right, 7/11 sandwich eater - two nights in the box for you! Heh-heh.

Bill C: I'm adding dietary expert to your growing list of talents.

Dan M. To be a starving producer. At least that is what I am up to. lol!

Dan M: Who says my movie is cheap or unprofitable? Just because I got everything expensive for free doesn't mean it looks poor, does it. Either way, It hasn't been released yet, so you can piss off with that one. I've also lost 15 lbs. and feel great. So, whatever. I eat what I do because I need to finish this film before I run out of money. 7-11 is the closest and fastest.

Keep on writing spec scripts. I hope it works out. In 2018 you can start watching my films on VOD. Where will I be able to read your scripts?

Bradley

You can rent my movie "Carlita's Secret", one of the most profitable home video movies of all time. Eva Longoria then became an intentional Star , got the gig on "Desperate Housewives" and married a NBA player, Tony Parker... all because she liked my script.

Good luck at 7/11 . I am more a Panera Bread/Chipotle eater.

S32 scriptwriter trolls are at it again, looking to get a rouse. Lol

Dan G: I'd forgo the 7-Eleven sandwiches and take Bill's dietary advice.

Dan Maxxx: So what happened after the How to play chess and how to play 8 ball films? Were those spec scripts?

It's been 12 years. I think it's time to contact Eva and see what you can brew up.

Bill, can you come cook for me? Please.

It's actually $10.50 a week since I eat half a sandwich for lunch and half for dinner.

Bradley: if you can make good ad copy, good music, and a good film, then you can certainly make good food! Heh-heh. P.S. - your stories and past films sound interesting....keep pushing!

Beth, this debate/argument often repeats with no resolution because there is no resolution. When a moderator tells us to move on it seems counterproductive. We don't always discuss to resolve an issue - we discuss to learn from others experiences and to better understand others opinion.

Bradley, this has nothing to do with being as good as me. Your boss allowed you to drop a script if on page one the writer used camera angles. My bosses (agents, development execs, producers) want to read full coverage of every script. Camera angles were not a page one deal breaker. I agree with you Bradley, it's not an artistic choice, it's poor screenwriting. In your experience readers will dismiss a script with camera angles, in my experience we do not.

See Beth, no resolution, but I understand where Bradley is coming from. That's a good discussion. I'm glad I didn't move on.

Bill: I'm not bad, I'm just not passionate towards making food.

D Marcus: I'm resolved. It's nice to know people do things differently. I just hope that people understand that just because a few writers get away with something, doesn't mean that everyone can, will, or should.

If I were to take the standard route of 'send and wait', I would write still specifically for the company, perhaps different versions of the same script. Example - what would fly at Dark Moon would not be the same script you send to Disney. At Disney, waste not thy time with direction. At Dark Moon, make them laugh.

Discourse ? I stand on my previous statement. Selfishly, I'M learning.

Best advice from me ? Ignore anyone who speaks in absolutes, Especially if they try to back it with credits. That's true Everywhere. If one of the 'big guys' shows up in the room (sorry, but they haven't) then perhaps give credence. There really is no rule, just opinions held by writers and readers alike. Know your audience. And ignore anyone who refers to themselves in the third person. Always.

Bill, wow! In my city, a whole supermarket chicken is $8 and a nice piece of fish is $9. $4 for the rest? Can't be done but I do agree that making your own is always a cheaper alternative to buying pre-made.

Agreed. In Chicago the prices for groceries is outrageous.

Pierre: any day of the week, I can get a whole uncooked chicken for $5, or a cooked one for the same price. Tilapia for $5 per pound, Salmon for $8. Maybe the casinos subsidize groceries, so locals will go out and gamble more.

Bradley: taxes in Chicago, Cook County, and Illinois are outrageous. The new Cook County sugar and artificially-sweetened drinks tax that goes into effect in a few days....wow....a penny per ounce. A 24-pack of coke is going up in price nearly 50%. They are running out of things to slap new taxes on.

What are you guys, some kind of mad distraction robots ? Why do you talk about food so much ? Eat a sammich and let's get back on topic. You don't eat enough food, you make the crazy talk.

MIster Chule, keep it coolie! Allow your fellow creative souls to talk as much smack as ten jailhouse informants. Crazy talk is food for the soul.

Anyway, if you want angles, take a drafting class. I'd worry less about putting those in your spec script and worry more about writing a script that doesn't bore the shit outta your reader. Otherwise, they may get hungry for something else.

God bless all in this forum!

Fair enough, though ... not a fan of jailhouse informants. I'm going to unsubscribe the thingie button now. Have fun !

Bowing my head for the dear departed

This discussion is very interesting and worthy. The one and most important thing i have learned about making an audio-visual product(may it be film or a show/episode/documentary, anything) there is no rules at all. Its purely subjective to what to work as well as how to work and what would be appreciated and loved also.So first of all in any kind of script one can write whatever one feels should be written, there isn't any strict rules and regulations at all, we are not solving a Math problem here ,where you need to follow certain logic and methods, are we!!!??? There's a format only to simply what you want to tell and you can modify it how you feel, I think.

Now being a writer/Directer what I personally feels is when as a writer you are writing something you are giving a suggestive outline to the audience to the world you want them to see. You can't hold or tie them to your exact imagination or view point. and I honestly thinks its the beauty of writing anything(may it be a novel or screenplay/script). The beauty is to just take the reader to your imaginary world and let them roam around. To put in technical words there is vast scope of imagination for reader while reading and in this lies its beauty. Now as a director the difference is you are putting the same imaginary world on the screen. and as a famous quote says " What director actually directs is the audience's attention", so as a director one's job is to create the feel and make the audience experience that thing on screen. Now that's the difference, there is no scope of imagination or hardly little for audience as you not only wants to tell them but to feel them, experience them what you want. Hence there comes the visual elements which as a director you need to insert and camera angle is one of that tool which helps you to do so. So its purely directors job he will do it anyway. But as there are no specific rules I think, so you should never to fear what you feel to do( regarding throwing and trashing the scripts just because having camera angles in it and also not accepting a script just because it has no camera clues and rules that say you need to add them) . but the point is you should feel it to include or do so,whatever it is, not because anyone or any site says you that you should add camera angles or vice-a versa.

I would love to hear others opinions and thoughts over it also, in order to improve, always.

Here's my advice from being in this business for 20+ years w/ 15 of it specifically as a screenwriter. I have made films. I have optioned scripts. I have met w/ studio big wigs. So, #1 - The first draft is for you. Do anything your heart desires. Mess with anything you want even if it makes no sense. #2 - The second draft is to refine your story. Make sure that you completely understand the rules you are fighting to avoid (even Pulp Fiction is a 3 act script w/ the proper script beats). #3 on your third draft, you are going to start cutting your babies. Meaning the things you can't live w/o but they don't more the story forward. #4 - On the fourth draft you'll realize what needs to be there or not and this is when the fat trimming makes the most sense. Say you need to deliver a 90 page horror movie. Do you want to go over 10 minutes because of unnecessary words, cues or space and turn off every reader? Every page on a script equals a minute of screen time. Make sure your words count! #5 - If you make it to this draft, more than likely you have someone interested and they are putting in their two cents, which will at first feel harsh, but film is a collaborative medium. If you can't work w/ others (nicely, please), you don't have a future as a screenwriter. Screenwriting is not the career choice you want if you want to hide away in your home. It is not like any other form of writing, besides maybe blueprints for buildings. I'd even sadly say, that unless you live in LA (5 years 1997-2002), being a paid screenwriter is nearly impossible. That could very much change w/ new media, but the truth is the truth, the business is out there. And unless you can take every meeting you get in one week on a script or have the cash to fly back and forth, Living in LA is sort of essential. And that sucks. It's why I moved.

Good luck. Enjoy your writing. Create great stories. However, if you hate rules, refuse to follow them, or don't know how to break them properly, you're in for a long road of disappointment if you want to sell a spec. Buy a lottery ticket. At least you get the momentary thrill that you could win w/o putting in a year or more to be heartbroken again.

M 2 Cents again.

Great advice Bradley Pontecore.

From my understanding:

Spec script - No.

Shooting script - Yes.

Anthony. Shooting scripts yes but it is the director's job.

Bill Costantini

I am finally hired as an actor in a Cholent Boy production and all I do is buy Brisket?

You couldn't make it Pastrami?