Vic Vaughan's Lounge Discussions

When incredible jazz drummer Lewis Nash was asked in our drum camp class how to play fast... he took a moment... replied - Attitude Salt Peanuts anyone?

Let your own passion for the project come through.

You need the enthusiasm of someone telling the short version of a fabulous film they love that the other person hasn't seen yet. Because, basically, you're pitching them a fabulous film you love that the other person hasn't seen yet ;)

Pants.

Thank you all for the input. I much appreciate.

Shawn: It's all good, Shawn. I figured you probably did that, too. Note to self: wake up two hours earlier, write more each day, train harder each day....Shawn is doing it, too. Drats.

Cherelynn: Cool!

Syed: You're probably right.

Peter: I love Catch 22, and the film, too!

Good Luck and Happy Writing, All!

It's all good, Bill. I've got haters comin' at me online for trivial shit every day now... They don't have shit to do but f-ck with people.

Shawn: I hear you. I've had folks in my past exhibit patterns of maladaptive behaviors that were reinforced by their misinterpretations of the world around them. I could understand that and graciously cut them some slack.

I graciously beat the shit out of the others.

Shawn:

I support you a hundred percent my friend and look forward to the day we can hang out.

Bill C:

That's a sound policy. You are a supreme gent but I wouldn't want to piss you off.

I suppose 20 years directing theatre has knocked out of me any sense of the timing of a written phrase being even closely related to the audio outcome! And as has already been said above, a film is an extreme collaboration of hundreds of people while a script is (in most cases) a single-digit affair. But mostly I keep the reading and watching experience separate in order to hone my craft, because I know that brevity and concision is essential to the reader getting past page ten. If I can read a piece and instantly visualise the film from the page, I'm going to learn more about my own writing than if I'm simultaneously watching a director's vision is informing the plot. So in short, I keep those two activities apart.

This is a good book to learn from: http://amzn.to/2IuCwyv - Complete Screenwriting Course: A complete guide to writing, developing and marketing a script for TV or film by Charles Harris.

Great thread going on here, folks. Glen, I think 3 hours for ten pages is speedy work! And Lucas, I would definitely know the difference between a French and Spanish motorway. Or a British one. Or a US highway v. interstate. I'm not sure it would be necessary to specify on the page, however. And a big yes to Beth on the Dave Trottier book tip (also his coverage service). You specifically mentioned his format rules for FLASHBACK, but can anyone help clarify FLASH or QUICK FLASH? I've just started using it recently and always follow it with a BACK TO: and it looks fine on the page to me, plenty of white space, but hey, what do I know?! Thanks in advance -- nice to meet you all!

I've also seen minislugs used. It's all about style choices.

Great thread. Addressing points brought up within it and at the risk of repeating some:

I believe Glen Bradley essentially suggested dropping the use of CONTINUOUS- I agree so long as the action/sluglines clearly indicate this to be the case.

EXT. STREETS - DAY

"Freddy struts through the streets of Santiago de Compostela, wearing her sunglasses and licking her ice cream, barely denting it before entering the cathedral."

INT. CATHEDRAL - DAY

Whatever Freddy does at the Cathedral - Maybe wipes her hands free of Ice cream before shaking someone's hand?

He suggested dropping LATER too. Again I agree so long as the action/slugline are indeed continuous.

If not:

EXT. STREETS - DAY

"Freddy struts through the streets of Santiago de Compostela, wearing her sunglasses and licking her ice cream, barely denting it before entering the cathedral."

INT. CATHEDRAL - DAY

Whatever Freddy does at the Cathedral - Maybe wipes her hands free of Ice cream before shaking someone's hand?

LATER - (A SUBHEADING)

Freddy seated in pew. (Ice cream long gone)

or

INT. CATHEDRAL - NIGHT (depending on elapsed time)

Freddy seated in pew. (Ice cream long gone)

Chad Stroman also makes mention of

LATER - DAY & LATER - NIGHT

And CHAD- this is from SHAUN of THE DEAD SCRIPT.

"

INT. BATHROOM -DAY

A TOILET is flushed...a SHOWER run...TEETH brushed...

SHAUN now wears a white short-sleeved shirt. He straightens

his tie in the mirrored door of the bathroom cabinet, which

is ajar. He shuts it.

"

As to discussions about SUBHEADINGS

INT. CATHEDRAL - DAY

ENTRANCE-

Freddy enters with ice cream.

ALTAR -

Freddy drops ice cream. Looks about for witnesses.

ENTRANCE/EXIT -

Freddy casually strolls out.

INT. BATHROOM -

IN THE TUB

ON THE TOILET

AT MIRROR

I would recommend this for your motorcycle accident.

EXT. MOTORWAY - DAY

AT BEND

FIELD

I would recommend AGAINST using it to transition from room to room within a building (unless an open concept)- BATHROOM, BEDROOM, LIVING ROOM - Though I have seen it in scripts, it is usually in those related to well known shows where the 'UNIVERSE' is well established (and form is thus more relaxed).

Dan Guardino proposed:

EXT/INT. SANTIAGO DE COMPOSTELA CATHEDRAL - DAY

Freddy licks her ice cream. Enters the Cathedral.

Freddy looks at the stained-glass windows and decides to go back outside. Turns around and heads back inside…

Naturally this functions for a quick transition to and from -

You CAN ALSO use it in LIEU of------------ INTERCUT

EXT/INT. SANTIAGO DE COMPOSTELA CATHEDRAL - DAY

Freddy licks her ice cream and enters the Cathedral.

Freddy looks at the stained-glass windows.

The menacing villain tweaks the hairs of his mustache outside the Cathedral doors.

Ice cream melts, unnoticed by Freddie, down her arm. She stares at----etc...

WHOLEHEARTEDLY AGREE with Dan Guardino about avoiding CUT TO, DISSOLVE TO -

(Though I have done it myself--- more as a stylistic hint at the TONE of work - which works better than inserting a NOTE: explaining it - blah blah blah)

Again slip it in once- IF YOU MUST (AND AT OWN PERIL)

For flashbacks

INT. SANTIAGO DE COMPOSTELA CATHEDRAL - DAY

Freddy looks at the stained-glass windows.

INT. SANTIAGO DE COMPOSTELA CATHEDRAL - DAY - FLASHBACK

A small Winifred stares at stained-glass windows.

END FLASHBACK

INT. SANTIAGO DE COMPOSTELA CATHEDRAL - DAY - (BACK TO SCENE)

Freddy.....

IF AT SAME LOCATION (SCENE HEADING) CAN ALSO FORMAT

INT. SANTIAGO DE COMPOSTELA CATHEDRAL - DAY

Freddy looks at the stained-glass windows.

FLASHBACK - (as a SUBHEADING)

A small Winifred stares at stained-glass windows.

END FLASHBACK

AND FINALLY----- as to the various roadways----- I suggest INCLUDING the COUNTRIES

BUT---- that is no gaurantee they will be filmed there- SO-

EXT. CORNWALL, ENGLAND - MOTORWAY -

A 'Cornish Hedge.'

EXT. SASKATCHEWAN, CANADA HIGHWAY -

Endless farmland.

EXT. CHINA - GUO LIANG CUN - ROAD

A precipitous, cliffside road.

Give them an idea of what specific quality you are attempting to highlight/illustrate.

I believe I addressed everything - Sorry about that. LOL.

Thanks everyone for the comments and ideas. Funnily enough, we ended up taking all the Flash moments out again. They kind of worked -- but they didn't really work, organically -- which leads me to think that's why it's not covered in style manuals!

Excellent, Stephen! Congrats on all the high placings with your scripts. Speaking to your composing, don't know if you've noticed lately, but the Composing section of the Lounge has really picked up. Some cool conversations happening and great content being shared there. Feel free to join the conversation at your convenience!

Thanks Richard.

For sure, Steven!

Hi Stephen, nice to see another IU music grad on here!