MOS in spec script

[gruss]

In a previous thread, a couple of people argued against putting MOS in a spec script slugline. Though I certainly don't want to step on any hypothetical production person's toes, the anti-MOS prohibition seems odd to me, since writing MOS seems a rather direct way of communicating MOS.

Opinions?

[Deus Ex Machine]

You can imply it in your narrative/action or you can indicate it via a mini slug or a combination of the two. The real question you need to ask is if using MOS contributes to the advancement of the story or not.

For example, if you have a scene where a character survives an explosion and loses his hearing you would have an organic reason to want the scene to be played MOS so we experience the scene in the same way the protagonist does. Then if in that same scene the Bad guy comes up behind the hero and steps on glass but the hero can't hear him, there would also be a reason to use MOS for the advancement of the story.

If you are only using MOS to try and direct from the page and it contributes nothing to the story then it will distract and annoy if used.

Sot he real question isn't over format or over absolutes of yes or no to use it, but rather a question of its appropriate use. Like everything it entirely depends on why you want to accomplish by using it and how it can best be used to advance the story and create a cinematic experience for the reader without distracting him/her from the story.

[gruss]

Not to bring up a sensitive subject here, but in this script it involves voiceover. I'm using MOS during a visual illustration of a concept described by the narrator.

I'm thinking Woody Allen has done it this way, for example -- though I can't think where, exactly.

[nickj]

yeah, I can think of a lot of reasons to use MOS. Basically, you've got a scene where the action says it all, you don't want to bore the reader with inane dialogue, and not having the characters talking would look odd.

But it does raise eyebrows. You can avoid it just by indicating in the action that the characters can't be heard, but MOS is way more efficient.

[DUCPHO]

I'm using MOS during a visual illustration of a concept described by the NARRATOR

I assume then that this visual illustration is more than likely a MONTAGE (or) perhaps a SERIES OF SHOTS. If correct, and in either case I would not use MOS as there is no point.

You can simply notate the end of the NARRATOR'S (V.O.) and continue with either the MONTAGE (or) SERIES and the MOS will be implied to the reader.

If I'm incorrect about your "visual illustration" that occurs after the NARRATOR'S (V.0.), and it's not a MONTAGE (or) SERIES... then what is it, a single scene?

Now that would be a different scenario where you might find it advisable to include the MOS at a certain point within that singular scene (or) the whole scene and the MOS would add clarity I think for a reader , in that particular circumstance, otherwise I'd go without!

Just my own take on " mit out sound"!

[Fortean]

Minus Optical Sound.

Time to kill that silly legend of the German director.

[altoption]

Only thing is, Fortean, that's the way it's used on every film set in the world. It's fun to make up new ones: like when the actor screws up his line -- Okay, let's try it again, M.O.F. (mit out flub). Or when you're shooting on the beach: Love to see that M.O.B. (mit out bikini). It can get pretty boring out there.

[pantalone]

When you indicate MOS, don't forge to indicate MS when the sound returns.

[jimjimgrande]

what do you think MOS means? what your definitiuon Gruss? -

the way you say you're using it tells me that you don't really understand what it is and what it's used for.

[gruss]

jimjim,

a shot or scene "mit out" optical sound.

[jimjimgrande]

as a reader, i think using MOS in a slugline is usually redundant and/or inconsequential.

If there is a voice over going on during a scene, sequence, or montage - the only sound I'll hear is what you tell me. I won't wonder about what's not there.

MOS is used on the SLATE to tell the sound synchers not to look for sound on that take. Even in scenes with no dialogue, sound rolls for ambient noise and room tone.

I used to work production too and during pre-pro meetings the director wouldn't say "By the way - this scene will be MOS." It doesn't matter until you're going to shoot it and you always get the sound anyways unless for expediency's sake, you need to go without it.

Using it in a script, unless part of some technical explanation of a unique sequence, translates into direction, of which I am personally not a fan.

If I saw it in a slugline I would probably take it to mean TOTAL SILENCE - otherwise why would you say it? What about music and fx?

I think Deus is right and stuff like this quickly becomes a distraction from the story rather than an enhancement.