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#11 |
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Regular
Join Date: Jul 2007
Posts: 217
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Not unrelated to this point, and something to think about to either add to the example or to use the following as a substitute -- in 500 Ways to Beat the Hollywood Script Reader, Jennifer Leach has a number of dandy hints to help you get it right.
Point 25: In the opening of your script, when the reader's mind is a blank slate because she knows nothing about your story, adding a brief line or two of description immediately following the slugline can communicate the milieu. The audience will pick up on this through the music, opening, credits, lighting, and the director's style, but the Hollywood Reader will understand this only if you tell her. EXT. JEROME, ARIZONA -- DAY 1895 Dusty, bawdy, temporary, a hillside mining town where everyone gets rich or dies trying. |
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#12 | |
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Moderator
Join Date: Jul 2007
Posts: 2,305
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Quote:
It's a rough guide which means that over the course of an entire script, the total screen time often works out at about the same number of minutes as pages in the script. That's all it means. It's a rough guide and varies according to the style of script and whether it is action intensive or dialogue intensive. But let's not discuss this any further because it's a pointless distraction of no real use to writers. Just write a script somewhere between about 85 and 125 pages, whatever it takes to deliver a compelling movie story.
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"Why procrastinate today, when you could put it off until tomorrow?" |
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#13 |
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Member
Join Date: Apr 2009
Location: Scotland
Posts: 1,365
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It's always the innocent threads that get abused the worst
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"Only nothing is impossible." — Grant Morrison |
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#14 |
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Member
Join Date: May 2005
Posts: 1,909
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Watch Woody Allen's "Midnight in Paris".
Sorry - I don't know how the screenplay is formatted. But the writer is the director, so ...
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"I am the story itself; its source, its voice, its music." - Clive Barker, Galilee |
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