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  • Cut To:

    A quick question. I've noticed that some screenplays often use "CUT TO:" to mark a transition between scenes and other screenplays don't use it at all.

    So my question is, is it more professional to use it or not?

    Thanks in advance.

  • #2
    Re: Cut To:

    Don't use it. Waste of space.

    Used to be standard, but most people have stopped using it.

    But if you want to use it, you can use it as you don't go to screenwriting jail. Just saying, why waste time?

    I like my specs as clean as possible.

    Comment


    • #3
      Re: Cut To:

      Dunno about more professional, but readers might think you're old school, following traditional Goldman era guidelines.

      Pump up excitement levels and leave readers breathless by using SMASH CUT TO: before every new scene!

      Comment


      • #4
        Re: Cut To:

        As Bono said, it's a waste of space.

        Take out one of those every page, to save maybe a quarter inch, over a 100 page script, and you've saved about 4 pages in length.

        I use DISSOLVE TO: where the change of scene is truly helped by it, but it's rare.

        I remember seeing the script to Social Network by you-know-who. I mean, who's gonna question Aaron, right? But every scene had that, and the script was 170 pages long! Meanwhile, they tell us slugs that we're bad-boys if our specs are over a hundred now. I remember when the upper threshold was 110, and when even 120 was tolerated.

        I also think these CUT TO's are an automatic setting on the fancy-dancy script writing tools, and is something you can turn off and on.

        Do it.

        Me? I do whatever it takes, to shorten a script. But then I have a Stone Age tool (WinWord) and don't have to worry about what some programmer thinks is standard for anything, since I develop the whole thing mysel.

        Comment


        • #5
          Re: Cut To:

          You don't have to use it as a transition. It can be added to the action line, like so:

          Mary runs through the woods. CUT TO:

          INT. CAR - DAY

          Blah blah.

          Comment


          • #6
            Re: Cut To:

            typically, "cut to" is used in a production draft. no need for it in a spec. the fact that you have a new slugline is enough to indicate the 'cut.'

            now, you could use a different transition should you find it necessary.
            "Arguing that you don't care about the right to privacy b/c you have nothing to hide is no different than saying you don't care about free speech because you have nothing to say." -- Edward Snowden

            Comment


            • #7
              Re: Cut To:

              OK, thank you guys

              Comment


              • #8
                Re: Cut To:

                Originally posted by finalact4 View Post
                typically, "cut to" is used in a production draft. no need for it in a spec. the fact that you have a new slugline is enough to indicate the 'cut.'

                now, you could use a different transition should you find it necessary.
                Sorry to have to keep saying this but --

                -- my work has taken this journey from spec script (or commissioned script) to production draft and fundamentally, the only difference is that,

                1) you need to replace all of those mini-slugs with real slug lines and make sure that all of the slug lines for a given location read the same. That is, things like:

                BOB'S HOUSE, IN BOB'S HOUSE, A SUBURBAN HOUSE and THE HOUSE -- all referring to the same place, you've got to replace with just a single slug line, otherwise the automatic software gets confused and lists them all as separate locations.

                And you've got to number the scenes and make sure that everything that's actually a scene has actually been numbered, which sometimes doesn't happen.

                And you have to lock the pages so that any subsequent changes become A and B pages.

                And, voila'! Your pre-production draft has now, officially a production draft.

                All of the other things that people think somehow happen when this transition to a "production" happen -- they just don't.

                NMS

                Comment


                • #9
                  Re: Cut To:

                  If it needs it, add it. Simple as that. No hard and fast rules. There's so much BS around about what you can and can't put in a script. As long as it flows and doesn't bump the reader out of your story, no one cares. Can't recall any networks, producers, directors or any of my reps ever flagging up a transition and asking me to take it out.

                  Ps I've had "cut to" in my last few specs. Got a few in my latest one too. Nobody has said a word.

                  Comment


                  • #10
                    Re: Cut To:

                    Originally posted by Mintclub View Post
                    If it needs it, add it. Simple as that. No hard and fast rules. There's so much BS around about what you can and can't put in a script. As long as it flows and doesn't bump the reader out of your story, no one cares. Can't recall any networks, producers, directors or any of my reps ever flagging up a transition and asking me to take it out.

                    Ps I've had "cut to" in my last few specs. Got a few in my latest one too. Nobody has said a word.
                    this brings up a good point.

                    there is nothing that says you can't use "CUT TO:" the reason i 'm say it's unnecessary in a spec, which many may agree, is two fold. first, your next slugline indicates the cut to thereby rendering it redundant , and second, using "CUT TO" artificially inflates the page count.

                    each cut to has a line above a line below and the actual line itself. at the very least you are wasting two additional lines for no good reason.

                    my latest spec has 68 scene headers, that would bloat my spec by 136 lines. that alone is good enough reason for me not to use it.
                    FA4
                    "Arguing that you don't care about the right to privacy b/c you have nothing to hide is no different than saying you don't care about free speech because you have nothing to say." -- Edward Snowden

                    Comment


                    • #11
                      Re: Cut To:

                      Originally posted by finalact4 View Post
                      this brings up a good point.


                      my latest spec has 68 scene headers, that would bloat my spec by 136 lines. that alone is good enough reason for me not to use it.
                      FA4
                      I'm not sure I'd ever use it throughout an entire script hence my saying I've a few in my most recent specs. Sometimes a transition is needed and it feels right. Sometimes I won't even go from a 'cut to' to a new scene heading. As I said before it's whatever flows. Also, I wouldn't get too hung up on page count.

                      Comment


                      • #12
                        Re: Cut To:

                        Originally posted by Syringe View Post
                        I've noticed that some screenplays often use "CUT TO:" to mark a transition between scenes and other screenplays don't use it at all. So my question is, is it more professional to use it or not?
                        "often use CUT TO"

                        I don't often see its use in pro or non-pro screenplays.

                        The CUT TO transition is a direction, a cue, that indicates to the reader and film crew a cut is happening from one scene to another.

                        As others have mentioned, including a CUT TO to indicate a simple scene change is unnecessary because a double spaced and capped Master Scene Heading does this job effectively, though there are some who disagree and feel this is not the case, where not wanting to waste white space, instead of "CUT TO,- they'll BOLD their Master Scene Headings.

                        Some are so insecure that a reader won't notice their scene headings, they'll take the drastic measure to BOLD and UNDERLINE.

                        I don't agree with their thinking that Master Scene Headings need this type of help to indicate that a new scene is taking place, but this was already thoroughly discussed in the BOLD thread. (Though, like with anything, there are exceptions. I feel BOLD Master Scene Headings could be necessary, such as with the QUITE PLACE screenplay, where it's mainly all action/direction. In these cases, the darker BOLD scene headings could make sense where it helps the reader.)

                        Back to CUT TO: There are some educators who'll advise to never use directions, such as transitions, i.e. CUT TO, DISSOLVE TO, etc.

                        Transitions are a legitimate tool available to writers. They give a reader an understanding on how one scene slides into the next. It could be achieved by an image, music, action, dialogue, etc.

                        Let's take CUT TO for example. When a writer does use CUT TO, it's used as a hard cut between scenes, alerting the reader's awareness to a jump in time and/or location. It's ending the scene suddenly for dramatic or comedic effect.

                        For a comedic example, I'm gonna use one of the most memorable scenes from THERE'S SOMETHING ABOUT MARY:

                        POLICE OFFICER
                        It's just like pulling off a Band-aid.
                        A-one and a-two and...

                        CUT TO: (Flush right margin.)

                        PARAMEDIC
                        We got a bleeder!

                        EXT. MARY'S HOUSE - NIGHT

                        TWO PARAMEDICS rush Ted out the front door on a stretcher. Mary runs alongside him holding a towel on his crotch,

                        For a dramatic example, I'm gonna use a scene from my script, AMERICAN SLAVES.

                        This takes place at the end of an action set piece where slave traders have raided the protagonist's (Shelby) village. Shelby had bashed a slaver off his motorcycle and hops on, revving the rear tire to tear off, but she's trapped in nets and flops to the ground. The slavers walk up and surround her:

                        Shelby looks up at Captain Schmidt. He raises a club.

                        DEDRIC
                        Wait!

                        Captain Schmidt stops his swing and looks at Dedric.

                        DEDRIC
                        Gently.

                        Captain Schmidt bashes Shelby on the head with the club.

                        CUT TO BLACK: (Flush right margin.)

                        BLACKNESS

                        Sound of a heavy motor engine and metallic clanking.

                        FADE IN:

                        EXT. COUNTRYSIDE - TRUCK'S CARGO AREA - DAY

                        Shelby lies unconscious. Her eyes flutter open and sees a row of blurry, shackled ankles.

                        -- Besides the standard format, this one transition is the only technical jargon that I used in my entire screenplay.

                        It's sound advice for a writer not to clutter and muddle his screenplay with too much technical jargon, but used sparingly, purposely and effectively, transitions could communicate and enhance the cinematic experience. Enrich and sharpen time, location and emotional changes.

                        Comment


                        • #13
                          Re: Cut To:

                          I know I'm not a professional writer — and don't pretend to be one — but (for me) CUT TO: implies a more of a sudden "jump" to ongoing action in another scene. Not quite like a SMASH CUT TO: but more urgent than just a scene change.
                          STANDARD DISCLAIMER: I'm a wannabe, take whatever I write with a huge grain of salt.

                          Comment


                          • #14
                            Re: Cut To:

                            Originally posted by dpaterso View Post
                            Dunno about more professional, but readers might think you're old school, following traditional Goldman era guidelines.

                            Pump up excitement levels and leave readers breathless by using SMASH CUT TO: before every new scene!
                            I think it's time to invent a new one ... ZING TO:

                            Code:
                            EXT. TOP OF 50 STORY BUILDING - DAY
                            
                            FRED MOROSE, 60s, unsteady on his feet, stares over the edge
                            of the roof at the street far below.
                            
                            He stretches one leg over the ledge and laughs. He
                            momentarily balances on one leg, teeters, and slowly tips
                            over the edge.
                            
                            He screams, grasping wildly for the ledge, his arms
                            windmilling as he falls ...
                            
                                                                              ZING TO:
                            
                            INT. COFFEE SHOP - CONTINOUS
                            
                            THE FLEA, in human mask and overalls springs from slouch to
                            instant action.
                            
                            He SLAMS through the plate glass to the sidewalk.
                            
                                                                              ZING TO:
                            
                            EXT. 50 STORY BUILDING - CONTINUOUS
                            
                            Fred flails and screams, falling.
                            
                                                                              ZING TO:
                            
                            EXT. COFFEE SHOP - CONTINUOUS
                            
                            The Flea rips off the overalls and human mask. He violently 
                            uncoils, SHOOTS like a cannon ball through the air.
                            
                                                                              ZING TO:
                            
                            EXT. 50 STORY BUILDING - CONTINUOUS
                            
                            Fred's POV - the street rushes towards him.
                            
                            Just before SPLAT ...
                            
                                                                              ZING TO:
                            
                            EXT. BAR - CONTINUOUS
                            
                            The Flea rolls to a stop on the sidewalk. He reaches into a
                            pocket and dons another pair of overalls and a new human
                            mask and enters the bar.
                            
                                                                              LIMP TO:
                            
                            EXT. CITY STREET - CONTINUOUS
                            
                            Blood and gore on the sidewalk.
                            
                                                  VOICE(O.S.)
                                      Ewwwww.
                            
                                                                              FLOP TO:
                            
                            INT. BAR DAY - CONTINUOUS
                            
                            The Flea sits and stares up at the big screen TV.
                            
                                                  THE FLEA
                                      Did I miss the start of the game?
                            STANDARD DISCLAIMER: I'm a wannabe, take whatever I write with a huge grain of salt.

                            Comment


                            • #15
                              Re: Cut To:

                              Looks like I killed another thread. Sorry. I seem to be talented at that. Just bypass my crap and move on.
                              STANDARD DISCLAIMER: I'm a wannabe, take whatever I write with a huge grain of salt.

                              Comment

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