Re: Angle On
It's similar to WE SEE in use.
I tend to use "WE SEE" for things are wider in scope, and often things that are seen by both the audience *and* the character(s). For instance:
John presses a button, and the wall behind him EXPLODES.
Through the gaping hole in the building, we see:
A MASSIVE CITY, filling a basin miles away, its gleaming spires rising up in the distance.
I use ANGLE ON for smaller things, typical "this would be missed by most, but you, the audience, can see it" type things. In many cases, the characters do *not* see the ANGLE ON thing. Only the audience.
John enters his password. The laptop screen begins scrolling through data.
ANGLE ON: the lamp behind him. PUSH IN to find:
A MICROCAMERA - focused on the laptop screen. The white of the scrolling text reflected in its tiny lens.
Am I "directing" this?
No.
I'm telling a story visually. I'm conveying my intention. This is absolutely standard. More than that, it's necessary and part of the job of the screenwriter. We aren't hired to write sluglines and dialogue. We are absolutely hired to paint a visual story, with clues and hints and specific descriptions of how that visual story ought to be realized.
Originally posted by Centos
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I tend to use "WE SEE" for things are wider in scope, and often things that are seen by both the audience *and* the character(s). For instance:
John presses a button, and the wall behind him EXPLODES.
Through the gaping hole in the building, we see:
A MASSIVE CITY, filling a basin miles away, its gleaming spires rising up in the distance.
I use ANGLE ON for smaller things, typical "this would be missed by most, but you, the audience, can see it" type things. In many cases, the characters do *not* see the ANGLE ON thing. Only the audience.
John enters his password. The laptop screen begins scrolling through data.
ANGLE ON: the lamp behind him. PUSH IN to find:
A MICROCAMERA - focused on the laptop screen. The white of the scrolling text reflected in its tiny lens.
Am I "directing" this?
No.
I'm telling a story visually. I'm conveying my intention. This is absolutely standard. More than that, it's necessary and part of the job of the screenwriter. We aren't hired to write sluglines and dialogue. We are absolutely hired to paint a visual story, with clues and hints and specific descriptions of how that visual story ought to be realized.
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