INSERT, MATCH CUT, FLASHBACK... how do I make this work?

Lincoln Lass · 08-26-2008, 04:12 PM

What I'm trying to show is that when Eddie sees the photograph, it triggers a brief memory of the moment when he took it, and then the action returns to the present day. But at the moment it feels a bit clunky. Is there a more elegant way of doing it?

INT. LIVING ROOM - NIGHT

Mel sponges Jack's face clean of the vomit with a damp cloth. He's still unconscious.

Eddie picks up the photograph album and flips through it.

MEL
They’re from years ago. Maybe that’s why he called me.

Eddie pauses at one particular photograph.

INSERT - PHOTOGRAPH

of three people, smiling, arms around one another - Jack, Mel and another woman, back when they were all in their twenties.

MATCH CUT TO:

EXT. GARDEN - DAY (FLASHBACK)

EDDIE’S POV - TAKING THE PHOTOGRAPH

Jack, Mel and LYDIA break the pose, laughing.

JACK
I think I blinked.

LYDIA
(to the camera)
Take another one, Eddie.

END FLASHBACK

INT. LIVING ROOM - NIGHT

Eddie puts the album down.

EDDIE
I’ll call Lydia. She’ll know someone.

I'm planning on having several of these quick flashbacks throughout the script, to show the characters as they were 10 years earlier. Is putting these bits in italics an acceptable way of distinguishing them, or a complete no-no?

dc_guy2007 · 08-26-2008, 05:10 PM

I would ditch the "insert" notation myself, the "photograph" on its own line is enough indication it's an insert...

Eddie picks up the photograph album and flips through it.

MEL
They’re from years ago. Maybe that’s why he called me.

Eddie pauses at:

ONE PARTICULAR PHOTOGRAPH

of three people, smiling, arms around one another - Jack, Mel and
another woman, back when they were all in their twenties.

Nexus9 · 08-26-2008, 05:54 PM

Actually, you don't really need to use the INSERT or the MATCH CUT TO. It's clear enough what you want without them. And when you go into the FLASHBACK, come out of it the same way. Meaning:

EXT. FIELD - DAY (FLASHBACK)

Blah blah blah...

INT. MIKE'S HOUSE - DAY (PRESENT)

But personally, and this is just a stylistic choice, but I like to let the reader know right up front when I take them into a FLASHBACK and back out. Usually I write it like this:

FLASBACK: EXT. FIELD - DAY

Blah blah blah...

PRESENT: MIKE'S HOUSE - DAY

But again, that's just a stylistic choice. But I thought I'd throw it out there anyway.

Quote:

Originally Posted by Lincoln Lass

I'm planning on having several of these quick flashbacks throughout the script, to show the characters as they were 10 years earlier. Is putting these bits in italics an acceptable way of distinguishing them, or a complete no-no?

No, italicizing entire scenes is not a very good idea. It screams amateur writing, and you don't want your reader to think that. Just write clearly and you'll do fine.

ComicBent · 08-26-2008, 10:31 PM

You can almost always indicate a MATCH CUT TO: without actually using the transition.

You just describe things in a way that leads to the obvious conclusion that you are transitioning from a shot to a similar one.

AnotherWriter · 08-27-2008, 12:56 PM

Read like a FLASH CUT TO moment.

Lincoln Lass · 08-27-2008, 01:51 PM

Quote:

Read like a FLASH CUT TO moment.

I've not heard of that one before. How/when do you use it?

Quote:

No, italicizing entire scenes is not a very good idea. It screams amateur writing, and you don't want your reader to think that.

Yeah, I thought that would be the general reaction. But I'm sure that I've seen a script for CSI where the flashback scenes of the murder were in italics, or maybe in bold, to make them stand out from the rest of it.

TwoBrad Bradley · 08-27-2008, 02:35 PM

INT. LIVING ROOM - NIGHT

Mel sponges Jack's face clean of the vomit with a damp
cloth. He's still unconscious.

Eddie picks up the photograph album and flips through it.

MEL
Why did he call me?

Eddie pauses at one photograph of a younger Jack, Mel and
another woman, smiling, arms around one another.

EDDIE
She’ll know someone. I’ll call
Lydia.

Charli · 08-28-2008, 10:51 AM

He picks up, looks at photograph.

ON PHOTO

a picture of a dog and his kid.

ON BOB

as he weeps for his dog, how he misses him.

***

ha ha, well, the method is another option, it's how I do it. Poor doggie.

Edited - find a way to make the read --- fast, that's this method.

TwoBrad Bradley · 08-28-2008, 05:25 PM

Quote:

Originally Posted by writerly

MEL
They’re from years ago. Maybe that’s why he called me. [exposition - if Jack's unconscious who's he talking to?]

EDDIE
I’ll call Lydia. She’ll know someone. [If Jack's unconscious, who's he talking to? whew, a lot of work for little payoff]

Yes. Just who is Mel and Eddie talking to?

writerly has some good points about the scene, IF that is the entire scene and not just the beginning. How does Mel feel about calling Lydia?

LatteAddict · 08-29-2008, 02:03 AM

Quote:

Originally Posted by TwoBrad Bradley

Just who is Mel and Eddie talking to?

Uhm... Not really answering the original question, but as this thread has wandered off into ripping the scene apart anyway: Seeing as how both of them are in the rooom, isn't it fair to assume Mel and Lydia are talking to each other...?

08-26-2008, 04:12 PM	#1
Lincoln Lass User Join Date: Jan 2008 Location: Lincoln, UK Posts: 76	INSERT, MATCH CUT, FLASHBACK... how do I make this work? What I'm trying to show is that when Eddie sees the photograph, it triggers a brief memory of the moment when he took it, and then the action returns to the present day. But at the moment it feels a bit clunky. Is there a more elegant way of doing it? INT. LIVING ROOM - NIGHT Mel sponges Jack's face clean of the vomit with a damp cloth. He's still unconscious. Eddie picks up the photograph album and flips through it. MEL They’re from years ago. Maybe that’s why he called me. Eddie pauses at one particular photograph. INSERT - PHOTOGRAPH of three people, smiling, arms around one another - Jack, Mel and another woman, back when they were all in their twenties. MATCH CUT TO: EXT. GARDEN - DAY (FLASHBACK) EDDIE’S POV - TAKING THE PHOTOGRAPH Jack, Mel and LYDIA break the pose, laughing. JACK I think I blinked. LYDIA (to the camera) Take another one, Eddie. END FLASHBACK INT. LIVING ROOM - NIGHT Eddie puts the album down. EDDIE I’ll call Lydia. She’ll know someone. I'm planning on having several of these quick flashbacks throughout the script, to show the characters as they were 10 years earlier. Is putting these bits in italics an acceptable way of distinguishing them, or a complete no-no?

08-26-2008, 05:10 PM	#2
dc_guy2007 User Join Date: Feb 2008 Posts: 44	Re: INSERT, MATCH CUT, FLASHBACK... how do I make this work? I would ditch the "insert" notation myself, the "photograph" on its own line is enough indication it's an insert... Eddie picks up the photograph album and flips through it. MEL They’re from years ago. Maybe that’s why he called me. Eddie pauses at: ONE PARTICULAR PHOTOGRAPH of three people, smiling, arms around one another - Jack, Mel and another woman, back when they were all in their twenties.

08-26-2008, 10:31 PM	#4
ComicBent Administrator Join Date: Jul 2005 Posts: 3,086	Re: INSERT, MATCH CUT, FLASHBACK... how do I make this work? You can almost always indicate a MATCH CUT TO: without actually using the transition. You just describe things in a way that leads to the obvious conclusion that you are transitioning from a shot to a similar one. __________________ "The fact that you have seen professionals write poorly is no reason for you to imitate them." — ComicBent.

08-27-2008, 12:56 PM	#5
AnotherWriter User Join Date: May 2006 Posts: 187	Re: INSERT, MATCH CUT, FLASHBACK... how do I make this work? Read like a FLASH CUT TO moment. __________________ -- Another Writer

08-27-2008, 02:35 PM	#7
TwoBrad Bradley Member Join Date: May 2005 Posts: 1,913	Re: INSERT, MATCH CUT, FLASHBACK... how do I make this work? INT. LIVING ROOM - NIGHT Mel sponges Jack's face clean of the vomit with a damp cloth. He's still unconscious. Eddie picks up the photograph album and flips through it. MEL Why did he call me? Eddie pauses at one photograph of a younger Jack, Mel and another woman, smiling, arms around one another. EDDIE She’ll know someone. I’ll call Lydia. __________________ "I am the story itself; its source, its voice, its music." - Clive Barker, Galilee

08-28-2008, 10:51 AM	#8
Charli Member Join Date: Apr 2005 Location: California Posts: 1,179	Re: INSERT, MATCH CUT, FLASHBACK... how do I make this work? He picks up, looks at photograph. ON PHOTO a picture of a dog and his kid. ON BOB as he weeps for his dog, how he misses him. *** ha ha, well, the method is another option, it's how I do it. Poor doggie. Edited - find a way to make the read --- fast, that's this method. __________________ Portfolio of an Entertainment Blogger

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