FILM directing * new *
[ advertising space : webmaster ]
Enter the name of a movie, TV show, or person and then click "Go" to get more information about it/them from imdb.com.
* 2004 forms downloads *
Paperback: 254 pages * Publisher: University of Texas Press; Reprint edition (April 1, 1989) The idea behind the title of the book is that the film-goer goes to the cinema to experience time, and that the director's job is to sculpt the time that the audience experiences -- cut away the inessential words and seconds and pieces. This book is an introduction to the rules that Tarkovsky set for himself in achieving this goal.
(1) Scene settings and camera angles start at left margin and are in all caps.
(2) For scene descriptions set left margin at 20 and go to 70 on the right (the right margin).
(3) For character name set left margin at 40 and put in all caps.
(4) For parenthetical descriptions use left margin of 35 and right margin of 50.
(5) For dialogue use left margin of 30 and right margin of 65. It begins directly under the character's name.
The page number at the top right of the page should be about six lines from the top of the page and extend to the right margin (75).
Scripts are done in pica type without right margin justification. Triple space for a new scene setting. In episodic television the acts — generally three or (more recently) four — are numbered. In screenplays the acts are not indicated.
Note that things we HEAR and SEE are typically capitalized in film scripts. Also, the first time actors appear in the script their names are capitalized. The master scene style film script is similar to the above except that shots are not numbered and described. Only general scene descriptions are provided. The latter approach gives the director more latitude in deciding on shots.
I still didn't figure out how to make the forms online, so I have to redirect you my old Forms page. Also, Floor Plan exercises.
script formats -- here is "playscript" style:
( part 1. script )REBEL WITHOUT A CAUSE by Stewart Stern CAST OF CHARACTERS JIM'S FAMILY JIM'S GRANDMA: A chic, domineering woman in her sixties who has made her son Frank dependent upon her for every breath he takes. She is the irritant in the household--the silent ruler--the silent enemy of Frank's marriage. JIM'S FATHER: Frank is an unfeathered man who has never been able to have fun. He is anxious to be a real father to Jim, but has never learned how. JIM'S MOTHER: Tense and immature, she has never found the husband she married. Upset by the presence of her mother-in-law, mated with an ineffectual and joyless man, she takes out her disappointment on him and on her son. JIM: The angry victim and the result. At seventeen he is filled with confusion about his role in life. Because of his "nowhere" father, he does not know how to be a man. Because of his wounding mother, he anticipates destruction in all women. And yet he wants to find a girl who will be willing to receive his tenderness. JUDY'S FAMILY JUDY'S FATHER: a junior partner in a law firm. Boyish, attractive and debonair. Because he is frightened by the adolescence of his daughter, Judy, his only recourse is to criticize her. JUDY'S MOTHER: Self-centered and frightened by the coming of middle-age. She feels that Judy's blossoming youth is threatening her wifely position as the desirable object of the husband's attentions. JUDY: The victim and the result. At sixteen, she is in a panic of frustration regarding her father--needing his love and suffering when it is denied. This forces her to invite the attention of other men in order to punish him. BEAU: Judy's brother. Because he is very young he is a danger to nobody and thus will grow up happily-- certain of the love of his father who feels comfortable in giving it. PLATO: Son of a divided family--an absent father and a traveling mother--he feels himself the target of desertion. At fifteen he wants to find a substitute family for himself so that he need no longer feel cold, and especially a friend who will supply the fatherly protection and warmth he needs and cannot find. BUZZ: A sado-masochistic boy of seventeen, who acts out aggressively his idea of what a man should be in order to hide his real sensitivities and needs. He was probably rejected by both parents and must constantly court danger and must constantly court danger in order to achieve any sense of prestige or personal worth. THE KIDS HELEN, CRUNCH, MOOSE, GOON, CHICK, COOKIE, MIL: All searching for recognition in the only way available to them; all suffering from unfulfilled hungers at home; all creating an outside world of chaos in order to bear the chaos they feel inside. They are soldiers in search of an enemy. FADE IN.
Stage Manager (SM) formsMise-en-Scene forms (floor plans) to post! See Storyboard for examples!
More in class. ...
QuestionsThe production forms -- where?
HomeworkThe shooting script (three-ring-folder) -- file
@2001-2003- film-north NEXT: textbooks *
Another way to start (format) your script:
The Breakfast Club written and directed by John Hughes [ transcribed by WDBG@AOL.COM ] BLANK SCREEN: Against Black, TITLE CARD: "...and these children that you spit on, as they try to change their worlds are immune to your consultations. They're quite aware of what they're going through... - David Bowie" The Blank Screen and Title Card SHATTER to reveal... 1. EXT. SHERMER HIGH SCHOOL - DAY During Brian's monologue, we see various views of things inside the school including Bender's locker. BRIAN (VO) Saturday...March 24, 1984. Shermer High School, Shermer, Illinois. 60062. Dear Mr. Vernon...we accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was that we did wrong, what we did was wrong. But we think you're crazy to make us write this essay telling you who we think we are, what do you care? You see us as you want to see us...in the simplest terms and the most convenient definitions. You see us as a brain, an athelete, a basket case, a princess and a criminal. Correct? That's the way we saw each other at seven o'clock this morning. We were brainwashed... CUT TO: 2. INT. CLAIRE'S CAR - DAY .... [ togther with DVD in class? ]
[ other examples ]
2007 An online course supplement * Film-North * Anatoly Antohin. * eCitations *
© 2005 by vtheatre.net. Permission to link to this site is granted. Film DIRECTING amazon