Exploring scriptwriting formats and conventions
Master Scene Script
The master scene script, also known as a 'spec script' is distinct from the shooting script as it does not contain camera movements. A spec script, also known as a speculative screenplay, is a non-commissioned and unsolicited screenplay. It is usually written by a screenwriter who hopes to have the script optioned and eventually purchased by a producer, production company, or studio. but it includes mostly dialogue and is just speculation on what the film could become. One vital thing is to remember that films are a visual medium and a writer needs to explain their story visually. Show not Tell.
There are many elements of script formatting;
SCENE HEADING- One-line description of the location and the time of the scene. (EXT. WRITERS STORE- DAY)
CHARACTER HEADING- Indent: Left: 0.0" Right: 0.0" Width: 6.0" . (The character’s name will appear above dialogue to show who it belongs to).
SUBHEADER- Indent: Left: 0.0" Right: 0.0" Width: 6.0". (To when I full Scene Heading is not needed).
ACTION- Indent: Left: 0.0" Right: 0.0" Width: 6.0". (The narrative description of the events on screen. Only what’s seen and heard).
TRANSITION- Indent: Left: 4.0" Right: 0.0" Width: 2.0". (Film editing instructions).
DIALOUGE- Indent: Left: 1.0" Right: 1.5" Width: 3.5". (Lines of speech for each Character).
PARANTHETICAL- Indent: Left: 1.5" Right: 2.0" Width: 2.5". (Action or attitude direction for a Character).
EXTENSION- A note placed after Characters name to show how they will be heard (O.S. Off screen/ V.O. Voiceover)
MORES AND CONTINUES- These are used between pages to indicate that character is still speaking.
Also, Every page needs to be numbered and the font should be courier size 12.
I am going to analyze the elements and conventions found within the script of the Movie ‘Django Unchained’ Written and Directed by Quentin Tarintino (2012).
From the first page of the script we see many conventions of scriptwriting, first of all, we see that the script has kept to the industry standard of courier 12 so it will be easily evaluated by potential studios or producers, the writers also placed the page number on top of the page so that this analyse will be much quicker to see the run time of the script with a minute of screen time is shown per page. This opening page doesn’t have any diegetic dialogue but there is an Auctioneer shouting “sold” which we see in quotation marks. The Scene Heading is to give a brief description of when and where the scene takes place, this scene takes place outside (represented by EXT) and in the COUNTRYSIDE. We don’t get given any exact time during the day but we are informed that it most likely takes place midday. This is a good way of setting the scene and also helps massively when planning to film the scene, where the crew can take into consideration issues that may take place and finding a location that is a close match to the idea from the writer. All the characters are established and are easy to identify on the page as their names are CAPPED, this is a very common convention of scriptwriting whereas most scripts are expected to put the character’s name CAPPED when they first appear on the screen. Throughout the ACTION writing of the script a lot of planning of camera angles and shots can be made, as the writer has put down details that need to in frame. “we can’t help but notice his back which has been slashed to ribbons by Bull Whip beatings” is explaining that this detail of the character is a core part of his story and it needs to be seen on screen is it can establish this character even further. This script doesn’t just inform the crew of what needs to be put on screen but of what the actors need to do on screen, as well as informing where props need to be or the importance of mise-en-scene in the film. This script is done exceptionally well as it tells you information through visual storytelling and means that they are taking into consideration about the platform of media this script is for. But that being said this master scene script also informs us on what the audience will hear as the script sets a cue for when more non-diegetic sounds will be heard such as “The Operatic Opening theme” at the beginning of the 4thAction Paragraph. The way the writer directs emotion through the scene through the way he describes the scene “with what seems to be like one hundred and fifty slaves in a cell designed for forty” truly captures the inhumanity of the situation and how many people in history suffered a lifetime of misery though acts like this and treat like animals. This is because we are to sympathise with character and feel what he is feeling and the claustrophobic environment of which we find our protagonist is meant to send heavy flow anxiety which paralyzes us in our seats, leaving a powerless and vulnerable to match the DJANGO’S.
Shooting Script
A shooting script differs in several ways from compared to a master scene script for a film. A shooting script is used during the production process of the film to help communicate the main idea of the filming process to all the crew members and actors involved. The Shooting Script is a very important tool to help deliver the director's vision of the film to the crew along with the storyboard. necessarily the shooting script is a more elaborate, precise, overwritten version of the screenplay. It is written by the director alongside his cinematographer, while both discuss their ideas and shot plan desired for the movie. Therefore, he has to create a smooth read with a harmonious flow, otherwise, his screenplay and hard work end up as wasted creativity. Screenplays should contain little to no direction whatsoever. The shooting script is normally broken into shots, featuring precise cinematography terminology such as close-ups, dolly in, overexposed. Before principal photography starts, the shooting script will be divided into dates, so everyone knows what is being shot and when. Although terrible to read, the shooting script is essential to complex products such as one of the feature movies.
When a shooting script is being produced there are three main aspects that need to be planned perfectly:
Camera- What I mean by this is that you need to take into consideration the type of angle you want, the type of lens, focus and camera movement for this shot.
Lighting- Lighting is very important and plays a huge part in cinematography which helps drive emotion and style throughout the film. Also, the lighting needs to be checked to see if it fits the theme and tone of the film.
Characters- When thinking about the characters you need to think about what they are doing when and how they do it on screen. How they will move in the frame and where to, an actor is helping run the narrative of the story through every movement so it is vital any movements made shall be framed specifically. Taking into consideration how the audience will process the information of the actors and miss ensconce that they will see.
To start the production of the shooting script, a director and cinematographer sit down and look at a copy of the master script, each deciding what shot would work best for each part of the film, basically visualizing the information that is given on the page. The shots are drawn on the script and they are drawn as lines which are closed off at the top and bottom of them to signify the beginning and end of the shot. In the shooting script I am analysing we see that they're four different lines, each representing a different shot. You may notice that some lines overlap one another such as SHOT 2 and SHOT 2A. This tells the crew a few things such as:
⦁ SHOT 2 is longer than SHOT 2A.
⦁ The length of SHOT 2A is just a single line, all that's to be filmed is the information ahead of the marking- Turning the radio on.
⦁ In editing, we would see SHOT 2A play out and then return to SHOT 2 after showing the significant information in SHOT 2A, this is probably to make sure the audience is not confused as to what is happening in the scene.
The first Shot of each scene is simply just the Scene number and every proceeding change such as camera position, frame rate change or even lens change if it differs from the initial shot of the scene they are named alphabetically ( 2, 2A, 2B, 2C etc.)
In the first scene of this script only has 1 shot for the duration of the whole scene. SHOT 1)L.
This shot is telling the crew that this shot needs to be a long shot, which is represented by the initial L after the shot Number.
All the following the shots have the same information present with M's meaning Medium shots, C meaning a Close Up and M-C meaning Medium Close Up.
The director then takes this shooting script and makes a Shot List which goes into more detail of what each shot will look like which includes the type of shot, framing, angle, movement, lens, subject and even directors notes.
In this shot list provided, we can see how the information furthermore details the outgoings of the shots drawn in on the shooting script. In the shot list we see that 2A has a framing of C. An angle of Mid which means that the angle of the shot will be level with the subject that is shown on screen which in this shot in the Radio, so the crew know how to frame and position the camera to shoot the subject in SHOT A. The shot list also tells the crew if the camera should have any movement, for this particular shot we see that the camera will be 'static' which obviously means that the camera will not be moving at all. Finally, there is a description of the information that will be shown to the audience within this shot which is 'Radio is turned on'. The primary purpose of the shot list is to help break down the scene even further and make the shot description more specific which will serve as a blueprint for the production. Some filmmakers even go as far as including the duration of the shot and the predicted setup time for each shot. It's ideal for efficiently planning shots. Shooting scripts and shot lists are highly important in productions and maintain order whilst filming and help keep all the cast and crew on the same path and on the same wavelength which keeps productivity at a consistent pace and then if anything goes wrong it can be easily fixed which saves a lot of time and at the same time saving the filmmakers a lot of money.
Radio Script
Radio scripts completely differ from any other script i have analaysed so far because radio scripts have no visual elements at all and the whole narrative is driven by complete audio. I will be viewing the script for the morning show 'smooth mornings'. Looking at the script we see a lot of information on the page. At the very top of the page we see that the script credits who wrote the script and who it was created for. It displays underneath furthermore information such as the title of the program, the company and the hosts. It also includes the frequency that the radio will be broadcasted as, in this case it is 106.8Hz. The TRT stands for total running time and this script is wrote for a program which will have the duration of 'two hours'. In the script, there is a lot of abbreviations that are used in this specific media field such as where the script cues for STN ID which is the call sign for a radio station which would be a certain sound or jingle, in this case, it cues for 'FOXY LIGHTS RADIO IS NOW SIGNING ON' or the program ID which is 'soft music(recorded)' it mentions if it recorded or not to let the producers of the program know whether or not they will have to have someone playing the tune into a mic or have it prerecorded and be played on the click of a button. The hosts work as characters, so just like in scripts the host's name appears next to the dialogue they are going speak on cue and the narrative of the program runs from the top of the script to the bottom just like any other. SFX means Sound effects so when the script calls for SFX, the sound of 'sweet sound effects(like a love song)' is played. When writing for a radio program the best way to do it is to tell and don't show, which juxtapositions with the rule of screenwriting of show don't tell. So I think the formatting is good and effective for this certain media industry, its clean and easy to read, easy to understand and see the cues for all the sounds that need to be broadcasted. A common misconception is that radio hosts don't go off a script because when they talk or communicate with an audience it doesn't sound robotic in tone like they're reading something of a piece of paper and I believe that the way the script is written and formatted plays a part in making a radio show feel like a much more natural interaction between the host and the listener.
Master Scene Script
The master scene script, also known as a 'spec script' is distinct from the shooting script as it does not contain camera movements. A spec script, also known as a speculative screenplay, is a non-commissioned and unsolicited screenplay. It is usually written by a screenwriter who hopes to have the script optioned and eventually purchased by a producer, production company, or studio. but it includes mostly dialogue and is just speculation on what the film could become. One vital thing is to remember that films are a visual medium and a writer needs to explain their story visually. Show not Tell.
There are many elements of script formatting;
SCENE HEADING- One-line description of the location and the time of the scene. (EXT. WRITERS STORE- DAY)
CHARACTER HEADING- Indent: Left: 0.0" Right: 0.0" Width: 6.0" . (The character’s name will appear above dialogue to show who it belongs to).
SUBHEADER- Indent: Left: 0.0" Right: 0.0" Width: 6.0". (To when I full Scene Heading is not needed).
ACTION- Indent: Left: 0.0" Right: 0.0" Width: 6.0". (The narrative description of the events on screen. Only what’s seen and heard).
TRANSITION- Indent: Left: 4.0" Right: 0.0" Width: 2.0". (Film editing instructions).
DIALOUGE- Indent: Left: 1.0" Right: 1.5" Width: 3.5". (Lines of speech for each Character).
PARANTHETICAL- Indent: Left: 1.5" Right: 2.0" Width: 2.5". (Action or attitude direction for a Character).
EXTENSION- A note placed after Characters name to show how they will be heard (O.S. Off screen/ V.O. Voiceover)
MORES AND CONTINUES- These are used between pages to indicate that character is still speaking.
Also, Every page needs to be numbered and the font should be courier size 12.
I am going to analyze the elements and conventions found within the script of the Movie ‘Django Unchained’ Written and Directed by Quentin Tarintino (2012).
From the first page of the script we see many conventions of scriptwriting, first of all, we see that the script has kept to the industry standard of courier 12 so it will be easily evaluated by potential studios or producers, the writers also placed the page number on top of the page so that this analyse will be much quicker to see the run time of the script with a minute of screen time is shown per page. This opening page doesn’t have any diegetic dialogue but there is an Auctioneer shouting “sold” which we see in quotation marks. The Scene Heading is to give a brief description of when and where the scene takes place, this scene takes place outside (represented by EXT) and in the COUNTRYSIDE. We don’t get given any exact time during the day but we are informed that it most likely takes place midday. This is a good way of setting the scene and also helps massively when planning to film the scene, where the crew can take into consideration issues that may take place and finding a location that is a close match to the idea from the writer. All the characters are established and are easy to identify on the page as their names are CAPPED, this is a very common convention of scriptwriting whereas most scripts are expected to put the character’s name CAPPED when they first appear on the screen. Throughout the ACTION writing of the script a lot of planning of camera angles and shots can be made, as the writer has put down details that need to in frame. “we can’t help but notice his back which has been slashed to ribbons by Bull Whip beatings” is explaining that this detail of the character is a core part of his story and it needs to be seen on screen is it can establish this character even further. This script doesn’t just inform the crew of what needs to be put on screen but of what the actors need to do on screen, as well as informing where props need to be or the importance of mise-en-scene in the film. This script is done exceptionally well as it tells you information through visual storytelling and means that they are taking into consideration about the platform of media this script is for. But that being said this master scene script also informs us on what the audience will hear as the script sets a cue for when more non-diegetic sounds will be heard such as “The Operatic Opening theme” at the beginning of the 4thAction Paragraph. The way the writer directs emotion through the scene through the way he describes the scene “with what seems to be like one hundred and fifty slaves in a cell designed for forty” truly captures the inhumanity of the situation and how many people in history suffered a lifetime of misery though acts like this and treat like animals. This is because we are to sympathise with character and feel what he is feeling and the claustrophobic environment of which we find our protagonist is meant to send heavy flow anxiety which paralyzes us in our seats, leaving a powerless and vulnerable to match the DJANGO’S.
Shooting Script
A shooting script differs in several ways from compared to a master scene script for a film. A shooting script is used during the production process of the film to help communicate the main idea of the filming process to all the crew members and actors involved. The Shooting Script is a very important tool to help deliver the director's vision of the film to the crew along with the storyboard. necessarily the shooting script is a more elaborate, precise, overwritten version of the screenplay. It is written by the director alongside his cinematographer, while both discuss their ideas and shot plan desired for the movie. Therefore, he has to create a smooth read with a harmonious flow, otherwise, his screenplay and hard work end up as wasted creativity. Screenplays should contain little to no direction whatsoever. The shooting script is normally broken into shots, featuring precise cinematography terminology such as close-ups, dolly in, overexposed. Before principal photography starts, the shooting script will be divided into dates, so everyone knows what is being shot and when. Although terrible to read, the shooting script is essential to complex products such as one of the feature movies.
When a shooting script is being produced there are three main aspects that need to be planned perfectly:
Camera- What I mean by this is that you need to take into consideration the type of angle you want, the type of lens, focus and camera movement for this shot.
Lighting- Lighting is very important and plays a huge part in cinematography which helps drive emotion and style throughout the film. Also, the lighting needs to be checked to see if it fits the theme and tone of the film.
Characters- When thinking about the characters you need to think about what they are doing when and how they do it on screen. How they will move in the frame and where to, an actor is helping run the narrative of the story through every movement so it is vital any movements made shall be framed specifically. Taking into consideration how the audience will process the information of the actors and miss ensconce that they will see.
To start the production of the shooting script, a director and cinematographer sit down and look at a copy of the master script, each deciding what shot would work best for each part of the film, basically visualizing the information that is given on the page. The shots are drawn on the script and they are drawn as lines which are closed off at the top and bottom of them to signify the beginning and end of the shot. In the shooting script I am analysing we see that they're four different lines, each representing a different shot. You may notice that some lines overlap one another such as SHOT 2 and SHOT 2A. This tells the crew a few things such as:
⦁ SHOT 2 is longer than SHOT 2A.
⦁ The length of SHOT 2A is just a single line, all that's to be filmed is the information ahead of the marking- Turning the radio on.
⦁ In editing, we would see SHOT 2A play out and then return to SHOT 2 after showing the significant information in SHOT 2A, this is probably to make sure the audience is not confused as to what is happening in the scene.
The first Shot of each scene is simply just the Scene number and every proceeding change such as camera position, frame rate change or even lens change if it differs from the initial shot of the scene they are named alphabetically ( 2, 2A, 2B, 2C etc.)
In the first scene of this script only has 1 shot for the duration of the whole scene. SHOT 1)L.
This shot is telling the crew that this shot needs to be a long shot, which is represented by the initial L after the shot Number.
All the following the shots have the same information present with M's meaning Medium shots, C meaning a Close Up and M-C meaning Medium Close Up.
The director then takes this shooting script and makes a Shot List which goes into more detail of what each shot will look like which includes the type of shot, framing, angle, movement, lens, subject and even directors notes.
In this shot list provided, we can see how the information furthermore details the outgoings of the shots drawn in on the shooting script. In the shot list we see that 2A has a framing of C. An angle of Mid which means that the angle of the shot will be level with the subject that is shown on screen which in this shot in the Radio, so the crew know how to frame and position the camera to shoot the subject in SHOT A. The shot list also tells the crew if the camera should have any movement, for this particular shot we see that the camera will be 'static' which obviously means that the camera will not be moving at all. Finally, there is a description of the information that will be shown to the audience within this shot which is 'Radio is turned on'. The primary purpose of the shot list is to help break down the scene even further and make the shot description more specific which will serve as a blueprint for the production. Some filmmakers even go as far as including the duration of the shot and the predicted setup time for each shot. It's ideal for efficiently planning shots. Shooting scripts and shot lists are highly important in productions and maintain order whilst filming and help keep all the cast and crew on the same path and on the same wavelength which keeps productivity at a consistent pace and then if anything goes wrong it can be easily fixed which saves a lot of time and at the same time saving the filmmakers a lot of money.
Radio Script
Radio scripts completely differ from any other script i have analaysed so far because radio scripts have no visual elements at all and the whole narrative is driven by complete audio. I will be viewing the script for the morning show 'smooth mornings'. Looking at the script we see a lot of information on the page. At the very top of the page we see that the script credits who wrote the script and who it was created for. It displays underneath furthermore information such as the title of the program, the company and the hosts. It also includes the frequency that the radio will be broadcasted as, in this case it is 106.8Hz. The TRT stands for total running time and this script is wrote for a program which will have the duration of 'two hours'. In the script, there is a lot of abbreviations that are used in this specific media field such as where the script cues for STN ID which is the call sign for a radio station which would be a certain sound or jingle, in this case, it cues for 'FOXY LIGHTS RADIO IS NOW SIGNING ON' or the program ID which is 'soft music(recorded)' it mentions if it recorded or not to let the producers of the program know whether or not they will have to have someone playing the tune into a mic or have it prerecorded and be played on the click of a button. The hosts work as characters, so just like in scripts the host's name appears next to the dialogue they are going speak on cue and the narrative of the program runs from the top of the script to the bottom just like any other. SFX means Sound effects so when the script calls for SFX, the sound of 'sweet sound effects(like a love song)' is played. When writing for a radio program the best way to do it is to tell and don't show, which juxtapositions with the rule of screenwriting of show don't tell. So I think the formatting is good and effective for this certain media industry, its clean and easy to read, easy to understand and see the cues for all the sounds that need to be broadcasted. A common misconception is that radio hosts don't go off a script because when they talk or communicate with an audience it doesn't sound robotic in tone like they're reading something of a piece of paper and I believe that the way the script is written and formatted plays a part in making a radio show feel like a much more natural interaction between the host and the listener.
