Most situations can be handled well with just INT or EXT sluglines. It should help support the action in the scene and clarify it. As with any technique, use it like a strong spice in cooking-be minimal and judicious. In fairness, some writers use intercuts indiscriminately and make it very hard to follow the conversations or actions. Then again, some readers hate intercuts and insist that you use the sluglines. Here the intercut doesn't dictate the shots. For example, if in John’s flat we cut to a message on his phone and then follow him to his living room. This slug line can indicate a location change, a piece of camera direction or give attention to additional detail. They will then select and edit them to get the feel they want. More commonly known as the script line, the script slug is a sub-header for a scene after the heading. They may shoot this scene from inside, outside, through the front, from the back, etc. Thats the only one they had in Hollywood when the scripts were written with typewriters. Using the 'INTERCUT: INT/EXT' also allows the director/DOP more flexibility about what angles they want to use. First of all, the script must be written in the Courier font, size 12. In a phone conversation, it may be more obvious. In this sequence, it's not necessarily clear when to stop since the street is part of the exterior. While some writer/directors don't include 'END INTERCUT:', I often recommend it as a practice. If you're not using the proper scene heading format, the reports can turn into frustrating additional work for the line producer and their team. It should be clear who (or what) signals the perspective switch. When the script goes to pre-production personnel, screenwriting software uses the format of the scene headings to break down the script into reports for locations and scheduling (DAY or NIGHT shoots). When using an intercut, be sure to first set up the scenes that are being switched between. It implies a back-lit shot without actually saying this is how to shoot the scene. The officer watches as the car pulls away and turns the corner.The INT/EXT is used here because the 'dark figure' is exterior but being viewed interior. Officer flips off the light and hands him back his license. STRONG'S LIVING ROOM - NIGHT, blah blah blah. STRONG'S HOUSE - NIGHT - CONTINUOUS/MOVING and then just let them wander or a different one for every room they go into like INT. The officer studies it then leans in, flashing the light in Tom's In my script, I have a group of people traveling from room to room in a house. The officer takes it, flips on his flashlight, and looks at it. He retrieves his license and hands it out the window. With his left hand, Tom reaches into his pocket to produce his The POLICE OFFICER approaches the rear of the car and moves Tom folds the paper and lays it over the handgun on the passenger In the mirror, Tom sees a dark figure walking down the street, One more note on phone conversations: With all respect to Phone Booth, holding on one-side of a phone conversation for very long is static, non-visual stuff. Remember, the reader is reading a movie, not a script. I would only use this if a lot of rapid action is happening in and out of the tool shed.Tom sits in the car reading a newspaper. To write in slugline after slugline takes the reader out of the flow. A screenplay is comprised of a number of different scenes, and every scene starts with a scene heading, also known as a slug line. This is fine, but I personally don't like "INT./EXT." in slug lines. Just remember that if you want the audience to know this information, then you need to use a SUPER or to reveal this information in the description or dialogue that follows.ģ. I'm not a fan of putting things like "DAY 6" in slug lines, but they do make it easier for a reader to keep track of dates. TROPICAL ROAD - DAY" and then write a description saying that Jim and Joe drive down the road. DAISY, an elderly woman sits in the car as MORGAN, the driver, steps out and opens the door for her. For Example: The limo pulls up to the curb. (More about LATER later.) This new heading must include a time of day. In a screenplay, the name appears in all caps the first time a character is introduced in the 'Action.' The character's name can then be written normally, in the action, the rest of the script. Here's what I think about the 4 slugs you provided:Ģ. Its not enough to just insert the slug line LATER. The ones that follow, such as "KITCHEN" or "BEDROOM" are the only ones that are different from regular ones in that you don't need the "INT." or "DAY" since you have established that the characters are moving around within a single location. Sluglines are their own line in a script and often break up the length of a scene while also establishing the scenes pacing. I'm not sure what you're asking about the correct master slug format, but a master slug line is just a regular slug line. What is a slugline in a script SLUGLINE DEFINITION A slug line is a line within a screenplay written in all uppercase letters to draw attention to specific script information.
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