Just enough to see -Īn UNUSUALLY TALL WOMAN loping toward her apartment building on the street, CLARA'S APARTMENT - DAYĬlara carefully pulls apart her window blinds. And screenwriting is all about efficiency and clarity. everything on screen is something we see, so it’s usually redundant), but sometimes it’s unavoidable without a great deal of awkward writing gymnastics. NOTE: Don’t believe it when people say you should never write: “we watch” or “we see.” It’s great as a general rule (i.e. You could also write something like: We watch Vic, Tim and the rest of the family through the kitchen windowĪs they blissfully eat dinner, safe on the inside. The kitchen window as they blissfully eat dinner.
SMITH FAMILY HOUSE - NIGHTĪn unknown viewer watches Vic, Tim and the rest of the family through So in our first example with the family eating dinner while someone watches from outside, the scene heading would be: EXT. don’t indicate where the characters are they indicate where the camera is.īoom! Did that just hurt your brain (in a good way)? HIGHWAY – DAY Here’s the trickīrace yourselves, this tip may be a revelation. Would this scene heading be okay? INT./EXT. Or how about this one: Suppose you wanted to show a truck driving along a highway and indicate we’re also seeing shots that are inside the vehicle. a third-floor apartment), and they’re spying on someone outside (e.g. Or what if you wanted to show that someone is inside (e.g. watching the family through their kitchen window)? Is that INT. a family eating dinner), but you want to suggest a shot from outside the house (e.g. in a scene heading, it means “exterior.” That much is straightforward.īut what happens when you want the subject matter to be inside (e.g. in a scene heading, it means “interior” and when you use EXT.
0 kommentar(er)
