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How are multicamera TV scripts formatted?

2012-01-01 13:01:41 (читать в оригинале)

Вопросы и ответы

Multicamera television scripts (think: anything with a laugh track) have the most unique formatting elements of the common script variations. Multicamera shows are shot on a stage in front of an audience, and their scripts appropriately look like a hybrid of screenplay format and play format. While each show has its unique variations, there are formatting elements that are standard.

In brief, some major differences:

Acts all begin on a new page, and start with the all-caps, centered act number written about 1/3 of the way down the page. For example, act two will start on a new page, with “ACT TWO” centered before the first scene header, and the top 1/3 of the page will be blank save the header. This also applies to the cold open and the tag.

Acts end with a centered, all-caps “END OF ACT [NUMBER].” Again, this applies to the cold open and tag as well.

Often, each scene will be designated in a similar way, and sometimes new scenes will start on new pages.

The header will often include scene and act numbers below the page number.

Scene headings are often underlined. Sometimes, the names of each character featured in the scene are listed in parentheses directly below the scene heading.

All action an description is in all caps.

Character names are underlined the first time they are introduced.

Often, character entrances and exits are underlined. Sometimes, major physical transitions are as well, ie “JEFF CROSSES TO THE OTHER END OF THE ROOM.”

Major or important sounds, sound effects, and special are often underscored, and usually specifically pointed out with a colon, ie “SOUND: DOOR SLAMS.”

Dialogue is double spaced.

Parentheticals are more common than they are in feature screenplays. They do not have to be on separate lines, and can be in line with the dialogue.

The teleplays end with underlined, right justified “FADE OUT.”

The best way to understand the differences is to study a multicamera script. This TV writing resource has some for download under the US Comedy section. By looking at a few samples with the above rules in mind, it should be obvious which are multicamera. You will notice that not all examples follow all the rules outlined above. That is fine, and not uncommon.

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Glossary | A ton of useful information about screenwriting from screenwriter John August

2012-01-01 10:18:13 (читать в оригинале)

Глоссарий

NOIR

A genre of film with a dark or disturbing tone. Noir films are typically thriller or crime stories.

Источник: Glossary | A ton of useful information about screenwriting from screenwriter John August.

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The ZAZ Comedy Glossary — The Artful Writer

2011-12-31 17:00:35 (читать в оригинале)

Жаргон

25. Black Hole: Some actors just aren’t well disposed to be funny. Often producers think they’ve scored with two A-list actors but are surprised when the result is «Ishtar.»

Источник: The ZAZ Comedy Glossary — The Artful Writer.

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Йо!

2011-12-31 16:17:06 (читать в оригинале)

Я так вижу

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How do you deal with a character speaking in a different language?

2011-12-31 13:04:43 (читать в оригинале)

Вопросы и ответы

If it’s just a word here and there, and the meaning is obvious in context, don’t bother translating it. An example is when a ubiquitous foreign bad guy shouts at his men to do something. Since it doesn’t really matter what he’s saying, just use the foreign word if you know it. Sometimes, this type of dialogue doesn’t even make it on to the dialogue line, and gets summarized in the action like, “Moldona SHOUTS at his men to stop the angels.”

If you think the dialogue would probably be subtitled in the movie, italicize it in the script.

If characters are speaking in a foreign language for the duration of a scene or scenes, put a parenthical like “(in Russian; subtitled)” for the first speaking character, then just use italicized English for the rest of the scene or scenes.