Location: Sao Paulo
Temp: 28
Today Eusebius walked up to me, handed me a jar full of daisies and a piece of toilet paper with a big long web address on it in blue ink. Ì`ve put it up here for you to look at: Monday
http://us.f2.yahoofs.com/bc/40578f0f_af21/bc/Daisy+Chain+Lost+Script/
Daisy+Chain+Lost+Monday.doc?bfvbK2AB5TZBS4CE
He then told me that he had by and large finished his script but needed a few more days before he handed up the whole thing. He needs the days to fine tune a few bits and pieces. Not sure what exactly, he didn’t say. He pointed to the crumpled piece of paper and said that what he had given me was simply the first instalment. He knows that I have never read a screenplay before so he gave me the quickest tutorial known to man on what to watch out for. As best I can remember it went something like this:
“First and foremost Master remember that reading a screenplay is completely different to reading a Keats poem, a Casey play, a Crichton book, Beano, Buster, Dandy or that awful Sunday Independent you seem to have time for. It’s all about the big screen. It’s TV. It’s film. Its popcorn and coke. Its wine gums and ice cream. You know what I mean? Stop me if you’re loosing me. It’s a form of writing designed specifically for the camera, the director, for the actor……. Why are you looking at me like that?........ Alright, you got me, i agree, the scriptwriter does part of the directing. I’ll give you that, fair enough, BUT, and don’t make this mistake, because it’s a common one, how the text comes to the screen is the job of the director: artistic responsibility. My job is: plot, character, dialogue, structure, exposition.
When reading bear this in mind please, it’s important. When you read it you are afforded the privilege of being all these people rolled into one. To a large degree you decide on the setting, the look, the feel. There’s more, I’m tired so I’ll keep this short, if you want me to elaborate or recommend some web sites or books send me a mail and I’ll sort you out. Right, lead on MacDuff and damn be him who first cry hold enough. Sorry about that, artistic license. Here are a few other things you have to know:
1.The industry standard is Courier, 10pt font. I’ve used it.
2.Scripts are in the active tense. You don’t say he went, he got, he will get, he used to get. It’s all about describing what you see in the NOW, THE PRESENT, e.g we see Mr x getting, Mr x lifts up an axe and swings it violently at the poodle, Mr x is wearing nothing but a ripped pair of Speedos two sizes to small for him. Get it! Good. It’s all about describing what is on the screen NOW. Want me to say that again. It’s all about describing what is on the screen………N…..
3.At the start of scenes you see in capitals INT. or EXT. This means the scene is being conducted internally, maybe inside a room or hallway. EXT. means that the scene is external, maybe in a field or on a road. Usually followed after these terms is a little more detail where the scene is happening and whether it is day or night. Or occasionally what time it is.
4.If you see in brackets letters like V.O that means voice over. Remember Mike Hammer, or that other detective that looked like Hammer, but had a flash wheels and lived on a cool beach, MAGNUM PI I think was his name, yeah; okay you should have it now.
5.The odd time you’ll come with camera terms like, FADE TO, CUT TO, DOLLY PASS, PAN THROUGH. These aren’t scientific notations on the guiding system for a Scud missile. There simple terms that are largely self explanatory. Just think of the camera moving slowly, focusing in, pulling back, or switching to a new scene.
6.There usually is a title sequence like you see in the flicks. I’ve gone for a montage or a serious of images. I think they work. But you can be the judge of that. I was going to select music as well but on this occasion decided not to. You can do that yourself if you want.
7.The first time a character appears in a script he is in capitals and then he usually goes to lower case. If words are in capitals it usually means the camera is zooming in on it. I do it most of the time. It's hard to keep track of sometimes. If I make the odd mistake, please let me know.
Okay, I think that’s it. I can’t remember anything else. I pulled a Kerouac on it i.e. without the stimulants. I’m tired, or as some of the other dogs down here would growl: eu estou com muinto sono. I’ve been at it now non stop for three weeks. I’m pretty slow at this thing but I’m nearly there. Will take a few days off and then get back to the last bits and pieces. On yeah, you’re supposed to finish the sentence of a passage of dialogue for an actor on the same page. If you need to continue on the next page you should write (cont’d). I haven’t bothered with it but that’s alright it’s not as if it’s going to be landing on an agents table or anything.”
That was kind of it. Before he left he simply said, “Okay, got to go get some kip in the kennel Master. You can kill the puppy now.” He looked really tired. I reckon he’s going to sleep for at least two days. He’s got my ears cocked though. That bulldog is smarter than Eusebius thought. Well, we’ll see. I’ll reserve judgement until I’ve read the full piece. Think I’ll have a little peak at it now though. My eyes are kind of itchy for some reason and my fingers feel a little twitchy!!!
