In an action/dialogue line, say for example, if there is a phone, do I have to capitalize PHONE everytime or just the first time? Also, same for action. If I write John RUNS to the desk, is this correct? Do I have to always cap action? Thanks. and congrats to the other will on his cartoon submission.
I'm glad you bring this up. I have a fair idea of what needs to be capitalised and does not, but always find myself stumped on specific things here and there.
As I understand it, capatilised action words are supposed to make the read seem more exciting and eventuful, and, consequently, make the reader's perception of the movie more exciting as well.
I choose not to capitalise any action words and the like (except for introducing a new character). I do this with the resolve that my writing should make the reader think that the film is exciting and eventful, without the quasi-shock value of CAPITALISED WORDS.
Of course, this is just my opinion. I'll leave the floor to wiser minds on the subject...
This message has been edited. Last edited by: Nuggetin0,
You can pretty much CAP anything you want to give emphasis to it. You just have to be careful that it's not too distracting. There's a fine balance.
Generally I don't cap anything other than characters when they are first introduced. Every once in awhile I'll cap something that I want to make sure the reader will notice.
In the olden days you were supposed to cap all props and sounds. But that was pretty much to make it easier on the producers and the script super (or anyone using the script, besides actors, to do their job. Like the prop master.)so they didn't have to read. They could just skim. It doesn't really apply to specs anymore.
To answer WetWilly's question, no, do not write John RUNS to the desk. Don't cap action unless there's something unusual about it. Like:
John jumps out of his wheelchair and RUNS to the desk.
I submitted my script like I posted earlier. The network head advised me to send it two or three times, so that it makes it to his inbox without getting snagged by the spam blocker. So that's what I did. Only I have no verification that it got through.
Follow up soon? Send a friendly test email without an attachment? Play it safe with the emails and just take it on faith? I don't want to look crazy, or like I'm abusing his very generously offered email address. Still, if it hasn't gotten through, I'll need to resend, lest the tiny crack in my window of opportunity close.
I have another question. I wanted to make a scene with a song,slow motion and shows different events over a long period of time (Children growing up) and it has about 10 different events with a fading effect between each one, they each last about 20-30 seconds.
Is there a better way to do this other than a montage? Newbie in need of advice.
If you've got specific ideas for each of the ten different events, then go ahead and describe each, putting "DISSOLVE TO:" between them. No need to write "MONTAGE" before hand. The reader will get it.
If you don't have specific ideas for each event, but rather a general idea, then I would write "MONTAGE" and give a basic overview of what generally happens.
MONTAGE:
1. Something happens, blah blah blah.
2. Another related thing happens, blah blah blah.
3. Another related thing, blah blah.
4. And another related thing until you're done.
END MONTAGE
Anyone know anything about FADE IN Magazine's Pitch Festival next weekend (17th-18th) in LA? I just got an e-mail pimping it. Looks like they're will be an insane amount of agents and the like (plus the guys who wrote Wanted). Has anyone previously attended/planning to attend?
Hi George. I've never been to pitchfest, but I know a lot of people who have.
Generally it's like a big cattle call. You get five minutes to make your pitch, then a bell rings and you move on to the next pitchee.
The whole thing is pretty much a mixed bag and you get from it basically what you bring in. 90% of attendees are ill-prepared amateurs pitching awful ideas in a haphazard and oafish way. The other 10% actually have a shot of selling something.
But because there is so much crap floating around (much like the spec market in general) what you will find -- in the way of who you are pitching to -- is mostly second-tier assistants from the big agencies and production companies. These are people who listen to pitches as mostly lip-service for the company they rep and have no intention (nor any power) to make a purchase. The smaller companies, however, do send people capable of acquiring material. So, what you get, in essence, is the ethereal spec market quantified and placed under one roof. In that regard, it should be something to behold.
My advice if you attend is to, first, get your pitch lean and tight and well-rehearsed. Pitch anybody who will listen to you to get the practice in. And second, research which companies in attendance will most likely respond to your material. I'm not sure how you get a list of attending companies. Perhaps there's a number you can call on their website?
