(PRE-LAP) = the line spoken comes from the following scene (after the next slug line).FILTERED = processed voice, possibly to make it sound as if it's coming over a phone.= the line that follows is a continuation of the line before separated by an action description of a page break. SOTTO = the actor speaks the lines softly to him or herself.= Off Camera (a voice from an actor in the scene but not seen by the camera. = Voice Over (a voice that is NOT in the scene) Lips that move in sync with the picture are in SYNC, a term rarely used in screenplays, but sometimes necessary for clarity. If the abbreviations do not follow then the voice is spoken on camera and we see the actor's lips move, although often in the editing room that changes. Both are indented from the margin.įollowing the CHARACTER'S NAME, that precedes the words spoken are often abbreviations. DIALOGUE is preceded by the name of the CHARACTER. SPECIAL EFFECTS are often ALL CAPS as well.Ĥ. ACTION is always written in present-active voice, never past-tense. Sounds created in post-production are always CAPITALIZED, but not sounds that can be recorded on the set. SUPER: "TEXT ON SCREEN" indicates text on screen. These short sentences describe what is seen and heard, but never what is spoken. ACTION DESCRIPTION immediately follows the slug line. It's a short scene that establishes where the next action takes place, usually an interior room of the building.ģ. This means the shot is a WIDE view of the location, usually a building with no principal actors visible. Slug lines are always ALL CAPS, sometimes they are also underlined and bolded.Īt the end of some slug lines is the word ESTABLISHING. Following this is the location of the scene, and at the end of the line is the time of day in simple terms: DAY or NIGHT, or sometimes SUNSET, or DUSK, etc. Sometimes the actions begins inside and ends outside, INT./EXT. Every new location or new time begins with a SCENE HEADING, also called a SLUG LINE. This does not leave room for elaborate descriptions.Ĭreatively the succinctness leaves plenty of room for the creative input for actors, directors, art directors, costumers, and the composer.Ģ. Mechanically, the SP should represent the length of the film such that one page equals one minute of screen time. There are mechanical and well as creative reasons for this: They're charged with creating emotionally ladened stories and engaging characters in as few words as possible.
SCREENPLAYS (SP) ARE NECESSARILY SUCCINCT. If I miss something important, tell me and I'll add it to this post.ġ. Here are some tips for folks who want to read a screenplay but find it confusing and unconventional.
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