Quarry -
The answers to your questions DirectorRik provided are spot on correct.
You also need to understand the difference between a spec. script (which is what you're writing) and one contracted for, usually to an industry insider.
Start with this:
http://www.scribd.com/doc/12721428/Professional-Screenplay-Formatting-Guide
Don't get OCD on one script, especially one over a quarter century old:
http://www.imsdb.com/scripts/Robocop.pdf
Fashions for clothing, cars, and writing for print and screen have changed since then.
Look at that title page and tell me the executive producer, producer, and director DIDN'T have multiple sit-down conversations with the writer about what they did and didn't want in
their film - largely based upon their budget and technological SFX limitations.
It's the FOURTH DRAFT, for crying out loud!
And you are not afforded that luxury.
You are writing a pig-in-a-poke spec screenplay.
One of these spec. screenplays could be yours! --->
Ain't no shortage of them.
Whomever is shelling out the $$$ for the film will pick their own music based upon what they can afford, not what you can imagine for free.
Whomever is shelling out the $$$ for the film will change characters, settings, and specific details to accommodate their budget and resources, so your exacting/excrutiating details are moot.
Whomever is shelling out the $$$ for the film will read sloppy spec. screenplay format written in the past tense and likely consider that the entire story is replete with additional structural sloppiness.
Whomever is shelling out the $$$ for the film has the ability to waive your up front payment in lieu of payment based upon box office performance, but I advise against this. Take your money and run.
Whomever is shelling out the $$$ for the film will determine what details are shown. When you produce ($$$PAY$$$) for your own film you can show whatever you want/can afford.
Whomever is shelling out the $$$ for the film, assuming they aren't developing their own story ideas, will read thousands of spec. screenplays from people competing with you.
Write a story with good bones.
Story bones are all that will remain once the details start getting parsed to accommodate the budget and resources of the person paying for it: the producer.
A architect can create all sorts of fun and interesting things - ON PAPER!
But someone else has to PAY for all of that - IF - anyone.
Architect writes in stacked rock with brick siding - homeowner/builder can only afford brick.
Architect writes in metal roofing - homeowner/builder can only afford architectural shingles.
Architect writes in import marble flooring and granite counter tops - homeowner/builder can only afford tile and regional granite.
A screenwriter can write in...
Spend some time at imsdb.com.
Find out who the writers are of some current films.
Goto imdb.com and see if they've written plenty of other films or was that their first.
Try to find some spec screenplays. Odds are you won't find any, most of these people already have a good bit of industry experience.
Get the DVDs for FIGHT CLUB, THE EXPENDABLES, SALT, and CABIN FEVER then listen to them with the director/producer/actor/writer commentaries turned on.
WRITE NOTES.
Read SALT's production section at wikipedia:
http://en.wikipedia.org/wiki/Salt_(2010_film)#Production
GL&GB
Ray
RAY BONUS:
https://docs.google.com/document/d/...b2JunU/edit?authkey=CJXH2tEH&authkey=CJXH2tEH