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It's a tried and true device. See a thousand movies made in the 1930's-40's. You can write it as an Action element, EXT. ROAD - NIGHT Lit by a string of Streetlights. Jack's car cruises along the empty street. As the car passes them, one-by-one, the Streetlights turn off. or you can do...

Perhaps he wishes to make a GOOD film.

ThanK you! There lies the difference between a director and a Director. A director is busy showing the world how it should be done his way, while a Director is busy worrying about every tiny little thing associated with his film.

This is a detective story, not as courtroom one. The lawyers should all be cops.

To stiff. People don't speak in complete sentences. and they don't all "sound" the same. You, ah, well, you get my drift. Fuck no... I think you're an idiot, dude. Come on, man. Check that shit out. Ok...you win. (under his breath) Asshole. is a hellava lot more real than: I'm sure you...

This is not quite correct. The POV cutting from INT. to EXT. should be written INTERCUT: INT./EXT. INT./EXT. is used if the POV is INT. OR EXT. AND the interior action AND the exterior action, say something in the distance through a window, are both relevant to the scene.

You almost got it. It's also used to mark a script element as a SHOT in a spec (kind of directing without directing) i.e. Sally walks along -- A BIRD IN A TREE -- and gets hit in the head by bird crap. also, Transitions are capitalized on the right hand side of the page.

Gas, Pain, Beer, Pleasure, Tragedy, Orgasm, Sunshine, the Moon, the chick I saw in front of Grauman's yesterday, my f-ing $%#^! of an ex-wife, my kids, the news, my broken leg, everything else and stupid questions, too! O:lol:r maybe it's just mental illness!

Characters who prove themselves consistent in their context. Period.

All Writers are Idea men, but few Idea Men are writers. Unless you got $$$$ up front for production and FOOD, we got no use for "idea men"!

Bulls Eye!

Character development is one of my strong suits, and I can tell you the secret: How much do you know about the character that is not (at least not yet) in relation to the script? What was their childhood like? What's the most traumatic event (previous to your story) they've ever experienced...

Until I read your script, I don't know what a "cyborg family" is. You were closer before, anyway, with: In a war of ancient gods on a futuristic Amazon planet, a family of cyborgs with adopted human children are the chosen ones of the human goddess, Artemis to end a war between humans and...

Wow. That's some seriously bad advice.

Your synopsis is more of a Logline/theme that needs to be consolidated in to as high a concept log as you can come up with to begin with. A group of teenagers go camping in a spot protected by a legendary Lady in White. Now take that and go here...

"Join" the WGA? Who do I have to Kill? You have to make a sale to a WGA signatory to get in. And yeah-- it's worth it. I have yet to get in, and yet 3 years ago they (and others) had my back when I (and many other) TV writers, and unproduced pro quality TV writers came up against the wall of...

With regard to dialogue: Avoid them in ALL scripts unless they are NEEDED. A Parenthetical is ONLY called for when the thing inside them is NOT evident from the context of the scene. (smiles) only belongs in Parenthesis if she was frowning while she was speaking then switched gears in mid...

It's too long when the audience loses interest. No page count or clock needed.

Depends how they arrived as this point. If it happens organically, it happens. But a story is not a single scene, no matter how cool the scene plays out..

What is your basic structure? If your software is set to Cole & Haag, try resetting it to W.B. standard. it will add pages if that's the case. If not, undoubtedly you can alter your formatting structure and gain some space. Anytime you think the Camera's POV might move break the Action...