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And then what?

What they need to do in part 2 is give a backstory as to why he wanted it done.

100+ years of cinema. I also think everything is existing too.

Boston in the house! I will check you guys out for sure and Welcome.^^

Final Draft.

I don't like the Woop Woop either. The sounds of police sirens fit better for me.

Future, are these projects that you are working on or just random questions?

I remember when that happened. xD

Alright, keep them coming.

You have a lot of questions to do with screenwriting. :o

To be honest, I don't even understand the question, but first, you need to figure out what you are writing about, what the story is and then you finalize the setting. It's better that way than to figure one out, out of thin air. Most times when you have a story the setting comes automatically. I...

I doubt that minor scene in your screenplay will affect the entire writing.

I don't think Hollywood uses any particular format. xD It doesn't matter if you're in Hollywood or an independent writer. A screenplay is a screenplay for all standards.

Michael's Universe, Rosanne's POV? Why did you put those in your screenplay?

I've entered already.^^

But some screenwriters flood the film with continuous dialogue. That's their style of writing e.g. Aaron Sorkin's writing.

Michael's Universe, Rosanne's POV? Oo

Then it has to flow like that. The only alternative is to distinguish whose house it is.

I've seen screenplays with "camera advice" in them, e.g., Cut to, close up, etc.. So I guess in this modern era no one cares. The main mistake that I see is that people are not dramatic writers. They write too much like they are journalists.

If all of that is happening on the exterior of the same house, why not put one EXT House Night and put all of that in a paragraph for an action sequence?