I have looked through the thread and found some answers to other questions, though not to these questions. Forgive me if they are just retarded ;p
1.Can you write actions through the opening credits? or is this the Directors territory?
The credits are often done in post production. So they get tacked on after the movie has been made. While older and some modern movies (for example "The Mummy") have custom lead-ins, a growing trend is to start into the movie with credits superimposed or not at all. These are NOT scripted obviously.
From the script writing standpoint, you simply write what the viewer will see. The director will make decisions about adding or leaving out a lead-in. Depending on the director, there may or may not be initial credits. Which kind of leads into your next question.
2. I guess this is in relation to the first question, as this would all take place during the opening credits. I'd like to have a certain effect, a still shot of the the MC gliding through accelerated time, to put it in context, he would walk/glide from a suburb to a city, then eventually a red light district. Is asking for that type of special effect inside a script too much?
thanks for any insights
Write the scene as you envision it. The director and studio will worry about the effects. Your job is to tell an interesting and convincing story. You want to capture the audience interest in the first ten minutes. If the emcee's zipping is directly relevant to the story, of course it goes at the beginning. Lots of movies start with some eye-catching event.
Screenwriting is a partnership. The screenwriter create the blueprint for an excellent story with solid plot, believable dialogue, and interesting characters that change over time. The director takes the blueprint and adds a creative visualization by drawing on the talents of lighting experts, sound experts, prop makers, makeup artists, costume designers, etc. The actors rely on your script to develop subtext for bringing life to their characters. Unless you are the director/writer--which does have perks--you need to be willing to share and expect different creative interpretations.
Having said that, write your screenplay. Don't limit your writing by trying to do the work of the other creative artists. This is hard if you're a novelist and used to doing it all. While screenwriting isn't lazy about research, the focus is primarily on relationship dynamics. If your script is optioned or bought, you will probably be told what they need you to change. Or you may just have to wait to see what changes they make. Write a good story. If it catches someone's attention, they will let you know if they need changes to the script.
