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format Formatting Advice: Flashes of Imagery

T

time2focus

Disclaimer: I am writing this screenplay to produce myself. That being said, I do consider myself a writer and therefore want to write in a similar fashion as I would a spec script to practice polished writing.

Now the issue I'm having:

I am currently in a scene where the protagonist (teen female) discusses her romantic endeavors with her lover. While she's talking we see flashes of imagery (little tidbits of what she describes) until we end on a reveal of who this lover is (the biology teacher we met a few scenes earlier).

In my mind the reveal should occur under a new scene heading. The part that's tripping me up is how to format the bolded part before we reach that scene. My first thought is that it would be best presented as a montage. This of course makes me want to puke since whenever I hear the word "montage" I think of that scene/song from Team America :lol:.

I would just like to know if montage sounds best to others or if there are any other suggestions/ideas.

Thanks in advance.
 
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If you're cutting back to the original scene, it's almost a waste to make a new scene header each time you switch. You could really just flag the section in an action block. Possibly even pull a Darabont and flag the scene with a montage title, the flag the cuts with a title that's actually the first line of your next action block.

Frank Darabont said:
PRISON MONTAGE: (1947 through 1949)

47 ANDY PLODS THROUGH HIS DAYS. WORKING. EATING. CHIPPING AND 47
shaping his rocks after lights-out...

RED (V.O.)
Things went on like that for a
while. Prison life consists of
routine, and then more routine.

48 ANDY WALKS THE YARD, FACE SWOLLEN AND BRUISED. 48

RED (V.O.)
Every so often, Andy would show up
with fresh bruises.

49 ANDY EATS BREAKFAST. A FEW TABLES OVER, BOGS BLOWS HIM A KISS. 49

RED (V.O.)
The Sisters kept at him. Sometimes
he was able to fight them off...
sometimes not.
Click to expand...

I've also seen it (especially if you're flashing back from footage from a previously shown scene for the reveal, think the Saw movies) where action blocks are marked with something as simple as "Flash:" at the start of them.

Do whatever best serves to drive forward the narrative of the moment. Scripts are both a template for a visual work as well as a literary work all on their own. Pacing and spacing are important. Rhythm sets tone. Darabont's method has a much more leisurely, gentle pace. Time is progressing and he's simply flowing the script with it. The "Flash:" method is more impactful. It utilizes onomatopoeia to drive tension in the moment.

Figure out what sort of moment you're looking to craft, and do what works for you.
 
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time2focus said:
Disclaimer: I am writing this screenplay to produce myself. That being said, I do consider myself a writer and therefore want to write in a similar fashion as I would a spec script to practice polished writing.
Click to expand...
Since you are producing this yourself, you can follow whatever format makes it easy for you. The Darabont example is not typical since he was writer/director on the Shawshank Redemption. Also, he was highly successful as a writer prior to its production. Reading scripts from writer/directors is useful but realize they aren't held as tightly to the format as lesser known script writers.

A MONTAGE is typically used for unrelated scenes without voiceover. More often you will see SERIES OF SHOTS as the descriptor. Also, you would never include numbering in a spec script. That goes into the shooting script.

Code: 
INT.  MARY'S BEDROOM - NIGHT
Mary sits on the floor with her BFF Shawna in their pajamas.

                                SHAWNA
             Truth or dare.  Have you ever made
             love to a boy?

Beat.  A gleam in Mary's eye and she bubbles forth with a grin.

                                 MARY
              Truth.  It was the most intense
              experience I ever had.  My god.

SERIES OF SHOTS - FLASHBACKS

INT. SCHOOL HALLWAY - DAY

Mary stands by her locker when an arm falls heavily beside her
and cause her to start.  Her face breaks into a silly smile.

                                 MARY (V.O.)
               He caught up with me before class
               and we arranged to meet.

INT. DARK CLASSROOM - DAY

Mary pushes open the door, looks about and sets her books
on the desk.

A curtain pulls up letting the sunlight pour onto her face.  It 
blinds her at first.

                                 MARY (V.O.)
                 The room was empty, so I thought.

DESK VIEW

A hand caresses her face.  Gradually her eyes close and she
melts into it.

...

LAB BENCH

Mary's fingers grip deeply into the naked arm and

her biology teacher's lips press deeply into her own.

                            MARY (V.O.)
            And then he kissed me.

END SERIES OF SHOTS:

Shawna's face is aghast, wide-eyed staring at her.  A beat.  
She shakes it off.

                                  SHAWNA
                You're a horrible liar!

She reaches about and belts her with a pillow.

If you are writing for our own direction/production there is loads of freedom how you can write the scene. From a spec perspective, sluglines give production information. As flowing as Darabont's description is, he already has the scene in his mind. A stranger picking up the script segment would have no idea where those events are taking place. Plus if you use Celtx or other script writing software that helps in production, it often balks at numbering lines that don't follow a slugline. (CeltX complained about my use of INT./EXT.!)

While I could get away not putting in the SERIES OF SHOTS line, it alerts the reader that we'll be coming back to the room. I clearly label when there are different locations. When it happens within the same room, all I need are basic labels. In CeltX you can force them to be treated as sluglines for labeling purposes.

Again you have freedom as writer/director. Good luck!
 
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