Yeah, but now I'm confused..Would you put INTERCUT: INT./EXT. in a spec script? - I thought for spec scripts we weren't supposed to try and dictate shots so much?
Am I missing something here?
The spec(ulative) script's purpose is to present a story in a framework that assists visualizing the film. A shooting script has all the details added as part of the production process. So the spec script doesn't include shooting directions normally. Though, on very rare occasions, it helps the reader to understand the point of view (POV).
Generally, it's okay to switch back and forth between INT and EXT. Using INTERCUT just saves time and space. Some readers object to INTERCUT: INT/EXT and prefer you use the sluglines. INT/EXT also tends to be problematic. The labeling of INT and EXT is really for scene planning. Not infrequently, INT and EXT are shot in different locations.
Below is a scene contrasting the uses:
Code:
INT. TOM'S CAR - NIGHT
Tom sits in the car reading a newspaper. His eyes glance in the
rearview mirror.
INT./EXT. STREET - NIGHT
In the mirror, Tom sees a dark figure walking down the street,
approaching the rear of the car.
INT. TOM'S CAR - NIGHT
Tom folds the paper and lays it over the handgun on the passenger
seat.
EXT. TOM'S CAR - NIGHT
The POLICE OFFICER approaches the rear of the car and moves
towards the driver's window.
He stops and taps on the window.
The window lowers.
TOM
Is there a problem, officer?
OFFICER
Do you have your papers?
INT. TOM'S CAR - NIGHT
With his left hand, Tom reaches into his pocket to produce his
wallet.
He retrieves his license and hands it out the window.
EXT. TOM'S CAR - NIGHT
The officer takes it, flips on his flashlight, and looks at it.
INTERCUT: INT./EXT.
TOM
Everything in order?
The officer studies it then leans in, flashing the light in Tom's
face.
OFFICER
You have business here?
Tom looks up at him, squinting.
TOM
Just waiting for my friend to finish up.
Tom points to a nearby bar's neon sign.
Officer flips off the light and hands him back his license.
He leans down and looks in.
OFFICER
You can't be parked on the street.
TOM
Sorry. I'll park in the lot.
Tom's window rolls up.
END INTERCUT:
EXT. STREET - NIGHT
Tom's car starts.
The officer watches as the car pulls away and turns the corner.
The INT/EXT is used here because the 'dark figure' is exterior but being viewed interior. It implies a back-lit shot without actually saying this is how to shoot the scene.
When using an intercut, be sure to first set up the scenes that are being switched between. It should be clear who (or what) signals the perspective switch. While some writer/directors don't include 'END INTERCUT:', I often recommend it as a practice. In this sequence, it's not necessarily clear when to stop since the street is part of the exterior. In a phone conversation, it may be more obvious. It's helpful to the reader.
Using the 'INTERCUT: INT/EXT' also allows the director/DOP more flexibility about what angles they want to use. They may shoot this scene from inside, outside, through the front, from the back, etc. They will then select and edit them to get the feel they want. Here the intercut doesn't dictate the shots. Then again, some readers hate intercuts and insist that you use the sluglines. In fairness, some writers use intercuts indiscriminately and make it very hard to follow the conversations or actions. As with any technique, use it like a strong spice in cooking--be minimal and judicious. It should help support the action in the scene and clarify it. Most situations can be handled well with just INT or EXT sluglines.