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INT. or EXT. in this circumstance?

Hello everyone,

I am extremely new to film making, and am currently attempting to write my first screenplay for a short film - an assignment for my course.

I just wanted advice on one particular issue. In one scene, a bus driver sits and reads the newspaper (inside the bus) on a 5 minute break. So, the bus is EXT. but the character is technically INT. What do I write in the script?

Many thanks for all your help.
 
Where is the camera to be located? Is the camera going to be sitting outside of the bus looking in at the driver? Or is the camera in the bus?

The interior of a vehicle counts as INT. unless the action of the scene takes place outside the vehicle. Say, a shot of two people talking in a car is INT. THE CAR, while a shot of someone sitting in a car when someone walks up and knocks on the window, if shot from outside the car, is EXT. THE CAR. If the scene goes between the two, it's an INT/EXT scene. (an example of this would be a cop pulling someone over, you transition from the person in the car fumbling for their license to the cop outside walking up and tapping on the window within the same scene.)
 
Where is the camera to be located? Is the camera going to be sitting outside of the bus looking in at the driver? Or is the camera in the bus?

The interior of a vehicle counts as INT. unless the action of the scene takes place outside the vehicle. Say, a shot of two people talking in a car is INT. THE CAR, while a shot of someone sitting in a car when someone walks up and knocks on the window, if shot from outside the car, is EXT. THE CAR. If the scene goes between the two, it's an INT/EXT scene. (an example of this would be a cop pulling someone over, you transition from the person in the car fumbling for their license to the cop outside walking up and tapping on the window within the same scene.)

It will be inside the bus, so INT - there is no exterior action taking place in this particular shot. Thank you for the help and advice. Much appreciated!
 
So, the bus is EXT. but the character is technically INT. What do I write in the script?

Technically a house is EXT. It's outside, right? But if we have characters in the
house we use INT. The same with a bus. If the action is taking place outside of
the bus then you would use EXT. If the action is taking place in the bus then
you would use INT.

It doesn't matter where the director will place the camera in the future. You
and the reader of the script to understand where the action is taking place. A
bus driver sitting IN a bus and you are describing what the bus driver is doing
will be INT. When he leaves the bus...
 
I do not see where this INT or EXT issue is addressed. Did I miss this detail?

It goes over the concept of Sluglines. If you understand the purpose of a Sluglines from a production standpoint then you can apply it to any situation. For the OP he should write it as he envisions it and the director may or may not change it based on his shot list. The writer can make it an all exterior scene or both. It will most likely change for the shooting script.

I was simply showing the final purpose of the slugline.
 
Hello everyone,

I am extremely new to film making, and am currently attempting to write my first screenplay for a short film - an assignment for my course.

I just wanted advice on one particular issue. In one scene, a bus driver sits and reads the newspaper (inside the bus) on a 5 minute break. So, the bus is EXT. but the character is technically INT. What do I write in the script?

Many thanks for all your help.

INT. BUS, PARKED - DAY
 
Where is the camera to be located? Is the camera going to be sitting outside of the bus looking in at the driver? Or is the camera in the bus?

The interior of a vehicle counts as INT. unless the action of the scene takes place outside the vehicle. Say, a shot of two people talking in a car is INT. THE CAR, while a shot of someone sitting in a car when someone walks up and knocks on the window, if shot from outside the car, is EXT. THE CAR. If the scene goes between the two, it's an INT/EXT scene. (an example of this would be a cop pulling someone over, you transition from the person in the car fumbling for their license to the cop outside walking up and tapping on the window within the same scene.)

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.
 
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.

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?:huh:
 
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?:huh:

Yes, you'd put it in a spec script. It eases the read, where as you are likely to break it into a series of INT. and EXT. shots to shoot.

And no, you're not missing anything.

You must do and not do all at the same time if you want to write in Hollywood.

That's probably why I'm not sure if i'm coming or going!
 
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?:huh:

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.
 
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