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Screenwriting rules

Q

Quarry

Do you describe the backround music in a script?

Does it matter if your description are too big like you want to pass an exact image to the reader's mind?

Does it matter if you write it in a past time?

Can you just reserve it and then send it somewhere instead of selling it so that your paiment will depend on how good the movie will be? You see, when you are making such descriptions you want them to be shown exactly as written so you also want your reward to depend on what people will see. Maybe silly of me though but I don't really do it for the money.
 
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Quarry said:
Do you describe the backround music in a script?
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No. the script is where you tell the story.

Quarry said:
Does it matter if your description are too big like you want to pass an exact image to the reader's mind?
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Yes it matters. Your description should be simple yet effective. You do not
want to over do it.

Quarry said:
Does it matter if you write it in a past time?
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Yes. A script is written in present time - what you put on the page is what
the audience is seeing as it is happening.

Quarry said:
Can you just reserve it and then send it somewhere instead of selling it so that your paiment will depend on how good the movie will be?
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Yes. You can ask for anything you want in the contract.

Quarry said:
You see, when you are making such descriptions you want them to be shown exactly as written so you also want your reward to depend on what people will see. Maybe silly of me though but I don't really do it for the money.
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It sounds like you need to also produce the film. The script will go through
many changes from the time you write the first draft until the movie is in
the editing room. If you want everything you write to stay exactly as you
have written it then you need to have total control of the entire process.
That means YOU put up the money and produce the film.
 
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directorik said:
No. the script is where you tell the story.


Yes it matters. Your description should be simple yet effective. You do not
want to over do it.


Yes. A script is written in present time - what you put on the page is what
the audience is seeing as it is happening.


Yes. You can ask for anything you want in the contract.


It sounds like you need to also produce the film. The script will go through
many changes from the time you write the first draft until the movie is in
the editing room. If you want everything you write to stay exactly as you
have written it then you need to have total control of the entire process.
That means YOU put up the money and produce the film.
Click to expand...

Well I read robocop's script the other day and he was actually describing the background music too.

What if it is a really good description writing both what the audience sees and what really happens? I mean, exactly.

I actually write what "we" see in present time and the storyline in past time.

Where can I find how to contact them for that purpose?

Well, I don't really do it for the money, but I don't have any. Does it matter if I agree to the changes or not, at least?
 
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Easy way to test a questionable element in your screenplay:
If you ll take that elemet out of the screenplay, will your story still make sense?? If the answer is yes - get rid of that element.
 
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Quarry said:
Well I read robocop's script the other day and he was actually describing the background music too.
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Fine. You can write your script in anyway you feel is best. The accepted standard
for an unproduced writer is to not describe background music.

Quarry said:
What if it is a really good description writing both what the audience sees and what really happens? I mean, exactly.
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You should always write exactly what is happening and what the audience sees.
I think I do not understand your question.

Quarry said:
I actually write what "we" see in present time and the storyline in past time.
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I understand now. Your original question wasn't clear. Yes, you can write a script
that takes place in the past. Or the future. Or a time that has never existed.
 
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On the topic of background music, if the music doesn't drive the plot/scene/story, leave it out. If it does describe either the general tone/beat or the specific song. Try to avoid using specific songs as plot devices as it can get frightfully expensive to license them.
 
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Quarry -

The answers to your questions DirectorRik provided are spot on correct.

You also need to understand the difference between a spec. script (which is what you're writing) and one contracted for, usually to an industry insider.

Start with this: http://www.scribd.com/doc/12721428/Professional-Screenplay-Formatting-Guide

Don't get OCD on one script, especially one over a quarter century old: http://www.imsdb.com/scripts/Robocop.pdf

Fashions for clothing, cars, and writing for print and screen have changed since then.

Look at that title page and tell me the executive producer, producer, and director DIDN'T have multiple sit-down conversations with the writer about what they did and didn't want in their film - largely based upon their budget and technological SFX limitations.
It's the FOURTH DRAFT, for crying out loud!

And you are not afforded that luxury.

You are writing a pig-in-a-poke spec screenplay.
One of these spec. screenplays could be yours! --->
000555x_gravel_quarry.jpg

Ain't no shortage of them.



Whomever is shelling out the $$$ for the film will pick their own music based upon what they can afford, not what you can imagine for free.

Whomever is shelling out the $$$ for the film will change characters, settings, and specific details to accommodate their budget and resources, so your exacting/excrutiating details are moot.

Whomever is shelling out the $$$ for the film will read sloppy spec. screenplay format written in the past tense and likely consider that the entire story is replete with additional structural sloppiness.

Whomever is shelling out the $$$ for the film has the ability to waive your up front payment in lieu of payment based upon box office performance, but I advise against this. Take your money and run.

Whomever is shelling out the $$$ for the film will determine what details are shown. When you produce ($$$PAY$$$) for your own film you can show whatever you want/can afford.

Whomever is shelling out the $$$ for the film, assuming they aren't developing their own story ideas, will read thousands of spec. screenplays from people competing with you.


Write a story with good bones.
Story bones are all that will remain once the details start getting parsed to accommodate the budget and resources of the person paying for it: the producer.

A architect can create all sorts of fun and interesting things - ON PAPER!
But someone else has to PAY for all of that - IF - anyone.
Architect writes in stacked rock with brick siding - homeowner/builder can only afford brick.
Architect writes in metal roofing - homeowner/builder can only afford architectural shingles.
Architect writes in import marble flooring and granite counter tops - homeowner/builder can only afford tile and regional granite.

A screenwriter can write in...


Spend some time at imsdb.com.
Find out who the writers are of some current films.
Goto imdb.com and see if they've written plenty of other films or was that their first.
Try to find some spec screenplays. Odds are you won't find any, most of these people already have a good bit of industry experience.
Get the DVDs for FIGHT CLUB, THE EXPENDABLES, SALT, and CABIN FEVER then listen to them with the director/producer/actor/writer commentaries turned on. WRITE NOTES.
Read SALT's production section at wikipedia: http://en.wikipedia.org/wiki/Salt_(2010_film)#Production


GL&GB


Ray


RAY BONUS: https://docs.google.com/document/d/...b2JunU/edit?authkey=CJXH2tEH&authkey=CJXH2tEH
 
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I have a different take on why music is not typically in a script. It
isn’t about money at all. Background music is an essential aspect
of a movie; it often drives the plot. scene and story. But reading
the title of a song, or reading the type of music doesn’t have the
same impact that hearing it does.

Quarry asked specifically about background music. I suspect if Peter
Benckly had written in his script “a rhythmic two note Tuba speeds
up slowly as the shark swims towards its prey” it would not have
the same affect as the famous background music we all know.
Reading it without hearing it just doesn’t have an impact. It does
NOW because we can all hear it in our head. Background music
is best left for post production.
 
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directorik said:
I have a different take on why music is not typically in a script. It
isn’t about money at all. Background music is an essential aspect
of a movie; it often drives the plot. scene and story. But reading
the title of a song, or reading the type of music doesn’t have the
same impact that hearing it does.

Quarry asked specifically about background music. I suspect if Peter
Benckly had written in his script “a rhythmic two note Tuba speeds
up slowly as the shark swims towards its prey” it would not have
the same affect as the famous background music we all know.
Reading it without hearing it just doesn’t have an impact. It does
NOW because we can all hear it in our head. Background music
is best left for post production.
Click to expand...
I just write the feeling of the music. I am not speaking about old songs. I actually don't want any music that has been used before. For example, in a scene where I show dead babies I just write that baby bells are heard in the background. It looks like a good idea that the producer or the director may not think, so I write it. Much better than robocop's script that reads "cop music plays on", I think. haha.

Well. I'm actually only worried of the changes they might make without my permission and my writting style. I mean, the fact that I write too many details, huge paragraphs, in past time and without a scripting program.
 
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When you sell a car you no longer have rights to it's treatment thereafter.
When you sell a script you longer have rights to it's treatment thereafter.

Once you sell something no one needs your permission for anything.
 
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rayw said:
When you sell a car you no longer have rights to it's treatment thereafter.
When you sell a script you longer have rights to it's treatment thereafter.

Once you sell something no one needs your permission for anything.
Click to expand...

But I'm intending to be paid from the box office, not sell the script.
 
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rayw said:
Can you cite a few example of this happening?
A few current "for instances" would be ideal.
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Is it so unrealistic? I just believe my work (work of life in fact) is not just commodity. I don't want to be judged on how good the story and the idea is, although they are very good, prototypical and unpredicted. I want to be judged on how it will affect people's mind.

I don't know if it has happened before since most screenwriters don't want to create art but to make money. In fact, I would make it without money if I had enough to live with, but I don't.
 
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That's an evasive answer.


Can you cite a few examples of being paid from the box office, not from selling the script?
A few current "for instances" would be ideal.
 
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Quarry said:
Is it so unrealistic?
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Quarry, what you want is unrealistic. However, since that is what you
want you should do everything you can to make it happen. Just because
it isn’t common does not meant you cannot make it happen.

It is rare that the writer will find a producer who will agree to make the
film without changing anything at all from the script. Rare, but not
unheard of or impossible.


Write the script you want to write in exactly the way you want to write it.
Look for a producer who is willing to put up the money to make the film
and make sure the contract reflect exactly the way you want the film made.
You are in charge. You decide how the film is made and how you are paid.
There might be a producer looking for a writer like you.

I admire your goal and wish you the best of luck.
 
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directorik said:
Quarry, what you want is unrealistic. However, since that is what you
want you should do everything you can to make it happen. Just because
it isn’t common does not meant you cannot make it happen.

It is rare that the writer will find a producer who will agree to make the
film without changing anything at all from the script. Rare, but not
unheard of or impossible.


Write the script you want to write in exactly the way you want to write it.
Look for a producer who is willing to put up the money to make the film
and make sure the contract reflect exactly the way you want the film made.
You are in charge. You decide how the film is made and how you are paid.
There might be a producer looking for a writer like you.

I admire your goal and wish you the best of luck.
Click to expand...

Well I'm just thinking of contacting a producer or something after I reserve and finish the script. It's a little difficult because I think the plot should continue in every scene, in a way that, if you remove one scene the result isn't explained enough. Every detail leads to the result. I'm about to finish it though. Is there an e-mail address to contact with a studio or something?

Is your message ironic? Anyway, thank you.


@Lucky Hardwood (what a name...) post it whenever you want.
 
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Since the computer ate my screenplay (happens more often than I would like to admit), I'm typing it in manually from a hard copy, so please excuse the total lack of formatting.

A little background; the MC in this series of scenes has just purchased a 1969 Alfa Romeo Spyder Veloce from a shady internet auction seller and is just discovering that he was taken.

EXT. HIGHWAY - DAY

Guy is driving his new, to him, Alfa Romeo south on Interstate 87.
The radio plays an old song with an infectious melody. Guy cranks up the stereo, guns the engine and zooms down the highway.

EXT. HIGHWAY - DAY
The radio plays the same song as before. Guy presses all of the buttons on the radio, but the infectious melody continues unabated. Guy presses the power button several times with no effect. Guy turns the volume knob to the left but the song continues.

There are two additional scenes featuring this same song, causing the MC's frustration to grow. What should have been a nice relaxing drive in his prized sports car is becoming a bit of a nightmare. In this example the song is important in that it drives this portion of the plot.

Notice that I have not given the name of a specific song or described the tune except to say that it has an infectious melody. I will leave it up to the licensing people to decide on a specific song based on cost and availability.
 
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