Screen play

Dialogue Split by Action When a character is speaking and then there's some Action and then the character continues speaking, you indicate the continuation like this: DR. STRANGE This will be my crowning achievement! Life from life. Reincarnation while in the body. Zelda enters. DR. STRANGE (continuing) Never again will death be feared. I have bested the universe. Zelda slowly reaches for the power cord to Strange's machines. DR. STRANGE (continuing; sobbing) Why couldn't I have been just one month faster, poor Eliza, my love? Notice that if you have a continuing indicator and a Parenthetical, you put the continuing first, then add a semi-colon and a space, then type the Parenthetical. In TV and Sitcom scripts, the continuing indicator is placed as an Extension and abbreviated CONT'D, like this: DR. STRANGE This will be my crowning achievement! Life from life. Reincarnation while in the body. Zelda enters. DR. STRANGE (CONT'D) Never again will death be feared. I have bested the universe. Some people don't use continuing indicators. If you know you shouldn't use them, don't, otherwise you'll be fine if you do. Emphasis in Action When you write your Action, there are times where you will capitalize certain words or phrases for emphasis. For example: CARL BANNER shoves open the glass door. It hits the wall and the glass SHATTERS. The sample above shows the two most common uses of capitalization. First, when you introduce a character (the first time you type his/her name in Action), capitalize the name. Only capitalize the name the first time you use it, not every time. The second capitalization indicates a Sound Effect. The glass "shatters." The reason that Sound Effects or SFX (see Abbreviations) are capitalized is to alert the production people to the need for the sound effect. That's why emphasizing sound effects is optional and, frankly, I don't recommend it unless, of course, you know that the reader expects it. A much less common use of capitalization is to emphasize camera directions. Because this falls WAY into the realm of ...don't direct it, I really suggest you not do this unless you know it's expected. Just so you understand what I mean, here's a sample: As the circus caravan continues, we FOLLOW the sad clown and ZOOM IN to SEE that it's really Mrs. Clearson in disguise. Abbreviations There are certain ideas that are so commonly used in film scripts that they have abbreviations. Some of these are used as Extensions, like O.S. and V.O. Some of these are used in page breaks or when Action splits Dialogue, like CONT'D. Others show up in Action. The most familiar are "b.g." -- background, "f.g." -- foreground. For example: John mows the lawn while, in the b.g., a plane crashes. Runners cross the finish line as bushes in the f.g. start to shake and twitch. Should you use them? Your call. I find them distracting and think that a script is easier to read without them. But if it's important to communicate foreground or background (don't forget "don't direct"), use them as necessary. Some writers put them uppercase. Others use them lowercase. Again, it's up to you. Another common abbreviation is used in Shots. It's POV, for point of view. As if we're looking out the eyes of a character. No periods in POV. BOB Marty, where are you? MARTY'S POV Looking through the giant carpet fibers at Bob approaching the 20-foot shoe! Another one that you'll see every now and then is MOS. MOS means silent, without sound ("mit out zound" as the old German directors would say... some claim this is the origin of . I've never used MOS; it's really one of those cues that's there for the production staff. If the sound guy sees a day's worth of MOS scenes, he knows he's got the day off. Short Lines Definition Short Lines, or Forced Line Breaks, are used in Action and Dialogue for certain types of emphasis. Description Short Lines look like this: STEVEN And now, New York Haiku by Steven Sashen, Zen Poet. (reading a poem) The East River. A Frog Jumps in. OUCH! The Short Lines are the Haiku (okay, it's not really a Haiku). Notice how the lines end before the normal right Dialogue margin. This is a common use of Short Lines, poetry, lyrics, etc. In Action, Short Lines are usually used to separate different bits of Action without creating new Action elements. So, the normal version like this: Simmons walks up to the safe, making sure he isn't followed by the other troopers. He turns the dial. Click. He turns it the other way. Click. versus the Short Line way: Simmons walks up to the safe, making sure he isn't followed by the other troopers. He turns the dial. Click. He turns it the other way. Click. Short Lines are not that common and some people don't like them for anything other than things like lyrics. Dialogue Paragraphs Definition Dialogue Paragraphs create the effect of a pause in a Character's Dialogue. Description There are two circumstances where you see Dialogue Paragraphs. The first is a simple pause in a Character's Dialogue. The second is when a Character's Dialogue is interrupted by some Action. In the first instance, a Dialogue Paragraph just looks like a blank line tossed in the middle of the Dialogue. It looks that way because, that's what it is. Like this: COMMANDER You, over there with the scanning beam. Get me a reading on the solar flare. And you, with the sexy underwear on under your suit. Get into my ready room! The second instance is just like the first, but includes some Action in between the pieces of Dialogue, like this: COMMANDER You, over there with the scanning beam. Get me a reading on the solar flare. A beautiful cadet walks by. And Commander uses his x-ray scope. And you, with the sexy underwear on under your suit. Get into my ready room! I can't say do or don't use Dialogue Paragraphs, or do use the first kind but not the second, or vice versa. Dialogue Paragraphs have been popping up more and more lately, but they're still very stylistic. So, as always, use your best judgment, based on the effect you're trying to create and the expectations of your readers. Montage and Series of Shots A montage is a series of small related scenes, grouped together. A montage example you'll be familiar with is the "falling in love" montage where we see shots of our glowing couple at the amusement park, looking over the ocean, feeding each other dinner, dancing in the rain and, finally... well, you know. Often montages are silent scenes that have music or some other sound over them. A Series of Shots is similar to a montage, but takes place in one location during one piece of time. Think of a chase scene when you see a car racing through the street, then a baby carriage wheeled across the street, then the cop chasing the first car, then the first car narrowly missing the baby carriage and the cop car having to stop to avoid hitting it. Montages and Series of Shots are formatted the same way: MONTAGE OF THE UFOs LANDING A) The ship settles on the Washington Monument. B) Humans are rounded up into Candlestick Park as more ships land in the parking area. C) An African tribal leader chats with one of the aliens. SERIES OF SHOTS A) Police swarm the Federal Building. B) Ambulances swerve into the driveway. C) SWAT teams aim their guns. Just to note, the first line "Montage of..." is a Scene Heading. The first line of "Series of Shots" is a Shot. The other lines are Action elements. You could just say "MONTAGE" without the "OF THE UFOs LANDING." Whether you add the extra description is up to you. It's also optional whether you, at the end of a Montage or Series of Shots, add an Action line that says: END MONTAGE or END SERIES OF SHOTS If you write the Montage or Series of Shots well, it's obvious when they end, so I would avoid the ending indicators. Supers - Titles, Signs, etc. A Super is something that is superimposed over another thing. Sub-titles are supers. But, for your purposes, a Super is more likely some descriptive text like a time or location or a translation. Supers are written with Action elements.. For example: INT. PENTAGON, WAR ROOM - DAY SUPER - 10:15 Zulu, Present Time The council gathers around the table. What this means is that when we cut to the War Room, the words"10:15 Zulu, Present Time" will appear on the screen over the image of the council gathering. Another example: Marty looks at the sign which is in Arabic. SUPER - Do Not Enter. Death Penalty Enforced. MARTY This must be the place. He walks in the door. Titles Some writers like to indicate when the film's title sequence should start and end by writing: BEGIN TITLES END TITLES Phone calls and Intercuts Intercuts are when we switch back and forth between two or more scenes quickly and repetitively. Most often we see intercuts when characters are speaking on the phone and we jump back and forth between them. Sometimes intercuts happen with scenes that are related by time, but not dialogue, like when we see someone dismantling a bomb and cut back and forth between that person and the people in a safe place who check their watches, waiting for him. Intercuts have also been used in time travel situations. All you want to do is start the intercut and let the director decide how to do it. Like this: EXT. HWY. 57, PHONE BOOTH - DAY Jessie runs into the booth and quickly dials a number. Intercut with... INT. MULDOON'S OFFICE - DAY Muldoon grabs the phone almost before it rings. MULDOON Yea, what' up? JESSIE He's here! Hurry! Often the intercut will end at the next Scene Heading. If you want the intercutting to end in one of the locations you've been using, just reuse that Scene Heading. So, to do that by continuing the above scene, we get: MULDOON We got you, Jess. Just leave the phone off the hook and hide out till we get there. JESSIE Okay. Please hurry! Jessie drops the phone so the receiver dangles. He runs away. MULDOON (to his assistant) Get a trace on this. Fast! EXT. HWY. 57, PHONE BOOTH - DAY A gloved hand hangs up the phone. So you can see that when the Action refers to Jessie dropping the phone, it's obvious that the director will have to cut to that location. But we really emphasize the return to the phone booth by adding the Hwy. 57 Scene Heading. Realize, of course that you can have a phone conversation without intercutting. The scene takes place in one location and the person on the other end of the phone talks in voice-over.

Secrets of script writing

Action Definition Action is also called "business" or "description." It's what we see on the screen or stage. It describes, in the most visual way it can, what happens. Description What to say about Action? Here's a sample: Mark walks down the hall. He looks in the bedroom and, seeing nothing, scratches his head. He continues down the hall with a curious expression on his face. Notice that the above action doesn't read like this: Mark walks down the hall. He thinks there might be something in the bedroom, so he looks in. He wonders why he doesn't see anything and scratches his head. "Hmmm," he thinks and then continues down the hall. The difference? The first one shows it, the second one tells it. We can't see a character thinking. But we know that characters who are thinking will behave in a certain way. Describe the behavior, not the intangible mental process. In Action, you have more room to make your writing creative than you do in other elements, but I recommend you use your creativity to tell the story well, not to show off your vocabulary or cool prose technique. You want the reader to be impressed with and immersed in the story, not hung up on you. Trust me, if you keep an agent engrossed in your story for 120 pages, she'll be infinitely more impressed with you than if your Action reads like Hemingway. Use your action paragraphs wisely. Depending on the effect you're trying to create, you can either put each separate action in its own paragraph or lump a bunch of action into one. For example, the following shows the effects of separate paragraphs: The Alien stalks the surviving crew members, slowly gaining on their position. Commander Walker, checks his scanner for life signs. Nothing. Notice how that builds the tension and keeps the images separate in your mind. Next let's see the effect of putting many actions in one paragraph: The ball flies high into center. Miller chases it, sliding on the wet grass. Halloway runs from left toward the ball, too. Fans reach over the center field wall, fighting for position to catch the dropping ball. Miller dives. Halloway leaps. The fans jostle... You'll have to see the movie to find out what happens next. But do you see the different kind of tension that putting all those actions together creates? So, use Action to create the effects you want to create in the mind of the reader. One other thing. Avoid passive verbs and conjugations of "to be" (is, isn't, am, are, etc.). Also, avoid prepositional phrases when a good adjective or adverb will do. These two things bore the reader and usually take up more room than their more interesting, active replacements. Which sentence reads better to you: Banner paces in his cell, running his fingers through his mohawk hair. or Banner is pacing in his cell and is running his fingers through his hair which is in a mohawk style. Boy,. I sure hope you liked the first one better. It's more powerful, more active, more direct, more visual...just what a script should be. Formatting Simple. Use the same margins as your Scene Headings: 1.5" from the left and 1" from the right. Action is mixed case and single spaced. There is one blank line before each Action paragraph (sometimes, there will be zero blank lines, when you need to use Short Lines). Sometimes, in Action, you'll want to capitalize certain words... we'll talk about that in the Emphasis chapter. There are also occasions for using specific abbreviations. Scene Headings Definition A Scene Heading, also known as a Slugline (from typesetting days), tells the reader where a scene takes place. In other words, where are we standing? Where do we put the camera? Look at some of the examples below: Description EXT. JIM'S HOUSE, PATIO - NIGHT INT. CONNER AEROSPACE, CONNER'S OFFICE - ESTABLISHING INT./EXT. WALKER FARMHOUSE, KITCHEN - CONTINUING SPACE MISSION 6 H.Q., 1900Z - SUNLIGHT These might look very different to you, but notice the sections of the Scene Headings and they'll start to feel the same. The Scene Headings start with an indication of whether you're inside or outside. INT. means "interior." EXT. means "exterior." Sometimes you might want to use EXT./INT. if, for example, a scene starts outside and moves inside, or INT./EXT. if it moves the other way. You don't need to use the combination descriptions. It's just as likely you can start the scene EXT. JIM'S HOUSE, OUTSIDE and, at the appropriate time, the scene changes to INT. JIM'S HOUSE, INSIDE The next part of the Scene Heading tells where you are, generally. In other words, at a house, in a building, at a park, etc. The key here is the generality. As you reuse these, you want to be consistent. That is, don't refer to Jim's house as "JIM'S HOUSE," "JIM JONES'S HOUSE" and "MR. JONES'S RESIDENCE." You want to keep this consistent so the reader can easily know where you are in general terms. If your script is in production, you want these to be consistent so the production manager can easily find and schedule all the scenes that take place at that location. Believe me, the last thing you want is a Production Manager or Assistant Director screaming, "What do you mean this is supposed to be the same location we were at last week? We tore down the location we were at last week!" The next part of the Scene Heading is the specific description of where you are. If you're at a house, where in the house? If you're in a space ship, which compartment of the ship? You might not need to use this part of the Scene Heading if it isn't relevant. If, for example, you're EXT. BIG OFFICE BUILDING, that might be all the relevant information you need for the scene. If it doesn't matter that you're EXT. OFFICE BUILDING, 2 FEET FROM THE STREET don't say it. In the last example above, we're in space (assumedly outside) the More about what to say and not say in "Show it don't tell it, but don't direct it... unless you have to." When it comes to specifics, you might have to get really specific and add another level of description. Let's say, you're doing a time travel story and scenes in the same place jump between times. You might end up with INT. ASTRODOME, ON THE FIELD, 1996 and INT. ASTRODOME, ON THE FIELD, 2005 Another thing that you might put in the "specific" section is ESTABLISHING, like: EXT. EMPIRE STATE BUILDING, ESTABLISHING - DAY. This says that we just need a shot of the location so we can "establish" that this is where we are. Typically, after an establishing shot, the next scene takes place in a specific location at the same place. So, after establishing that we're at the Empire State Building, the next scene might be INT. EMPIRE STATE BUILDING, OBSERVATION DECK - DAY. The last piece of a Scene Heading is the timing section. DAY and NIGHT are the most common ones you'll use. If you need to get more specific, do it. If the scene needs to happen as the sun sets, say SUNSET. If the scene takes place 20 minutes after that, you can say DUSK. Production Managers hate scenes that take place around sunrise and sunset because you only get one chance at getting that shot on any day. Don't let that stop you from writing romantic sunset scenes, though. Just realize you might be the catalyst for an anxious assistant director actually yelling the famed cliche, "Come on people, we're losing light here!" When you have a number of scenes in a row that take place in a continuous manner, it seems silly to keep saying - DAY at the end of each of the Scene Headings. You have a couple of choices here. One is using the timing indicator, "CONTINUING." Look at the following example: EXT. DAYTONA SPEEDWAY, PIT STOP - DAY Miller puts on his racing suit and steps into the Indy car. INT. MILLER'S CAR - CONTINUING In another situation, with multiple scenes occurring In the same general location in a continuous manner, you can leave out the timing indicator:or use "SAME TIME" INT. CLAIRE'S HOUSE, LIVING ROOM - DAY Claire watches TV with her kids INT. CLAIRE'S HOUSE, DINING ROOM - SAME TIME The dog eats scraps under the table. INT. CLAIRE'S HOUSE, BEDROOM Dad knits a skirt. If you have multiple scenes occurring at the same time, use the timing indicator "SIMULTANEOUS." For example: INT. CHEZ STADIUM, KITCHEN - DAY A bomb ticks its way down from 2 minutes. EXT. CHEZ STADIUM, PARKING LOT - SIMULTANEOUS The spy checks his watch as it counts down from 2 minutes. You can also use "SAME TIME" instead of "SIMULTANEOUS" These aren't all the time indicators possible, but certainly the most common. Use your common sense, artistic license and good judgment to create whatever you need. Remember, the whole point of a Scene Heading is simply to tell the reader quickly, easily and efficiently, where the scene takes place. Formatting The first thing you may have noticed is that Scene Headings are uppercase... ALWAYS. Next, you may have noticed that the INT or EXT is followed by a period. Occasionally, you'll see other punctuation like a colon or a dash or no punctuation. Don't do this unless you know that the person who is reading your script expects something other than a period. The spacing after the period is also up for debate. Two spaces after the period is common and accepted. One space is also okay. This one's more up to your aesthetic sense than industry rules. Use whichever you like best unless you know that the expected reader prefers one or the other. The general description is usually separated from the specific location description by a comma. Again, rarely, you'll see something else, like a dash. Don't do this unless the reader expects it. Similarly, the punctuation before the time indicator is most often a space, a dash and another space. Sometimes you'll see no spaces, sometimes you'll see two dashes, sometimes you'll see no spaces and two dashes. Not to sound like a broken record, but use the former unless you know the reader expects something else. The margin settings are 1.5" from the left edge of the page to 1" from the right edge. You want to keep your Scene Headings to one line, if possible. If you need a Scene Heading that takes two lines, try to break up the text at one of the natural break points: between the general and specific locations, for example. You do not want to break a Scene Heading so the time indicator is the only thing on the second line. Finally, you would like to have 2 blank lines before each Scene Heading. Yes, this will make your script longer than if you had only 1 blank line preceding the Scene Heading and, yes, 1 blank line is acceptable. Two blanks looks better and also makes the script read faster. So, if you can, use 2. If you have to, to keep the script from being too long, use 1. As always, if the reader expects something specific, give it to her/him. With Scriptware Easy. With Scriptware you never type a Scene Heading more than once. And you can type an entire Scene Heading with just 4 keystrokes! If the cursor is flashing on a blank line, just type INT. or EXT. You can also press from almost anywhere to create a new Scene Heading. When you do either of these, Scriptware pops up a list of your existing Scene Headings. Just start typing until you've either selected the one you want or created a new one. Then press and Scriptware shows you a list of times of day. Type the first letter of the time you want and press . Pressing at the end of a Scene Heading will put you in the right place to start typing Action. Character Name Definition Couldn't be more obvious, the Character Name element is where you indicate who's talking. Description Not much to say, except that you want to be consistent. Don't call a character MR. JONES in one part of the script and DAVE somewhere else (with Scriptware, it's easy to check to see if you've done this; you just look at the Character List and see who's on it... then you can change the wrong ones with just a keystroke or two). If you have two characters speaking simultaneously and saying the same thing, you can make a character name out of both of their names. For example: BOB AND RHONDA Wait! Stop! If you had two characters saying different things at the same time, use Dual-Column Dialogue. Try to avoid using Names that look similar to avoid confusing the reader. Some suggest that you don't have two characters who have names that start with the same letter for this same reason. To introduce a Character in a mysterious way, by hearing her/his voice, without revealing who it is, call the character something like MAN'S VOICE or WOMAN'S VOICE. Since we're hearing but not seeing them, it would typically be: MAN'S VOICE (V.O) or WOMAN'S VOICE (O.S.). (You wouldn't underline the extension, that's happening because those are links). Then, in the Action, you can reveal to the reader that: ...we see that the voice belongs to: MARTHA Hello, dear. Formatting A Character Name is uppercase, 3.5" from the left edge of the page. There is one blank line before a Character Name. With Scriptware With Scriptware, you can type a character name with just one keystroke! If you're on a blank line, just press . Scriptware will put the cursor in the Character Name position and pop up a box with every character name you've already typed. If you just start typing, the one you want will appear (this usually takes just one keystroke). If you're typing a new name, just type it in; Scriptware automatically adds it to the list so you'll never have to type it again! Dialogue Definition Dialogue is simply every word we hear on the screen. Everything that comes out of everyone's mouth (whether we see them on the screen or not). Description Simply, write what you want your characters to say. BOB But I don't know what to say. It's not like I, well, it's not like this is something I enjoy. There's not a whole lot of advice to give here beyond the ever-present, "show it, don't tell it." Apocalypse Now could have been a guy's head, on the screen, as he narrated the story, but who would pay to see that?! Same thing in your dialogue: see if there's a way to write so that we get to see something rather than hear someone talk about it (unless you have a good, dramatic reason, to not show us... ooooohhhh, mysterious). In a similar vein, be careful of monologues. Readers get a bit concerned when they see a page that's 99% Dialogue. After all, for movies and TV shows at least, we want to see something beyond a talking head. If you have a monologue, ask yourself, "Are there ways to break this up with some action (either the speaking character's, the listening character's, or something in the environment)?" Breaking up a monologue makes a page read faster and, remember, we want them to keep turning the pages! Formatting Dialogue margins are 2.5" from the left and 2.5" from the right. With Scriptware After you've typed your Character Name or Extension, just press and Scriptware will put you in the right place to start typing your Dialogue... just type away. Parenthetical Definition A Parenthetical is a direction to the Actor about how to read the Dialogue. Description Here are some samples of dialogue with Parentheticals: BOB (sarcastic) Of course I love you. MARTHA (trying not to explode) Can't you be serious for once? (a beat, then) Wait, who are you? Here are some bad Parentheticals: MIKE (reaching for gun to shoot the alien) Stop! HARRY AND SALLY (they keep arguing as they walk out the door) Am not. Am too. Am not. Am too. What makes the second examples "bad" is that they're describing Action, not giving information to the actor about reading the line. In other words, proper format asks you to not do this: ZEKE I don't think you should stay (he cocks his shotgun) We don't want you here. but instead do this: ZEKE I don't think you should stay. He cocks his shotgun. ZEKE (continuing) We don't want you here. Notice the "continuing" Parenthetical above. You put those in when a character's dialogue is split by Action (or, sometimes a Shot.). Some studios insist on these, some insist you don't use these. So, again, I would use them unless I had a specific reason not to. If you had other Parenthetical direction to add, you would put it after the "continuing" like this: ZEKE (continuing; calmly) We don't want you here. Formatting Parenthetical margins are 3" from the left and 3.25" from the right. If a Parenthetical takes up more than one line, indent the lines after the first 1 character so that the text on all of the lines start in the same vertical column. Extension Definition An Extension is a technical indication about a character's Dialogue, placed to the right of the Character Name. For example, an indication that the dialogue happens off screen or as a voice-over. An Extension is not a place to tell the actor how to read the dialogue or to indicate some action happening on the screen. Description There are a couple of standard Extensions: O.S. and V.O. "O.S." means "off screen" -- the character is physically present, but not visible on the screen (behind a door, under a bed, etc.). On TV shows, you'll sometimes see O.C. (for off camera) instead of O.S. "V.O." means "voice-over" -- the character isn't on the screen but we hear the voice (a narrator, a voice on an answering machine, etc.). This is called a voice-over, because the actor records her/his voice at a time other than when the scene is being shot, and the voice is placed "over" the scene. It's still a voice over, though, if the actor records her/his voice and the recording is played back as the scene is being shot. DR. JOSEPH (O.S.) Hey, someone let me out of this freezer! WALLY (V.O.) That was when I knew... plug in the freezer! Formatting The Extension is uppercase and enclosed with ( )'s. There is one space between the end of a Character Name and the opening parenthesis of an extension. Shot Definition A Shot is an indication, within a scene, that the focus shifts to a specific person or thing. Description Here are some sample shots: CLOSE ON BOB'S NOSE ANGLE ON THE RANSOM NOTE MARK'S POV INSERT - TIMER OF THE BOMB BACK TO SCENE First things first: when using Shots, stay acutely aware of the Show It Don't Tell It, But Don't Direct It, rule! It's very easy to use Shots when they really aren't necessary at all, or when you could achieve the same effect with some well written Action. Like Transitions, you only want to use Shots when you really need them to convey a particular effect. Here's an example that's familiar to you: MAN'S VOICE (V.O.) This tape will self-destruct in five seconds. CLOSE ON THE TAPE RECORDER The tape begins to SIZZLE and slowly smolders until it's engulfed in smoke. You could make two arguments about that example. The first is that you need the Shot to emphasize the important event of the tape self-destructing. The contrary argument is that without the Shot, the Action makes it clear that the tape is self-destructing and you don't need to tell the director that he needs to be "close on the tape recorder" because she'll figure out how to shoot it on her own. Both of these arguments are valid. This is another case where you have to use your best judgment. Some studios, producers and shows that we know use shots extensively. Others, not at all. You find them more often in scripts that are in production, rather than those being submitted to be read. Notice the Shot "BACK TO SCENE." This is one that you might use after you have focused on a particular part of the scene to indicate that you want to return the focus, well... back to the scene in general. In the example above, you could do: CLOSE ON THE TAPE RECORDER The tape begins to SIZZLE and slowly smolders until it's engulfed in smoke. BACK TO SCENE Jim tosses the recorder into the trash and walks into the museum. Again, there's no specific list of Shots, use your imagination to create Shots that help tell your story in the most creative, simple and effective way you can. By the way, see Abbreviations if you don't know what POV means. Formatting Shots are uppercase and use the same margins as Scene Headings: 1.5" from the left (the right margin doesn't matter because you don't want a shot that takes more than one line). You normally want 1 blank line before a Shot, but some writers use 2, like a Scene Heading (sometimes they do this to lengthen a short script, sometimes it's for style). Transition Definition A Transition indicates that we are, in some way, moving to a different scene or shot. Description Some common Transitions are: CUT TO: PAN TO: FADE OUT. MATCH CUT: PULL BACK TO REVEAL: WIPE TO: DISSOLVE TO: There are dozens more... but the important thing is this: DON'T USE THEM! Most of the time you don't need Transitions. Think about it. If you have one scene, then another, it's obvious that you're cutting to that scene. Otherwise, how would you get there. So why say "CUT TO:"? Now "how" you cut to get there is a different story. The second reason to avoid Transitions falls into the "Don't Direct It" category. Again (and of course), there are reasons why you would undeniably need to use a Transition to achieve a particular effect (usually comedic or frightening) like: They walk off into the sunset. CUT TO: CLOSE UP of BOB's face. There's something odd about how he looks, his hairstyle, his coloring. PULL BACK TO REVEAL WE'RE: EXT. BIG CLIFF'S - DAY And we see that the man is actually hanging upside down from a bungee cord. Get it. There, the Transition is an important tool. It would have been boring to read: They walk off into the sunset. EXT. BIG CLIFF'S - DAY Bob hangs upside down from a bungee cord. It's not even worth describing what the different transitions mean since they're all directorial phrases (you can find them in editing books and directing books) and since so many of them are obvious and part of our colloquial speaking. If you really need a Transition, type whatever you like to best communicate the effect you want. There only two Transitions that you definitely want to use in every script: FADE IN: and FADE OUT. Start every script with FADE IN: and end every script with FADE OUT. (notice that it ends with a period, not a colon). Formatting Transitions are 5.5" from the left edge. They are uppercase and end with a ":" except the last FADE OUT. The first FADE IN: is a special Transition that has the same left margin as your Action, 1.5" from the edge. Dual-Column Dialogue Definition Dual-Column Dialogue (or Dual-Dialogue) is used to indicate two characters speaking simultaneously. Description Dual-Dialogue looks like this: MIKE BETH I'm singing in the rain... Stop it please, you're going Just singing in the rain... to make me crazy with your What a glorious feeling... damn singing! I'm happy again. (humming, now) VINNIE (O.S.) Hmm-hmmmm-hmm-hmm-hmm-hm... Could you shut the hell up! Hmm-hmmmm-hmm-hmm-hmm-hm... Some of us are trying not to Hmmm-hmmm-hmmmm-hmm-hmm-hmm vomit here. Hmm-hmmmm-hmm-hmm-hm. The essence of this is simple. Just two columns with normal Character Name, Parenthetical, Extension and Dialogue pieces in them. Remember, the idea here is when you have two (or more) characters speaking at the same time, saying different things. If you have more than one character speaking over another, just type it like the above. Which character is in which column is up to you. If example above, it makes more sense to have the singing in the left column since the people in the right column are reacting to it (the reader will see the singing first, and then read the reactions... you probably did that yourself, yes?). There will be situations where this is reversed based on the effect you're trying to create. If you have a character talking and, in the middle of his dialogue, you want someone else to start chatting away, just split up the first character's dialogue like this: ZELDA Like I was saying to Marty, Marty, I said, what's a guy like you doing in a retirement community like this? ZELDA IRIS (continuing) Oh, that Marty, what a And Marty, he says, Zelda, catch he is. If I still Marty says, I don't get had the you know what... it myself. I'd you know what. Formatting Dual-Dialogue margins are a bit narrower than standard Dialogue margins. For the first column, the Character Name starts 2 3/4" from the left, Parenthetical margins are 2 1/4" from the left and 4.5" from the right, Dialogue margins are 2" from the left and 4" from the right. For the second column, the Character Name starts 5 3/4" from the left, Parenthetical margins are 5 1/4" from the left and 1 1/4 from the right, and Dialogue margins are 5" from the left and 1" from the right. There is one blank line before the first Character Name in Dual-Dialogue (just like a regular Character Name). Act Numbers Definition The Act Number indicates what Act you're in. It can indicate the beginning of a new act or the continuation of the current Act. Act numbers are usually only used in Sitcom or Play scripts. Description Act Numbers look like this: ACT II ACT THREE ACT 4 The numbering style you use depends on both your taste and/or the style in use by the show for which you're writing. In other words, if you're writing a "Murphy Brown" script, use the numbering style that they use (more about this in Give 'em what they want There are a couple of other acts that don't have numbers but, instead, have names. If you have these, there will be no more than one before Act 1 that might be called TEASER, COLD OPENING, or PROLOGUE. There might also be one following the final act called EPILOGUE or TAG. In a sitcom, a teaser, or cold opening takes place before the first commercial break and the tag takes place after the last commercial. Both of these parts of the script don't have anything specifically to do with the story and could be removed from the show (which is often what happens when a show gets syndicated so that the syndicators can squeeze in more commercials). The prologue and epilogue occupy the same place at the beginning and end of the show, but are an integral part of the story. See what the show's standard for using these are before you decide you need to use them. Some shows only want you to put the Act Number on the first page of a new act. Others want you to put it there and on the first page of each new scene within the act (see Scene Numbers). Typically, there is only one scene in a Prologue, Teaser, Cold Opening, Tag, or Epilogue. Similarly, some shows want you to indicate the ending of an Act by typing something like: END OF ACT 5 END OF TEASER That would be the last line of the page, then, the top of the next page would be the next act. Formatting Act Numbers are uppercase. Center them horizontally on the page. For a new act, put the Act Number 2" from the top of the page. Start each new Act on a new page. The End Of Act indicator is also centered horizontally and uppercase. Put two blank lines between it and the last line at the end of the act. If a show uses letters instead of numbers for each act, it typically will not use certain letters. Most commonly, shows will not use the letters "i" or "o" because the capital versions of those letters look too much like the numbers one and zero. Scene Numbers Definition The Scene Number indicates that you're starting a new scene. Scene numbers are usually only used in Sitcom or Play scripts (in film scripts that are in production, the Scene Heading will be numbered, but that's a different story -- see Numbering?). Description Scene Numbers look like this: SCENE II SCENE THREE SCENE 7 SCENE P The numbering style you use depends on both your taste and/or the style in use by the show for which you're writing. In other words, if you're writing a "Cybill" script, use the numbering style that they use (more about this in Give 'em what they want.) Sometimes you will repeat the Act Number above the Scene Number like: ACT V SCENE 2 Then, the next scene is: ACT V SCENE 3 Some shows start renumbering the Scenes for each act, others let the Scene Numbers just continue to add sequentially. For example, this: ACT SIX ACT SIX ACT SEVEN SCENE D SCENE E SCENE F versus: ACT SIX ACT SIX ACT SEVEN SCENE D SCENE E SCENE A Like you would with Act Numbers, sometimes you will indicate the end of the Scene by putting END OF SCENE X at the end of the previous scene. Formatting Scene Numbers are uppercase and centered horizontally. If the Scene Number follows the Act Number, put one blank line before the Scene Number. Otherwise, put the Scene Number 2" from the top of the page. Start each new scene on a new page. If a show uses letters instead of numbers for each scene it typically will not use certain letters. Most commonly, shows will not use the letters "i" or "o" because the capital versions of those letters look too much like the numbers one and zero. If you have more than 26 scenes, start numbering from the 27th like this: AA BB CC DD EE FF, etc. If you use an End Of Scene indicator, put 2 blank lines between it and the last line of the previous scene. When both an Act and a Scene end, just use the End Of Act indicator. Cast List Definition The Cast List is used in Sitcom scripts to indicate which characters are speaking and appearing in the following scene. Description Cast Lists are on the line following Scene Headings and look like this: INT. JERRY'S APARTMENT - DAY (JERRY, ELAINE, GEORGE) SPACE - NEAR THE QUADRANGLE BORDER (DR. CONNER, MARCUS, JERRY, ELAINE, GEORGE) Check the format used for the show you're writing for the exact formatting specifics. The variations you'll see in Cast Lists include whether the list is in order of appearance or importance and, based on the above, whether the list shows speaking characters first, then non-speaking characters. Formatting The Cast List is on the line directly below a Scene Heading, enclosed in parenthesis, with the same margins as the Scene Heading. The specific show will determine if the Cast List should be uppercase or mixed-case and if there's a specific order they want you to use for the characters in the list.

Screenpaly

What is a Screenplay? In the most basic terms, a screenplay is a 90-120 page document written in Courier 12pt font on 8 1/2" x 11" bright white three-hole punched paper. Wondering why Courier font is used? It's a timing issue. One formatted script page in Courier font equals roughly one minute of screen time. That's why the average page count of a screenplay should come in between 90 and 120 pages. Comedies tend to be on the shorter side (90 pages, or 1 ½ hours) while Dramas run longer (120 pages, or 2 hours). A screenplay can be an original piece, or based on a true story or previously written piece, like a novel, stage play or newspaper article. At its heart, a screenplay is a blueprint for the film it will one day become. Professionals on the set including the producer, director, set designer and actors all translate the screenwriter's vision using their individual talents. Since the creation of a film is ultimately a collaborative art, the screenwriter must be aware of each person's role and as such, the script should reflect the writer's knowledge. For example, it's crucial to remember that film is primarily a visual medium. As a screenwriter, you must show what's happening in a story, rather than tell. A 2-page inner monologue may work well for a novel, but is the kiss of death in a script. The very nature of screenwriting is based on how to show a story on a screen, and pivotal moments can be conveyed through something as simple as a look on an actor's face. Let's take a look at what a screenplay's structure looks like. The First Page of a Screenplay While screenplay formatting software such as Final Draft, Movie Magic Screenwriter, Movie Outline and Montage frees you from having to learn the nitty-gritty of margins and indents, it's good to have a grasp of the general spacing standards. The top, bottom and right margins of a screenplay are 1". The left margin is 1.5". The extra half-inch of white space to the left of a script page allows for binding with brads, yet still imparts a feeling of vertical balance of the text on the page. The entire document should be single-spaced. The very first item on the first page should be the words FADE IN:. Note: the first page is never numbered. Subsequent page numbers appear in the upper right hand corner, 0.5" from the top of the page, flush right to the margin. Screenplay Elements Below is a list of items (with definitions) that make up the screenplay format, along with indenting information. Again, screenplay software will automatically format all these elements, but a screenwriter must have a working knowledge of the definitions to know when to use each one. Scene Heading Indent: Left: 0.0" Right: 0.0" Width: 6.0" A scene heading is a one-line description of the location and time of day of a scene, also known as a "slugline." It should always be in CAPS. Example: EXT. WRITERS STORE - DAY reveals that the action takes place outside The Writers Store during the daytime. Subheader Indent: Left: 0.0" Right: 0.0" Width: 6.0" When a new scene heading is not necessary, but some distinction needs to be made in the action, you can use a subheader. But be sure to use these sparingly, as a script full of subheaders is generally frowned upon. A good example is when there are a series of quick cuts between two locations, you would use the term INTERCUT and the scene locations. Action Indent: Left: 0.0" Right: 0.0" Width: 6.0" The narrative description of the events of a scene, written in the present tense. Also less commonly known as direction, visual exposition, blackstuff, description or scene direction. Remember - only things that can be seen and heard should be included in the action. Character Indent: Left: 2.0" Right: 0.0" Width: 4.0" When a character is introduced, his name should be capitalized within the action. For example: The door opens and in walks LIAM, a thirty-something hipster with attitude to spare. A character's name is CAPPED and always listed above his lines of dialogue. Minor characters may be listed without names, for example "TAXI DRIVER" or "CUSTOMER." Dialogue Indent: Left: 1.0" Right: 1.5" Width: 3.5" Lines of speech for each character. Dialogue format is used anytime a character is heard speaking, even for off-screen and voice-overs. Parenthetical Indent: Left: 1.5" Right: 2.0" Width: 2.5" A parenthetical is direction for the character, that is either attitude or action-oriented. With roots in the playwriting genre, today, parentheticals are used very rarely, and only if absolutely necessary. Why? Two reasons. First, if you need to use a parenthetical to convey what's going on with your dialogue, then it probably just needs a good re-write. Second, it's the director's job to instruct an actor on how to deliver a line, and everyone knows not to encroach on the director's turf! Extension Placed after the character's name, in parentheses An abbreviated technical note placed after the character's name to indicate how the voice will be heard onscreen, for example, if the character is speaking as a voice-over, it would appear as LIAM (V.O.). Transition Indent: Left: 4.0" Right: 0.0" Width: 2.0" Transitions are film editing instructions, and generally only appear in a shooting script. Transition verbiage includes: CUT TO: DISSOLVE TO: SMASH CUT: QUICK CUT: FADE TO: As a spec script writer, you should avoid using a transition unless there is no other way to indicate a story element. For example, you might need to use DISSOLVE TO: to indicate that a large amount of time has passed. Shot Indent: Left: 0.0" Right: 0.0" Width: 6.0" A shot tells the reader the focal point within a scene has changed. Like a transition, there's rarely a time when a spec screenwriter should insert shot directions. Once again, that's the director's job. Examples of Shots: ANGLE ON -- EXTREME CLOSE UP -- PAN TO -- LIAM'S POV -- Spec Script vs. Shooting Script A "spec script" literally means that you are writing a screenplay on speculation. That is, no one is paying you to write the script. You are penning it in hopes of selling the script to a buyer. Spec scripts should stick stringently to established screenwriting rules. Once a script is purchased, it becomes a shooting script, also called a production script. This is a version of the screenplay created for film production. It will include technical instructions, like film editing notes, shots, cuts and the like. All the scenes are numbered, and revisions are marked with a color-coded system. This is done so that the production assistants and director can then arrange the order in which the scenes will be shot for the most efficient use of stage, cast, and location resources. A spec script should NEVER contain the elements of shooting script. The biggest mistake any new screenwriter can make is to submit a script full of production language, including camera angles and editing transitions. It can be very difficult to resist putting this type of language in your script. After all, it's your story and you see it in a very specific way. However, facts are facts. If you want to direct your script, then try to go the independent filmmaker route. But if you want to sell your script, then stick to the accepted spec screenplay format. Screenplay Formatting Software Screenwriting software makes producing an Industry-standard script simple and straightforward. Programs like Final Draft and Movie Magic Screenwriter put your words into proper screenplay format as you type, letting you focus on a well-told story rather than the chore of margins and spacing. There’s also a wide spectrum of outlining and development software at the ready to help you get your thoughts together before you begin writing. Popular story development software includes Dramatica Pro, a step-by-step guide to the storytelling process, Contour, a character-based structuring system, and Save the Cat!, a program centered on successful screenwriter Blake Snyder’s own proven methods. And if you want a program that combines story development and formatting? Check out Movie Outline, an all-in-one development package that uses step outlining to build your story, scene-by-scene, and Montage, which includes both outline and submission tracking functions. Script Presentation and Binding Just like the format of a script, there are very specific rules for binding and presenting your script. The first page is the title page, which should also be written in Courier 12pt font. No graphics, no fancy pictures, only the title of your script, with “written by” and your name in the center of the page. In the lower left-hand or right-hand corner, enter your contact information. In the lower left-hand or right-hand corner you can put Registered, WGA or a copyright notification, though this is generally not a requirement.

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Abhinaya

To the cognoscente, its comprehensive treatment of artistic experience, expression and communication, content and form, emerges from an integral vision that flowers into a many-branched tree of all Indian arts. Among them, all eight recognised classical dances invariably draw on Natya Shastra to lay down four veritable tenets: eloquent facial expressions (satvik abhinaya); well-defined movements of the limbs and torso (angik abhinaya); foundation in musical narrative and mnemonics (vachik abhinaya); and supportive props, decorations, jewellery and costumes (aharya abhinaya).

Body Division -

The entire body is divided as Anga, Pratyanga and Upaanga. Pratynaga and Upaangas should move along with the Angas. Anga: Head, Hands, Chest, Waist, Bottom, Legs - are the 6 Angas. Sometimes Neck also included. Pratyangas: Shoulders, Arms, elbow , Stomuch, thighs, Knee are the Six Pratyangas. Some people include Wrist and Ankle also Upaangas: Sight, Eyebrow, Eye lids, Eye balls, Cheeks, Nose, Gums, Lower Lip, Teeth, Tongue, Chin and Face are the 12 Upaangas. Few people include Heels, Fingers, Feet, Palm also into upaangas. Angik Abinaya divides in 3 parts : [1] Sharira [2] Mukhaj [3] Cheshtha Sharira Abhinaya includes - Bheda: Head Movements – शिरोभेदा Chest Movements - Vakshya Bheda Neck Movments - Greevabheda, Waist Movements - Paarshva Bheda Bottom Movements - Kati Bheda Hasta Bheda - Mudra - For more details click here Paad Bheda - For more details click here Uru Bheda Udar Bheda Jangha Bheda Mukhaj Abhinaya: Eyes Movements - Drusti bheda Tara Bheda Bhru Bheda Nasika Bheda Adhar Bheda Hanu Bheda Vadan Bheda

8 Rules Every Actor Should Know

Learn Your Craft: Too many people think that acting is easy. Just like any art form, acting is a craft and must be mastered. Take acting classes, watch other actors and take the time to hone your craft. There are a number of top tier actors who make a point of working with acting coaches to be sure they remain at the top of their game. You can never know too much. Never Be Late: This might seem obvious, but there are hundreds if not thousands of actors out there who simply can’t tell time. Casting sessions are usually just a few minutes and are scheduled at odd times like 7:25 or 6:50 on purpose. Be early or don’t bother showing up. Patience weighs thin at a casting session and few things will hurt your chances more than being late. Know Your Lines: Again, this might seem obvious, but there are too many actors who learn a few of their lines and then try to “wing it” and fail miserably. Spend time preparing your lines. Prepare not only what you’re going to say, but how you’re going to say it. Don’t Rewrite Your Lines: Never, ever, ever say something other than what’s in the script. There’s no better way to offend a writer then to come up with your own lines. If you want to write your own dialogue, then become a writer. Listen, Listen, Listen: I repeated this one three times because I’m hoping you’re listening. Listen to what you are being told. Sometimes the casting director or writer or director will give you a bit of direction prior to the audition or during the audition on a particular line. Listen to what they’re saying and take the time you need to process it. If it’s during an audition, more often than not, they will be happy to give you a few minutes to incorporate the new direction into the lines. So ask for it if you need it. Make Sure Your Headshot is Accurate: There are few things more annoying then getting a headshot that looks nothing like the actor who shows up. Be sure your headshot accurately portrays who you are now. If you’ve gained weight, cut your hair, gotten a few years older then make sure your headshot shows this. Your headshot won’t be the one getting the job and you certainly won’t either if you look completely different than what people were expecting to see. Commit!: Actors who genuinely commit to a reading are fun to watch. They literally transform themselves into a character. By committing fully to the reading, you will not only dissolve any nervousness, you’ll show the decision makers that you should be considered because you can play the part with a genuine passion. No Excuses!: So, you couldn’t learn your lines because you lost your power? Too bad. You were an hour late because you were stuck in traffic? Aw, sorry. You had to rush your dog to the vet and didn’t get the script? Better luck next time. The fact is no one cares that you had any of these incidents crop up. Life happens and sometimes things go wrong and in a normal world, this might be taken into consideration. But know that no matter what excuse you think you have to get you out of a particular situation, there are dozens of other people happy to take your place. Being an actor is not the easy life it may seem. There are often long periods of financial insecurity, huge amounts of competition along with multiple forms of rejection that make the overall process that much more difficult. But many actors will never succeed simply because they ignore some of the most basic elements and can’t get out of their own way. Give yourself the best chance at success by following these eight simple rules and you’ll quickly find that you’re already ahead of the game.

9 Ways To Be an Acting Warrior

o have a successful acting career you need to understand both the outer and inner game. Presenting yourself to the industry with courage and style, having great marketing tools, and excellent audition skills is only half the battle. That’s the outer game. You have to work on the inner game, and that's harder than going to an audition or getting a new headshot. You are confronted daily with messages from friends, family, strangers, and you can't allow their doubt, confusion and ignorance about your career, talent, goals and passion to interfere. You need to develop a warrior mindset. Like anyone under attack in a war, you fight back. Create your own inland security and an army of tactics to defend yourself. Finding a marketing/career coach to guide and support you is like hiring a general to lead your successful military campaign so your campaign as an actor will succeed! Then, recognizing the enemy is the next. Friends who mean well but consistently point out that “you're not getting acting work!" or "something must be wrong” or "maybe you should consider another career” or “why don't you go back to school or get your Master’s" aren’t really friends. When anyone urges you to give up your dream – even if they have all the good intentions in the world – recognize it for what it is: an attempt to manipulate, intimidate, and frighten you out of your goals. That is the kiss of death. You have to follow your dream and your own path. What else is your life for? Live it! Besides, security is an illusion in these times. More Phds, MBAs, and BAs in secure 9-5 jobs in other professions are being fired. Where is their security? As you follow your own artistic path, wear blinders to the negative energy. Become a warrior! Follow these nine steps and win your battles. 1. Set your boundaries. Family or friends giving you grief? Have a conference with them, state your position, and move on. “This is what I'm doing. Thanks for your advice but, stay out of it!" 2. Find a support group. Get together with likeminded actors and share what you accomplished and what you’re learning along the way. 3. End negative relationships. Say to those people who are bringing you down, “If you can't accept my life choices, I don't wish to have you as a friend, because you aren't one! True friends accept and support!” Do not hang out with losers, complainers, whiners, or perpetual students who are afraid to go out, actually audition and get the work. 4. Put distance between you and family members who don’t understand. There is no law or compelling reason to take abuse from or allow a relative to bully you. You had the courage to become an actor. Have the courage to shun those who would harm you psychologically. 5. Fight the enemy within. Holding on to neurotic self-doubt, fear, and anxiety? You need to defeat it and all negative emotions. Those emotions will kill you and your career. Recognizing any negative emotion, especially fear within yourself is the first step. Facing it will begin to release and dissolve it. There's nothing to be afraid of. Train yourself to think positively. Say affirmations in the present tense like, "I am a successful actor. I am attracting great roles. I am making a fantastic living as an actor!" 6. Keep perfecting your craft and marketing your skills. A career coach can keep you on track and remind you to never give up. She'll help you find others who can teach you to be the best you can be! Always seek out the great teachers, performers, and role models. You are as successful as the five people with whom you spend the most time. Choose carefully! 7. Keep your sense of humor. Those who laugh a lot live longer and survive almost anything. If we laughed at all the tyrants in the world, they wouldn't have any power over us. 8. Find a team of professionals who like you. It may be made up of your agent and your manager, but also include a personal trainer, a hairdresser, a massage therapist, a running partner, a yoga teacher, your photographer, and a marketing coach. Stay in touch with your team and keep improving your health, your image, your attitude, and positive mental state. That's your inner game. You will then attract work and a successful career because people will want to be around you! 9. Create a plan. Follow It! Without one, you aren't going anywhere. When you have goals, deadlines, and a structure in your life, you flourish. A career coach can help you create a plan that is both realistic and creative. Then, you can live the life you've always imagined. As the founder and executive director of The Actors's Market, Gwyn Gilliss provides free monthly info seminars, agent/casting director interview tele-seminars, weekly marketing tips, as well as many coaching programs to help actors break into both the NY and L.A. industries. Gwyn has tremendous success with her private career coaching clients. More than 90 percent get agent representation launching their careers with performances in feature films, Broadway productions, and Emmy-award-winning primetime TV series, such as "The Good Wife," "White Collar," "Grey's Anatomy," "NCIS," "House," "Law & Order," "30 Rock," "Criminal Minds."

WHAT IS ACTING?

This is a question I ask each new acting student at the beginning of class. I get every type of answer one can imagine; from "Being someone else", Playing a character," to "Being real". So far no one yet has gotten it right. I ask them next; "WHAT IS A NOVEL?" After a few hints they eventually say; "A story?" Then I ask; "If a novel is a story, then what is a stage play?" They hesitatingly answer; "A story." "WHAT IS A SCREEN PLAY?" They answer; "A story." And what is a commercial? They answer; "A mini story." "If all these things are stories, then who is telling the story?" "The actor?" "Wrong." "The writer?" "Wrong." "The characters?" "Bingo". The story is told by the characters and since we, as actors, are portraying (acting as, not like) the characters, could we not say that acting is storytelling? The look that comes over their faces when they figure out what acting really is, is classic, it should be photographed. (I'll do that one day) ACTING IS STORYTELLING: Is, always has been and always will be. That bears repeating: ACTING IS STORYTELLING; is, always has been and always will be. THE DEFINITION: When actors realize what acting really is and what it's all about, I can see the light come on in their eyes at the simplicity of it. Acting is Storytelling. Storytelling is the oldest form of communication/education/healing in the history of mankind, dating back to the "storyteller" (the shaman) around the campfires of prehistoric or primitive villages. The stories painted or drawn on the walls of caves in petroglyphs, on animal skins and in the oral tradition, were man's first form of education, communication, entertainment and healing, far predating the written word. THE "ORAL TRADITION": The Twelve Tribes of Israel used the "oral tradition" for centuries in passing down the parables of the Creation and Noah's Flood. It was not until King Solomon decreed that these stories be written down, that we had any records from which much of the "Old Testament" was taken. We, as actors, have a responsibility to carry on this tradition, yes, in fact, mankind has a "need" for "storytellers" that is almost as great as his need for love. HOW DO YOU TELL THE STORY? The actor must first know the story; in fact, under The Millennium System©, knowing the story is the New Age Actor's first responsibility. [Notice I did not say "plot"; there is a great difference between story and plot.] He must know each event down to the tiniest detail in proper sequence (all stories have a sequence of events; one thing happenend first, one thing happened second, etc.). He then must create his character. Stories are told by and through the characters by visualization and by coloring the events with emotions. "ACTING WITHOUT EMOTIONS IS LIKE AN EAGLE WITHOUT WINGS." AN ART FORM: Acting, (Storytelling) as an art form, is evolving and freeing itself from the dogmas, rituals, routines and authorities of the past. Stanislaviski's Method, Meisner's Technique, Chekhov's Approach and the other psycho-intellectual forms of acting have become antiquated, limiting, cumbersome, ponderous, clumsy, stiff, dangerous to the actor, confusing, basically ineffectual and stifling to creativity. (Other than these problems, the old methods are probably all right.) OLD METHODS: In these old methods, (which were based on audience tastes and preferences at the time; theater has always been an extension of a culture's attempt at self analysis) things were done according to formula, the "guideposts", or "gote sheet" (gag... puke), even to the archaic planning of gestures or movements and the choreographing of emotions. Choreographing of actions, gestures and/or emotions (choices), to me, is like painting a picture "by the numbers", it is not "creating" and playing the moment. I was originally trained in the "Method", in college, but soon abandoned it for Meisner and eventually trying or experimenting with most of the other so-called psyco-intellectual forms that evolved from the "Method" in my thirty year career (so far) as a professional actor; I like to say, "been there, done that, got the 'T' shirt and now I wash my horse with it." PATTERNS of EXPRESSION: Today, the actor or creative artist, must work out his own uninhibited patterns of expression, get out of his head, create his character, play and stay in the moment. He should never negate or resist an impulse of the character; all lines (or the emotional content thereof) of dialogue will cause the character to (a) stand still; (b) move back; or (c) move toward. The movements (toward or back) may be half an inch or half a mile; even if it is infinitesimal, especially on film, it is a byproduct of listening and responding to the other character's dialogue/action or your own character's. "Listening is the single most important thing an actor can do during a performance." - (Meryl Streep) "Don't listen to the words, listen to the person." - (Jack Lemmon) DIRECTORS: Directors are learning (at least some are) that they get better performances "when they set actors free, to give them openendedness (freedom to explore); create a space, or perimeter, where actors feel empowered and have room to let go and enjoy letting their creative juices flow." (James Cameron) Every major actor I know or seen interviewed, has stated that they preferred a director who understands the acting process and allows them the freedom to create. A Director should tell the actor what he wants from the character, supply the vision, not how to do it. He is not there to give acting lessons; film making can cost twenty thousand dollars an hour and up (way up), he does not have the time. "I don't look for a puppet or someone to recite the lines when I cast, I look for actors who can bring something special to the story, hopefully something no one has thought of yet. I look for creativity." - (Ron Howard) The professional actor must commit his creative responsibility to the story and to the character. CREATING CHARACTERS: The actor, after learning and knowing the story, starts to create his character beginning with the given circumstances as supplied by the writer, inserting his own given circumstances, (visible physical characteristics he cannot change; height, weight, race, etc.; notice I did not say "gender", we have men playing women and women playing men, makeup does wonders) then creating a comprehensive BACK STORY of the character. Second only to knowing the story, the BACK STORY is the most important responsibility of the actor. Repeating: the BACK STORY is the second most important responsibility of the actor. With it, he creates a character that is anyone but himself, it is always a fantasy character from a creative imagination that is based on someone else. You can shape your character to anything your imagination can deliver. "A man isn't an actor until he commands a technique which enables him to get an impression across into the heart of an audience without reference or relation to his own individuality. The better the actor, the more completely is he able to eliminate the personal equation." John Barrymore - On the flip side; the poorer the actor, the more he must rely on his own personality (personal equation) in his attempt to tell the story. PREPARATION: The most important steps in acting lie in preparation. IN PREPARATION. It is the key to good acting; learning the story, researching and creating the character and lastly, learning the dialogue. All of these things must be done before you can even approach the stage or set. The actor cannot begin to "eliminate the personal equation" in the absence of preparation. There can be no creation in the absence of preparation. There can be no true performance.... in the absence of preparation. "Once the Casting is Done, the Art Belongs to the Actor." -Robert Altman-

10 Lessons in Film Acting from Michael Caine

1) When speaking to an actor off-camera, look into one eye and stick with it. 2) Film acting is, in large part, reacting and listening. 3) While rehearsing something with a fellow actor, if a crew member can come up and recognize you’re rehearsing vs. having a real conversation, then you aren’t doing it right. 4) An actor relaxes in front of the camera by concentrating, and knowing that you have no enemies on set, everyone’s on your side and doing their best to make you look your best for the movie. 5) The camera catches everything you do, so don’t be afraid to play things subtley. 6) If you’re going to smoke on-screen, you must plan it absolutely perfectly, don’t mess up the continuity. 7) All actors steal certain gestures and behaviors from other actors — but the best actors make these gestures their own. Steal from the best, and make it your own. 8) You can make four pictures as an actor in the time it takes a director to make one — so if you’re an actor planning on becoming a director, consider the financial aspect. 9) A majority of movie acting is relaxation. If you’re knocking yourself out, you’re doing it wrong. 10) Theater acting is an operation with a scalpel, movie acting is an operation with a laser.

11 Essential Film Techniques

1. Over-the-shoulder shots Over-the-shoulder shots are just what the name says: a shot with an actor’s shoulder in the foreground, out of focus. I will tell you right away that good over-the-shoulder shots are some of the most time-consuming to shoot correctly, because you need to make sure that there is neither too much nor too little shoulder in the frame. However, in my opinion no serious filmmaker can afford not to learn this technique because it is narratively essential in many cases. Some directors openly say that they never shoot over-the-shoulder shots precisely because it takes ages to get the look they want and frequently can’t do it at all, but in my opinion they are missing out. From a narrative point of view, over-the-shoulder shots draw the viewer in by creating a sense of intimacy, depending on how much of the screen area the shoulder in the foreground occupies. As I wrote above, the key to making the shot work is to get exactly the right amount of shoulder in the shot. The way to do this is to work with the actor over whose shoulder you are shooting to make sure that he/she is leaning into the shot by exactly the right amount. It takes practice, and is one of those uncelebrated but essential film techniques that even the most experienced directors don’t always have. I always take my time to frame the perfect over-the-shoulder shot in my work and it is worth the effort, and the actors appreciate the final results. 2. Tilt shots Tilting up or down is one of the simplest camera techniques there are. Due to its simplicity it tends to be overused and/or poorly executed. The truth is that well-executed tilting, combined with some interesting action and with perfect coordination between the camera operator and the action, can be incredibly elegant in their simplicity. If you want to see further examples of tilt shots and the circumstances that make them appropriate, check out pretty much any film by Steven Spielberg, especially “Schindler’s list.” Recommended best practices for the execution of good tilt shots: - Set up the shot in such a way that you can tilt straight up or down, without mixing it with panning. If you can set up the shot in this way, you can lock off the panning axis of your fluid head so that it can only tilt and not pan. This will make the tilt shot very pure and elegant. Obviously there are certain circumstances in which tilting combined with panning — a diagonal movement — is the best option. What I’m saying here is that you should not mix tilting with panning just because you failed to set up the shot properly. If you are tilting up or down to move from one subject to another along the vertical axis, set up the shot in such a way that you can execute it with the panning axis completely locked off. - Tilt shots (and panning shots) should be executed smoothly and confidently, without overshooting the final frame and then backtracking clumsily to re-establish framing, unless of course you actually want that look. It is perfectly possible to do a whip-tilt — a very fast tilt from one framing to another — with an instant lock-off and very precise framing, but you will need a highly competent and experienced camera operator. For ambitious film work, experienced camera operators are worth every penny and essential to realizing the director’s vision. 3. Panning shots Panning the shot is the horizontal equivalent of tilt shots. Like tilt shots, panning shots are conceptually simple and therefore usually overused and/or poorly executed. Exactly the same best-practice considerations made for the tilt shots apply to panning shots: try and design them in such a way that you can lock off the tilt axis in order to keep the panning pure, and hire a competent camera operator, especially if your shots require precise timing and framing accuracy. Once again I will refer you to any of Steven Spielberg’s films as an excellent source of well-executed panning shots, that are so well-motivated and well-executed as to be almost unnoticeable (because they draw you into the story as opposed to distracting you from it). 4. Zoom shots Zoom shots are extremely cool if you get them right and successfully blend them into your directorial style. Zooming was massively out of favor in the 1990s, and enjoyed a revival when Ridley Scott’s career really took off in the early noughties with “Gladiator” and “Hannibal,” both of which have outstanding examples of Ridley-Scott-style zoom shots. The way to make zoom shots truly effective and “creepy” is to make them absolutely smooth and not too fast. If you’re wondering how Ridley Scott achieves his distinctive zoom shots, that is how it’s done. If the zoom is jerky, you will get the cheesy 1970s look. Ridley-Scott-style zoom shots are incredibly cool, and you should never let a film school professor or anyone like that dissuade you from experimenting with them. Remember that you cannot become a truly competent filmmaker without making some cheesy mistakes in your early efforts! 5. Tracking shots: sideways camera movement Setting up tracking shots is more complicated than setting up tilt or panning shots, but ultimately anyone can mount the camera on a dolly and moved the dolly along tracks. Moving the camera on the dolly does not a great tracking shot make — it takes a little more directorial flair than that! Here are some recommended best practices based on my own experience and on the many films I have watched: - For a truly visually dynamic tracking shot, foreground objects located between the camera and the main subject are essential. Foreground objects will enhance parallax, which is the visual effect in which objects closer to the frame appear to be moving faster in the field of view than those that are more distant. Check out any sideways tracking shot in a Steven Spielberg movie and you will notice this effect. - Due to the parallax effect, anything behind the subject in the distance will be moving across the frame more slowly and therefore contribute less to the feeling of motion. A notable exception is very fast sideways tracking shots in which the camera is mounted on a process vehicle following another car or someone on horseback, for example. Due to the very fast tracking, a very nice effect is achieved whereby the various planes in the background move at different velocities across the screen due to their varying distance from the camera. The perfect example of this is the shot in Ridley Scott’s “Gladiator” in which he was galloping at full speed across barren Italian countryside on his way back to Rome. There are no foreground objects in the shot, but the feeling of motion is enhanced by the background of the shot. Pay attention the next time you watch the scene and you’ll never see it in the same way again! - For truly professional results, there is simply no substitute for using a real dolly (such as the PeeWee dolly) operated by a professional dolly grip. I have used both lightweight “prosumer” dollies like the Doorway dolly and heavy professional dollies like the PeeWee, and I’m telling you that there is simply no comparison, especially in the hands of a talented dolly grip! - Again, there is more to shooting good tracking shots than simply moving the dolly with the camera on it. By all means experiment with lightweight dollies on your early films, but sooner or later you will have to move on to a PeeWee-like dolly if you really want the results you hope for. - The choice of focal length is very important in tracking shots. There is a misconception that only the widest lenses should be used in tracking shots, but this is quite simply untrue. Even Steven Spielberg, who is undoubtedly the master of wide lenses, frequently uses long lenses in his tracking shots. If you do not understand the effect of focal length on the look of the shot, you really need to read my post on how to learn camerawork and develop your own visual sense. 6. Crane shots Cranes are used to achieve vertical translational motion. Whenever you see the camera moving up or down by more than a few feet in a film, it was done with a jib or crane. The bad news is that cranes are expensive and require specialized operators; the good news is that they are rarely needed and almost never indispensable. Nevertheless, well-executed, well-motivated crane shots can add production value to a production and can definitely improve your reel if they were used to enhance the storytelling rather than to show off random skills. For camcorders and cameras up to 25 pounds, the Cobra Crane II is very affordable and produces amazing results (I shot the example above with a Cobra Crane II). If you’re interested, you should check out my Cobra Crane II review. My personal opinion is that you should focus your budget and your energy on shooting really good tracking shots, as they are needed much more frequently than crane shots and don’t cost as much to execute. 7. Track-in shots In a track-in shot the camera moves in on the subject. For best results a Dolly should be used: a Steadicam is really not suited to this kind of shot, unless the ground is uneven and there is no other viable option. The example above was filmed using a dolly. 8. Track-in shots with secondary foreground object A variant of the clean track-in shot involves a foreground object. The significance of this foreground object is that, since it is closer to the camera than the main subject, it increases in size faster than the main subject as the camera moves in. This gives the shot an enhanced three-dimensional illusion. As with all foreground objects, this shot works best when the foreground object is out of focus. The example shown above is taken from a TV spot I directed, and the foreground object in this case is a computer screen. 9. Over-the-shoulder track-in shot Example of the over-the-shoulder track-in shot film technique This combines tracking in on the main subject with an over-the-shoulder framing. The example shown above is taken from a TV commercial I directed. Over-the-shoulder track-in shots work best with medium focal lengths — the example above was filmed with an 85mm Zeiss Ultra Prime lens mounted on a RED One camera. If the focal lens length is much shorter than 85mm, the foreground shoulder will dominate over the main subject; if the focal length is significantly longer than 85mm, the feeling of motion towards the subject is mostly lost. In my experience the sweet spot is a focal length between 85mm and 100mm. 10. Dutch angles A Dutch angle is a shot that is rotated about the camera axis, resulting in tilted verticals. The image below, taken from a music video I directed, is an example of a Dutch angle: Dutch angles are used to elicit a sense of unease and disorientation in the viewer. In music videos anything goes, but in narrative filmmaking, Dutch angles should be used sparingly, reserving them for the rare occasions in which they are narratively appropriate. 11. Mixing focal lengths in a scene to make one character dominate over the other When covering a scene with shots and reverse shots, it is good practice to use exactly the same lens for the two complementary shots. If you use a 25mm lens to frame an over-the-shoulder shot, the reverse shot should also use a 25mm lens. There is one important exception to the rule of using the same focal length for complementary shots. If two characters are talking and you cover the scene with complementary over-the-shoulder shots and you want to make one character look a lot more dominant than the other, you can use a wide lens (short focal length) when shooting over the shoulder of the dominant character, and a significantly longer lens when shooting over the shoulder of the other character. As a result of the short focal length, when you film over the shoulder of the dominant character, he will dominate the frame because he will look much larger than the other character. Conversely, when you use the long lens with the reverse over-the-shoulder shot, the character in the foreground will not dominate the other character, because their relative sizes will be similar (this is because the camera will be further away from them to achieve the same framing, thereby reducing the difference in their relative sizes in the frame). So far I have only seen this technique used in Steven Spielberg’s films. The technique is illustrated below: This technique only works if the two lenses have very different focal lengths: for example, 25mm for the wide lens and at least 100mm for the longer lens. If the difference is slight, there will be enough difference to make it look messy, but not enough to make one of the characters look dominant, so you lose on both counts.

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