If one of the characters was to speak while watching through his binoculars his name in the dialogue part would be followed by (O.S.), which means OFF SCREEN. It shows once more that there is not one single way to go about screenplay format. You may have noticed that Guillermo Arriaga (Babel) uses a different screenplay format for the binoculars than Andrew Kevin Walker (8MM) does.įirst he uses POV (Point Of View) while it was implied in 8MM, and he uses POV as a master scene heading while it was a secondary scene heading in 8MM.ALARID'S BINOCULARS - CONTINUOUS In the distance, we can still see Abdullah, Yussef and Ahmed run across the hills. The trucks stop and Alarid takes out his binoculars. Suddenly, in the distance, over the hills, she signals three tiny dots running up a slope. Alarid, with his hand, signals the driver to follow her directions. POLICE TRUCK - DAY Hassan's wife gives directions. DESERT - DAY The Moroccan police trucks drive down the dusty roads. This is an extract from Babel, screenplay written by Guillermo Arriaga. to take care of the action inside of the car. In this case the screnplay format will usually start with EXT. There are 2 common screenplay formats to show that: We usually first see the car in its environment, then we switch to the occupant(s) of the car and the action taking place in the car. Option 3) Putting the focus on BOTH inside and outside The last 2 examples are from The Bourne Ultimatum, screenplay written by Tony Gilroy, Scott Z. The first 2 examples are from The Italian Job, screenplay written by Donna Powers and Wayne Powers. If the car is moving you use the following screenplay format: THROUGH BINOCULARS The old woman says something to someone we cannot see. Welles takes binoculars off the front seat. At the quaint house, a light comes on in the front picture window. Welles yawns, shaking his head, trying to stay awake. There's a light on in one of the second floor windows, curtains closed. WELLES' CAR - NIGHT Welles still watches the house. This is an extract from 8MM, screenplay written by Andrew Kevin Walker. The master scene heading starts therefore with INT. The car is then considered as an Interior set. In both cases, the character watches the outside world through the window and often in thrillers / crime / action movies through binoculars. we already saw the car in its environment before and you now want to get to what's happening in the car.the activity inside of the car is more important than what we see outside of the car, or.There are again basically 2 reasons to do that: Option 2) Putting the focus on the INSIDE of the car All cock and balls, it stands alone in the lonely cool before dawn. No cars except - A '67 SHELBY MUSTANG GT-500 Silver with deep grill, its sculptured side panels ending in air scoops. The vast Port of Los Angeles is visible in the b.g. Low fog skims the sidewalks below a gray stew of a sky. LONG BEACH STREET - LOWER GRAND - NIGHT The streets are empty. In this example the car is even introduced as a secondary master heading to put emphasis on it. This scene got edited later on, but it illustrates the point: This is the beginning of a draft version of Gone in 60 seconds, screenplay written by Scott Rosenberg. In terms of screenplay format, the master scene heading starts therefore with EXT. In both cases the car is part of the Exterior set. you first want to show the car in its environment before showing what's happening inside the car.the car - and the activity around it - is the object of interest in the scene, NOT what is happening in the car,.There are basically 2 reasons to do that: Your answer to this question determines how to write the car scene. Where do you want to put the focus of the reader? seeing a character / object in the rear mirrorĪsk yourself.taking a gun from the glove compartment.Then some specific car scenes you often see in movies and may wonder what their screenplay format is. Why? simply because most movies have car scenes and it's important to get their screenplay format right.įirst the basic car situations and when to use them. Here is the link to Part 1, where it all started.įormatman, what is this screenplay formatting commandment about? If you missed the introduction to this series of articles, you may want to check it out first. We asked our format expert, Matt, aka Formatman, to lead us through the 10 screenplay formatting commandments.
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