Script format guide from AMPAS
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Script format guide from AMPAS |
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---------- FILE NOTES ---------- Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
- The NICHOLL FELLOWSHIPS in SCREENWRITING
- http://www.oscars.org/nicholl/index.html
- E-mail: Greg Beal, gbeal@oscars.org
File Info: April, 1998 (online)
- http://www.oscars.org/nicholl/format_a.txt
- View in a monospaced font -- preferably 12-point Courier.
Copyright 1998 by the Academy of Motion Picture Arts and Sciences <------------------- FORMAT GUIDE STARTS HERE -------------------> FOR A FEW DAYS MORE by April Rider
April Rider
555 George St. NNW
Kaplan, ND 77777
999-999-9999
[Formatting on-screen is a close approximation.] FADE IN: INT. DRISKILL HOTEL SEMINAR ROOM DAY JOE and APRIL burst through the doors into a clean, well-lit
seminar room.
JOE
Are we in time?
APRIL
How could they start without us?
We're the main attraction.
Joe catches his breath as he leans against the podium at the
front of the room.
JOE
(looking about
the room)
We are?
APRIL
Don't be a moron. You know we've
been invited to Austin to discuss
script format.
JOE
But why is the room empty?
April and Joe both look out across the room -- rows of empty
chairs and nary a person in sight.
APRIL
Okay, okay, don't panic.
She takes three deep breaths. Then she looks at her watch
and smiles.
APRIL
(continuing)
We're an hour early. We should
rehearse.
JOE
Okay, you start. Margins?
APRIL
Left, 1.5 inches. Right, 1.0
inches. Top, 1.0 inches to the
body, 0.5 inches to the number.
Bottom, 0.5 to 1.5 inches,
depending on where the page break
comes.
2.
JOE
Page break?
APRIL
Right above you. There are rules
for breaking a page. Scene
headers remain attached to
description. A single line of
dialogue is pushed to the
following page. A long dialogue
passage would be split -- but
I'll get to that later.
JOE
What about fonts?
APRIL
Courier, 12 point, 10 pitch.
Make sure it's a non-proportional
version of Courier.
Joe's grimace suggests that he's deep in thought. JOE
What about bold-face or italics?
Or a Gothic font? I love to jazz
up my scripts.
APRIL
No bold, no itals, no script
fonts, no Gothic, no Helvetica,
no Times Roman. Stick with
Courier. That's the industry
standard.
JOE
Oh, we're talking about industry
standards?
Suddenly, Joe bolts from behind the podium and runs out into: INT. DRISKILL HOTEL HALLWAY DAY Joe glances up and down the hallway, then reaches back to
open the door.
JOE
(calling)
April -- come on! There's no one
here.
3.
APRIL
(walking through
the door)
Ah, a scene heading. Or a slug
line, as I was taught in film
school. Always CAPPED. What
happens if we . . .
EXT. TEXAS CAPITOL BUILDING DAY Joe pinches himself as he stands with April before the seat
of Texas politics.
JOE
How'd you do that?
APRIL
There was a cut -- from the
hallway to the capitol. What'd
you want to do -- ride in a cab?
JOE
Dialogue margins.
APRIL
Left, 3.0 inches. Right, 2.5
inches. Of course, you can cheat
those a tad.
JOE
So, you have about 3.0 inches for
each line of your dialogue?
APRIL
You've got it. Though you can
go out another three or four
spaces to the right and no one
will hold it against you.
Joe jots down several notes on a 3 x 5 card, studies the
card for a moment, then scribbles another note.
JOE
(looking up)
And the position of the
character's name?
APRIL
All CAPS, and tabbed to about 4.2
inches. Some writers center all
the characters' names.
(MORE)
4.
APRIL (CONT'D)
Personally, I don't think it
matters. The look of the script
pages is slightly different in
either case.
JOE
Hey, what happened?
APRIL
A page break appeared in the
middle of my dialogue. You use
MORE at the bottom of the page
to show that the character's
dialogue continues onto the next
page. Then CONT'D next to the
character to show that it has
roots in the previous page.
JOE
But not everybody uses MOREs and
CONT'Ds, do they?
INT. CAPITOL BUILDING DAY Joe stares up into the dome. April examines the portraits
of Texas governors on the nearby walls.
APRIL
Some writers just plan their page
ends so as to avoid them.
JOE
(considering)
What about parentheticals?
APRIL
Start them about 0.5 inches to
the left of the character name
tab mark. In our case that would
be at 3.7 inches.
JOE
And what are they for?
APRIL
For years, parentheticals were
used to express emotion, the
manner in which a character spoke
her lines. Loudly, passionately,
sadly, and so on. In recent
years writers have often used
them for brief bits of action.
5.
JOE
(going up a
stairway)
Something like this?
APRIL
(following him)
Exactly.
JOE
How wide are parentheticals?
APRIL
Not very -- about 1.5 inches.
And they should wrap to the
following line when they extend
beyond that point.
(pointing up to
the top of the
page)
If you place a parenthetical in
the middle of a dialogue passage,
it should remain distinct from
the dialogue.
EXT. MISSISSIPPI RIVERBOAT NIGHT A gambling boat rolls slowly along the mighty river. April
and Joe wander about its upper deck.
JOE
I have to ask -- what happened
to CUT TO:s between scenes.
APRIL
Many writers still use
transitions such as CUT TO: and
DISSOLVE TO: between scenes.
JOE
Those would introduce a new scene
header?
APRIL
And typically a different time
and/or place. But many writers
have dispensed with such
transitions, feeling that a new
scene header signifies a cut
without the need of any
additional indicator.
Joe stares out at the river.
6.
JOE
How did we reach the Mississippi
and when did the sun set?
APRIL
If you'd like . . .
EXT. AIRPLANE SUNSET A jet liner cruises East across Texas. INT. AIRPLANE SUNSET A customized interior, replete with lounge chairs and sofas.
Joe and April sip margaritas.
JOE
Is this a flashback?
APRIL
Or it could be tomorrow. Or next
week.
TITLE OVER: October 19, 1997 APRIL
(continuing)
You see, a few weeks have passed.
JOE
Okay, I didn't notice. But I
thought only DAY and NIGHT were
allowed on scene headers.
APRIL
Production managers would
certainly prefer it that way, but
many writers use headers as a
means of showing a particular
time of day, especially SUNRISE
and SUNSET.
JOE
So that's allowed?
APRIL
On writer's drafts, without a
doubt.
JOE
A writer's draft?
7.
APRIL
Essentially, any draft that
hasn't been paid for. Any draft
to be sent to agents, studio
execs, production companies,
development people. Those are
writer's drafts. And they all
should be FIRST DRAFTs, no matter
how many versions the writer has
actually written.
JOE
You really think so?
APRIL
That's my recommendation.
INT. BLUE CAMARO DAY April drives along Austin's Congress Avenue as Joe rides
shotgun.
JOE
You speak any foreign languages?
APRIL
(in French)
Why do you ask?
JOE
What about action scenes?
SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards them. APRIL punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a trail of rubber. The Camaro takes
a left, then a quick right to accelerate into --
A DARK ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC pulls into the alley, sealing it shut. 8.
EXT. DRISKILL HOTEL DAY
April leads a dazed and confused Joe to the front door. APRIL
That's one way to do an action
scene. It's a variation on the
Bill Goldman style that's used
by many writers.
JOE
(coming to)
But other writers just use normal
description and standard scene
headers for action scenes, don't
they?
APRIL
Many do.
INT. DRISKILL HOTEL ENTRANCE HALL -- PHONE BOOTH DAY A slightly less dazed Joe speaks on the phone. JOE
I thought we were walking
together.
APRIL (O.S.)
(filtered)
Well, we were, but I realized a
phone call was needed.
JOE
You're filtered?
INTERCUT WITH: EXT. STATE CAPITOL PHONE BOOTH DAY With the dome looming large behind her, April speaks into
the phone.
APRIL
Only when you hear my voice over
the phone. Radio voices and
phone calls often are filtered,
though it's a convention that
isn't used by everyone anymore.
JOE
Let's try something easy. What
about page numbers?
9.
APRIL
Number each and every page,
though you can start with page
two. The numbers should appear
in the upper right hand corner,
about 0.5 inches down and 0.75
inches from the right page edge.
Those dimensions are not set in
stone, but the numbers should
always be placed in the upper
right hand corner.
INT. DRISKILL HOTEL HALLWAY DAY Joe walks slowly towards the seminar room. JOE
You know, that pronouncement
almost seemed godlike.
APRIL (V.O.)
If it were, I probably would have
spoken in a voice over and not
on the phone.
Joe searches the ceiling, trying to decide just where this
disembodied voice is emanating from.
JOE
What's a V.O. used for?
APRIL (V.O.)
Oftentimes for narration, for a
narrator's voice. In film noir
the protagonists often filled the
audience in on their thoughts or
story details. Documentary films
are filled with voice over.
INT. DRISKILL HOTEL SEMINAR ROOM DAY Joe races past April to reach the podium first. April walks
slowly past the still-empty chairs.
At the podium Joe gestures with his hands as if he were
making a major political speech.
April sneaks up behind him and mimics his movements -- until
he notices. Joe spins to confront her.
JOE
Why I ought'a . . .
10.
APRIL
I was just demonstrating the way
many writers break description
into shorter paragraphs. I've
seen blocks of description
covering an entire page.
JOE
That makes for tough reading,
doesn't it?
APRIL
I know studio readers who just
skip long description and read
only dialogue.
JOE
But there are pros who write
scripts with extended descriptive
passages.
APRIL
When you make a half-million or
so per script, you can pretty
much use any format you want.
Joe climbs atop the podium. JOE
But when you're like me, you have
to stick to format. Is that what
you're trying to say?
APRIL
That's the story.
Joe jumps down from the podium and runs out the door just as
conference ATTENDEES begin to enter.
APRIL
(continuing)
By the way, the first time you
introduce a character in
description, you CAP his name.
And when you break dialogue with
description, the standard is to
place "continuing" within
parentheses when a character
chatters on and on.
April watches as a number of people sit down before her.
11.
APRIL
(continuing)
Of course, many writers have
dropped "continuing" from their
repetoire. I mean, it's obvious
that I'm still speaking, isn't
it? And that I never stopped
speaking.
JOE (O.S.)
(shouting from
beyond the door)
Hey, April, c'mon. There's a
buffet at the hotel and a shuttle
leaving in two minutes.
APRIL
(shouting)
We haven't mentioned master
scenes.
A sheepish Joe enters, then glances about the room as he
slowly approaches the podium.
JOE
That one I know. No CLOSE UPS,
no WIDE SHOTS, no shots of any
sort. Just scene headers,
description and dialogue. And no
scene numbers. Those are left
to shooting scripts.
APRIL
Don't worry, I would never let
you miss a meal.
FADE OUT: THE END <-------------------- FORMAT GUIDE STOPS HERE -------------------> [NICHOLL FELLOWSHIPS in SCREENWRITING]
http://www.oscars.org/academy/nichollindex.html
Formatted text courtesy of Ann Garretson
http://www.halcyon.com/aga
Copyright 1998 by the Academy of Motion Picture Arts and Sciences ### |