How To Incorporate A Series Of Shots In A Script

How was Boyhood shot? Was it shot with a pre-set script in mind? Was it shot like a documentary or a conventional film? What if the main characters had grown up to be terrible actors?

Richard Linklater was on Marc Maron's podcast within the past couple of months. He said he had a beginning and an ending, and he knew roughly what beats he wanted to hit for each year of the characters' lives, but for the most part each year's script was written after he'd made contact with the cast to schedule that year's shoot, and in some cases incorporating whatever was going on in their lives (as well as memories from his own life at given ages.)I would imagine that the answer to your second question depends on your idea of how a conventional film is shot. Linklater works with a small crew, doesn't go overboard on the number of takes and likes actors to improvise a little, so in a sense it's probably a bit like the 'fast and loose' documentary style of filmmaking. In reality though, I think that's just low-budget indie films.If the actors had grown up to be terrible at acting... who knows. I know that a handful of critics weren't terribly impressed with the performances anyway, but if they'd been out and out terrible it probably would have been a very different movie. But then, you could say that about almost any film.

What are the types of writing in script writing?

Spec script writingSpec scripts are feature film or television show scripts written on speculation of sale, without the commission of a film studio, production company or TV network.Commissioned screenplayA commissioned screenplay is written by a hired writer. The concept is usually developed long before the screenwriter is brought on, and often has multiple writers work on it before the script is given a green light.Feature assignment writingScripts written on assignment are screenplays created under contract with a studio, production company, or producer.Rewriting and script doctoringMost produced films are rewritten to some extent during the development process.Television writingA freelance television writer typically uses spec scripts or previous credits and reputation to obtain a contract to write one or more episodes for an existing television show. After an episode is submitted, rewriting or polishing may be required.Writing for daily seriesThe process of writing for soap operas and telenovelas is different from that used by prime time shows, due in part to the need to produce new episodes five days a week for several months. In one example cited by Jane Espenson, screenwriting is a "sort of three-tiered system"Writing for game showsGame shows feature live contestants, but still use a team of writers as part of a specific format.Video game writingWith the continued development and increased complexity of video games, many opportunities are available to employ screenwriters in the field of video game design.Fiction Diction

How can you submit a script to Warner Bros for a movie?

The current answers have a lot of merit, although I'd also consider asking yourself this: if you are Warner Bros, and you have upwards of 10,000 new scripts to choose from in order to make 10 movies this year, how will you decide which scripts to make? How will you decide which scripts to not even bother reading?Since the market is flooded with scripts, Hollywood functions by using a series of overlapping filters. Those include credits of previously produced films, agencies, awards, box office success and personal relationships of people who's taste they trust. Anything that beats those filters, earns "heat." Buyers don't have time for cold material. They're heat-seeking missiles.So the answer to your question is: do whatever you can to create heat for your script. First, make sure it's the best you can do right now. After that, possible ways to find heat include: sharing it with influential people (AKA the filter managers like agents, producers, contest judges, etc...). You could make it into a short film that plays a big festival or blows up on YouTube. You could create a rip-o-matic trailer that shows potential and that wracks up major hits...The bottom line is you have to "get it out there" over and over and over and over and over and over and over and over until you find champions for the material. Which may never happen. But make sure you enjoy the ride anyway, so that you're always getting intrinsically "paid."

Why do movie script writers and directors put profanity in their films?

Sometimes it’s gratuitous, sometimes it’s to create a sense of reality — if you’re writing a script about street toughs, “shucks” and “golly” would take the reader/viewer out of the story and seem unrealistic. Sometimes it’s for emphasis, just as it is in real life. Again, even if you’re not a street tough, there are situations where anything less than profanity might seem unrealistic. Granted, a really talented writer can find a way around profanity, but remember this: profanity comes in many shapes and sizes. Donald Trump has not used that much “profanity” in his speeches, and yet during them he has spewed hatred, supported racism and sexism, attacked democracy and war heroes… I can think of nothing more profane than this man or his speech. So consider this: when someone says: “fuck Trump,” is that really profane, or is it a completely appropriate response to a man of his character who is a danger to democracy and America itself? Hm…

When creating a film's shot list, if you're adding a shot-reverse shot conversation which could be done from 2 angles, is there a reason to write that as more than two shots?

There’s no real reason to list it, unless there are specific changes.Typically it would look something like thisWide - Whole scene Bill and Ted seated, talking, at cafe boothMid - Bill for all his lines/reactionsMid- Ted for his lines reactionsOf course that’s a very simple scene. If you have the time it’d be nice to get some variations, and some cut aways.I like to watch the rehearsal,first, and note with the director any interesting motions/movements i see the actors naturally doing. In the bill and ted case, that might be something like playing with thier mugs; or looking off in one direction (which would require 2 shots, 1 of the actor’s look and one of what they’re looking at).But, in the end— it’s your shot-list. You just have to be able to make sense of it and to relay it to the people on set.