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During write a screenplay

During write a screenplay

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FORMAT OF THE SCENARIO. AUTHOR: CLAUDIO Dedola. WEB SITE: CINEUROPA.ORG "He who thinks he can write for the cinema without knowing the technique of writing for film, is mistaken." (Age)

1FIRST LESSON: FORMAT OF SCENARIO In this first lesson, we will review all rules

regarding the formatting scenarios. Having to look straight on this issue we wil l write, today, a few scenes. We talk about the cover page, typography, characte rs used to write the text, formatting standards dialogues, scenes of titles, etc .. In this part, we would not give that light illumination on the background, li ghting designed to understand what enables a text to be a good scenario. The nex t lesson will be of such depth, for highlighting features that transform a text written correctly, the point of view of form, a quality scenario (a scenario tha t is enjoyable to read , with adequate descriptions, dialogue and effective visu al notes can influence the development stage). These two aspects are however not independent of one another. As you see, a correct formatting is the first step towards a precise narrative style and adapted. These formal characteristics are essential to any scenario.

WRITE WHAT YOU SEE
During the writing of a film he must first follow a basic rule. I pound at once,

so that the result is easier to understand.
Write what you see.
1FORMAT OF THE SCENARIO. AUTHOR: CLAUDIO Dedola. WEB SITE: CINEUROPA.ORG

2While writing a screenplay is like the movie ended already parading in your head

. You must close your eyes and describe the images you see (and the sounds you h ear) in your heart of hearts while creating / mind watching this film. Write wha t you see. This rule has two consequences fundamental

1)

The scenario is always written in the present. "Write what you see" can also be interpreted as "write what the audience sees on the screen. You must therefore c omply with the constraints of the tool

Film: the movies only time this is. "If we enter a room while spraying has begun , we are, in fact, impossible to understand if the pictures are marching on the screen is a flashback or not: it is always actions that take place before our ey es and not in our memory "(L. Aimeri). The reader of the script "sees" in real t ime what the camera sees: "A masked man entered a bank, he takes a gun from the right pocket of his trousers, pointing a gun at the cashier and indicates with h is left hand tickets placed on his right. No higher-than-perfect, as you see, ju st this. 2) The script should contain only information that is "filmable. If you r goal is to describe what will appear on screen, you should always ask if what you write can be translated into images. You must constantly ask, after each sen tence that flows from your keyboard, what do I see on the screen at that moment? This would be a mistake to start your script by saying "Rocky is a boxer failed " because the term "failure" is not filmable, it does not provide an adequate re sponse 2

FORMAT OF THE SCENARIO. AUTHOR: CLAUDIO Dedola. WEB SITE: CINEUROPA.ORG
3the question "what do I see on the screen?". It is much better than writing "Roc

ky, a boxer around thirty steps into the ring of a gym shabby suburban gloves wr ists in a pitiful state. Now we have an action that can be filmed and that evoke s the concept of "failure". Because of this we can not, in a scenario, we expand on the inner life of our characters. If we write "Mario Lucia approached the he art heart-pounding" on the screen can not see the heart beating wildly ... If in stead we write "Mario approached Lucia of a slow and timid, his eyes fixed on hi s shoes ... "then there of course that we are writing a movie and not a account1 . You grasped the concept? "Mario is a doctor" it does not. Mario wears a stetho scope "is already better. "Mario is a bully, this sentence is incomprehensible. Mario stubs out his cigarette on the front of Luca "captures the idea. Note: "Ca rla is the mother of Andrea" it does not work. "Andrea turned to Carla and said: Hi Mom" this is allowed and passed the message. Because, of course,€in modern cinema is the soundtrack.

NON-TECHNICAL LANGUAGE

The script must be written in a language that is not technical. We ask you is to
avoid technical terms such as "widescreen", "Dolly," "traveling," "American Pla
n", etc. By not complying with this rule, first you will make the director angry
( he wants to decide these things himself), and secondly you weigh down the tex
t and render it difficult to read (and a script must first be read). This constr
aint does not absolutely limit
1Example of Ugo Pirro borrowed "during scenario" of Battistrada - Felisatti

3FORMAT OF THE SCENARIO. AUTHOR: CLAUDIO Dedola. WEB SITE: CINEUROPA.ORG
4insurmountable. The scenario is a text of words that should evoke images. The fa

ct that these images should be suggested by a language that does not detract fro m the technical nature of your film work. We'll see how, in reality it is quite possible to influence the reading of the script made by the director, in each of frames by suggesting the means at our disposal.

FORMAT
How does one write a script for a technical standpoint? Already the "title page"
(the page) gives us important information. Watch it to the next page.

4FORMAT OF THE SCENARIO. AUTHOR: CLAUDIO Dedola. WEB SITE: CINEUROPA.ORG
5Title of the script of My Name
My name My address City. Zip code number such. email

5FORMAT OF THE SCENARIO. AUTHOR: CLAUDIO Dedola. WEB SITE: CINEUROPA.ORG
6SOME CONSIDERATIONS ON THE STORAGE OF PAGE What you see is the correct layout of
a page of script.

Let's talk straight about something that will apply to all rules that are expose d in this lesson: I do not care that you have seen elsewhere in different format s! The layout rules have changed profoundly over the years and some scenarios in circulation following older models, perhaps because the writer is still attache d to the techniques that were used at the beginning. It often happens to fall on the transcripts prepared by non-professionals, on manuscripts "reformatted" for sale at a lay audience or even on "shooting scenarios." Sometimes you read scri pts written by the person who will also the director and it may therefore have d ecided to ignore some of the standards. The following rules are strongly recomme nded to any writer who wishes to submit his work to a contest, agent, producer.

First, note the type of character used:
Courier 12.

Not only the first page but the whole scenario will be written using this font. The reason is that the Courier is an irreducible character: each letter occupies the same space on the page and therefore each line will have the same number of "signs". This seemingly unimportant appears useful when considering the ultimat e goal of all rules of layout. Cellesci, taken together, make a page of script e quals on average one minute of shooting.

6FORMAT OF THE SCENARIO. AUTHOR: CLAUDIO Dedola. WEB SITE: CINEUROPA.ORG
7To return to the first page, note that the title should be written in uppercase.
No date should appear (if today I was reading a script dated 2001 I would leave

the principle that it is an idea that has grown old and, more importantly, if th
e copy has not yet found a buyer c is that there must be a good reason ...).
Similarly, do not insert details of the type "first" (there are there other? Why
then should I read the oldest?)
Even less obviously, "seventh version" (if it was necessary to rework the text m
any times, this means that the author is poor and that the idea does not work).
It is nevertheless admitted to indicate the date of filing with the SACD (or any
other agency of copyright). This is considered a sign of professionalism.

And, of course, you should not include the script a list of characters, the subj ect of the work (unless it is explicitly asked you), or decorate or put color on the front page (all this you would pass for an amateur).

FADE IN: After the cover page, turn now to the script itself. The first line of
any scenario is always the same. Two words in capital letters flush left:
7FORMAT OF THE SCENARIO. AUTHOR: CLAUDIO Dedola. WEB SITE: CINEUROPA.ORG FADE IN:

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