Film 210: Week 2

Welcome to today's lesson! Building on our earlier lesson on standard screenplay format, we'll now explore techniques for unique storytelling situations:

• Scene Heading Variations (flashbacks, dreams, vehicles)
• Within-Scene Techniques (French scenes, INSERTS)
• On-Screen Text and Digital Elements
• Special Sequences (montages, series of shots)
• Specialized Dialogue (telephone conversations, overlapping dialogue)

Let's begin.

Scene Heading Variations

Flashbacks

Flashbacks should serve a dramatic purpose and reveal something new to the audience. Before using them, consider whether they truly enhance your story.

Mid-Scene Flashbacks (Brief)

For short flashbacks that interrupt the current scene:

FLASHBACK - TRAIN ACCIDENT

or

FLASHBACK - EXT. BUDAPEST - DAY

Return to the present with:

BACK TO PRESENT

or

BACK TO SCENE

or

END OF FLASHBACK

Multiple-Scene Flashbacks

For longer flashbacks spanning multiple scenes, use one of these approaches:

Option 1: Label each scene individually

EXT. BUDAPEST - DAY - FLASHBACK

INT. HOSPITAL - NIGHT - FLASHBACK

Option 2: Label only the first scene, then use normal scene headings

EXT. BUDAPEST - DAY - FLASHBACK

INT. HOSPITAL - NIGHT 

EXT. STREET - DAY

Then end with:

BACK TO PRESENT

or

END OF FLASHBACK

For clarity in Option 2, you can add:

INT. HOSPITAL - NIGHT - FLASHBACK CONT'D

Option 3 (Recommended): Use a sequence approach

BEGIN FLASHBACK SEQUENCE

EXT. BUDAPEST - DAY
[Scene content]

INT. HOSPITAL - NIGHT 
[Scene content]

END FLASHBACK SEQUENCE

Time-Specific Flashbacks

For flashbacks to specific time periods:

EXT. BUDAPEST - DAY (5 YEARS AGO)

or

EXT. BUDAPEST - DAY - 5 YEARS AGO

Quick Flashes

For a series of very brief flashback moments:

QUICK FLASHES - WAR MEMORIES

-- Explosion in the distance
-- A fallen comrade
-- A letter from home

BACK TO SCENE

Dreams and Daydreams

Dreams and daydreams use similar formatting to flashbacks but are labeled differently to clarify their nature.

Mid-Scene Dreams/Daydreams

For brief moments that interrupt the current scene:

DREAM - FALLING FROM A CLIFF

or

DAYDREAM - WINNING THE LOTTERY

Return to the scene with:

BACK TO REALITY

or

BACK TO SCENE

Multiple-Scene Dreams

For dreams spanning multiple scenes:

BEGIN DREAM SEQUENCE

INT. GOTHIC MANSION - NIGHT
[Dream content]

EXT. CLIFFSIDE - STORM
[Dream content]

END DREAM SEQUENCE

Vehicles

Vehicle scenes require special consideration for camera placement and movement:

Camera Placement

When action takes place both inside and outside a vehicle, use a slash to indicate both perspectives:

INT./EXT. CAR - DAY

This allows the camera to move fluidly between interior and exterior shots without requiring new scene headings.

Moving Vehicles

For scenes in moving vehicles, add "TRAVELLING" or "MOVING" to indicate motion:

INT. CAR - DAY - TRAVELLING

or

INT./EXT. STEVE BLACK'S CADILLAC - DAY [DRIVING]

Choosing the Right Format

• Use INT. when action is completely contained inside the vehicle
• Use EXT. when action is viewed from outside or focuses on exterior elements
• Use INT./EXT. when action moves between inside and outside, or when both perspectives are important

While INT./EXT. is common for vehicles, use your judgment based on where the dramatic focus lies. If your scene stays entirely inside a car with characters talking, a simple INT. CAR - DAY is sufficient.

Within-Scene Techniques

These techniques help direct attention to specific elements within a scene without creating new master scene headings.

French Scenes (Secondary Headings)

French scenes (also called secondary headings) are used when focusing on multiple smaller locations within a larger area. They allow you to direct attention without creating numerous new master scene headings.

When to Use French Scenes

• To move between specific areas within the same location
• To focus attention on different locations or characters
• To create a more dynamic reading experience without excessive scene headings

How to Format French Scenes

1. First establish the location with a master scene heading:

INT. RICK'S CAFE - DAY

1. Add descriptive action to introduce the space:

ILSA enters, crossing to the bar.

She doesn't see Rick watching her.

1. Use secondary headings in ALL CAPS to focus on specific areas:

GAMBLING ROOM

At one table TWO WOMEN and a MAN play cards. They glance at another table. One of them calls to Rick.

HALLWAY

Rick moves up the stairs.

BAR

Ilsa sees him as he disappears into his office.

You can also create French scenes that focus on characters rather than locations:

RICK

moves up the stairs.

ILSA

sees him as he disappears into his office.

Important Notes

• French scene headings appear in ALL CAPS
• Secondary headings don't include INT./EXT. designations or times of day
• They remain within the same master location - don't use them to move to entirely new settings
• French scenes help direct attention within a larger space without creating excessive scene headings

INSERTS

INSERTS direct attention to specific small details that might otherwise be missed.

Formatting INSERTS

INSERT - THE LETTER, which reads:

"Dear Charles,

What has happened to us? I will
wait for you on the
bridge.

Sincerely, Dora"

BACK TO LIVING ROOM

Important Notes

• Always use ALL CAPS for "INSERT"
• Clearly identify what is being inserted
• Return to the scene with "BACK TO SCENE" or specify the location (as in "BACK TO LIVING ROOM")
• Use inserts selectively for important details that advance the story

On-Screen Text and Digital Elements

Modern screenplays often need to show text that appears on screen, whether superimposed over the action or displayed on various digital devices.

SUPERS (Superimposed Text)

SUPER is short for "superimpose" and is used when text appears over an image:

Basic Format

SUPER: "Five years later"

For Emphasis

SUPER: "FIVE YEARS LATER"

For Longer Text

SUPER:

     "Two can live as cheaply as one, but only half as
     long."

Example with Scene Heading

EXT. HOSPITAL - NIGHT

EMTs rush a patient out of an ambulance and into the hospital.

SUPER: "Bethesda Medical Hospital"

Computer Screens and Digital Displays

There are several ways to format content appearing on screens:

Option 1 - Using INSERT

INSERT - COMPUTER SCREEN

Words appear: "Access denied. Security protocol activated."

BACK TO SCENE

Option 2 - Using ON

ON SID'S LAPTOP SCREEN

Sid's words appear: "But what do you mean...?"

BACK TO SCENE

Option 3 - For Text Messages

Hearing a BUZZ, Brent checks his mobile.

                    COLIN (TEXT)
         Can't find Becca.

                    BRENT (TEXT)
         On my way.

Television Screens

For content appearing on TV screens:

Selma turns on the television.

ON THE TV

A city is engulfed in flames. The word "Baghdad" appears at the bottom of the screen.

BACK TO SELMA'S LIVING ROOM

Important Notes for On-Screen Text

• Be consistent with your chosen format throughout your screenplay
• Avoid directing how text should appear (let other professionals decide exact placement)
• Focus on clarity rather than visual direction
• Return to the scene with "BACK TO SCENE" when needed
• Some writers use "TITLE CARD" instead of "SUPER" - both are acceptable, but SUPER is preferred

Special Sequences

These techniques help compress time or show a sequence of related actions efficiently.

Montages

Montages focus on a specific concept or idea, like showing the passage of time or characters engaged in a related activity. They're ideal for compressing what might take days, weeks, or months into a brief series of images.

Basic Montage Format:

MONTAGE - SARAH AND MIKE BUILD THE CAR

-- They gather and stack the parts.

-- Sarah welds the metal.

-- Mike struggles with bolts.

END MONTAGE

Important Elements:

• Begin with "MONTAGE" followed by a descriptive title
• Each moment starts with double hyphens (--) and a space
• Include a space between each line
• End each moment with a period
• Conclude with "END MONTAGE" or "BACK TO SCENE" if within a larger scene

Including Locations in Montages:

Simple location indicators:

MONTAGE - SUZY AND BILL HAVE FUN TOGETHER

-- A beach -- They race across the sand. Suzy raises her countenance against the ocean spray.

-- A park -- They bicycle down meandering paths.

-- An ice cream stand -- Bill buys Suzy an ice cream cone. She stuffs it into his face. The patrons chuckle.

Using scene heading format:

MONTAGE - SUZY AND BILL HAVE FUN TOGETHER

-- EXT. BEACH - DAY -- They race across the sand. Suzy raises her countenance against the ocean spray.

-- EXT. PARK - DAY -- They bicycle down meandering paths.

-- EXT. ICE CREAM STAND - NIGHT -- Bill buys Suzy an ice cream cone. She stuffs it into his face. The patrons chuckle.

Including Dialogue in Montages:

MONTAGE - LARRY'S DREAM

-- Larry, wearing an orange cape, races into a building. He is chased by a mob firing weapons at him.

                    LARRY (V.O.)
         I knew I was powerful...

-- Larry bounds up the stairs.

                    LARRY (V.O.)
         ... but I wasn't sure I could 
         fly.

Or directly within the montage:

MONTAGE OF MUPPETS PERFORMING THEIR ACTS.

Everyone is terrible.

-- Fozzie Bear does his stand-up act. In the BG, Scooter's on a pogo stick.

                    FOZZIE BEAR
         What's the bear capital of the
         world? Koala Lampur!

Kermit looks at Rowlf and signals for him to play off Fozzie. Rowlf shakes his head "no."

Series of Shots

Series of Shots present a chronology of quick shots that tell a story, typically leading to a dramatic resolution or action.

SERIES OF SHOTS - JOHN GETS EVEN

A) John lifts a handgun from his desk drawer.

B) John strides down the sidewalk, hand in pocket.

C) John arrives at an apartment building.

D) Mary answers the door. John pulls the trigger. A stream of water hits Mary in the face.

The letters can be replaced with dashes (as in montages) or omitted entirely.

Montage vs. Series of Shots

• Montages typically focus on a single concept (building something, falling in love)
• Series of shots tell a chronological story leading to resolution
• In practice, the terms are sometimes used interchangeably
• Montages are often scored to music in the final film (this is a director’s choice, not yours)

Important Notes:

• Avoid overusing montages - they should serve a specific purpose.
• Use it dramatically, versus using it to push exposition.
• Be concise in your descriptions
• Maintain consistent formatting throughout your script
• Remember that "MONTAGE" often signals to the director "put music here"

Special Dialogue Formats

Telephone Conversations

Telephone conversations require special formatting to clearly show who's speaking and where they're located.

Method 1: Establishing Locations First

The most common approach is to establish both characters in their respective locations before connecting them with an INTERCUT:

INT. SARAH'S HOUSE - DAY

Sarah calls Mike, pacing back and forth beside the dead body.

INT. GYM - DAY

Mike runs on a treadmill when his cell phone rings.

INTERCUT - TELEPHONE CONVERSATION

                    SARAH
         I killed him!

                    MIKE
         What do you mean you killed him?

Method 2: When One Party Is Not Seen

When the audience only hears one side of the conversation:

                    MARY
         He said what?
         (shaking her head)
         Well, thanks for letting me know.

Method 3: When The Other Speaker Is Heard But Not Seen

Use (V.O.) to indicate the unseen speaker:

                    MARY
         He said what?

                    JOHN (V.O.)
         He said you're as cute as a cuddle bunny.

                    MARY
         Well, thanks for letting me know.

Method 4: Different Locations With INTERCUT

For when both characters are seen and heard but in different locations:

Option A - Include locations in the INTERCUT heading:

INTERCUT - DARIN'S CAR/SUZANNE'S KITCHEN

[Dialogue follows normally]

Option B - Establish locations first, then use a simple INTERCUT:

INT. SUZANNE'S KITCHEN - NIGHT

Suzanne paces nervously; then punches numbers on her phone.

INT. DARIN'S CAR - SAME

Darin drives through the rain, looking depressed. His cell phone rings.

INTERCUT PHONE CONVERSATION

                    SUZANNE
         Come back.

Ending a Phone Conversation

When the conversation ends, return to one of the locations:

INT. HOUSE - DAY

Joe hangs up the phone.

Important Notes:

• Some screenwriting programs automatically bold phone conversation text, but this isn't required
• Always be clear about who's speaking and where they're located
• The INTERCUT technique gives directors freedom to choose when to cut between speakers
• Choose the method that best serves your story and maintains readability

Dual and Overlapping Dialogue

Sometimes your script will require two or more characters to speak simultaneously. There are several ways to format this:

Option 1: Combined Character Cues

For two characters speaking the exact same lines simultaneously:

TAYLOR AND MORGAN
We need to leave now!

For clarity, you can add a parenthetical:

TAYLOR AND MORGAN
(in unison)
We need to leave now!

Option 2: Separate With Parenthetical

When characters speak at the same time but with different dialogue:

TAYLOR
I can't believe you did that.

MORGAN
(overlapping)
It wasn't my fault, I swear.

Option 3: Dual Dialogue Format

Some screenwriting software offers a "dual dialogue" feature that places two speakers side by side:

TAYLOR                      MORGAN
Did you hear that?          Was that the door?

Option 4: Group Dialogue

For multiple background voices speaking simultaneously:

STUDENTS
Is the test canceled? When is it due? 
Can we have an extension?

Or simply describe the general content:

The students bombard the professor with questions about the exam.

Remember to use these special formats sparingly and only when essential to your story. Overuse can make your script harder to read.

Special Formatting Principles

Remember these key principles when using special formatting techniques:

Consistency Is Key

• Choose one approach for each technique and maintain it throughout your screenplay
• Ensure your opening and closing indicators match (e.g., BEGIN/END FLASHBACK SEQUENCE)

Present Tense Writing

• Write all special elements in present tense, even when depicting past events or future possibilities

Choose Simplicity

• Select the least complicated approach that effectively serves your story
• Clarity always trumps cleverness

Consider Production Realities

• Use special formatting elements purposefully - each may require additional production resources
• Ask yourself: Does this special element truly enhance my story?

Quick Reference Guide

Remember, these formatting techniques are tools to help you tell your story more effectively. Use them purposefully, consistently, and always in service of creating a compelling reading experience for your audience.