Action

The scene description, character movement, and sounds as described in a

screenplay.
For example: The sounds of TYPING rise above all the rest as MAX sits at his computer
writing his essay. He stops to sigh. Looks at what he's written. Reaches over to the mouse.
Highlights it all. And erases it.

AERIAL SHOT

Use only when necessary. This suggests a shot be taken from a plane or helicopter
(not a crane). For example, if a scene takes place on a tall building, you may want to
have an aerial shot of the floor the action takes place on.

ANGLE ON

A type of shot. This usually occurs in scenes taking place in large settings.
For example: if you're at a playground and little Billy is playing in the grass while his
sister Jenny is playing on the structure. To get from a detail shot of Billy playing to
Jenny playing you'd use "ANGLE ON STRUCTURE" to suggest a new shot featuring
Jenny. You're still in the same location, but the director knows to point the camera a
different direction.

Note: this is often implied by simple scene description. Use ANGLE ON with good
purpose.

B
Beat
Many scripts will use the parenthetical "(beat)" to interrupt a line of dialog. A "beat"
suggests the actor should pause a moment, in silence, before continuing the scene.
"Beats" are often interchangeable with ellipses "..."

b.g. (background)

Used to describe anything occuring in a rear plane of action (the background as

opposed to the main action or attention is focused in the foreground). Always use
this term in lower case initials or written in full ("background"). For example: two
people talk as Bill and Ted fight in the b.g.

C
Character
In a screenplay, the name appears in all caps the first time a character is introduced
in the "Action." The character's name can then be written normally, in the action, the
rest of the script.
For Example: The limo pulls up to the curb. DAISY, an elderly woman sits in the car as
MORGAN, the driver, steps out and opens the door for her. Daisy is dressed in evening-wear,
ready for an Opera.
Character's names always appear in all CAPS when speaking. For proper margins,
see the Format page.
For Example:

DAISY
You've been a darling, Morgan. Here's twenty dollars.

CLOSE ON

See also INSERT and Shot.

CLOSE ON is a shot description that strongly suggests a close-up on some object,

action, or person (an expressive body part such as the face, or a fist).

May also be seen as CLOSEUP or CLOSE SHOT

CLOSER ANGLE

We move in for a new angle nearer to the subject. This is more of an editing term,
but can be mentioned in the screenplay when necessary.

CONTINUOUS

Sometimes, instead of DAY or NIGHT at the end of a SLUGLINE/Location

Description, you'll see CONTINUOUS. Basically, continuous refers to action that
moves from one location to another without any interruptions in time. For example, in
an action movie, the hero may run from the airport terminal into a parking garage.
The sequence may include cuts, but the audience would perceive the action as a
continuous sequence of events from the terminal to the lobby to the street to the
garage to the second floor to a car etc. CONTINUOUS is generally optional in writing
and cn be dropped altogether. For Example...
INT. AIRPORT LOBBY - DAY

JANET looks over her shoulder. The MEN IN BLACK are still after her,
toppling innocent passersby and sending luggage flying across the
linoleum floor. Janet faces forward again and nearly runs smack into
a nun. She apologizes wordlessly, glances back one last time before
pushing through the glass doors.

EXT. STREET - CONTINUOUS

Janet stumbles to the curb, stopping short of the honking traffic

-- Los Angeles drivers. As a bus flies by, blasting her with wind, she
steps out into traffic. A car SWERVES to avoid her! She GASPS, looks
back. The men in black are there.

FLASH

Janet gets shot in the back by the men in black.

BACK TO SCENE

She shakes off the thought and hops up onto the curb opposite the
airport. She enters the parking garage.
INT. PARKING GARAGE - CONTINUOUS

BANG! A shot RICOCHETS into the garage. Janet SHRIEKS, her steps
faltering momentarily, but she recovers.

EXT. STREET

The men in black pocket their guns and enter the parking structure.

INT. PARKING GARAGE

They glance around. No one else is in sight. The men nod to each other
and draw their guns. FOOTSTEPS in the distance. One of the men points
at the stairs.

SECOND STORY

Janet, breathing heavily, makes her way to her car...

As you can see, I used CONTINUOUS for some of the sluglines (EXT. STREET -
CONTINUOUS) and dropped it for others (INT. PARKING GARAGE). And it all
represents no time passing between changes in location.

CRAWL

This is a term used for superimposed titles or text intended to move across on
screen.

CROSSFADE:

This is like a "Fade to black then Fade to next scene." In other words, as one scene
fades out, a moment of black interrupts before the next scene fades in. It is not to be
confused with DISSOLVE, since CROSSFADE always involves a black or blank
screen. (Note: I'm not sure if this term is still in common use)

CUT TO:

The most simple and common transition. Since this transition is implied by a change
of scene, it may be used sparingly to help intensify character changes and emotional
shifts. The transition describes a change of scene over the course of one frame.

D
Dialog
Very simply, this is what people are supposed to say according to the script. For
formatting instructions, see the Format page.

Director

The person who visualizes the movie based on the script, creates shots, suggests
how the actors should portray their characters, and helps to edit the final cut.
Basically, the person in charge of putting converting a script into a movie.
DISSOLVE TO:

A common transition. As one scene fades out, the next scene fades into place. This
type of transition is generally used to convey some passage of time and is very
commonly used in montages such as seen in Bugsy.

Dolly

A mechanism on which a camera can be moved around a scene or location. Simple

dollies involve a tripod on wheels. Dolly shots are moving shots.

E
ESTABLISHING SHOT:
A shot, usually from a distance, that shows us where we are. A shot that suggests
location. Often used at the beginning of a film to suggest where the story takes
place. For example, if our story takes place in New York, we might use a shot of the
Manhattan skyline as an establishing shot.

EXT.

Exterior. This scene takes place out of doors. This is mostly for producers to figure
out the probable cost of a film project.

EXTREMELY LONG SHOT (XLS):

Basically self-defined. Means the camera is placed an undefined, very long distance
from the subject or action. Generally, this term would be left out of a screenplay and
left to the director to decide. Use only when necessary.

F
FADE TO:
See also DISSOLVE TO:

This is commonly used as a DISSOLVE to a COLOR. Commonly, you'll see this as:

FADE TO:

BLACK

FADE IN:

NEXT SCENE

This usually suggests it's not the end of the movie, but it is the end of a major
movement in the film. The "Next Scene" is often days, months, or years after the
previous scenes. Sometimes titles will appear in the blackness to declare a passage
of time. But this transition is often a sign of a major shift in time or emotional status
for the main characters. It may also be used to suggest a character has been
knocked out or killed.

FAVOR ON

A particular character or action is highlighted or "favored" in a shot. The focus is

basically centered on someone or something in particular. Use only when necessary.

Feature Film

In the olden days of cinema, people watched a series of short films. Then, as films
became longer, they would watch some short films and one long film. The long film
became the main attraction, hence the term feature film. Today, feature films are
generally defined as any film at least one hour long that people pay to see.

Final Draft (1)

As in all writing, this refers to the writers last rewrite of a script. Often the script will
be changed or rearranged again by the director.

Final Draft (2)

Very rarely, a script will appear as a Final Draft document. This means only people
with a screenplay formatting word processor known as Final Draft or the appropriate
Final Draft viewer can view the document appropriately. The Final Draft Viewer is
available as a free download. For those of you interested in screenwriting, Final Draft
is one of many excellent professional screenwriting tools and can be obtained in
many software stores or from Amazon.com.

FREEZE FRAME:

The picture stops moving, becoming a still photograph, and holds for a period of
time.

I
INSERT
When a writer pictures a certain close-up at a certain moment in the film, he or she
may use an insert shot. This describes a shot of some important detail in a scene
that must be given the camera's full attention for a moment. Inserts are mainly used
in reference to objects, a clock, or actions, putting a key in a car's ignition.
For example: if there's a clock in the room. I, as the writer, might have reason for the
audience to get a good glimpse of the clock. I would use an insert shot to suggest
the director get a closer shot of the clock at a particular point in the scene.

Note: often; writing important objects in CAPS will convey their importance in the
scene and give the director more freedom and a greater feeling of importance. Use
inserts only when truly important.
INT.

Interior. This scene takes place indoors. This is mostly for producers to figure out the
probable cost of a film project.

Intercutting

Some scripts may use the term INTERCUT BETWEEN. At this point, two scenes will
be shown a few moments each, back and forth. For example, if Laura is stuck in her
flaming house and the fire department in on the way, a screenplay may call for
intercutting between the flames closing in on Laura and the fire fighters riding across
town to save her.

Note: this is a style that can be written around with standard scene breaks. It's more
to prepare the reader for the upcoming slug line bonanza.

INTO FRAME:

see also: INTO VIEW:

The audience can only see so much through the window of a movie screen. Use this
term to suggest something or someone comes into the picture while the camera
stays put. It's like a character or object coming from off stage in the theater. For
example: Forrest Gump sits on the bench.

OLD WOMAN INTO FRAME. She sits next to him.

INTO VIEW:

see also: INTO FRAME:

The audience can only see so much through the window of a movie screen. Use this
term to suggest something or someone comes into the picture while the camera pulls
back (pans, etc) to reveal more of the scene.

Iris Out

see also wipe.

Also written as: IRIS FADE OUT or IRIS FADE IN. Used at the end of Star Wars
scripts, this term refers to a wipe from the center of the frame out in all directions. It's
as if the iris of a human eye were opening for dimly lit situations to take us into the
next scene or the ending credits as is the case with Star Wars.

J
JUMP CUT TO:
A transition. Imagine setting a camera down to film a person. You record him for five
minutes. But as it turns out, you have only a one minute time limit on your project.
You have no special editing tools, just a couple of VCR's. But you realize that most
of the important stuff is said in a few short moments. If you cut out the unimportant
parts and edit together the parts you want based on a single camera angle, you will
have what are called jump cuts. Transitions from one moment to the next within a
scene that appear jarring because they break the direct flow of filmic time and space.
This transition is usually used to show a very brief ellipsis of time. A good example of
Jump Cuts can be seen in the movie Elizabeth when the queen practices her
speech. The jump cuts make us disoriented and nervous along with the queen,
giving us the tension and humor of the situation as if it were an out-take reel. Bad
examples of Jump Cuts would be in B-movies like Mothra where they don't have the
money to get scenes from various angles, so they cut from one important moment to
the next from the same angle.

L
LAP DISSOLVE:
See also DISSOLVE: A transition between scenes that is achieved by fading out one
shot while the next one grows clearer.

M
MATCH CUT TO:
A transition often used to compare two completely unrelated objects. It's film's
version of metaphor. This involves cutting from one object of certain color, shape,
and/or movement, to another object of similar color, shape, and/or movement. For
example, a circular saw to a child's merry-go-round. A commonly studied example of
match cutting comes from 2001: A Space Odyssey. The classic cut comes towards
the beginning of the film. After the apes have used a bone as a weapon for gathering
food, an ape throws the bone into the air. As it falls, we match cut to a space ship
carrying nuclear warheads. Both the bone and the ship are of similar shape and
color, and both happen to be moving towards the bottom of the screen. The cut
relates all of technology to the development of weaponry as it cuts out all of human
history.

MATCH DISSOLVE TO:

See also MATCH CUT TO:, DISSOLVE TO:

This contains similar qualities to the MATCH CUT. A match dissolve involves two
objects of similar color, shape, and/or movement in transition from one scene to the
next.
For example: if Scene A is following (tracking) an arrow whizzing through the forest, I
might match dissolve to a tracking shot, in Scene B of a bullet whizzing through the
inner city.

Microsoft Word Document

A computer term referring to the digital format a script may be stored in. These files
are in a word processor files and often require Microsoft Word 6.0 or higher to read.
Microsoft Word comes with many PC's or can be obtained with Microsoft Office 97,
98, and 2000.

Montage

In film, a series of images showing a theme, a contradiction, or the passage of time.

This film style became common in Russia in the early years of cinema. Russians
were the first to truly use editing to tell a story. Some early examples of montage
include City Symphony's and Man With a Movie Camera. Modern day examples of
montages can be seen in Kramer vs. Kramer and Bugsy.

MOS

Mit Out Sound (Original German) Moment of Silence (Made up English memory
device). I've never seen this anywhere before, but maybe it has been used before,
so, now you'll know should you ever run into it.

O
O.S. or O.C.
Off-screen or Off-camera. This is the abbreviation sometimes seen next to the
CHARACTER'S name before certain bits of dialog. Basically, it means the writer
specifically wants the voice to come from somewhere unseen.

P
Pan
Camera movement involving the camera turning on a stationary axis. Imagine
standing in one spot on a cliff in Hawaii. You want to absorb the view so you, without
moving your body or feet, turn your head from the left to the right. This is the same
effect as a pan.

See Also: Swish Pan

Parenthetical

If an actor should deliver his or her lines in a particular way, a screenplay will contain
a description in parentheses to illustrate the point. Parentheticals should be used
only in cases where a line of dialog should be read in some way contrary to logic. If
used too often, actor's and director's egos get hurt, and things get messy.
For Example:
JULIE
(calmly)
I hate you. I hate you. I hate you.

PDF
This is a computer term referring to Adobe's cross-platform portable document
format. This file is created with Adobe Acrobat and can only be read by the Adobe
Acrobat Reader. To download the Reader for free, click here.

POV

Point of View. The camera replaces the eyes (sometimes the ears) of a character,
monster, machine, surveillance camera, etc. As a result, we get to see the world
through the sensory devices of some creature. This can be used to bring out the
personal aspects of a scene, or it can be used to build horror and suspense. An
example of horror and suspense in POV can be scene in the opening shot of
Halloween.

PUSH IN:

The camera physically moves towards a subject.

R
REVERSE ANGLE
Often used to reveal things for comic or dramatic effect. Could be described as a
counter POV shot. Basically, the script suggests the camera come around 180
degrees to get a shot from the "other side" of a scene. For example, in the
Something About Maryscript, Tucker is playing a joke on Mary in her office in one
scene that the writers didn't want to reveal right away. They use a REVERSE
ANGLE to show that he's got two tongue depressors in his upper lip to represent
teeth. This reverse angle is used for comic effect.

ROLL

This is a term used for superimposed titles or text intended to move vertically on
screen. For example, the text at the beginning of Star Wars movies.

S
Scene
An event that takes place entirely in one location or time. If we go outside from
inside, it's a new scene. If we cut to five minutes later, it's a new scene. If both, it's a
new scene. Scenes can range from one shot to infinity and are distinguished by slug
lines.

Shooting Script

This is the truly final draft used on set by the production people, actors, and director
to make the movie from the screenplay.

Shot
One image. If there's a cut, you've changed shots. Shots can range from split
seconds, like in Terminator 2, to several minutes, such as in Secrets and Lies or the
opening sequence of Halloween. Shots are generally chosen by the director
although the writer can use capital letters to suggest where the camera should be.
When a writer absolutely must have a certain shot at a certain moment in a film, he
has a few options each described in detail elsewhere in this list: INSERT, ANGLE
ON, and CLOSE ON.

For notes regarding how to format shot types, check the Format page.

Slug Line

The text in all CAPS at the beginning of a scene that briefly describes the location
and time of day.
For example: INT. DAVE'S BEDROOM - NIGHT

Note: sometimes sluglines are abbreviated to something as simple as "LATER" or

"BEDROOM."

SMASH CUT TO:

An especially sharp transition. This style of cut is usually used to convey destruction
or quick emotional changes.
For example: If I were writing a horror movie but wanted to lighten the gore at the
beginning, I might have the first victim trip and fall. The killer enters the forest clearing,
taking a moment to savor this death. The victim shakes her head, as if begging for the killer
to change his mind. But no, he closes in, a black cloaked arm raising the knife into the air.
The knife catches the moonlight for just a moment before it races downwards.

SMASH CUT TO:

EXT. WOODLAND HIGH SCHOOL COURTYARD - DAY

It's a bright and beautiful morning and kids wander the courtyard on their way to class or to
meet friends. And the students discuss the end of this example.

The sudden shift from a dark forest to a bright schoolyard on the first stab would
convey the distress of the murder without showing it. For another example of a
smash cut, see the transition to L.A. in Barton Fink.

Note: this transition is often a director's choice. As a writer, use this sparingly if at all.
Many script readers find this term unprofessional.

Spec Script/Screenplay

You won't see this term anywhere else on this site. If a writer finishes his own
screenplay outside the studio system (it isn't an assignment) then sends it to the
studios for consideration, it is a spec script.

SPLIT SCREEN SHOT:

The space of the frame is split into two, three, or more frames each with their own
subject. Usually the events shown in each section of the split screen are
simultaneous. But Split screen can also be used to show flashbacks or other events.
For example, two people are talking on the phone. They're in different locations, but
you wish to show the reactions of both simultaneously. Or, watch Run, Lola, Run to
see another use of split screen.

Steadicam

A camera built to remain stable while being moved, usually by human hands.
Occasionally, seen in scripts to suggest a handheld shot be used in a scene.

STOCK SHOT:

Footage of events in history, from other films, etc. Basically, anything that's already
filmed and you intend to be edited into the movie. For example, the Austin Powers
movies use stock footage for comic effect. Some old B films use stock footage to
keep their budgets low.

SUPER:

Abbreviation for superimpose. The superimposition of one thing over another in the
same shot. Sometimes TITLES are superimposed over scenes. Or a face can be
superimposed over a stream-of-consciousness montage shot. It's up to you!

Swish Pan

A quick snap of the camera from one object to another. This high speed movement
causes the image to go completely blurry. Imagine yourself in the center of a merry-
go-round that's moving really really fast. Aside from making you totally dizzy, the
world becomes a blur, swished out in the movement, like a giant and constant swish
pan. Cuts are often hidden in swish pans. Or they can be used to disorient or shock
the audience. For a good example of Swish Pan, watch certain old episodes of The
Twilight Zone.

T
TIGHT ON
A close-up of a person or thing. Basically, like the space has been squeezed out of
the area between camera and subject. Not in common use. Use only when
necessary.

TIME CUT

When you want to cut to later in a scene, you have the option of writing TIME CUT
as the transition. For example, if two people walk into a restaurant and their
conversation is important at first then veers off into topics not important to your story,
then you might want to time cut from the drinks to the main course and then again to
paying the check.
Tracking Shot (Track, Tracking)

In short, a tracking shot involves a camera following a person or an object. As long

as the camera isn't locked down in place by a tripod, for example, and is following
(tracking) a subject, then it's a tracking shot. For good examples of tracking shots,
watch the one take episode of The X-Files or most any episode of ER. Star Wars
Episode One has tracking shots galore during the pod race. And I'm sure most films
have some form of tracking shot or another. (It'd make a good drinking game)

Trailer

In the olden days of cinema, the advertisements for upcoming attractions were
usually played after the end of the movie. Hence, they became known as trailers.
But, as credits reels have grown in size over the years, audiences would often leave
before watching these advertisements and "trailers" became "previews." But the
name is still in common use. A trailer is a theatrical advertisement for an upcoming
film attraction.

Transition

These describe the style in which one scene becomes the next. Used appropriately,
these can be used to convey shifts in character development and emotion. In other
words, a CUT TO: is not required at every scene change. Some major transitions
include CUT TO:, DISSOLVE TO:, MATCH CUT TO:, JUMP CUT TO:, SMASH CUT
TO:, WIPE TO:, and FADE TO:. Each term has it's own entry in this list of terms.
Occasionally a writer will make up his own transition. In these cases, the transition is
usually self-defined (such as BRIGHT WHITE FLASH TO: suggests whiteness will fill
the screen for a brief moment as we pass into the next scene). For formatting info on
transitions, see the Format page.

V
V.O.
Voice Over. This is the abbreviation sometimes seen next to the CHARACTER'S
name before certain bits of dialog. This means the character voices that dialog but
his or her moving lips are not present in the scene. Voice over is generally used for
narration, such as in the beginning of The Mummy. Or, as Austin Powers would say,
a character's inner monolog. The inner thought processes of the character said out
loud such that only the audience will hear it. An general example of Voice Over can
be seen (heard, actually) in Election or in the Sixth Season Finale of The X-Files.

W
WIPE TO:
A transition in which one scene "wipes away" for the next. Imagine Scene A is water
and Scene B is the substance underneath. A wipe would look like a squeegee pulling
Scene A off of Scene B. These usually suggest a passage of time from one scene to
the next. The most common and obvious example of wipes is in the Star Wars
franchise. You can also watch The Mummy for more examples.
Z
ZOOM:
The image seems to close in on a person or object making the person or object
appear larger (or smaller) on screen. Technically, the lens mechanically changes
from wide angle to telephoto or vice versa. Notice and recognize the difference
between a zoom and a push in (camera moves closer to subject). Use zoom only
when necessary. For an example of zoom, see Boogie Nights.

Formatting parenthetical character direction

"Parenthetical character direction" is specific business relating only to the speaking
character. Parenthetical character direction is placed in parens, on a separate line from
dialogue.

If the direction goes more than four lines, place it at the left margin as regular direction,
using a colon (:) to indicate it goes with the character's next speech.

Incorrect

BOBBY
(balancing on one foot
as he aims his dart,
sips a beer, and eats
a handful of peanuts)
I guess I need a bulls-eye.
Correct
As he balances on on one foot aims his dart, sips a beer, and
eats a handful of peanuts:

BOBBY
I guess I need a bulls-eye.
If CAMERA MOVEMENTS or SOUNDS (which should be capped) appear in parenthetical
character direction, they should be "pulled out" and treated as regular direction:

Incorrect

BOBBY
(as the PHONE RINGS)
Dammit! I told her not to call me!
Correct
As the PHONE RINGS:

BOBBY
Dammit! I told her not to call me!
Do not put another character's direction in the speaking character's dialogue. It MUST go at
the left margin.
Incorrect

GIRL
You are such an idiot.
(Bobby flips her off)
Oh, that's mature.
Correct
GIRL
You are such an idiot.

Bobby flips her off.

GIRL
Oh, that's mature.

Formatting dialogue
Words are never broken by a hyphen at the end of a line of dialogue unless it's a naturally
hyphenated word, such as twenty-three, point-blank, etc.

Formatting shot headings

All shot headings are placed on a line by themselves with two blank lines above and one
blank line below. This includes any so-called "hidden" shots which may be imbedded in
descriptive passages.

An example of a hidden shot follows:

Incorrect

INT. GOOBER'S SPORTS BAR - NIGHT

Cigarette smoke fills the room. From Bobby's POV, we see

JULIA enter the bar. Bobby pretends to stab himself with one
of his darts.
Correct
INT. GOOBER'S SPORTS BAR - NIGHT

Cigarette smoke fills the room.

BOBBY'S POV

JULIA enters the bar.

BACK TO SCENE

Bobby pretends to stab himself with one of his darts.

Additional examples of "hidden" shots include insert shots, close shots, wide shots, and any
other specific shot called for within direction. All of these must be pulled out onto a line of
their own.
A shot heading can never stand alone at the bottom of a page without at least one
complete sentence of direction of dialogue -- unless there is no direction or dialogue to go
with it, such as an INSERT SHOT or an ESTABLISHING SHOT.

Scene transitions
Scene transitions such as CUT TO: and DISSOLVE TO: are entirely optional, but when used
should be preceded by one blank line and followed by two blank lines. When breaking
pages, the scene transition must remain with the shot just completed. In other words, it is
never permissible to start a new page with a CUT TO: or a DISSOLVE TO:. It must be
placed at the bottom of the previous page.

Other Notes (by Dana)

The first time a character is introduced in the stage direction of a script, his/her/its name
should be written in all caps. If the name is mentioned again, it may appear as normal.

Character names over dialog are always in all CAPS.

Capitalize major sound effects.

Try to avoid using the word "camera." Use "we" instead. (Instead of "The camera
follows..." use "We follow...")

For example, if the following is the opening scene of a movie:

INT. GOOBER'S SPORTS BAR - NIGHT

The place is a mess, having suffered the insanity of a Friday

night. Cigarette smoke floats in the air.

INSERT: THE DART BOARD

As a dart SMASHES into the board.

BACK TO SCENE

BOBBY plays darts in a dark corner of the bar. Even in his

drunken state, he's not too bad. Bobby's darts still fall
into the board.

BOBBY
Damn! I'm good!

The phone RINGS.

We follow Bobby over to a phone sitting on the bar.