What is a director's script. video art

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What is a director's script

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Director's script - the name speaks for itself. This is a literary script, revised by the director for ease of work on the set. Since it is impossible to keep in mind or write down on pieces of paper all the things necessary for filming a film, this document is created.

No one reads it except the director and cameraman, there are explanations exclusively for them. Actors most often receive a simple literary version. And if the film is not a film at all, but some kind of soap opera, then it’s just a sheet of dialogue.

There is no urgent need for a screenwriter to know how to write a director's script, unless, of course, this screenwriter dreams of becoming a part-time director of his own films someday. However, any knowledge is valuable, and therefore we will make a short, simple and understandable review.

In the director's script, one column corresponds to one frame of the film. A frame not in the sense of 1/24th of a second, but in the sense of one period of camera operation from switching on to switching off, one take, an editing fragment, a single piece of recording. I can’t think of any other expressions, but I think the essence is clear - from scissors to scissors. And you must describe everything you need to be able to do and have in order to take this shot. There are many options, but let’s look at the one used in the “example”, a fragment of the short film “The Language of Evil”. Let's go through all the columns in order:

number - number in order, the number of your frame. Everyone has their own.

hrn - timing, how long the frame lasts. Sit down with a stopwatch, pronounce your lines, estimate the actions and measure approximately (this is not a joke).

Storyboard - a talented person is talented in everything, they say. But apparently it’s not about me, so if your artistic abilities are also not up to par, just draw “stick, stick, cucumber, here comes a little man.” One thing should be clear, where who is standing and how the camera films him; no one will blame you for missing details. If the frame is a panorama, draw two or even three pictures: the initial stage, the middle and the final. The same applies to arrivals, departures, traveling (live camera) and other delights.

Object - subject of shooting. There are all sorts of them. And if in a literary script it was enough to write Int. or Nat, then here we need specifics. If you write simply Int. Flat - this means that you already have a specific apartment where you plan to rent. It’s a good idea to include the address (and again, this is not a joke). If this apartment is built on a film studio - Pav. Int. Apartment. Nature can also be, no matter how trite it may seem, natural and pavilion-like. And it’s also worth remembering about the exterior. Do not think that this is an Americanized translation and just an option Nat. Not at all - the exterior is a completely independent creature, it is something built by man, but located in the open air. It's easier to give an example: Ext. Summer cafe, Ext. Street, Ext. Platform. And if, for example, it is written Ext.House, it is immediately clear that the house in this scene is shown from the outside. (Ext. can also be pavilion).

fineness - The size of the plan. Further, general, average, large, detail.

The far plan - this is anything in a large space: a battlefield, a road, an ocean, etc. The only thing that is probably worth remembering is that there should be long shots for at least 3 seconds, because the viewer must have time to see everything, and no longer than 6, because it disrupts the rhythm of the film, slowing it down.

Overall plan - a person is placed in full growth and there is still a place.

Medium plan - starts from the “knee-deep” plan, the so-called “American plan”, invented precisely there to show the thing that the hero carries (if he carries) in his hand (a pistol, for example) and then the plans “along the hips” and “along belt". Even though there are a lot of people in the frame, there is still space.

Close-up - there is no space in the frame, there is one big hero.

plan-detail - a finger with a wedding ring, an eye, an ear, etc.

There are certain laws when prescribing the order of plans. I’m not a cameraman or a director and I’m unlikely to explain everything clearly: but the gist is do not jump in size. That is, do not jump over a step, for example, from distant to large, from detail to general, etc. You need to transition smoothly: if you need to get from long to large, you definitely need to go through general and medium or use the camera approach.

Action - Move the “action description” block from your literary script here. That is, what is happening in the frame.

Sound/Dialogue - Here, of course, are the dialogues and sound. Actually, they make a whole separate speaker for sound, where everything is divided into sound channels, but these are subtleties.

Req/Note - Props/Notes. What do you need to film a collision without using optics? You need to move the camera. How? On the rails. On what? On a trolley. The props include rails and a trolley. If you need a faucet, go there. Lighting devices, a rain machine, pills for star fever - everything is there. You can also write any comments you want there. All that matters. Because this column will be read by a person who deals with props, and it’s better that he brings something extra than forgets something necessary.

Here's the gist in a nutshell. If, after seeing this pile of columns, you got scared, then forget about it and don’t remember it - it won’t affect your ability to write a strong script, rest assured. But if suddenly you find it easy and interesting and you see the film in frames, editing fragments, and not just a story, try to master the profession of director. Who knows, maybe you are the new David Lynch.

Author: Ilya Kulikov; Publication: screenwriter.ru

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