Don't try to trick the reader Dave, the script is just the blueprint for what goes on the screen and it should be clear from the beginning to the reader what's happening.
It's happened to me before where I've thought "But I don't want the reader to know this character's real name because it spoils the surprise", but you just have to swallow it and let them in on the gag.
F**k it then, I'll make it up as I go along.
Cheers, chaps.
Quote: Perry Nium @ September 25 2008, 2:09 PM BSTDon't try to trick the reader Dave, the script is just the blueprint for what goes on the screen and it should be clear from the beginning to the reader what's happening.
It's happened to me before where I've thought "But I don't want the reader to know this character's real name because it spoils the surprise", but you just have to swallow it and let them in on the gag.
I don't buy into that blueprint thing though. Sure, when it's a shooting script it's a blueprint, but before it gets to that stage I want to excite the reader as I would a viewer. With my penis.
Sorry, I got sidetracked.
int. room - whenever
X and Y are in bunkbeds.
DIALOGUE.....
Pull back and reveal - they are actually in a prison cell.
Quote: jdubya @ September 25 2008, 2:28 PM BSTint. room - whenever
X and Y are in bunkbeds.
DIALOGUE.....
Pull back and reveal - they are actually in a prison cell.
Cheers, I'll give that a go.
Yeah but the scene headings, ie:
SCENE 1. INT. PRISON CELL. NIGHT.
are there to tell the director what set he needs to organize for the scene. You can't call one location two different things in the same script. That way lies madness, death and foulest corruption.
Truly this is the greyest of the grey areas. Or is that Birmingham?
I can see your dilema, but I've always been led to believe that a script is a set of instructions for the actors and production team to follow. It doesn't necessarily have the luxury of being akin to a novel where you can lead the reader down a dark alley.
Personally I would go ahead and put Prison Cell in the slugline as that is the correct location. Then in the description say what is happening to your characters, then indicate that you slowly want it to be revealled they're in a prison cell.
The idea is not to try and trick the reader, but demonstarate how your scene should be set up so that the producer and actors can trick the viewer.
If you write it correctly it will be funny for the reader even if they are in on your joke.
Def.
Quote: David Bussell @ September 25 2008, 4:25 PM BSTTruly this is the greyest of the grey areas. Or is that Birmingham?
No, that's Philip Schofield's pubic mound.
Quote: jdubya @ September 25 2008, 2:28 PM BSTint. room - whenever
X and Y are in bunkbeds.
DIALOGUE.....
Pull back and reveal - they are actually in a prison cell.
Exactly what I do, I call them "pull back and reveal sketches,"
I wouldn't worry about it too much, personally. I'm sure a producer would appreciate the joke afterwards.
If I've ever tried that trick in sketches, I've just used Int. Unknown Location
Gaaahhh!
Quote: Griff @ September 25 2008, 1:59 PM BSTBut there must be special occasions where this is allowed. For example when Clark Kent turns into Superman, he must be referred to as CLARK: at the beginning of the scene and SUPERMAN: after he has torn his shirt off. Ditto the HOSPITAL that turns into a RACECOURSE? (This is all pure supposition BTW).
Great example re: Superman.
I'm having trouble with this in my internet sitcom too. For example I introduce a man, Paul, who then enters an internet forum and places a sticker on his top stating "Midfield General". I've changed his name accordingly on the script. Can't think of any way round it as his wife etc. call him Paul but his online chums only know him as Midfield General.
Quote: al_gernon @ September 25 2008, 9:43 PM BSTGreat example re: Superman.
I'm having trouble with this in my internet sitcom too. For example I introduce a man, Paul, who then enters an internet forum and places a sticker on his top stating "Midfield General". I've changed his name accordingly on the script. Can't think of any way round it as his wife etc. call him Paul but his online chums only know him as Midfield General.
You need to pick a character name to begin with and stick with it. You never change a character name mid-script. It's confusing to everyone, actors, producers, director - everyone.
Quote: David Bussell @ September 25 2008, 1:08 PM BSTA question for the format wizards.
I have a scene in my sitcom where I want to trick the reader into thinking the characters are in one place then reveal that they are in fact they are somewhere else entirely. Is there as accepted way to do this without telling porkies in the slugline?
For instance:
INT. PRISON CELL - DAY
...rather gives the game away when I'm trying to trick the reader into thinking the characters are just bunking together.
Any ideas?
A script is NOT a story, it is a set of instructions to a production team and a set of actors, to PRODUCE a TV program or film.
So the slug lines tell the director EXACTLY where the scene is set. The slug lines are used for scheduling the shooting of the film & all the scenes at a given location or set are commonly filmed one after each other, then the whole team moves to the next location etc. So if you put false location is the slug line you will b*gg*r up the production team.
If you wish to guide the director that the AUDIENCE do not realise that it is a prison cell, you write that into the stage directions.
Lighting is dim, we can just see that there are
two occupied bunks, but no detail of the rest of
the location can be seen.
Quote: Griff @ September 25 2008, 1:59 PM BSTBut there must be special occasions where this is allowed. For example when Clark Kent turns into Superman, he must be referred to as CLARK: at the beginning of the scene and SUPERMAN: after he has torn his shirt off. Ditto the HOSPITAL that turns into a RACECOURSE? (This is all pure supposition BTW).
NOPE!
I expect that, any one actor has the same name against his lines, either CLARK or SUPERMAN; otherwise you will mess up the production team, actor call sheets etc etc.
However! it might not matter in a submission script, because the production team will re-write it the way they want it to be.
NOPE!
I expect that, any one actor has the same name against his lines, either CLARK or SUPERMAN; otherwise you will mess up the production team, actor call sheets etc etc.
OK so I was intrigued enough by this to look this up. I couldn't imagine a scene where SUPERMAN was flying through the sky, but his lines in the script read CLARK.
Here's the shooting script for SUPERMAN THE MOVIE.
http://www.scifiscripts.com/scripts/superman_I_shoot.txt
There are separate lines indicated throughout for CLARK and for SUPERMAN. I couldn't find a single scene containing both names (although I didn't try very hard) but there are certainly bits where he is called CLARK in scene X, SUPERMAN in scene X+1, and CLARK again in scene X+2.
I do realise this is a very special case and you wouldn't normally do it.
Actually, maybe it's not so special. One way of looking at is is they are two different parts which just happen to be played by the same actor. So they would be listed as two roles in the script. When DAVID BANNER turns into HULK, they are two roles which happen to be played by two different actors, even though in story terms they are the "same" character. But still two different character names in terms of the script.
How this helps Dave I have no idea.