British Comedy Guide

Trick locations Page 3

Quote: billwill @ September 26 2008, 12:32 AM BST

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.

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.

Bill's completely right on this one, and his location description is spot on in this instance. "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."

This tells the reader what the AUDIENCE should be seeing.

Of course there is the argument that this being an early incarnation of a script, there might be license to flout convention and just let the creative juices flow. But everything I've read and learned points to the fact that the closer you get to a professional, no nonsense script, the better chance you have of ultimately selling the bastard and getting it on telly.

But by way of disclaimer, I might be wrong.

But I'm not.

Quote: billwill @ September 26 2008, 12:32 AM BST

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.

A script IS a story!!!!!!

A set of instructions indeed. Dear me. :(

Your first job as a writer of scripts is to transport the first reader of it. Create a believable world with engaging characters and tell a bloody good story!

[quote name="Perry Nium" post="272591" date="September 26 2008, 1:54 AM BST"]
But by way of disclaimer, I might be wrong.

But I'm not.

You are half not wrong.

:D

Quote: Marc P @ September 26 2008, 8:37 AM BST

A script IS a story!!!!!!

A set of instructions indeed. Dear me. :(

Your first job as a writer of scripts is to transport the first reader of it. Create a believable world with engaging characters and tell a bloody good story!

:D

Thank you!

So it's a grey area, then?

NO.

:)

But just to clarify, Perry is right in that you shouldn't change the name of the location. If you start by calling it Frankie and Johnny's Bedroom, or whatever, keep calling it that, the fact that we learn later it is a prison cell is fine. It doesn't have to be called Prison Cell in the stage directions.

Quote: Marc P @ September 26 2008, 9:15 AM BST

NO.

:)

But just to clarify, Perry is right in that you shouldn't change the name of the location. If you start by calling it Frankie and Johnny's Bedroom, or whatever, keep calling it that, the fact that we learn later it is a prison cell is fine. It doesn't have to be called Prison Cell in the stage directions.

So you're saying despite the fact that the location is really a prison I should carry on calling it a bedroom?

Quote: David Bussell @ September 26 2008, 10:45 AM BST

So you're saying despite the fact that the location is really a prison I should carry on calling it a bedroom?

I heard that your bedroom IS a prison.

Quote: David Bussell @ September 26 2008, 10:45 AM BST

So you're saying despite the fact that the location is really a prison I should carry on calling it a bedroom?

Just call it Frankie and Johnie's Room or whatever TF their names are and it will be fine David. Imagine you were writing an ep of Bad Girls. Every room wouldn;t be called PRISON CELL would it. So F & J's ROOM will be absolutely fine.

:)

I see your point, Mark. Thing is, I only used a prison cell as an example. In actual fact, I'm trying to fool the reader into thinking that a household kitchen is in fact a job centre. From a directoral point of view, this would no doubt involve a whole lot of CU as the two characters talk over a table. From a writing point of view it's a bugger to nail.

How about something like this:

CUT TO:

JANE and BEN, talking across a table in a room we don't get a good look at.

BEN
No, I haven't had any interviews. But I've applied for tons of jobs. Honest.

JANE
Do you have any evidence? Letters?

BEN
Not as such.

Jane gets up from the table, and we reveal that they are in

INT. JANE'S KITCHEN - DAY

JANE
No sex for you this week, then. Tea?

A script IS a story!!!!!!

A set of instructions indeed. Dear me.

Your first job as a writer of scripts is to transport the first reader of it. Create a believable world with engaging characters and tell a bloody good story!

How naive, any producer reading your kind of script is simply likely to think " Hah a rank amateur wanna-be scriptwriter who hasn't bothered to find out what we want".

Then he chucks it on the reject pile.

Marc P is supposed to know what he's talking about, him being a "luvvie" and all that, what's happening here, my belief system is wavering.. :O

Quote: billwill @ September 27 2008, 1:04 PM BST

How naive, any producer reading your kind of script is simply likely to think " Hah a rank amateur wanna-be scriptwriter who hasn't bothered to find out what we want".

Then he chucks it on the reject pile.

Billwill, with all due respect, you're talking out of your arse.

Okay this is a lame gag but for the purposes of showing you how I'd personally do it...

1. INT. JOB CENTRE. DAY.

THE GAG IN THIS SKETCH IS THE VIEWER BEING TRICKED INTO THINKING THAT THIS IS A KITCHEN, NOT A JOB CENTRE.

CLOSE UP ON A SCRUFFY, UNSHAVEN MAN POURING A CUP OF TEA OUT. HE TAKES A SIP AND READS A PAPER ON THE TABLE. HE YAWNS AND IDLY SCRATCHES HIS ARSE. A PHONE IN FRONT OF HIM RINGS AND HE PICKS IT UP WITHOUT LOOKING AT IT, BEFORE REPLACING THE RECEIVER. HE LIGHTS UP A FAG AND CONTINUES TO READ THE PAPER, LEANING TO ONE SIDE AND NONCHALANTLY FARTING.

CAMERA PULLS BACK TO REVEAL ANOTHER TWO MEN HOLDING CLIPBOARDS (INTERVIEWER 1 AND INTERVIEWER 2) SAT ON THE OTHER SIDE OF THE TABLE, WATCHING HIM INTENTLY. WE NOW SEE THE JOBCENTRE SIGN. THE TWO MEN LOOK AT EACH OTHER, SEEMINGLY IMPRESSED.

INTERVIEWER 1:
Well, Mr Jackson. It seems you do have all the skills required for the job.

INTERVIEWER 2:
I agree. Welcome to National Rail Enquiries.

THEY SHAKE HANDS.

END SKETCH

I think the way to view writing a script is from the angle that you're writing a story AND a set of instructions. Of course we want to surprise the reader with plot twists / punchlines etc, but unfortunately when a situation like this arises, you just have to bite the bullet and accept the reader is going to be in on the joke from the beginning. The reader (unless he's an idiot which is sometimes the case) should be able to see the merit of the sketch from the viewer's point of view.

Tell you what, let's put a call out to Micheal Jacob. He's read a script or two in his time. Micheal if you're reading this thread, put us out of our misery!

Quote: Perry Nium @ September 27 2008, 1:36 PM BST

Tell you what, let's put a call out to Micheal Jacob. He's read a script or two in his time. Micheal if you're reading this thread, put us out of our misery!

Good call. Michael, if you would be so kind...

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