Camera Directions in Screenplays

I remember being told years ago that you should leave all camera movements to the director and not include them in the script. I.e. a CU of a person's face screaming just turns into "so and so screams".

Since I was told this, I've always avoided entering any camera directions (pans, CUs, Crane shots etc.) This can affect the joke, though. For instance, I have scenes in the script I'm writing at the moment where the joke depends on cinematography/editing as much as it depends on dialogue and action.

I've realised that others often put camera directions in scripts so I'm sure it's ok for me to do so, but I was wondering whether anyone feels there are any rules around this - should camera directions only be included in scripts when absolutely essential and avoided as much as possible?

Don't put them in. There's usually ways round it.

Thanks. Say the scene includes a receipt being printed by a shop assistant, but we need to see the receipt before we see the assistant, would I say:

CUT TO:
Receipt being printed.

CUT TO:
Shop assistant.

Or would I describe this in stage directions i.e.

A SHOP ASSISTANT PRINTS OUT A RECIPT. WE SEE THE RECEIPT BEFORE THE SHOP ASSISTANT.

Don't do it, it's not your job, it's the directors.

There are ways of selling a shot without being explicit about angles etc. For instance, if you wanted to suggest slo mo in your script you might go with:

DOUG TUMBLES OFF THE EDGE OF THE BUILDING...

FALLING

FALLING

EXPLODING ON THE PAVEMENT LIKE A PINATA FULL OF GUTS.

Currently in the middle of a screenplay. My solution(?), which I tend to do for all important stage directions, is to simply to describe the action from the audience's perspective, e.g...

'We suddenly notice that all the time DAVID has been talking to STEVE, a rotund BALD MAN has been STANDING in the doorway applying MARMITE to his GENITALS.'

That sort of thing, ahem, then provides a narrative of the action to the script reader, which prompts the visual direction in their own mind.

Stage directions and describe as if it was in close up, the readers mind will do the rest. You don't need to say close up on a tear rolling down a cheek, you just say a tear rolls down her cheek and the reader will get it. Put the pictures in the readers head and the director will put them on the screen.

Quote: David Bussell @ March 30 2010, 3:38 PM BST

Don't do it, it's not your job, it's the directors.

There are ways of selling a shot without being explicit about angles etc. For instance, if you wanted to suggest slo mo in your script you might go with:

DOUG TUMBLES OFF THE EDGE OF THE BUILDING...

FALLING

FALLING

EXPLODING ON THE PAVEMENT LIKE A PINATA FULL OF GUTS.

View original

Is Doug holding the receipt?

Quote: sglen @ March 30 2010, 3:35 PM BST

Thanks. Say the scene includes a receipt being printed by a shop assistant, but we need to see the receipt before we see the assistant, would I say:

CUT TO:
Receipt being printed.

CUT TO:
Shop assistant.

Or would I describe this in stage directions i.e.

A SHOP ASSISTANT PRINTS OUT A RECIPT. WE SEE THE RECEIPT BEFORE THE SHOP ASSISTANT.

View original

THE RECEIPT CHUGS OUT OF THE TILL. "£9.99, HAVE A NICE DAY"

THE SHOP ASSISTANT TEARS IT OFF AND HANDS IT TO THE CUSTOMER WHO EXPLODES LIKE A PINATA FULL OF GUTS.

Quote: David Bussell @ March 30 2010, 3:38 PM BST

Don't do it, it's not your job, it's the directors.

There are ways of selling a shot without being explicit about angles etc. For instance, if you wanted to suggest slo mo in your script you might go with:

DOUG TUMBLES OFF THE EDGE OF THE BUILDING...

FALLING

FALLING

EXPLODING ON THE PAVEMENT LIKE A PINATA FULL OF GUTS.

View original

Cool! Hadn't thought of doing it like that!

Thanks Tim and Marc also - this makes much more sense to me now!

Was the receipt for a parachute?

I'd say it's not out of the question to use them if you really do have to be specific, but only very sparingly, don't litter the script with them.

Quote: David Bussell @ March 30 2010, 3:40 PM BST

THE RECEIPT CHUGS OUT OF THE TILL. "£9.99, HAVE A NICE DAY"

THE SHOP ASSISTANT TEARS IT OFF AND HANDS IT TO THE CUSTOMER WHO EXPLODES LIKE A PINATA FULL OF GUTS.

View original

So where's Doug in all this?
If anything, I'm more confused.

To be honest I do put the odd CLOSE or POV in.
But only where it's vital.

Quote: David Bussell @ March 30 2010, 3:38 PM BST

Don't do it, it's not your job, it's the directors.

View original

I think the odd one is ok. I've put in one or two, no ones ever said anything, I'd say it's when you do it throughout a script that a problem occurs.

Quote: Matthew Stott @ March 30 2010, 3:43 PM BST

I think the odd one is ok. I've put in one or two, no ones ever said anything, I'd say it's when you do it throughout a script that a problem occurs.

View original

Yeah, but I don't see any of your shows on the telly, Stott.