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To avoid such confusion in the screenplay, Soderbergh names the disembodied voice, even though we’ve yet to be introduced to Ann when we first hear her. Were Ann a man and her voice masculine, the audience of the motion picture might assume that her first few lines of disembodied dialogue were to be understood as Graham’s internal thoughts, as they have no source in the scene, and such uses of voice-over narration to express internal mental states are common. Here Soderbergh plays with the cinematic conventions of sound. continues with two or three more lines of this monologue before the writer indicates a cut to the next scene, in which we’re introduced to Ann as she explains her garbage obsession to her therapist. I started thinking about what happens to all the garbage.” Ann’s V.O. Soderbergh then breaks in to this scene with voice-over narration from the character Ann: “Garbage. There is only one key on his keyring, and it is in the ignition. He is a man of obvious intelligence, and his face is amiable. One would describe his appearance as punk/arty, but neither would do him justice. GRAHAM DALTON, twenty-nine, drives his ’69 Cutlass while smoking a cigarette.
In its first paragraph, the opening scene of Steven Soderbergh’s sex, lies and videotape introduces the character of Graham, alone in his vehicle: Sometimes, however, screenwriters will use a sound prelap to introduce Non-Diegetic sounds that will, in the next scene, become Diegetic. In short, Diegetic sounds are native to the storyworld of a screenplay and can be heard by the story’s inhabitants, while Non-Diegetic sounds are impositions of an authorial voice, meant for the audience only. First, we will begin with a look at the different categories of sound that appear in cinema. Here we will examine some of these limitations in more depth while also looking at strategies screenwriters have used to successfully incorporate sound into their scripts. And of course, the experience of sound in motion pictures is visceral, while the sound experienced in reading a script is mental and imaginative. Film offers an entire, life-like soundscape, while the screenwriter can only afford to reference those sounds that are most important to an understanding of the story. If, for instance, the reader is unfamiliar with a particular piece of music, the effect of the reference will be lost. A screenwriter can refer to music (though extensive use of music cues would become exhausting for the reader), but he or she cannot offer the reader an aural experience of that music. Despite this distinction, a careful survey of the uses of sound elements in both filmmaking and screenwriting will actually draw attention to the limitations of the screenplay text where sound is concerned.Ī film can accentuate an exchange of dialogue with simultaneous music, something a screenplay cannot do. While film is essentially visual, the average screenplay expends a vast majority of its page space on dialogue, often with little attention devoted to visual detail, which is thought better left to the inspirations of a director.
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The title page is neither numbered nor does it count as page one, so the first page to have a number is the second page of the screenplay (third sheet of paper, including the title page), which is numbered 2.Įxamples of properly formatted screenplays can be found in the library.The tension between the filmmaker who works in images and the screenwriter who works in words has long been an impediment to the pursuit of screenplay analysis as a serious academic discipline, and no where is this tension called more into focus than in an examination of the role of sound in motion pictures. Pages should be numbered in the top right corner, flush to the right margin, a half-inch from the top of the page. This does not include the page number, or spaces after it.ĭialogue speaker names (in all caps) 3.7 inches from left side of page (2.2 from margin)Īctor parentheticals (aka wrylies) 3.1 inches from left side of page (1.6 from margin)ĭialogue 2.5 inches from left side of page (1.5 from margin) 5 inches and 1.25 inches), raggedĪpproximately 55 lines per page, regardless of paper size (top and bottom margins adjusted accordingly).
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#FINAL DRAFT 10 FORMATTED TEXT WEIRD SOFTWARE#
While there can be slight variations for different types of scripts (ie multicam sitcom teleplays), screenplays follow strict formatting rules.įortunately, software like Highland, will do the heavy lifting for you.ġ inch right margin (between.