![]() ![]() MANOR - PANTRY / LIVING ROOM / FOYER / HALLWAY - DAWN Next comes a series of scene headings that break up multiple sub-locations within the home, suggesting quick cuts and roving movement. In Rian Johnson’s script for Knives Out, he opens the script with some quick scenes moving through the main location of the film: Harlan Thrombey’s Manor House.įirst, an exterior shot establishing the overall location, giving it a sense of scale and tone. This streamlines your writing process and to makes work easier for anyone breaking down the locations within your script.īut you can take this subdivision of the slugline further when you need to suggest ways of exploring these spaces. The extra dash sets aside a separate space within the larger building, allowing you to quickly return to a portion of a familiar location later on. Some example scene headings from the script include: In Paul Schrader’s First Reformed, a few larger buildings are key, becoming repeatedly used locations. Taking this a step farther, let’s look at subdividing locations. You’re using the slugline to move us to a new location and keep the reader from getting bogged down. ![]() Writing that initial description in tandem with the scene heading can allow you to trim it down to its most concise form. It’s those two sentences beneath that give you the feel of the location. The location name (Nate’s Restaurant) is simple, but specific: It’s a proper name that also tells you the type of place. The kind of place that refills your Sprite. There’s a pull to create detailed, specific scene headings that stretch both ends of the margins, squeezing all the possible juice out of that space.īut look at this one-two punch from Aline Brosh McKenna’s script for The Devil Wears Prada: A Time of Day, most often DAY or NIGHT.īut aside from the basics of their construction, how can you make these scene headings work for you to convey information clearly and concisely? Separating Sluglines from Descriptive Lines.A location name, specifying where the action takes place.INTerior or EXTerior, describing whether the camera and main dramatic action is indoors or outdoors for this scene.More on that below.Scene headings - also called sluglines - tell the reader that a new scene is starting. Example two excludes the extra scene heading. The soft reflecting from her big blue eyes forces the rambunctious class to settle at the sight of her.īoth examples work perfectly fine. Katty Kinderlin ( 14), a real sweetheart, peeks her head into the classroom, too shy to enter. HIGHSCHOOL CLASSROOM - DAY SUPER: 1963 Backpacked kids run against the rigging bell through the single door. Sometimes you might see the first scene heading as “ESTABLISHING” instead of “DAY,” but this is more for production-ready screenplays, not spec scripts.Įxample 2: INT. The soft light reflecting from her big blue eyes forces the rambunctious class to settle at the sight of her. HIGHSCHOOL CLASSROOM - CONTINOUS Katty Kinderlin (14), a real sweetheart, peeks her head into the classroom, too shy to enter. HIGHSCHOOL - DAY SUPER: 1963 Backpacked kids run against the rigging bell through the single open door. Then A location setting followed by “DAY” or “NIGHT” Finally, describe the scene itself.Įxample: EXT. How do you write an establishing shot in a screenplay? You write an establishing shot in a script by indicating “INT” for Interior or Inside “EXT” for Exterior or outside. Including the setting, time of day and paints a picture for your scene or entire script. Establishing shots are used to show the world of the story. ![]()
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