Como escrever cenas em carros #3

http://www.whatascript.com/screenplay-format-06.html Part 1 - Car scenes 101 Formatman: First, the basics! Ask yourself. Where do you want to put the focus of the reader? on the car itself, on the activity in the car, or on both? Your answer to this question determines how to write the car scene. Option 1) Putting the focus on the car There are basically 2 reasons to do that: the car - and the activity around it - is the object of interest in the scene, NOT what is happening in the car, you first want to show the car in its environment before showing what's happening inside the car. In both cases the car is part of the Exterior set. In terms of screenplay format, the master scene heading starts therefore with EXT. This is the beginning of a draft version of Gone in 60 seconds, screenplay written by Scott Rosenberg. This scene got edited later on, but it illustrates the point: In this example the car is even introduced as a secondary master heading to put emphasis on it. EXT. LONG BEACH STREET - LOWER GRAND - NIGHT The streets are empty. Low fog skims the sidewalks below a gray stew of a sky. It's slightly fuzzy, slightly surreal. The vast Port of Los Angeles is visible in the b.g... No cars parked here ... No cars except - A '67 SHELBY MUSTANG GT-500 Screenplay formatting commandment #6: Thou shalt cut to the chase Silver with deep grill, its sculptured side panels ending in air scoops ... All cock and balls, it stands alone in the lonely cool before dawn ... An old-school totem to speed and style... Option 2) Putting the focus on the INSIDE of the car There are again basically 2 reasons to do that: the activity inside of the car is more important than what we see outside of the car, or we already saw the car in its environment before and you now want to get to what's happening in the car. In both cases, the character watches the outside world through the window and often in thrillers / crime / action movies through binoculars. The car is then considered as an Interior set. The master scene heading starts therefore with INT. This is an extract from 8MM, screenplay written by Andrew Kevin Walker. INT. WELLES' CAR -- NIGHT Welles still watches the house. There's a light on in one of the second floor windows, curtains closed. Welles yawns, shaking his head, trying to stay awake. At the quaint house, a light comes on in the front picture window. Looks like a living room or dining room. The old woman comes to sit at a table. Welles takes binoculars off the front seat... THROUGH BINOCULARS The old woman says something to someone we cannot see. Screenplay formatting commandment #6: Thou shalt cut to the chase In above examples the cars were parked. If the car is moving you use the following screenplay format: INT. CHARLIE'S MINI (MOVING) - NIGHT INT. MINI (CRUISING) - DAY INT. MOVING BLACK CAR -- NIGHT INT. CAR TRAVELLING-- MEPHAM STREET -- DAY The first 2 examples are from The Italian Job, screenplay written by Donna Powers and Wayne Powers. The last 2 examples are from The Bourne Ultimatum, screenplay written by Tony Gilroy, Scott Z. Burns and George Nolfi. Option 3) Putting the focus on BOTH inside and outside We usually first see the car in its environment, then we switch to the occupant(s) of the car and the action taking place in the car. There are 2 common screenplay formats to show that: as separate scenes using an extended scene line i) As separate scenes In this case the screnplay format will usually start with EXT. showing the car and follow with INT. to take care of the action inside of the car. This is an extract from Babel, screenplay written by Guillermo Arriaga. EXT. DESERT -- DAY The Moroccan police trucks drive down the dusty roads. The landscape is harsh and barren. Babel - Police car INT. POLICE TRUCK -- DAY Hassan's wife gives directions. WIFE Make a right here. Alarid, with his hand, signals the driver to follow her directions. Suddenly, in the distance, over the hills, she signals three tiny dots running up a slope. WIFE (CONT'D) That's them. Babel ALARID (To the driver) Stop... The trucks stop and Alarid takes out his binoculars. P.O.V. ALARID'S BINOCULARS -- CONTINUOUS In the distance, we can still see Abdullah, Yussef and Ahmed run across the hills. Abdullah is clearly carrying the rifle. Side notes on binoculars and POV: You may have noticed that Guillermo Arriaga (Babel) uses a different screenplay format for the binoculars than Andrew Kevin Walker (8MM) does. First he uses POV (Point Of View) while it was implied in 8MM, and he uses POV as a master scene heading while it was a secondary scene heading in 8MM. It shows once more that there is not one single way to go about screenplay format. If one of the characters was to speak while watching through his binoculars his name in the dialogue part would be followed by (O.S.), which means OFF SCREEN. Why? because he's at the scene location but not in the camera frame. We would hear him, but not see him, since we see what he sees through his binoculars. POV is usually followed by BACK TO SCENE or a Master heading. POV is sometimes considered as a camera direction, so use it with moderation (see screenplay formatting commandment #5 about that). ii) Focus on BOTH inside and outside - Using an extended scene line The screenplay format in this case uses INT./EXT. or EXT./INT. depending on whether the scene starts inside or outside the car. Doing so ties both the INT. and EXT. scenes together as if they intertwined. This is an example from Drive, screenplay written by Hossein Amini. INT/EXT. IMPALA/ ELECTRONICS SUPERSTORE/ DOWNTOWN - NIGHT Driver reaches under the seat and pulls out a small handheld scanner. He switches it on, tuning it to the right frequency. Crackling police dispatches are interspersed with the basketball commentary now. POLICE SCANNER ...9 Adam 81, what is your current location?...Repeat, what is your current location?... BASKETBALL COMMENTARY ...Another unbelievable three pointer from Davis and the Clippers are within five!... Out of the corner of his eye Driver sees two MEN approach. He doesn't react, expecting them. They cut through the fence with bolt cutters and approach the main building. Driver watches them pull on their masks, then one of them takes out a shotgun and blasts the lock to the front door. Instantly the alarm shrills. The only thing Driver does is to turn on his stop watch. Drive BASKETBALL COMMENTARY ...Time out Knicks... The stop watching keeps ticking away, the siren blaring, the commentary continuing, the police scanner crackling. The storefront is hidden in shadow, impossible to tell what's going on inside. Driver looks at his stop watch. Almost three minutes. One of the masked men emerges now, carrying a duffel bag. Drive For more use of INT./EXT. in non car related scenes, see 2nd formatting commandment: "Thou shalt not let the reader get lost" - See more at: http://www.whatascript.com/screenplay-format-06.html#sthash.iJyu8210.dpuf