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The text in all CAPS at the beginning of a scene that briefly describes the location and time of day.
For example: INT. DAVE'S BEDROOM - NIGHT
Note: sometimes sluglines are abbreviated to something as simple as "LATER" or "BEDROOM."
An especially sharp transition. This style of cut is usually used to convey destruction or quick emotional changes.
For example: If I were writing a horror movie but wanted to lighten the gore at the beginning, I might have the first victim trip and fall. The killer enters the forest clearing, taking a moment to savor this death. The victim shakes her head, as if begging for the killer to change his mind. But no, he closes in, a black cloaked arm raising the knife into the air. The knife catches the moonlight for just a moment before it races downwards.
SMASH CUT TO :
EXT. WOODLAND HIGH SCHOOL COURTYARD - DAY
It's a bright and beautiful morning and kids wander the courtyard on their way to class or to meet friends. And the students discuss the end of this example.
The sudden shift from a dark forest to a bright schoolyard on the first stab would convey the distress of the murder without showing it. For another example of a smash cut, see the transition to L.A. in Barton Fink.
Note: this transition is often a director's choice. As a writer, use this sparingly if at all. Many script readers find this term unprofessional.
You won't see this term anywhere else on this site. If a writer finishes his own screenplay outside the studio system (it isn't an assignment) then sends it to the studios for consideration, it is a spec script.
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This is a computer term referring to Adobe's cross-platform portable document format. This file is created with Adobe Acrobat and can only be read by the Adobe Acrobat Reader. To download the Reader for free, click here
Point of View. The camera replaces the eyes (sometimes the ears) of a character, monster, machine, surveillance camera, etc. As a result, we get to see the world through the sensory devices of some creature. This can be used to bring out the personal aspects of a scene, or it can be used to build horror and suspense. An example of horror and suspense in POV can be scene in the opening shot of Halloween.
The camera physically moves towards a subject.
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Often used to reveal things for comic or dramatic effect. Could be described as a counter POV shot. Basically, the script suggests the camera come around 180 degrees to get a shot from the "other side" of a scene. For example, in the Something About Maryscript, Tucker is playing a joke on Mary in her office in one scene that the writers didn't want to reveal right away. They use a REVERSE ANGLE to show that he's got two tongue depressors in his upper lip to represent teeth. This reverse angle is used for comic effect.
An event that takes place entirely in one location or time. If we go outside from inside, it's a new scene. If we cut to five minutes later, it's a new scene. If both, it's a new scene. Scenes can range from one shot to infinity and are distinguished by slug lines.
This is the truly final draft used on set by the production people, actors, and director to make the movie from the screenplay.
One image. If there's a cut, you've changed shots. Shots can range from split seconds, like in Terminator 2, to several minutes, such as in Secrets and Lies or the opening sequence of Halloween. Shots are generally chosen by the director although the writer can use capital letters to suggest where the camera should be. When a writer absolutely must have a certain shot at a certain moment in a film, he has a few options each described in detail elsewhere in this list: INSERT, ANGLE ON, and CLOSE ON.
For notes regarding how to format shot types, check the Format page.