Posted by Pimped-Out-Jedi-Knight at webcacheb04a.cache.pol.co.uk on July 08, 2002 at 23:16:17:
In Reply to: A Question posted by Cheswick on July 08, 2002 at 23:08:11:
Bruce Campbell, on the other hand, just loves to help young, spunky, wannabe film-makers. I'm really being too nice today.
BRUCE CAMPBELL'S SUPER-DUPER ADVICE
Well, I'm no expert (I make my living as an actor, as you may recall), but I can lay a load of hooey on you for starters.
The first thing you must know is that a screenplay follows some basic film industry standards which pertain to structure, font types, and paragraph formatting.
Subconsciously and often consciously, the people who read screenplays (execs, hired readers, directors, the OCCASIONAL producer) are more apt to take your writing seriously if it LOOKS like a screenplay. In other words, if you want your epic to make it to the top of the pile, or at least near the top, your screenplay needs to look and read just like a real Hollywood screenplay. Sounds trivial doesn't it? Welcome to Hollywood.
FIRST, LET'S LOOK AT SCRIPT LENGTH
Typically, one page of screenplay translates into one minute of screen time. Granted, this is a horrible generalization, but it's a rule-of-thumb at least where dialogue is concerned. That being the case, your properly formatted screenplay should be in the neighborhood of about 100-ish pages, no less than 85 and no more than 120.
SECOND, LET'S TALK ABOUT STRUCTURE
Standard screenplays utilize a three-act format.
The FIRST ACT, usually about 20-30 pages long, introduces the setting, the main characters, and sets the plot in motion. The "problem" of the main character is introduced (as in "Army of Darkness"), "Will Ash get back to his own time?"
There is a fairly common sentiment (and of course all sources differ) that the end of act I is the "point of no return," where the main character(s) have no choice but to continue forward. An example of this would be: Ash winds up in 1300 a.d.
This point of no return then poses the follow up question, "Now what?" Romantic comedies will sometimes set up both characters in the first act, so we know what their lives are like individually, then end the act with the man and the woman meeting for the first time! Bingo -- no turning back.
ACT TWO is the main body of the screenplay and is usually about 40-60 pages long. This is the act to "confront" the problem. The main conflict (Man vs. Man, Man vs. Himself, Man vs. Demon, etc.) is explored.
For example, in "Army," act II is mostly Ash on a journey to get a magic book that will allow him to return to his own time and thereby address, or confront, his "problem".
The end of act II usually comes about with some form of dramatic "Reversal." In the case of "Army," this reversal happens when Ash does, in fact, get the book, but he screws up the secret words and unwittingly unleashes an Army of the Dead -- it prompts an "uh-oh" reaction to readers/viewers.
ACT THREE, the "resolution," can be anywhere from 15 to 30 pages long and resolves the conflict. With "Army," Ash defeats the Evil Dead, barely, and goes back to his own time...happily ever after... Generally, you would not introduce any new characters or plot twists in this act.
TO SUM UP:
1. ACT ONE sets up the problem - ending with the point of no return.
2. ACT TWO confronts the problem - ending with the reversal.
3. ACT THREE resolves the problem - ending with, well, the end credits...
I cannot emphasize enough, the importance of structure. Even the flimsiest of comedies can play so much better if there is a solid structure from which to hang the "gags." Let's use the ol' building analogy, shall we?
If the architect (or writer) designs a building (or script) to lean sideways, the best contractors in the world (as in actors/directors) will never build a straight building, because they are simply following the blue prints (structure).
Now, let's discuss the gory details, starting with Font.
Most Hollywood screenplays use the Courier 12-point font. Depending on your word processing program, this font may also be called "Courier New" or "Courier 10 pitch." Either way, this is pretty much the same font produced by the archaic typewriters of yesteryear.
Paragraph formatting gets a bit hard to explain, but I'll try anyway.
A "slug line" is an all-caps description of the elements at the head of a scene. For example...
INT. BARN - DAY
This lets the reader know the where's and when's of a given scene.
Descriptive text follows the slug line and, naturally, describes the setting and action occurring within a scene. Both slug lines and descriptive text are flushed left.
When a character is first introduced in descriptive text, his or her name should be capitalized, and that should be the only time their name appears in all caps during descriptive text.
Character names (above dialogue) appear in all caps. They are flushed left at about 2.5 inches from the left margin.
Occasionally following character names are parenthetical descriptions, which are mainly guides for readers/actors. For example:
ASH
(to Jerry)
This lets the reader know who the character is speaking to, if it isn't obvious.
Be careful of these -- most actors, myself included, totally ignore the little "helpers." Some of the more annoying parentheticals are things like (beat), (passionately), (sweetly), etc.
I'd also recommend avoiding some "emphasis" stuff in scripts like "ANGLE ON" and "CUT TO" or "LOW ANGLE." These things don't really mean much to anybody. Directors and editors tend to ignore them. One of the few exceptions to this rule is when the writer is also the director, as in Sam Raimi.
The dialogue does not appear in all caps and is indented about 1.25 inches at left flush from the left margin.
A sample page could look something like this:
EXT. CASTLE COUTYARD - DAY
Ash crawls out of the pit, glaring at the peasants, and raises his shotgun above his head.
ASH
(angrily)
Listen up you primitive screwheads...
The script title and "The End" notations are centered and appear in all-caps. Well, that's the basic stuff with regard to format.
If you want advanced lessons, try to purchase screenplays from local bookstores and study their format. You'll find that each script you study has its own funky formatting quirks. There are no "iron clad" rules, but you might as well be in the ball park.
NOW, A FEW GENERAL NOTES
First, avoid writing anything that will not translate onto screen, such as "Ash walked inside, knowing that one day he would have to resolve the complex issues surrounding his past relationships." This won't make it to the screen of your local multi-plex I can guarantee you.
Also, don't bog down on catchy character descriptions, like "He's the kind of guy who could hit you on a Tuesday and you wouldn't wake up until Sunday brunch."
Your screenplay should be a fast, concise, yet brilliant read. Be succinct with your descriptions and don't let paragraphs run on for a half of a page! Nothing is more daunting to the reader than an epic scale paragraph. As I understand it, you make a new paragraph whenever you have a new idea.
If you want to write with an eloquent or romantic style, try your hand at short stories or novels. Screenplays, unfortunately, need to be quick and easy to read and understand.
When developing your screenplay, I suggest you write a brief description of each scene and put it on its own "3x5" card. Then, lay them out, getting an "overall" view of your vital structure. Feel free to rearrange them repeatedly until you have a story that is sound and balanced.
And, for god's sake "track" your characters. In other words, make your characters consistent and give their dramatic "arc" a beginning, middle and satisfying end. How are they different at the end of your tale -- what have they learned? Tie up those loose ends!
Don't forget to do the same thorough service for supporting characters also, despite the fact that they're not as "important" as your leads.
Bruce's rule #28E is: Write a good part, and you'll have actors lining up around the block. If your script sucks, that's when actors demand 12 million, because there's no other reason for them to participate in the project.
NOW, LET'S DISCUSS PROTECTING AND MARKETING YOUR SCREENPLAY
Before you show it to anyone, you should copyright it. And, I don't mean sending it certified mail to yourself and never opening it. I mean, you should register it with the Library of Congress -- Office of Copyrights in Washington D.C. (202-707-5000). They can send you all the applicable forms for registering a Motion Picture Screenplay. It only costs $20 and is worth it, every penny. It will protect "ownership," so that no one else can ever say the idea is theirs and get away with it.
If you choose, you can also register your epic with the Writer's Guild of America in Los Angeles or New York. This will protect "authorship," not "ownership" and is in effect for five years. (213-782-4540) This isn't free either, but it's a good idea.
Let's ease into the world of reality for a moment. What do you do with your fantastically well-written script once it's completed and protected?
Well, if you've written a brilliant "Hercules" episode, or "Evil Dead IV," you might as well wallpaper your bathroom with it. There are all kinds of rights issue involved in sequels and active television shows.
These companies will not only NOT read it, they won't even acknowledge they ever got it. Why? It's either because of a rights issue or the basic fact that they already pay a lot of dough for a staff of writers or, most commonly, because most companies will simply not accept "unsolicited" scripts.
This means that your script has no "representative," as in AGENT, MANAGER or LAWYER to act as a go-between. This part of the business stinks, but ya gotta deal with it somehow.
So, you can either solicit Agents (and I'm not gonna do the research for you -- there are heaps of books, directories, etc. that you can get your grubby little paws on) or you can become a Producer yourself and do an "end run." It's a tough route, but c'mon folks, it's America -- use it to your advantage.
We basically did this with our first film, "Evil Dead." We never had an agent until it was time to sell the film to the world!
On a parting note, if you want to be a good writer, don't IMITATE -- be original enough so that, a few years down the line, some poor slob in film school wants to copy YOU.
In other words, don't get your literary inspiration from TV or movies. Writers should be readers and, most importantly, doers. Go to your library, read the classics, hop a train, hitchhike across America -- get off your butt and experience the world!
And, for heaven's sake, don't "chase" trends, and don't write for a budget. Just write a good, solid screenplay, work your fingers to the bone and hey, something just might happen...
Got it? Good. I'll see you in the credits.
Write like the wind!