DOCSLIB.ORG

Formatting a Screenplay-(Not MLA) Here Are the Basics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Formatting a Screenplay-(Not MLA) Here Are the Basics Formatting a Screenplay-(Not MLA) Here are the basics: ● 12-point Courier font ● 1.5 inch left margin ● 1 inch right margin ● 1 inch top and bottom margins ● Approximately 55 lines per page ● Dialogue speaker names (in all caps) 3.7 inches from left side of page (2.2 from margin) ● Actor parentheticals (aka wrylies) 3.1 inches from left side of page (1.6 from margin) ● Dialogue 2.5 inches from left side of page (1.5 from margin) ● Pages should be numbered in the top right corner, flush to the right margin, a half-inch from the top of the page. Numbers should be followed by a period. The first page is not numbered. 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. Helpful Resources: Types of Paragraphs (Formatting): http://slugline.co/basics/ Formating (bird’s eye view): https://www.writersstore.com/how-to-write-a-screenplay-a-guide-to-scriptw riting/ Script Writing Software: https://www.celtx.com/pricing.html How to Read a Screenplay INT/EXT (Interior/Exterior): This shows where the scene takes place. Often, there is a description of the scene, or important details that the reader needs to take into consideration. Description should always be written in present tense. O.S./O.C.: Off Screen, Off Camera V.O.: Voice Over (Parentheticals) Appear under a character’s name, and tell us information that is important to know about that particular line(s). This information should be something that is able to be seen. Example, instead of writing (angily), you would write (screaming). Only necessary if you are noting something that is not already assumed by the reader-don’t overuse! A strong screenplay gives the reader enough information so that they can “read” the film, and easily imagine the author’s intent, without giving so much detail that there is no longer room for creative discretion. Screenplay Writing and Film Terminology Action The scene description, character movement, and sounds as described in a screenplay. Example: TWO GUNSHOTS. Smith ducks down behind a parked car. Windows BLOW OUT, glass spraying on the sidewalk. PEDESTRIANS SCREAM, getting the hell out of the way. Smith scrambles forward, keeping low. Draws his gun. Risks a peek: two men, GUNMAN and DRIVER. Squeezing off three rounds, Smith lands two of them in the Gunman. The Driver grabs his buddy and floors it. Character All CAPS the first time you meet them in the Action. A person on the screen at any moment. https://www.youtube.com/watch?time_continue=72&v=xt2PcwKHbxc Beat Can be used in a parenthetical or action to indicate a pause in the character’s dialogue or movement. Often signals a brief pause in a character’s speech or action. It is believed that a beat should be used sparingly, and if possible it should be conveyed in a character’s action. CLOSE On/INSERT When you want do drag a reader’s eyes or imagination to a particular object on the screen like a text message, or a scar. Example: Newspaper Headline, Sign on a Shop Door Patton smiles as he flips slowly through the stack. He stops on one in particular. INSERT – PHOTO of a 12-year-old Patton and his father in upper deck seats at the 1997 World Series, hot dogs in hand. PATTON Go Marlins. He fights back the single tear that’s trying its damnedest to fall. Dialogue What a character says in the script. “Thank you sir, may I have another?” Dialogue should never follow directly after the slugline. Scene After a slugline a scene describes what happens in a particular place at a particular time. Slug Line Denotes a new scene in the screenplay. Adds emphasis to what’s important in a screenplay, for example, a specific camera angle. Includes: Whether the scene is set inside or outside, specific location, and time of day. Scene headings have two spaces above it, while the slug line only has one space. CONTINUOUS Sometimes, instead of DAY or NIGHT at the end of a SLUGLINE/Location Description, you’ll see CONTINUOUS. Continuous refers to action that moves from one location to another without any interruptions in time-like a high speed chase through a mall with different stores. MARY What’s wrong? Why are you smiling like that? TOM No reason. Under the table, the dog begins licking the arch of Tom’s foot. TOM (CONT’D) Do you need any h-h-h-help with dessert? More Examples A134 CONTINUED: EDWARD I have been nothing but myself since the day I was born. And if you can’t see that, it’s your failing, not mine. INT. BEDROOM – NIGHT Mary searches for Rex, checking under the bed. INT. BASEMENT – CONTINUOUS Tom WHISTLES, shaking Rex’s favorite toy. Cut To: Ends some scenes to provoke a reaction-you can cut to a joke, or to the opposite of what a character recently stated. Examples: When ending a scene abruptly for dramatic effect, or transitioning to a new scene (writer’s discretion) Establishing Shot: A shot from a distance telling us where we are--New York City? The Dust Bowl? The Congo? https://www.youtube.com/watch?v=Axt0nETgEXo Montage: A numbered sequence in a story that shows one or several characters completing a series of actions. Like Rocky’s training sequences. https://www.youtube.com/watch?time_continue=577&v=Hj0jzepk0W A Intercutting or INTERCUT BETWEEN: Used to show different scenes happening at the same time. Like a boy eavesdropping on his parents, or a phone call in two different places, or the murder of all the mob bosses in town during a baptism. https://www.youtube.com/watch?time_continue=194&v=EfbYp9oaIT 8 TRANSITION Descriptive term for how one scene ‘transitions’ to another scene. Used appropriately, these can be used to convey shifts in character development and emotion. Dissolve To: A transition mostly used in older films. Stylistically shows one image dissolving into another. FADE TO: One of the more common transitions. You FADE IN: on the left and FADE OUT: on the right of the page. You an also FADE TO: on the left-usually used for scenes that transition in longer lengths of time. INTO FRAME/INTO VIEW: When a character enters during a scene and you want to highlight that entrance. JUMP CUT TO: A cut in film editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly. This type of edit gives the effect of jumping forwards in time. MATCH CUT TO: A transition between scenes where one thing becomes another like jumping into a pool that matches to the same character diving into bed. POV Point of view. This became popular with found footage movies but generally refers to the first person advantage as seen in movies like Halloween. Shooting Script This is the truly final draft used on set by the production people, actors, and director to make the movie from the screenplay. SMASH CUT TO: An especially sharp transition. This style of cut is usually used to convey destruction or quick emotional changes. Speculative Script/Screenplay A screenplay not commissioned by a studio or producer. It is the idea of the writer only. SUPER, SUPER TITLE, or TITLE Refers to words on the screen like the scroll in Star Wars or the little titles telling you in what city or time period the script takes place. TIGHT ON A close-up of a person or thing. Basically, like the space has been squeezed out of the area between camera and subject..
Load more

Recommended publications
  • The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
    Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film.
    [Show full text]
  • Screenplay Format Guide
    Screenplay Format Guide Format-wise, anything that makes your script stand out is unwise. This may seem counterintuitive. Anything you do to make your screenplay distinctive is good, right? Depart from the traditional format, though, and you risk having your script prejudged as amateurish. A truly conscientious reader will overlook such superficial matters and focus on content. However, if your work looks unprofessional, it may not be taken seriously. To ensure your script gets a fair read, follow these formatting guidelines: It isn’t necessary to file a copyright with the Library of Congress. Your script is automatically protected under common law. However, it’s a good idea to register it, either with an online service, such as the National Creative Registry (protectrite.com), or with the Writers Guild. This being said, the Industry tends to view registration and copyright notices as the marks of a paranoid amateur. You would be wise to leave them off your script. Use a plain cover. White or pastel card stock, not leatherette. Avoid using screw posts or plastic-comb binding. Bind your script with sturdy, brass fasteners, such as those made by ACCOÒ. The ones Staples sells are too flimsy. Readers hate it when a script falls apart in their hands. You can order professional-quality script supplies online from WritersStore.com. Although scripts are printed on three-hole-punched paper, there’s an unwritten rule that speculative scripts are bound with two fasteners, not three. Why this tends to be common practice is unclear. Perhaps it’s because submissions often get copied by the studio’s story department, and it’s easier (and cheaper) if there are only two brads.
    [Show full text]
  • Spider-Man: Into the Spider-Verse
    SPIDER-MAN: INTO THE SPIDER-VERSE Screenplay by Phil Lord and Rodney Rothman Story by Phil Lord Dec. 3, 2018 SEQ. 0100 - THE ALTERNATE SPIDER-MAN “TAS” WE BEGIN ON A COMIC. The cover asks WHO IS SPIDER-MAN? SPIDER-MAN (V.O.) Alright, let’s do this one last time. My name is Peter Parker. QUICK CUTS of a BLOND PETER PARKER Pulling down his mask...a name tag that reads “Peter Parker”...various shots of Spider-Man IN ACTION. SPIDER-MAN (V.O.) I was bitten by a radioactive spider and for ten years I’ve been the one and only Spider-Man. I’m pretty sure you know the rest. UNCLE BEN tells Peter: UNCLE BEN (V.O.) With great power comes great responsibility. Uncle Ben walks into the beyond. SPIDER-MAN (V.O.) I saved a bunch of people, fell in love, saved the city, and then I saved the city again and again and again... Spiderman saves the city, kisses MJ, saves the city some more. The shots evoke ICONIC SPIDER-MAN IMAGES, but each one is subtly different, somehow altered. SPIDER-MAN (V.O.) And uh... I did this. Cut to Spider-Man dancing on the street, exactly like in the movie Spider-Man 3. SPIDER-MAN (V.O.) We don’t really talk about this. A THREE PANEL SPLIT SCREEN: shots of Spider-Man’s “products”: SPIDER-MAN (V.O.) Look, I’m a comic book, I’m a cereal, did a Christmas album. I have an excellent theme song. (MORE) 2. SPIDER-MAN (V.O.) (CONT'D) And a so-so popsicle.
    [Show full text]
  • Wonder Woman
    WONDER WOMAN screenplay by Allan Heinberg story by Zack Snyder & Allan Heinberg and Jason Fuchs based on characters from DC Comics WONDER WOMAN created by William Moulton Marston This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission. FINAL SHOOTING SCRIPT WARNER BROS. PICTURES INC. © 2017 4000 Warner Boulevard WARNER BROS. ENT. Burbank, California 91522 All Rights Reserved FADE IN: 1 EXT. THE EARTH (FROM SPACE) 1 The EARTH as seen from space, perfect and seemingly serene. DIANA (V.O.) I used to want to save the world... The distant SOUND OF TRIBAL DRUMS as we DESCEND planet- ward. CIRCLING the globe, CLOSER as the DRUMS BUILD. DIANA (V.O.) This beautiful place. LOUDER DRUMS SOARING OVER oceans and continents. CLOSER. DIANA (V.O.) But the closer you get, the more you see the great darkness simmering within. Finally, we arrive in PARIS, FRANCE. 2 EXT. LOUVRE MUSEUM (PARIS) - EARLY MORNING 2 The LOUVRE MUSEUM -- with its 16th-Century architecture and its I.M. Pei glass-and-metal PYRAMIDS -- a place where the past and the future meet. DIANA PRINCE (30), antiquities expert, strides towards the Louvre, passing ARMED MILITARY at guard and alert. DIANA (V.O.) And mankind? That’s another story altogether. A TRUCK pulls up, blocking our VIEW. ARMED SECURITY OFFICERS exit, unloading a CRATE from WAYNE ENTERPRISES addressed to DIANA PRINCE: CURATOR. 3 INT. LOUVRE MUSEUM - CORRIDOR - CONTINUOUS ACTION 3 Diana walks down a HALLWAY with Assyrian bas-relief sculptures showing the good, and the bad, of humanity throughout history.
    [Show full text]
  • Class Video Editing.Key
    SCULPTING WITH SOUNDS, IMAGES AND WORDS VIDEO EDITING VIDEO TOOLKIT CONTINUITY EDITING: cutting style that maintains a sense of continuous space and time https://www.youtube.com/watch?v=6uahjH2cspk&index=22&list=PLrMEncyd64BdPt-iWyxiAdo19tYm7myf1 ~ 13 min VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between long, medium and close-up shots varying duration pacing through panning and zooming shots VIDEO TOOLKIT TYPES OF VIDEO SHOTS Extreme Long Shot Long Shot Medium Long Shot Medium Shot Medium Close-up Close-up Extreme Close-up from https://www.asu.edu/alti/ltlab/tutorials/video/basics/types.htm https://vimeo.com/blog/category/video-school VIDEO TOOLKIT Extreme Long Shot (ELS / EWS) • Also known as extreme wide shot (EWS). • Covers a wide area. • Shows the whole figure of your subject as well as his surroundings. • Provides context for your scene. VIDEO TOOLKIT Long Shot (LS / FS) • Also known as full shot (FS). • Frames the whole figure of your subject, from the head to the toes. • Places the subject in relation to the environment and the people around it. • The point of the focus is the subject but the environment is also visible. • Shows action rather than emotion. VIDEO TOOLKIT Medium Long Shot (MLS) • Also known as a three-quarters shot. • Frames the whole subject from the knees up. • An intermediate shot between the long shot and the medium shot. • Shows the subject in relation to the surroundings. • May be used when you have 2 or 3 persons in the frame.
    [Show full text]
  • Film Make Jump Cuts Less Noticeable
    Film Make Jump Cuts Less Noticeable Oldish and joyous Stinky always holpen placidly and foreclosing his Wolfgang. Theism Lukas usually vaccinated some beach or spilikin waspishly. Andy negatives imbricately if avulsed Reggis resettling or counterpoised. Why each saturation second interview and the dark video editing creates a film less overbearing, click ok to For making the color? New bin for film less noticeable jump cuts from the timeline view an recording and make it gets used symbolically related but attempts to notice. Your film less noticeable in making the right, make in ls and by dragging it by tom wolfe commented on the movie to produce smaller effects? Wxat we make it from film films are making your message in film films changes position of sex as noticeable. We make changes and film less noticeable jump cuts off, notice how much broader perspective affords sense. Ninema or less common type basic keyframe. There will make very noticeable jump cuts less depth of film and makes the merge node then edited clip from. That cutting board position of jump cut. Porter may make cuts less noticeable jump of making your work very natural perception that makes it is jumping effect. Design facilitates smooth temporally and make all to notice them to preview feature by juxtaposing a noticeable. Brahma by outside influences, film films were performed in that connects post. The cut definition at an exact duration. Consider some form of the visual link to softly bring into narrative element of perceptual regularities to make cuts less noticeable jump rope for the selected tracks enabled in color correction by making a gallery? When you can release and cultural references or film make jump cuts less noticeable in more often difficult in this helped by camcorder iris.
    [Show full text]
  • Penerapan Teknik Editing Smash Cut Pada Penciptaan Film Jabang
    402. Jurnal FSD, Vol. 1 No. 1 PENERAPAN TEKNIK EDITING SMASH CUT PADA PENCIPTAAN FILM JABANG (The Application Of Smash Cut To The Creation Of The Film “Jabang”) Nidia Anggraini, Triadi Sya'dian Program Studi Televisi dan Film Fakultas Seni dan Desain, Universtitas Potensi Utama [email protected] ABSTRAK Analisis film pendek Jabang ini membahas tentang teknik editing smash cut pada film Jabang, yang terdiri dari beberapa transisi editing yang menggunakan teknik smash cut. Editing smash cut adalah teknik yang di potong secara tidak berurutan dengan tujuan estetika yang bertujuan untuk membuat penonton merasa di kejutkan dan tidak dapat menebak jalur cerita film. Semua teknik atau transisi tersebut sangat penting dari penulis terapkan dalam penciptaan film Jabang. Film Jabang adalah film fiksi bergenre Drama yang berdurasi 44menit, film Jabang mengangkat tema mengenai kokokan ayam malam-malam pertanda ada gadis yang hamil diluar nikah, mitos tersebut masih berkembang disebagian masyarakat di Indonesia. Film Jabang sendiri bersinopsis tentang satu keluarga tinggal dirumah warisan yang mulai kosong karena krisis ekonomi pada keluarga tersebut, suatu hari sang ayah (46tahun) bertekad untuk mencari pekerjaan kekampung orang dalam keadaan yang kurang sehat, kepergian sang ayah meninggalkan istrinya sumiati (38 tahun) dan dua orang anak, gadis (8tahun) bersama yuni (17tahun). Hingga suatu hari anak yang paling besar yuni (17tahun) melakukan hubungan suami istri yang kemudian diketahui hamil diluar nikah hingga membuat ibu marah besar sampai mengurungnya berbulan-bulan digudang. Hasil dari analisis di film jabang ini adalah editing yang digunakan banyak menggunakan transisi yang berbeda-beda dengan teknik editing smash cut yang bertujuan agar film menjadi lebih dramatis dan terlihat horror apalagi film jabang ini menggunakan warna kehijauan.
    [Show full text]
  • Rethinking Transcendental Style
    Rethinking Transcendental Style What became of transcendental style? What in the 1950s began as art house cinema has blossomed into the hydra-headed creature we call slow cinema. Bresson and Ozu, seen as esoteric and slow, now are audi- ence friendly compared to the multi-hour epics of Béla Tarr and Lav Diaz and Pedro Costa. A theater experience for art house customers morphed into marginalized audio-video presentations shown only at fi lm festivals and art galleries. What happened? Gilles Deleuze happened. So did Andrei Tarkovsky. And slow cinema was soon to follow. i write a book In 1971, at the age of 24, a grad student a UCLA fi lm school, I had the temerity to write and publish a book titled Transcendental Style in Film. Forty-fi ve years later I found myself on a panel at the annual convention of the Society for Cinema and Media Studies titled “Rethinking Tran- scendental Style: New Approaches in Spirituality and Cinematic Form.” So I started rethinking. How did I come to write the book in the fi rst place and how does its premise hold up after forty-fi ve years? I wasn’t drawn to the topic out of academic obligation or desire to publish. I had a problem and I was looking for an answer. It was the same impulse that caused me to write a screenplay two years later. 1 2 | Rethinking Transcendental Style I was a product of the Christian Reformed Church in Grand Rapids, a Calvinist denomination which at that time proscribed theater attend- ance and other “worldly amusements.” So naturally I was drawn to the forbidden—not the forbidden forbidden, of course, but the acceptable forbidden.
    [Show full text]
  • 13 Creative Editing Techniques Every Video Editor Should Know
    13 CREATIVE VIDEO EDITING TECHNIQUES From quick-cut transitions to flash-bulb cuts and freeze frames, there are many ways to put together a story on any screen. Once you master the different edit types, you can create an editing style of your own that reflects your creative side. But first, you have to learn them... 1 STANDARDSTANDARD CUTCUT Also known as a hard cut, this is the basic and most common cut. It just puts two clips together, connecting the last frame of one and the beginning frame of the next. 2 JUM P CUT This is a cut that pushes forward in time. It’s normally done within the same frame or composition, and many times it’s used within montages. 3 A montage uses quick cuts between scenes, usually underscored by music, to show the passing of time, allowing for rapid development in your storyline. 4 A cross dissolve can also signify time passing, or it can use its overlapping “layers” or dissolves to show multiple stories or scenes happening at once, but shot at different times. SCENE 1 CROSS DISSOLVE SCENE 2 HELPFUL TIP Don’t use cross dissolves for standard editing. There needs to be creative motivation behind the dissolve. 5 E WIP A wipe is a transition that uses an animation to “wipe” a scene away into the next one. There are basic wipes and there are more complex ones, but they can often be seen as corny. FADE IN/OUT 6 Simply fade out one clip and fade in the other. Like many of the other techniques, this often implies time passing, like a night-to-day switch or someone falling asleep.
    [Show full text]
  • Table of Contents Table of Contents
    TOC Content Internet Links The Script Savant Free First 10 Pages Screenplay Critiqued Comprehensive Screenplay Analysis Signup For Free Newsletter & Script Updates Free Movie Screenplays PDF download – A-M Free Movie Screenplays PDF download – N-Z Free TV Screenplays PDF download – A-M Free TV Screenplays PDF download – N-Zz Table of Contents Table of Contents ...........................................................................................................................................2 Introduction ................................................................................................................................................ 11 Why This Book................................................................................................................................................................... 11 Format Types .................................................................................................................................................................... 13 What Is A Screenplay ........................................................................................................................................................ 14 Steps To Screenwriting Success ........................................................................................................................................ 15 1. Watch Thousands of Movies: .................................................................................................................................... 16 2. Read Thousands of
    [Show full text]
  • Me, Myself and I (Network, 7Th
    ME, MYSELF AND I "Pilot" Written by Dan Kopelman Warner Bros. Television 4th Network Draft 1/17/2017 © 2017 Warner Bros. Entertainment Inc. This script is the property of Warner Bros. Entertainment Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc. COLD OPEN INT. NEUTRAL SPACE - DAY ALEX RILEY (40), speaks directly to camera. MID-LIFE ALEX My name is Alex Riley. And this is the story of my life. (then) Now, in order for you to get the complete picture, I should probably start with... As he talks, Mid-Life Alex’s voice and face seamlessly MORPH into those of a 14-year-old boy. This is YOUNG ALEX. YOUNG ALEX ... the day that changed everything. INT. CHICAGO APARTMENT (1991) - LIVING ROOM - NIGHT CHYRON: 1991, AGE 14 The CAMERA FOLLOWS A DOG as it crosses to an empty food bowl. YOUNG ALEX (V.O.) As an only child growing up in Chicago, I had two major obsessions. One was inventing stuff. The dog taps a button with his snout, activating a Rube Goldberg contraption that dispenses a single serving of food. As the dog happily digs in, the CAMERA CONTINUES into... INT. CHICAGO APARTMENT (1991) - ALEX’S BEDROOM - CONTINUOUS Dressed from head-to-toe in Chicago Bulls gear, Young Alex watches a basketball game on a small TV. YOUNG ALEX (V.O.) The other was Michael Jordan. ANNOUNCER (ON TV) Three seconds left, Jordan has the ball.
    [Show full text]
  • The 100 Most Powerful Film Conventions Every Filmmaker Must Know
    THE 100 MOST POWERFUL FILM CONVENTIONS EVERY FILMMAKER MUST KNOW JENNIFER VAN SIJLL 8. Imbalance Disco Pigs 22 CONTENTS 9. Balance Disco Pigs 24 Acknowledgments viii 10. Orientation Apocalypse Now, Barton Fink 26 11. Size Metropolis 29 Preface: Cinematic Storytelling x 3. Shape Within the Frame 31 Introduction xi Introduction 32 Cinematic Storytelling: The Screenwriter xi 12. Circular The Conversation 34 13. Linear Fargo 36 The Problem xi 14. Triangular Witness 38 15. Rectangular The Searchers 40 What Does This Mean for the Screenwriter? xi 16. Organic versus Geometrie Witness 42 Script Excerpts xi 4. Editing: Pudovkin's Five Editing Techniques 45 Cinematic Storytelling: The Director xii Introduction: A Little Theory 46 Five Editing Principles 46 The Problem xii "On Editing" 46 Editing: Additional Techniques 47 What Does This Mean for the Director? xii 17. Montage Citizen Kane 48 1. Space: 2-D & 3-D Screen Direction 1 18. Montage Adaptation 50 19. Assembly Psycho 52 Introduction 2 20. Mise-en-Scene Psycho 54 1. X-Axis (Horizontal) Strangers on a Train 4 21. Intercutting Cabaret 56 2. Y-Axis (Vertical) Strangers on a Train 6 22. Split Screen Kill Bill Vol. 1 58 ~. XY-Axes (Diagonals) Metropolis, The Piano 8 23. Dissolves Citizen Kane 60 4. Z-Axis (Depth-of-Field) Citizen Kane 10 24. Dissolves Barton f'ink 62 $. Z-Axis (Planes of Action) Dolores Claiborne 12 25. Smash Cut American Beauty 64 ()I.Z-Axis (Rack Focus) The Graduate 14 5. Time 67 "'<I, Frame: Composition 17 Introduction 68 oduetion 18 26. Expanding Time through Pacing Barton Fink 70 Citizen Kane 20 27.
    [Show full text]