Whether for a film or television project, the next step after the competition of the script is to break it down into its primary elements so that a budget can be generated. Although most script writing programs do automatically add some elements, such as the speaking character roles, each scene still needs to be manually checked so that the necessary information will appear on the reports. Without knowing who, what, where, and for how long, it is impossible to generate the budget. If done correctly, it will also collect and organized the information for the daily call logs.
The more detailed the breakdown of each scene, the more time
you will save yourself in the long run. Although
some of these elements will be filled with generic responses, listing them will
hold the place for the details to be added later.
Location
Each scene opens with the location bar that includes, the
place, interior/exterior, and day part of the scene. Although they are listed in the script, none
of this information will appear in the reports unless it is manually entered. Most places will host more than one scene; listing the general location with the specific
location and daypart will give additional details that will help determine how
many days will be needed for that particular area. By adding these details, it’s easier to group
scenes to cut down on was of time and energy.
Construction
Scenes that are filmed on a soundstage or at locations where
modifications will need to be done. Would
need to be noted in this category. Extra
time will need to be allotted for the building, setting, and striking the sets.
Electronics
Any special lighting, sound, or gadgets would be listed
here.
Set
dressing
Unless there are changes due to the script, the first scene will
be sufficient to set the standard for the entire project. Any modifications
would be needed to be noted and the scenes scheduled accordingly.
Props
Not every prop needs to be listed. Only the ones that are required by the script
or wouldn’t normally be found in the area.
VFX:
makeup; digital, sound, mechanical
Visual effects take preplanning and are time-consuming. Knowing what scenes and the specific effects are
required to accurately budget time and resources.
Characters
Most scriptwriting programs automatically list the speaking
characters; however, characters without lines will need to be manually entered
or they will not appear on the call sheets.
Crew
Most crews are set for the entire project and don’t need to
be listed. This section would again be for
the unusual or special crew members.
Wardrobe/Makeup/Hair
For continuity, these need to be listed according to the
placement in the script timeline not according to the shooting schedule. By listing them according to which day they
represent in the script, it’s easier to coordinate and account for the time
needed to make any changes.
Animals/children
Animals and children are unpredictable. Additional time will need to be added.
Anything out of the ordinary that will consume time or
resources
Having too many details is better than being caught off guard.
I will be using scenes from my project Never Can Say
Good-bye as examples.
Scene 8
INT. HIDDEN ROOM: DAY
Michael
shines the flashlight around the room. The beam hits the cracked mirror and
reflects onto a rocking chair. THE OBSERVER (camera showing the ghost's
perspective) WATCHES Michael. Michael tries to open the window; it's
nailed shut. SHANE SCOTT (A woman in her mid-20's who believes the world
is her toy.) WALKS into the doorway.
SHANE
(angrily)
What did you do? This isn't our house.
MICHAEL
(startled)
Amanda was happy I found it.
Shane
nervously walks around. The Observer examines her. She sees her image in the
mirror distort and morph; Shane screams and runs out.
Scene 8 Breakdown
-
INT.HIDDEN
ROOM: DAY
Character
* Michael
* Shane
* The Observer
Props
* Flashlight
* Bellows family
pictures
Camera
* The camera will
represent the ghostly perspective
* Drone camera
Location
* Bellows House
* Hidden room
* Afternoon
Set Dressing
* Table and chairs
* Full side bed
* Dressers
* Wooden rocking
chair
* Curtains on the
windows
* Bedding
* Family pictures
* Needlework
project
* Old book on the nightstand
* Rag rugs
* needlepoint samplers
* Virgin Mary
statue
* Angel statues
Wardrobe
* Women's clothing
from the mid to late 1950s
* DAY ONE
Greenery
* Ivy on the
outside of the window
Sound
* Door creaking
Electrics
* Drone camera
Crew
* Drone camera
operator
Optical FX
* The Distorting
image in a mirror
Scene 27
INT. LYNNE’S LIVING ROOM: NIGHT
Lynne and Elizabeth pleasantly chat
after dinner.
LYNNE
I only know
two ways to end a residue haunting. Change the energy by cleansing the
space or by destroying the anchoring object.
ELIZABETH
What you
think there it's residual, but there is actually a spirit.
LYNNE
I'm not sure
what happens. If they are ready to move on everything happens as it
should have in the first place.
ELIZABETH
What if she
or he wasn't ready.
LYNNE
Most likely
limbo.
ELIZABETH
For how
long?
Lynne shrugs.
ELIZABETH
(CONT.)
Wouldn't it
be easier to just move on?
LYNNE
It's not
that easy.
ELIZABETH
It is if you
let it be.
(Walking
to the window)
It's
beautiful here.
LYNNE
(Studying
Elizabeth)
This is my
favorite spot.
ELIZABETH
I can see
why.
LYNNE
This whole
neighborhood used to belong to the Ramsdell family. James wanted Rachael to
have the same luxury she had in New Orleans. The town just grew
around it.
ELIZABETH
It must have
been beautiful.
LYNNE
It broke
Amanda's heart to sell it. She had wanted the whole estate to become a
combination museum and public park.
ELIZABETH
Hard times
sometimes force hard decisions.
LYNNE
Amanda sold
the land to keep the Bellows House.
ELIZABETH
Why? It's
just a house.
LYNNE
It's a
shrine to Sara Jane and Randolph's love. That's why Audrey Bellows wanted
to destroy it. Amanda believes Sara Jane and Randolph will incarnate
here.
ELIZABETH
Come on.
Even if reincarnation was real, how would she know?
LYNNE
She says
she'll know. I believe her. But they better make it soon.
Last year we nearly lost her to a stroke.
ELIZABETH
I think I
saw her on my way here. She gave me the shivers.
LYNNE
She's a
strong lady.
LYNNE
(Holding
up the empty beer bottle)
Another?
ELIZABETH
(Still
looking out the window)
Please.
Lynne returns to the kitchen. Elizabeth
looks at the backyard. It transforms into the original estate.
RACHAEL RAMSDELL APPEARS. The distance between Elizabeth and Rachael
vanishes. Elizabeth becomes transfixed.
LYNNE
(Carrying
two more beers)
What's the
matter?
Lynne sees Elizabeth transforms into
Sara Jane. She drops the bottles. Elizabeth becomes herself.
ELIZABETH
(nervously)
I should go.
LYNNE
I'll walk
with you.
Scene 27 Breakdown
-
INT. LYNNE'S
LIVING ROOM: NIGHT
Character
* Elizabeth
* Lynne
* Rachael
Special FX
* The distance
between Rachael and Elizabeth collapses on itself until the women are standing
face to face.
* Backyard
transforms into front of Ramsdell house
Props
* Beer
Set Dressing
* Books
* Computer printer
* Fax machine
* Family pictures
* Rocking chair
* Living room
furniture
* Shelves
* Virgin Mary
statue
* Radio
* Television
* Magazines
* Knitting
Greenery
* Grass, trees,
shrubs, garden
Sound
* Radio playing
Location
* Lynne's House
* Original
Ramsdell estate
* Living room
night
Wardrobe
* DAY ONE
Optical FX
* Elizabeth
transforms into Sara Jane
In both examples, the scenes have been broken down into
their individual elements. This information
will be used to prepare the spreadsheet that will determine the number of shoot
days that will be needed to produce Never Can Say Good-bye.
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