Thursday, May 26, 2022

How to breakdown a film script

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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