This is how they did it in the same script:Ģ-I have an MC who does his work in the gardens of different customers. I have established at the beginning the basic of the story, what happens where, but because of the time jumps, it must be clear to the reader in which time every scene takes place.Īs addition to this, can I write the country in which a scene takes place as a part of a slugline if you switch between two different countries(I want avoid using a super for this because it could lead up to an extra page of unnecessary text).
#SCRIPT SLUGLINE IN A CAR TV#
Would PAST and PRESENT be accepted in a TV pilot (and other formats of scripts) or is there a better way to express that in a slugline? HOTEL ISLAY - SMILEY’S ROOM - DAY – PRESENT I wanted to avoid repeating that in the action line considering the limitations in the page count, which a TV script has and used something I found in Tinker Tailor Soldier Spy screenplay: And, it also gives an editor a great tool if the script supervisor captures the same information.Ĭlick here to view a sample that I created from the “National Treasure” screenplay.1-I have a TV pilot in which I switch back and forth between the past (middle ages) and present day. It allows the director to quickly regain his concentration and communicate with cast and crew the goals of the shot sequence. The “who does what” focus slugline clarifies the emphasis of the film segment with a single glance. Others may want to list every beat for more complex scenes, but seldom will sentences be used unless the information has to be reduced to writing for a treatment or scene synopsis. Dad calls insurance company.) will work for most directors because it reveals the scene’s beginning, middle and end.
The SAMPLE 1 focus sluglines (Dad surprises son. The key to successfully using focus sluglines is to make sure the director gets what he needs when others break his focus on set. Son backs into oncoming traffic and startles other drivers.ĭad grabs his cell phone and calls insurance company to clarify coverage. Son hops in the car, starts it up and shifts into reverse.ĭad smiles from ear to ear with pride for his son. Son runs outside and stares at the sports car. Still other directors prefer to work in sentences rather than sluglines, which might look like this:ĭad surprises son with a new car parked in the driveway. Some directors prefer to preserve each beat of the scene/sequence like this: The sample, when played out in a short sequence, might look like this: Since the shift in power also shifts the focus temporarily, the use of sub-focus-sluglines helps the director to make sure the focus returns to the right place before the scene ends. In longer scenes that have a lot of power shifts between the characters, the director can create a sub-focus-slugline for every new character goal established that drives the overall story. The camera shot list in a film about the son would reflect a completely different set of shots than the story about the dad. The “who” is the son, the “does” is the receiving of the gift, and the “what” is the car. In the sample, if the film were about the son, the focus slugline would have read: Son receives car. The Focus Slugline is a quick glance system that allows the director to recalibrate his perspective when its time to roll cameras. The director’s goal is to remind himself to put the attention on the dad during filming so he doesn’t’ accidentally shift the story to be about the son in this particular scene.ĭirectors are asked a myriad of questions on set every day and in spite of the plethora of queries he must remember what to focus on within the scene. This focus slugline puts the emphasis on the giver of the surprise in this case it’s the dad. The “who” is the dad, the “does” is the surprises, and the “what” is the son.
Some directors have sub-focus-sluglines to breakdown the “who does what” by character power shifts.Ī sample focus slugline is: Dad surprises son. It runs vertically down the page and gives the “who,” “does,” “what” of the scene. The focus slugline is typically hand written by the director in the left margin of the script. It is found at the top of every scene to organize the script and simplify production management forms. The header includes the annotation of the interior or exterior, scene name, and time frame of day or night. The simplicity of outlining the focus of a film shifted to long form directors and then to independents.Ī focus slugline is NOT to be confused with a script header. Birthed by documentarians to keep shows focused on topic, the focus slugline eventually shifted into use by editors inundated with hours and hours of footage to sort.
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