Let's say there is a child with their hand in the cookie jar. All of a sudden, Mom walks in the door. If I want to have Mom walk in and then catch the reaction of the child, do I use Cut to? Do I Cut to the child? Thanks!
Screenwriting : Cut to? by Hazel Smith
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No, you don't need nor should you use a CUT TO. Simply describe the child's reaction in a new paragraph and this should denote a new shot/camera angle.
No need to use CUT TO in any action or scene description. Only to distinctively transition from one scene to the next, excluding CONTINUOUS scene transitions.
Only use CUT TO in cases where not using it would create confusion. Of course we cut from one scene to the next, so that's not confusing.
Like William said. There are some instances where I wrote a transition from one scene to another without CUT TO, and when I read over it, it was awkward and the scenes felt incomplete. So I added CUT TO, and it suddenly came together.
I think once a writer gets used to writing scripts, they just know when it's absolutely necessary. But 95% of the time, it won't be.
I tried to post a screenshot of what I wrote, but it's not working. It just shows a spyglass and Stage32.
Trying again!
When will the pitch be able to be uploaded? I've looked at the website but there is no information available.
No CUT TO, try a camera shot like CLOSE ON - then put character name space FACE, followed by action underneath.
CLOSE ON is a camera direction, it's for people who also use things like CUT TO.
Don't use them.
Unless you plan to make your movie yourself, don't use camera angles of any kind.
Write what is shown on the screen, think of action paragraphs as shots.
Kid with hand in cookie jar.
Mom arrives at the door, stops and watches Kid in silence. She fumes, fights back the urge to snap.
Kid digs to the bottom and finds a aluminum foil bundle under the layers of cookies.
Mom hears the foil CRINKLING. Storms into the room.
MOM
Kid!
Kid snaps his head over his shoulder, crumbs drip from his mouth...
Also Keep in mind point of view when writing, staying with the kid and not seeing the mom come in will help keep the audience focused, reliving a moment when they did the same thing. Then you can bring in the Mom from off screen:
Kid looks over his shoulder, sees he is alone, eases the lid off the cookie jar, slowly reaches his hand in.
MOM (O.S.)
Charlie Dakota Jones!
Kid's head snaps over his shoulder, crumbs drip from his mouth as his face fills with fear.
Mom storms across the room...