Hello
This is my first post in this section. I'm curious - who includes transitions such as "FADE TO" "DISSOLVE TO" "JUMP CUT" and so forth, when writing a screenplay and progressing from one scene to the next?
I've stopped using them altogether. Likewise, I rarely include "MUSIC OVER" or anything else that seems to be more the director's or editors's choice.
It seems to me that these directions are superfluous.
It feels to me as though the scripts read just as well, if not better. I can't imagine that anyone would follow such instructions and the nature of collaboration is, for me, to always leave room for the other guy.
My philosophy is tell the story and let those who know what they're doing make the movie.
Any thoughts?
Steve
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I only use transitions when the script really calls for them. In other words, there's usually just 2 to 3 transitions on my scripts.
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You're doing it right. Limit yourself to only 2 transitions: FADE IN, and FADE OUT. Everybody will thank you for it.
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I don't use any of that stuff, unless (rare) to not use them would be confusing.
When you go from one slugline to another, you are obviously cutting to...
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I don't even use fade in or fade out anymore...
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What's acceptable or desired in scripts seems to ebb and flow over time but one piece of advice I received many years ago seems to endure - for master scene screenplays, writers should avoid directing on paper which would include camera movements. It's a fine line we thread in communicating how we see the words we're writing appearing on screen. One device I've been using is the "SHOT" format selection when I think something is particularly important. Also helpful in breaking up exposition.
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I'm in the never say never camp. Sometimes it might be a wise stylistic choice to use the odd transition. I've not done it yet. I don't even write Fade In and Fade Out like Erick Freitas. But I would if it felt right.
Plus, I see no issue with using transitions in an assignment.
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I use them if I can’t do it with suggested action.
If I need a hard cut to a reaction I would put one in.
I find I can do more with writing a transition. Suggesting what we see and then having that move us to the next seen.
When I was starting I would even hint at editing choices. (Pre-Lap) got a good run for a while.
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If you are a screenwriter (as opposed to a director), you should generally avoid putting transitions into your spec script -- this matter is best left to the director! That said, I do (rarely) use INTERCUT, but only when the action requires 2 (or more) separate locations to be shown at the same time!
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How would write an 'invisible' cut in your script? Hitch loved 'em and used them quite often.
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Every year I read all the hype screenplays from the Annual Black List, Tracking Board, Blood List, and I would say 40-50% of all scripts have transitions. How come nobody told these writers “do’s and donts” format rules?
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I know I’ll be told I am an idiot. But every job is your job until someone takes over.
A director will not be insulted because you have an opinion. They will do whatever they want. If you want to do something to make your story sing do it.
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The terminology creates an imagine in your mind of expectation of what's next.
Dan MaxXx Have you considered the fact that these are not spec scripts but actual shooting scripts -- i.e. that either the director himself/herself wrote the script, or at the very least that he/she has already gone over the script and put in all of the changes that he/she wanted (including transitions)?
As a reader - I don't like 'em 'cauze they slow down, side track the story read. As a Director - I just ignore 'em 'cauze I've got my own vision. I'm not insulted in either case.
To support Dan G. Bad writers use tools poorly. People link those two things and say the tool made the writing poor.
Tools were invented to solve a problem. If they were not needed they would not exist.