Greetings Fellow Spec Script Ronin,
Now that my (obviously) enticing headline has lured you into my lair like unsuspecting flies to the sticky paper, let us dispense with the formalities and get down to the nitty gritty...
I, Mike, currently find myself in a pretty comfortable existence craft-wise, but despite floating around in this ethereal screenwriting nirvana hot tub (time machine?) ONE...one low-down, dastardly screenwriting/film technique is doing my bloody head in. Just kidding. I LOVE Intercuts, especially as a sci-fi/fantasy guy whose sub-genre go-to is ALWAYS action. Therein lies the RUB. The PROBLEM is the INTERCUT seems to reside in some sort of spec script limbo/purgatory where it is somehow both acceptable as a Spec Ronin tool, and also considered an encroachment into others' crafts' (e.g. directors'/editors') territory, in the same vein...
If you're thinking of pointing me to The Screenwriter's Bible PLEASE spare yourself the appendage energy. I am almost two hundred pages into said text, and from what I can gather Trottier is pro-INTERCUT (but flashbacks are verboten..."...mostly..." (PLEASE tell me you get this reference)).
So there seem to be two different/distinct camps on DELICIOUS script juxtaposition, i.e. let your intercut freak flag fly Sir-Intercut-A-Lot you ("It's your unique VISION), OR file them vile intercuts under "Directors'/editors' purview you heathen Ronin. Remove yourself from my presence post haste you lowly cur."
So what do YOU fellow Ronin do re: intercuts? Obviously I get that artistic writer license still exists, but SPECIFICALLY talking the spec script world, i.e. are intercuts something to use sparingly or can I just intercut [insert inappropriate term here for showering someone in self-magicks] until the proverbial cows come home ?
Naturally I intended this post to be concise, like my action lines (chuckles in verbosity), alas here we are.
CHEERS,
~Mike AKA Ruler of the Last Bastion Kingdom of INTERCUT Magicks
1 person likes this
I haven't needed to add INTERCUTS in my spec scripts, Mike Childress. And INTERCUTS take up space. If I needed to use INTERCUTS in a spec script, I would, but I'd use them sparingly.
4 people like this
it's mostly used in my script to cover the 2-way phone conversation.
3 people like this
My approach is to avoid any and all choices like that and leave it for the production staff - if my writing ever sees any. No intercut, cut to, close on... not a one of 'em. Slug-->Action--> Dialogue. Lather, rinse, repeat. No complaints yet. Then again, haven't caught anything either ;-) Write on!
3 people like this
i also don't use INTERCUT much. maybe for phone calls, but that's just when i'm being lazy in early drafts and don't want to spend too much time trying to spice them up just yet
4 people like this
How did the writer of The Bourne Identity write on the page a fast paced action screenplay? Read scripts, man. You should be reading stacks of scripts, build up your own wikipedia film/screenwriting brain, rather than read how-to dudes nobody hires to write movies & tv shows.
3 people like this
I prefer "Switch" as opposed to "intercut", it's less intrusive and it's just as efficient, just as I prefer "Pause" over "beat" for the same reason.
4 people like this
Jeelan Syed I mean yeah the phone conversation is the first thing discussed in the referenced text re: intercuts, but (perhaps somewhat surprisingly to me) the author also sees the value of usage in other instances.
Matthew Kelcourse The problem for me with screenwriting is we are supposed to deliver visual and emotional magic through text...only don't be TOO descriptive, and stay completely out of the directors'/editors' lanes... Um, WHUT?! I am not dropping CUT TOs in scripts, but I think Intercuts make sense, even in rookie spec scripts, as vehicles to drive action/suspense. Of course who am I but a spec writer fly?
Dan MaxXx Tony Gilmore was not an unknown when he wrote said script either... The problem is dual sets of rules, yet we are supposed to look at these "famous scripts", but not emulate the writers in toto... Seemingly unlike many other FNGs I AM reading scripts (well skimming mostly), and that includes scripts written by everyone, not just Hollywood Brain Trust guns.
Stefano Pavone Not sure I have ever seen SWITCH... Also I have avoided beats thus far.
Ultimately, I am generally towing the spec writer line and conforming like a good little Spec Writer Ronin, but sometimes I am also like, "You know what? I'm not being paid to write this. I'm going to intercut my frakking socks off. You don't like it, you can do one." It's okay to question the logic of ANY human construct. If a competition gatekeeper or a studio intern want to triage me based on my juxtaposition game so be it. I am not going anywhere. "I'm the one who KNOCKS!"
2 people like this
I normally just use INTERCUTS for phone converstations but it really isn't something I am against in other places. I just do what I want to do and not listen to what other people think. That is just me.
1 person likes this
Dan Guardino With my current feature script the scene (big build-up/action) I am writing/rewriting currently would benefit greatly from a little visual back-and-forth to aid in the tension-building. Now I am like, "Do I just build out each scene as much as possible and then BAM onto a new Slugline, and then back again, as opposed to intercutting?" It's funny because people will be like, "Go to The Screenwriter's Bible!" and Trottier doesn't rage against non-telephonic intercut scenes, but I also have not seen a ton of intercuts used in scripts I have skimmed through thus far, despite seeing all sorts of other no-nos. As a rookie lacking your bonafides I find it quite maddening trying to navigate these screenwriting waters. Whether I enter competitions, pay for evaluations, or send a messenger pigeon to a producer's office I still will likely not know an iota about the person reading my stuff. Does this individual hate sci-fi? Has this reader read thirty scripts already this week? Did this person go to an elite film school and has ideas on what a spec script should look like despite potential company guidelines for spec triage? So I do have to pay attention to what others think, at least for now! The problem is what others think runs the gamut...
2 people like this
Mike Childress There are no rules just tools. Use them how you want. INTERCUTS are used to go back and forth between two scenes. That lets the director decide when to go back and forth without using scene headings. So if it make sense to use them don’t fret over it. Most Readers are wannabe screenwriters so they probably read the same books as most people here not including me. I only read part of a real bad how to write a screenplay book and I only read about a quarter of that one.
2 people like this
Dan Guardino The aforementioned text hasn't revealed the mysteries of the universe to me or anything, but it is super nice to have a physical reference for formatting stuff and whatnot. I THINK I am going to try and limit the intercuts... I think the most important change in my writing is I am writing more concisely (by mental force!).