What is a script? Features of creating literary scripts for serials.

For the production of a film or television movie, and other events in the theater and other places.

A screenplay in cinematography tends to resemble a play and describes each scene and character dialogue in detail with stage directions. Sometimes a script is an adaptation of a particular literary work for cinema, sometimes in this case the author of the novel is also the author of the script (screenwriter).

A screenwriter is a person who writes the script for a film. Sometimes several screenwriters are involved in writing the same script before the director chooses the best option. Optionally, the author of the book writes the script when it is filmed. This work is usually given to the screenwriter, and the author of the work, if possible, is a co-writer or consultant.

Scenario elements

Script in cinema

The first necessary stage on the way to the realization of the idea of a feature film is the creation of a script - its literary basis, in which the theme, plot, problems, and characters of the main characters are determined. For more than a century of cinematic history, the script has gone its way from “screenwriters on the cuffs”, which briefly described the plot of the future film, to a special literary genre - screenwriting. A literary script can either be original or be a film adaptation of an already existing literary work. Currently, scripts have an independent value, they are published in magazines, special collections intended for reading. But first of all, when creating his work, the screenwriter assumes its embodiment on the screen. To keep the attention of the viewer, the script must meet certain general rules taking into account the psychology of the audience.

Film script types:

Explication (how to shoot)
Director's explication.

Standards and Conditions

Eighty pages written by a professional screenwriter equals approximately 2,600 meters of action film, which is typically a one-part film and may contain four to five thousand words of dialogue. One hundred and twenty pages is approximately 4000 meters of film (corresponds to a two-part film).

Script requirements vary by country and by the film studio that accepts it.

A screenwriter works on a literary script, often a producer and director participate in this work, who often become his co-authors.

In order for a literary script to be used, it is adapted to the conditions of cinema, transforming it into a film script, where the descriptive part is reduced, dialogues are clearly written, and the ratio of visual and sound range is determined. Here the dramaturgical side is developed according to scenes and episodes, and the staged development of the action is carried out according to the objects of shooting. Each new scene is written on a separate page, which will later facilitate the work in establishing their sequence in the development of the plot. In addition, the screenplay is undergoing production editing. This is necessary to determine the length of the film, the number of subjects, scenery, the number of actors, the organization of expeditions and much more. Without this, it is impossible to calculate the financial costs of film production.

Expressive means

Telling his story, the director creates a new reality, the reality of the film, in which the viewer must not only see, but feel the life on the screen, then this life will convince him of its reality [ style] . To create this new reality, various expressive means are used, created even at the script level.

Detail as a means of expression

The plot can be compared to a dead tree with a trunk and main branches. Recognizability of details (in the broad sense of the word) serves as thousands of small branches with green leaves, that is, gives the tree life. The details should work. The presence of a large number of inert (that is, not working) details in the frame blurs the viewer's attention and ultimately causes boredom. A.P. Chekhov gave a clear description of the active (that is, working) part: “If a gun hangs on the stage in the first act, it should fire in the last.” This is a constructive formula to activate all components

Do you consider yourself a second Shakespeare or Kaufman? To find out, you need to write a script to showcase your talents. Check out our guide.

Steps

Learning the features of writing a script

Do title page. Your script needs a title page with the title and your name written on it. In addition, it should contain your contact information and the details of your agent (if you have one).

Use the correct font, margins and spacing. You need to use the Courier font (typewriter font), 12 points high. This will give your script a more professional look and improve the readability of the test. You should also choose the right indentation for different parts of the script so that dialogue, scene descriptions, and the like are separated from each other.

Add the necessary details about the setting and characters. For each scene, write an introduction: it tells where and when the action takes place - indoors or outdoors, day or night ... The character's name is written in capital letters above or next to his line (depending on the purpose). In addition, in parentheses, you can add remarks about the nature of the remark or the actions of the character.

For each type of script - be it a movie or a play - there is a specific format. And although they are mostly the same, each has its own characteristics, the study of which may take time. Read a few scripts from your chosen genre to learn from the pros.

Don't write too much. It usually takes about a minute to read one page of the script, so the text on paper should be spacious. In this sense, the script is not like a book - it is characterized by a smaller amount of writing.

Write the story in script format. The exact shape will differ depending on the mode of display and even geography. Each scene should have a heading with a description, and each line should be preceded by the name of the character speaking it, and so on. Producers may not even look at a script that doesn't fit the format.

At this point in your work, consider purchasing a scripting program. There are several such programs, and they will help you give the text the desired look.

Maintain style. Remember that the main thing in a script is action and dialogue. Try to make your characters speak realistically, and don't mix styles and vocabulary unless you're doing it on purpose for the desired effect.

The play script must have a title page with the title, author's name, and approximate running time. Stage and other directions should be written in italics.

Before you write the word "screenplay" on your work, check it for plagiarism. This can be done via the Internet.

Perhaps you should take a screenwriting course - there you can learn useful skills, especially in terms of plot development, characters or dialogue writing.

Make the script as original as possible.

Warnings

Be patient - writing takes time, and the results of work in a hurry are usually not up to par. Take the time to write and you'll get a great script.
Don't expect your first script to be an instant hit. This business is not easy to get into.
If you want to do a production, you will need an agent to help pitch the script to producers and directors. Usually the script acceptance process is long and difficult, so be patient.

Scenario- a literary and dramatic work written as the basis for staging a film or television film. A screenplay in cinematography tends to resemble a play and describes each scene and character dialogue in detail. Sometimes the script is an adaptation of a separate literary work for cinema, sometimes in this case the author of the novel is also the author of the script (screenwriter).

A screenwriter is a person who writes the script for a movie. Sometimes several screenwriters are involved in writing the same script before the director chooses the best option. Optionally, the author of the book writes the script when it is filmed. This job is usually given to the screenwriter.

Scenario elements

There are four main elements of a script:

descriptive part (remark or scripted prose),

Script in cinema

The first necessary stage on the way to the realization of the idea of a feature film is the creation of a script - its literary basis, in which the theme, plot, problems, and characters of the main characters are determined. For more than a century of cinematographic history, the script has gone its way from “scriptwriters on the cuffs”, which briefly described the plot of the future film, to a special literary genre - screenwriting. A literary script can either be original or be a film adaptation of an already existing literary work. Currently, scripts have an independent value, they are published in magazines, special collections intended for reading. But first of all, when creating his work, the screenwriter assumes its embodiment on the screen. To keep the attention of the viewer, the script must follow some general rules that take into account the psychology of the viewer.

Film script types:

Explication (how to shoot)
Director's explication.

Standards and Conditions

Eighty pages written by a professional screenwriter is approximately 2600 meters of action film, which is usually a one-part film and can contain from four to five thousand words of dialogue. One hundred and twenty pages is approximately 4000 meters of film (corresponds to a two-part film).

Script requirements vary by country and by the film studio that accepts it.

A screenwriter works on a literary script, often a producer and director participate in this work, who often become his co-authors.

Expressive means

Detail as a means of expression

There are five main aspects of a part:

The detail that creates the ups and downs is the subject that is the focus of attention not only of the episode, but of the whole film, is the reason for action (the queen's pendants, Desdemona's scarf).
A detail is an object that is in active interaction with the actor, helping him build the character of the character (Charlie Chaplin's cane, J. Renoir's baron's monocle).
A detail is a part by which the viewer can guess what is happening as a whole (the ship's doctor's song, the movement of reflections on the face of the "Parisian", the chief's ring in the "Diamond Hand").
Detail-character - an object that is animated, and human functions are transferred to it (Akaky Akakievich's overcoat, "Red Ball" by A. La Maurice).
A mood-creating detail (in Federico Fellini's Amarcord, a peacock fluffing its tail at the end of a panorama showing a snow-covered slushy street).

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Literature

Yu. A. Kravtsov"Synopsis on Film Theory".
Linda Seger"How good script make it great."

Scenario Excerpt

Ours retreated again. Near Smolensk already, they say, - answered Pierre.
- My God, my God! the count said. - Where is the manifesto?
- Appeal! Oh yes! Pierre began looking in his pockets for papers and could not find them. Continuing to flap his pockets, he kissed the hand of the countess as she entered and looked around uneasily, obviously expecting Natasha, who did not sing anymore, but did not come into the drawing room either.
“By God, I don’t know where I’ve got him,” he said.
“Well, he will always lose everything,” said the countess. Natasha entered with a softened, agitated face and sat down, silently looking at Pierre. As soon as she entered the room, Pierre's face, previously cloudy, shone, and he, continuing to look for papers, looked at her several times.
- By God, I'll move out, I forgot at home. Certainly…
Well, you'll be late for dinner.
- Oh, and the coachman left.
But Sonya, who went into the hall to look for the papers, found them in Pierre's hat, where he carefully put them behind the lining. Pierre wanted to read.
“No, after dinner,” said the old count, apparently foreseeing great pleasure in this reading.
At dinner, at which they drank champagne for the health of the new Knight of St. George, Shinshin told the city news about the illness of the old Georgian princess, that Metivier had disappeared from Moscow, and that some German had been brought to Rostopchin and announced to him that it was champignon (as Count Rastopchin himself said), and how Count Rostopchin ordered the champignon to be released, telling the people that it was not a champignon, but just an old German mushroom.
“They grab, they grab,” said the count, “I tell the countess even so that she speaks less French.” Now is not the time.
– Have you heard? Shinshin said. - Prince Golitsyn took a Russian teacher, he studies in Russian - il commence a devenir dangereux de parler francais dans les rues. [It becomes dangerous to speak French on the streets.]
- Well, Count Pyotr Kirilych, how will they gather the militia, and you will have to get on a horse? said the old count, turning to Pierre.
Pierre was silent and thoughtful throughout this dinner. He, as if not understanding, looked at the count at this appeal.
“Yes, yes, to the war,” he said, “no!” What a warrior I am! And yet, everything is so strange, so strange! Yes, I don't understand myself. I do not know, I am so far from military tastes, but in these times no one can answer for himself.
After dinner, the count sat quietly in an armchair and with a serious face asked Sonya, who was famous for her skill in reading, to read.
– “To the capital of our capital, Moscow.
The enemy entered with great forces into the borders of Russia. He is going to ruin our dear fatherland, ”Sonya diligently read in her thin voice. The Count, closing his eyes, listened, sighing impetuously in some places.
Natasha sat stretched out, searchingly and directly looking first at her father, then at Pierre.
Pierre felt her eyes on him and tried not to look back. The countess shook her head disapprovingly and angrily at every solemn expression of the manifesto. She saw in all these words only that the dangers threatening her son would not end soon. Shinshin, folding his mouth into a mocking smile, obviously prepared to mock at what would be the first to be mocked: at Sonya's reading, at what the count would say, even at the very appeal, if no better excuse presented itself.
Having read about the dangers threatening Russia, about the hopes placed by the sovereign on Moscow, and especially on the famous nobility, Sonya, with a trembling voice, which came mainly from the attention with which she was listened to, read the last words: “We ourselves will not hesitate to stand in the midst of our people in this capital and in other states of our places for conference and leadership of all our militias, both now blocking the path of the enemy, and again arranged to defeat it, wherever it appears. May the destruction into which he imagines to cast us down upon his head turn, and may Europe, liberated from slavery, glorify the name of Russia!
- That's it! cried the count, opening his wet eyes and halting several times from snuffling, as if a flask of strong acetic salt was being brought to his nose. “Just tell me, sir, we will sacrifice everything and regret nothing.”
Shinshin had not yet had time to tell the joke he had prepared on the count's patriotism, when Natasha jumped up from her seat and ran up to her father.
- What a charm, this dad! she said, kissing him, and she again looked at Pierre with that unconscious coquetry that returned to her along with her animation.
- That's so patriotic! Shinshin said.
“Not a patriot at all, but simply ...” Natasha answered offendedly. Everything is funny to you, but this is not a joke at all ...
- What jokes! repeated the Count. - Just say the word, we will all go ... We are not some kind of Germans ...
“Did you notice,” said Pierre, “that he said: “for a meeting.”
“Well, whatever it is…
At this time, Petya, whom no one paid any attention to, went up to his father and, all red, in a breaking voice, now rough, now thin, said:
“Well, now, papa, I will say decisively - and mother too, as you wish, - I will say decisively that you let me go into military service, because I can’t ... that’s all ...
The countess raised her eyes to heaven in horror, clasped her hands and angrily turned to her husband.
- That's the deal! - she said.
But the count recovered from his excitement at the same moment.
“Well, well,” he said. "Here's another warrior!" Leave the nonsense: you need to study.
“It’s not nonsense, daddy. Obolensky Fedya is younger than me and also goes, and most importantly, anyway, I can’t learn anything now, when ... - Petya stopped, blushed to a sweat and said the same: - when the fatherland is in danger.

Meets the specific and production requirements of film production, where, taking into account visual and sound images, a description of the film episodes with the dialogue of the actors is given (B. N. Konoplev "Fundamentals of Film Production" M. "Art" 1969 p. 91)

In fact, what used to be called a literary script is a screenplay in today's sense (“Instruction on the procedure for drawing up agreements between film studios of union and republican subordination with authors for writing screenplays for feature films, as well as accounting and monitoring the implementation of agreements”, approved by order of the Minister cinematography of the USSR dated December 28, 1946 No. 217; “Instruction on the procedure for launching feature films into production”, approved by order of the Chairman of the State Committee of the Council of Ministers of the USSR on cinematography dated March 7, 1964 No. 76).

The concept of a literary script is introduced solely to distinguish between the director's script and the screenplay that formed the basis of the film.

History of the concept in Russia

After the October Revolution, though already in 1919, a decree was issued according to which the entire photographic and cinematographic trade and industry was nationalized by requisition (“On the transfer of photographic and cinematographic trade and industry to the jurisdiction of the People’s Commissariat of Education”, Collection of legalizations and orders of the worker and Peasant Government, 1919, No. 44, Article 433), and therefore all further regulation of cinema was production. Film production began to enter the sphere of state interests.

It was during the Soviet period of the formation of film art that the basis of film production technology was formed, which is still used in the domestic film industry, of course, taking into account new economic and technical realities.

In Soviet times, there were mainly two types of film scripts:

literary script

The writing of the literary script was mainly done by graduates of the screenwriting department of the All-Union State Institute of Cinematography (VGIK), taking into account the production requirements set by the USSR State Cinematography.

Each film studio had script editorial boards (or script departments). There, the scriptwriters sent creative (scenario) applications or the libretto of the film. Further, based on these applications, a thematic plan of the editorial board was created, which was approved by the Committee on Cinematography under the Council of Ministers of the USSR.

There was no approved application form. However, in the standard scenario contract (approved by order of the Chairman of the Committee on Cinematography under the Council of Ministers of the USSR dated April 14, 1971 No. 188), clause 2 stated that the screenplay must comply with the creative application of the Author approved by the Studio and attached to the contract, “outlining the idea, plot idea and characterization of the main characters.

A typical scenario agreement was always drawn up in the form approved by the Minister of Cinematography of the USSR (Order of the Minister of Cinematography of the USSR dated December 28, 1946 No. 217-m).

At film studios, there were also production requirements that the author of a literary script had to fit into when creating it. For 1956, for example, the following standards were in effect:

The length of the film (for full-length feature films from 2500 to 2700 meters, for films for children from 2100 to 2300 meters) The literary script of the feature film had to fit into 70-80 pages of typewritten text printed at two intervals on one side of the sheet.
Number of shooting objects: from 30 to 35 (of which from 7 to 12 pavilion scenery and scenery on location from 1 to 2, the rest are shooting on location)
The total area of the pavilion scenery was to be from 2,200 to 5,000 sq.m. films of various complexity
The number of participants in groups and extras up to 6000 person-days
The number of actors-performers of the main and episodic roles was discussed separately.

They could also discuss: the seasons for shooting the film, the approximate amount of summer and winter filming, the participation of certain actors and others. production parameters specific film studios.

On average, a literary script had up to 30 main episodes and contained from 4,000 to 5,000 words of dialogue.

It was established that an editor was attached to each script prepared by the studio, responsible for the ideological and artistic quality of the script accepted by the studio and assisting the author in the process of writing the script (From the circular letter of the Ministry of Cinematography dated May 26, 1948 No. 8 / 13-35).

The Studio was obliged to consider and notify the Author in writing either of the acceptance (approval) of the screenplay, or of its rejection on the grounds provided for by the contract, or of the need to make amendments to the screenplay with an exact indication of the essence of the required corrections. Requests sent to the Author in writing about the need to make amendments to the screenplay with an exact indication of the essence of the required corrections could be presented to the Author no more than twice. The deadline for the submission of the screenplay after the introduction of amendments was established by agreement of the parties.

After the creation of the script and their approval by the management of the film studio, the literary scripts were accompanied by a limit on the production of the film and the literary scripts of feature films were considered by the Main Directorate of Feature Cinematography of the Committee for Cinematography under the Council of Ministers of the USSR and submitted for approval by the Committee's leadership. And only after approval could the film be staged.

In 1977, the Instructions of the USSR Goskino made an attempt to divide the scenario period into the creation of a literary scenario and the so-called "film scenario", which is a creative and production development of a literary scenario.

In the "screenplay", the dramatic development of the action was carried out according to scenes and episodes, and the production development was carried out according to the objects of shooting.

Before each scene, its number was written, then came the object and the time of shooting (Example: Object-Village Council. Pavilion. Day (summer)), and then the sheet was divided into two parts. In the first part, the action was described, and in the second, dialogues were written.

The form approved by this instruction existed at least until 1985. And later this form migrated to television, forming special kind scripts: TV script.

In film production, the Hollywood screenplay format has become established. It is still referred to as a literary screenplay, although some companies already refer to it as a "movie screenplay."

Where do scripts come from?

Any of the sources listed below can become the basis for a future literary script:

Images
Characters
Concepts
Historical events
folk epic
Places
Real events
fantasies
Memories
Public Issues
News
Newspaper articles
Reworking or adaptation of literary works (the script becomes a derivative work - screen adaptation)

With the latter source, you need to be more careful, since the rights of other authors are affected.

Basic Elements of a Literary Script

A literary screenplay is almost always a compilation of the following building blocks:

block "Time and place of action"
Action Description block
block "Name of the hero"
block "Remark of the hero"
block "Remarque"
Block "Title"

The form of a literary script is primarily dictated production features final film product.

The plot construction of a literary script

Any literary film script, regardless of its genre, can be conditionally divided into parts:

exposition - where the viewer gets acquainted with the main character or characters, the world in which they live, place and time;
plot - the first event where the hero or heroes find themselves in the very dramatic situation that will lead to complication;
complication - an event after which the hero or heroes are already forced to do some action;
twists and turns - the biggest part of the film, when the characters face obstacles that they overcome;
climax - the highest boiling point, when it seems that "there is nowhere further";
denouement - resolution of a dramatic situation;
final (“happy ending”; philosophical reasoning of the characters; an event leading to a new circle; etc.)

Genres of literary scripts

The process of creating a literary script

Brilliant scripts are created on a whim, but the same principle applies as in literature: "If you don't write, don't write."

They are born in the mind of the screenwriter, and then spill out onto paper.

But what to do when you have an idea, but you don't know how to put it on paper? Or when there is no craving for writing, but you need to write?

For this, there are special subtleties that are familiar only to professional screenwriters.

Once you have an idea, put it into words. Two or three sentences that will answer the question: "What is the film about?". This description is called a "logline".

When your idea is translated into words, your idea must be translated into a plot. You choose the genre of its presentation, and then write the plot. For this there is a separate document - "synopsis". A synopsis is a presentation of the plot in literary form. Some beginner screenwriters make the mistake of not writing. this document. In the future, in their finished screenplay, the plot may go in a completely different direction.

Once you have decided on the plot, you need to create a description of the characters that participate in your plot. When describing, the characters are divided into main and secondary, the following are indicated in detail: first name, patronymic, last name, age, occupation, family and other ties with other characters. For this, there is a “character description sheet” (“Character”). A common mistake novice screenwriters make is confusion about characters. In one scene, the character is 30 years old, and in the other he is already 35, and the action takes place the next day.

Very important for the production is the number of shooting objects and their description. The subject is the location of the action. The place of action largely characterizes the characters, and therefore requires a description. Aspiring screenwriters make the same mistakes with subjects as they do with characters. One day the apartment is decorated with paintings, the next day it is an “empty room”. The question arises: was the apartment robbed? There is a separate document for the description of shooting objects - "List of shooting objects".

The log-line, synopsis, character description sheet and filming list serve in the future for the screenwriter's self-control when writing the script, as well as for avoiding elementary logical errors. These documents can be expanded, and in the future they simplify the work of the film crew.

The fewer objects and characters, and the more interesting the plot, the more likely the film is to be staged according to the script.

After you have generated all these documents, you need to determine the sequence of scenes and episodes. For this, there is also a separate document, which is called a “scenario plan” (“episode”, “episode”, “block”, etc.). In it, you set out the sequence of events and actions.

When the "scenario plan" is formed, you start writing dialogues (directly the screenplay) based on all of the above. Particular attention in the dialogues is paid to the disclosure of the characters' characters and "talking details", since the action itself has already been worked out in detail.

Since Soviet times, the technology for creating literary scripts has not changed. All applications are still being submitted. The selection of scenario ideas is carried out by the same editors of film studios, but now taking into account the opinions of the main market players: film distributors and television companies. Some time ago, Internet companies began to enter this market, which are gaining momentum by ordering film production.

And only then, after the signing of the contract, the Literary script is written.

Based on the literary script, the director writes the so-called "Director's script", which is a pictorial solution of the literary script.

Features of creating literary scripts for serials

When creating screenplays for serials, there is a special technology.

When creating screenplays for serials, the team of scriptwriters includes: “the main author”, “plotmen” and “dialogists”.

The duties of the "plot writers" usually include the creation of scenario plans: serial and episode-by-episode, as well as detailed synopses.

The duties of "dialogists" usually include writing dialogues (actually screenplays) based on the approved "concept of the series", scenario plans and detailed synopses.

project name;
genre;
logline, main characters, summary (short synopsis);
the target audience;
estimated duration of the film/series;
number of episodes (if it is a series).

Sometimes the full composition of the project is indicated.

In the future, through the efforts of the main screenwriter (main author), this application is expanded and turns into a “project bible” (or project concept). The concept of the series (project description, project bible), according to business customs, is a separate document that is developed by the scriptwriters before the start of work on the series and includes in full:

Project name
A project logline is one or two sentences that tell the whole story of the series and can be used as a double check during script writing.
Project format - Vertical, horizontal or vertical-horizontal series. Number of episodes. The number of minutes in the episode. Required notes.
Genre and project structure - project genre, project composition
A brief synopsis of the series - In order not to remember every time how the Greek word "sinopsis" is translated, it is enough to remember its Latin synonym "conspectus" (compendium). The size of a brief synopsis is no more than a page. Includes the entire series.
The idea and theme of the series - An idea is a mental prototype of the series, highlighting its main, main and essential features. Theme (Greek thema, literally “what is the basis”) is the subject (essence) of the series.
Storylines - vertical and horizontal storylines, main and secondary storylines.
The world and the anti-world - the world in which the heroes live and act, and the world into which they find themselves. The descriptions of these worlds add color to the project and work to contrast the characters and their environment.
Descriptions of characters - a complete list of characters (main and secondary - first name, patronymic, last name, age, occupation, family ties with other characters)
A detailed serial synopsis - a description of the plot of the series.
List and description of Objects - description of the objects in which the action takes place.

When the concept is formed, the scripts for the first episodes of the series are written and the scripts for the series are accepted, the shooting of the series begins.

It should be noted that in the serials the main author of the film is not the director, but rather the "main author of the script".

Literary Script Formatting Standards

AT Soviet time The length of the script was calculated from the footage of the film. 2500-2700 meters of film equaled 70-80 pages of typewritten text written at two intervals. With the advent of video filming equipment, measuring by film footage has become irrelevant.

Now almost everyone has a miracle of technology - a computer - with MS Word, so it's enough to install a markup template and then use it using the Format Painter button.

The first to use computer markup in Hollywood was the Writers Guild of America. With their page layout, 1 A4 sheet equaled approximately one minute of screen time.

Thanks to affordable software write a script in correct format became easier. Here are some of the modern American programs for this purpose: FinalDraft, Scriptware, Movie Magic, Celtx and Script Thing. Most of them can format text as you type.

However, when using these programs in Russia, language problems arose and one page no longer equaled approximately one minute of screen time.

Therefore, Russian screenwriters have developed their own script writing format and even their own Pisar program.

On the this moment the Russian script markup looks like this:

Font: Courier New
Font size: 12
Alignment: Left
Bold, italic and underline are NEVER used
Page margins: Top - 2.5 cm, Bottom - 1.25 cm, Left - 3.75 cm, Right - 2.5 cm. The rest is unchanged.
The "Paragraph" parameter of the "Hero's Name" block: Left - 6.75 cm, The rest is unchanged.
The "Paragraph" parameter of the "Hero's remark" block: Left - 3.75 cm, Right - 3.75 cm, The rest is unchanged.
The "Paragraph" parameter of the "Remark" block: Left - 5.5 cm, Right - 4.5 cm, The rest is unchanged.

The innovation was accepted by major filmmakers and, above all, TV channels. On TV channels, everything is measured in timekeeping. Scripts written in a different format on the channels can be immediately sent to the trash. The exception is eminent screenwriters. However, each studio/company, as a rule, can put forward their own different markup requirements, that is, the format they are used to working with (for example: a title in bold does not merge with the main text, and it is easier to find it)

Literary script as an object of copyright

Literary script refers to separate species works - scenario works, and serves as the main work for creating a derivative audiovisual work - a film or a screenplay - a director's script (Article 1259 of the Civil Code of the Russian Federation).

A literary script created on the basis of works of literature is a derivative work of these works of literature - a screen version (Art. 1259-1260 of the Civil Code of the Russian Federation). Creation of a film adaptation can be carried out only with the consent of the author of a literary work and on the basis of an appropriate agreement (Articles 1260 and 1270 of the Civil Code of the Russian Federation).

Literature

"Unified regulation on the film crew for the production of feature films and the rights and obligations of its main composition" Moscow, Goskinoizdat, 1947

"Handbook for the production of feature films" Moscow, Art, 1958

"Film production. Systematized collection of normative acts and departmental instructions. Chipboard "Moscow, Art, 1973

B. N. Konoplyov. Fundamentals of film production / V. S. Bogatova. - 2nd ed. - M .: "Art", 1975. - 448 p. - 5000 copies.

G. N. Goryunova "Organization of film production" M, Art, 1983

David K. Irving and Peter V. Rea "Producing and Directing Short Films and Videos" Moscow, GITR, 2008
Pavlenko P. Screenplays. M., 1952,
O. Smirnova "Script Markup Format"

SCENARIO(Italian scenario, from Latin scaena - scene), the term has several meanings.

1. A presentation of the plot scheme according to which the action unfolds in an improvisational theater, i.e. not conditioned by the given dramatic text. Unlike the play, it does not contain dialogues and monologues. The script determines the basic order of action, the key moments in the development of intrigue, the order in which the characters appear on the stage, etc. The direct text of the improvisational performance is created by the actors themselves during the performance or rehearsals; at the same time, it is not rigidly fixed, but varies depending on the reactions and response of the audience. According to the scenario principle, almost all types of folk theater were built, especially comedy (ancient Greek - mime, ancient Roman - fescennina, ancient Russian - buffoons, European and Slavic - puppet, French - fair, Italian - del arte, etc. ). The preservation of the general plotline is due to the images-masks acting within the framework of their permanent characters and emphasizing not the individual, but the typical features of their characters. For example, the Russian Petrushka (English Punch, Italian Pulcinella, French Polichinelle), with all the variability of the text, can only act in the scheme of a grotesque-conflict mocker, a merry fellow and a joker. The largest number of permanent images-masks were created by the Italian comedy dell'arte (Pantalone, Doctor, Brighella, Harlequin, Pulcinella, Tartaglia, etc.). This determined a large number of her scenarios. From the beginning of the 17th century Separate collections of scripts dell'arte began to be produced, the authors of which were most often the leading actors of the troupes (capocomico). The first collection, published by F. Skala in 1611, contained 50 scenarios according to which the action could develop.

In modern performing arts, such scenarios are developed for circus clowns and reprises, pantomimes, pop comic and parody numbers.

2. In the drama theater, there is the concept of a director's script, which contains both an effective analysis of a play for its stage interpretation, and a score of stage effects (light, rearrangement of scenery, sound and musical accompaniment, etc.). According to this scenario, the assistant director in charge of the performance monitors the timely entry of the characters to the stage and the work of the technical workshops (fitters, lighting, sound engineers).

3. In dramaturgy, the term "script" can refer to the plan of a future play, an outline of a dramatic work (more often - "scenario development").

4. In the ballet theater, the script includes a detailed recording of the plot with a description of all dance and pantomime parts.

5. In the opera house, the term "scenario" is used as a synonym for the word "libretto", the dramatic plan of the play.

6. In cinema, a script is the literary basis on which a film is made (the same as for a drama theater - a play). The director's script of the film includes a timed frame-by-frame recording of the tape, indicating the composition of the frame, the shooting point, the movement of the camera, the movement of the actors, the sounding text, the sound and musical accompaniment, the set lighting, etc., i.e., the coordination of the work of the entire film production team.

Tatyana Shabalina

What is a script? Features of creating literary scripts for serials.

Scenario elements

Script in cinema

Standards and Conditions

Expressive means

Detail as a means of expression

Steps

Learning the features of writing a script

Warnings

Scenario elements

Script in cinema

Standards and Conditions

Expressive means

Detail as a means of expression

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Literature

Links

Scenario Excerpt

History of the concept in Russia

Where do scripts come from?

Basic Elements of a Literary Script

The plot construction of a literary script

Genres of literary scripts

The process of creating a literary script

Features of creating literary scripts for serials

Literary Script Formatting Standards

Literary script as an object of copyright

Literature

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