The bits inbetween...

[Bmwhtly]

A quick question.

Do you write establishing shots?
I've seen some scripts that do and some that dont.

I have a tendency to put everything in a script. Do you take the trouble to describe opening shots? and exterior, passage-of-time, shots? or do you leave that to the film makers?

[icerose]

I tend to do a brief descrition of the scene, just give the reader an idea of what the scene looks like, where the characters are at, and you'll be fine.

[nmstevens]

A quick question.

Do you write establishing shots?
I've seen some scripts that do and some that dont.

I have a tendency to put everything in a script. Do you take the trouble to describe opening shots? and exterior, passage-of-time, shots? or do you leave that to the film makers?


If you need it, then put it in. If you don't, then leave it out.

These days, passage-of-time shots are generally considered passe' -- we don't exactly need montage-style transitions. Something's done, cut to the next thing.

In the same way "straight" establishing shots -- Exterior, the White House" -- are also passe, unless there's some action -- somebody entering the white house, or something happening outside the white house that justifies the shot, which incidentally establishes the location.

The question is always one conveying information about time and place simply and clearly.

NMS

[Plot Device]

I was told to always OPEN the script's very first scene with an EXT. instead of an INT. because with an EXT. you are establishing a "world" and you want some kind of an exterior shot to show if it's

THE DESERT - NIGHT
or
FALWORTH CASTLE - DAY
or
ARCTIC CHECKPOINT - NIGHT
or
JUNGLE RUINS - DAWN

Other than that, keep things succinct and streamlined.

(This is what I was told.)

[clockwork]

A quick question.

Do you write establishing shots?
I've seen some scripts that do and some that dont.

I have a tendency to put everything in a script. Do you take the trouble to describe opening shots? and exterior, passage-of-time, shots? or do you leave that to the film makers?

As others have said, it's about clarity and expediency. If you think an establishing shot helps to clarify your storytelling then put it in. But if you can take it out and reads fine without it - the reader still understands what's happening - then you don't need it.

We get establishing shots all the time in films - the White House is a classic one, as is the helicopter panoramic of the Pentagon - but they tend to be editorial choices rather than script and pacing choices. Although we can read in the script-

INT. SITUATION ROOM, PENTAGON - NIGHT

-that we are in the Pentagon, an audience watching the film won't know without either an establishing shot, a title card or even both.

My favourite establishing shots are the ones that clearly require no title card but end up having one anyway, like a shot of the Egyptian pyramids with, "Cairo, Egypt" super-imposed or a red double decker bus going over Tower Bridge behind a black cab with Big Ben, the Houses of Parliament and the Tower of London in the background with the helpful caption of, "London, England"over the top of it.