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POINT "A" to POINT "B"
How to Handle Transition
By Christina Hamlett
Motion pictures were still a new-fangled phenomenon in 1934 when John Wayne made a series of
cookie-cutter Westerns with Gabby Hayes. Now available on video, these grainy black-and-whites
speak to a cinematography dilemma that still plagues aspiring scriptwriters; specifically, how to move
characters from one time/place to another. The vintage westerns addressed this problem in what now seems a
comic fashion: a rapid left/right pan of the camera. Logistically, this maneuver made sense, as the "old
timer's cabin" and "the nearest town" co-existed about 100 feet apart on the same back
lot. The intent of the fast blur, of course, was to trick audiences into believing that the distance was at least half a day's hard
ride.
While modern technology has elevated the art of flawless film segues, the onus still rests on the writer to
craft a credible transition.
Food for thought:
Classroom and hospital waiting room scenes seem to have all purchased their Big Ominous Wall Clocks from
the same store. Modus operandi? Speeding up of their own volition or magically "melting" from 3:00 to 8:15.
They share a kinship with Prominent Wall Calendars, in which an invisible force rips
off the days to illustrate time's passage. And let's not forget digital "subtitles"
(derigueur for espionage films), which concurrently reveal what exotic city we're in (very helpful in night
shots if we couldn't figure it out).
Dialog is another popular method of establishing transition; i.e., "Raida will be here at 6," "Can this wait?
I'm leaving for Phoenix," or "Three days from now is the coronation." These verbal clues help bookmark and
advance the action like a computer hyperlink, minus the tedium of scrolling through everything in-between.
Speaking of tedium, many new writers make the mistake of assuming that if two characters are going to
lunch, it's necessary to show them leaving the office, catching an elevator, crossing
the street, entering the café, etc. Wrong! Unless something significant is slated
to happen DURING their trek from Point A to Point B, simply cut from the office straight to the meal.
Sunrise/Sunset:. It's easy to show day/night transitions in exterior shots. But what about interior? If the curtains
are closed, how will your audience distinguish morning from evening? Some quick hints: Character
clothing, visible food, an opened door, a television/radio/answering machine whereby the hour is referenced.
If It's Tuesday, This Must Be Amsterdam. Why do you suppose directors are so fond of opening a movie with
recognizable cityscapes or landmarks? Because if they didn't, we'd wrongly assume that every story ever
written took place in a Hollywood soundstage. Stock shots instantly establish where we
are-- and where we're headed-- without anyone having to say it out loud.
Last but not least are plots which should come with their own frequent flyer miles. While the sky's the limit
in relocating your fantasy and sci-fi characters, you can always rely on good ol' eerie dissolves,
warp-speed, dry ice, dizzying spins, or a simple "cut-and-paste."
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