![]() In these instances, screenwriters should consider whether other film techniques would make their narrative clearer.Īn intercut can also be confusing if the scenes juxtaposed together are very long. If an intercut shows any more than two locations, it can become confusing. Scenes where one character watches another from a distance, such as scenes involving a stalkerĪn intercut isn’t always the best option, though.Digital conversations through text message or online instant messaging.Intercuts usually show different perspectives or propel action in the following scene types: Make a script shorter and more readable by eliminating multiple scene headings/sluglines.Summarize some action or narrative development.Emphasize the link between different scenes.Make a story more engaging by skipping over unnecessary details.Tell a more complex story with multiple plot lines.Reasons to Intercutįilmmakers use intercuts for several reasons. One of his most notable examples is the 1916 film “Intolerance.” In this ambitious movie, Griffiths intercuts four parallel storylines occurring centuries apart. His intercuts enhanced continuity in his films. Griffiths pioneered the technique as early as 1909. While this film sequence uses the technique of intercutting, it is not called an intercut on the film’s script.įilmmakers have used intercuts throughout cinematic history. For example, they might move from a close-up to a wide shot. However, filmmakers can also intercut one shot type with another contrasting shot type. ![]() It’s a more efficient way to navigate the script, and will lead to an easier read.An intercut typically juxtaposes scenes in different locations. More cards ebb and flow, Christy wins, loses, and loses.Ĭhristy wipes away sweat, coming down to earth.ĭitch sluglines for INTERCUT. The dealer shuffling a second time, a third, without a word to Christy. ![]() Lucky Nick downing stomach tablets, feeling ill.įrank downing antacid tablets, feeling the same. Wes and Susie, digging in for the long haul, watching in an overhead mirror. The new dealer spooks Christy, who buries the cut card.Ī huge crowd pushes in, casino supervisors and the crossroaders surround Christy and the dealer, ready to play blackjack at ,000 a hand. Pale features, coldly efficient and mechanical, offering Christy the cut. The dealer finishes the shuffle, and is abruptly tapped out. Susie takes off her wig, all pretenses gone, Wes and Sculley likewise undisguised, likewise in shock. Lucky Nick, sweating as he looks at Christy, mumbles various obscenities.įrank taking his frustration out on a slot machine, pulls too hard, hurting himself. Christy doesn’t watch, hungrily chewing a pastrami sandwich. Speaking of Phone Booth, here’s what a one-sided phone conversation looks like. The recent use of texting in The Departed was well done, but extensive use of telephones is tricky to pull off visually. One more note on phone conversations: With all respect to Phone Booth, holding on one-side of a phone conversation for very long is static, non-visual stuff. Remember, the reader is reading a movie, not a script. To write in slugline after slugline takes the reader out of the flow. This lets the director decide which end of the phone conversation we’re seeing. Set up both locations, intercut, and roll the dialogue. You’re going to watch Family Guy while this country is burning? While we as a nation are at the shithouse door? Can I come over? Dominos, maybe some Family Guy I TIVO’ed. John, even for you, that’s a pretty dumb idea. How do we spin this, John? How about getting the governors to not take stimulus money? They’re calling us obstructionists, nay sayers! McCain on the phone, watching the same TV broadcast. Boehner looks on as a TV plays his news conference from earlier in the day.
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