I want to spend time showing examples, so very quickly here’s what goes into scene description (also called action lines):
Elements of Scene Description:
- tells you what the characters are doing in the scene
- describes the setting
- details what can be seen or heard in the scene
- sets tone and pacing or rhythm that informs the edit
- uses ALL CAPS to highlight important things (use sparingly)
- avoids camera direction (don’t use “the camera dollies in…”)
We’re going to look at pages from three very different scripts: Spider-Man: Into the Spider-Verse (2018) by Phil Lord and Rodney Rothman, Zodiac (2007) by James Vanderbilt, and Butch Cassidy and the Sundance Kid (1969) by William Goldman
Spider-man: Into the Spider-verse (2018)
This animated film balances humor, pathos and a coming-of-age story in a superhero origin film. It is excellent, and for that matter, so is the script.
Into the Spider-verse has a narrative told through a comic book filter, and for that reason the script has to show this comic flair as clearly as possible. That includes scripting out the comic thought bubbles and things that appear across the screen. Note that the pivotal moment “EVERYONE KNOWS” is played up for comic relief — the script has it appear in giant letters behind Miles, the last period landing with a resounding note.
Later in the script, when Miles is trying to help Peter B Parker hack into a computer they have to work around the Head Scientist Olivia Octavius. This fun exchange happens:
That “organize your desktop, lady!” line got big laughs in the theater, and that’s partly because of how starkly we’re shown the “BAFFLING DESKTOP FULL OF FILES” right before that. So relatable. If that moment hadn’t been scripted out, it wouldn’t have played to such laughs.
Lots of good feelings from the first example. Let’s go down a darker path.
Writing horror, thriller, suspense… they come with other challenges. How can you communicate that a scene is scary? Get out this page from Zodiac, the movie based on the real story of the Zodiac Killer.
Look at how the car following Darlene and Mike, soon-to-be-victims, is characterized. Like a hungry lion. It’s not literal, and yet it works to get the point across.
What was interesting when I looked up this example was the fact that the script I lfound and the resulting film were very different scenes. In the script, this car has been following Darlene and Mike for miles, resulting in a car chase and eventual car trouble. In the movie, things are quite innocent until the killer’s car pulls up behind them.
An early draft could look totally different from what you eventually see on screen. Why this car chase scene was skipped over was possibly two-fold — the car chase scene took too long and detracted from the rest of the movie, and possibly because it wasn’t true to what really happened. This is a real killer this movie is based on, so some attempt at reality should be made.
Butch Cassidy and the Sundance Kid (1969)
In the opening of this Western, we’re introduced to our main character Butch Cassidy. The scene descriptions give us a good idea of what type of man he is and how he should be portrayed.
William Goldman is a very well known screenwriter, and he could get away with some tricks that you probably shouldn’t do in your first scripts. For one, he’s scripting out a lot of stuff that cannot be seen, like how Butch speaks and that he’s been a leader of men all his life. For the most part, if you can’t see or hear it, you should think twice about writing it in your action lines.
The format is also a little off from the norm, or at least what we see today. A MAN is separated from the rest of the description. This could be very intentional rhythm illustrated for the scene, having the director and actor take their time letting this introduction play out before the camera. Nowadays, write the subject in the same paragraph. William Goldman can do all this. We can’t. Yet.
I also want to note Goldman’s use of “CUT TO:” between each segment here. This is a stylistic choice — it’s not necessary. Sometimes this can give a sense of pacing. Personally I find script pages to be prime real estate — I might need to hit very specific page counts and I find the CUT TO unnecessary because…well, what else are you going to do? If you’re jumping to another scene, you’re gonna cut.
The Magic Bullet: Action Lines – ScriptMag.com
5 Ways to Write More Effective Scene Description – The Script Lab