Seed NewsvineWhether for a film or television project, the next step after the competition of the script is to break it down into its primary elements so that a budget can be generated. Although most script writing programs do automatically add some elements, such as the speaking character roles, each scene still needs to be manually checked so that the necessary information will appear on the reports. Without knowing who, what, where, and for how long, it is impossible to generate the budget. If done correctly, it will also collect and organized the information for the daily call logs.
The more detailed the breakdown of each scene, the more time you will save yourself in the long run. Although some of these elements will be filled with generic responses, listing them will hold the place for the details to be added later.
Location
Each scene opens with the location bar that includes, the place, interior/exterior, and day part of the scene. Although they are listed in the script, none of this information will appear in the reports unless it is manually entered. Most places will host more than one scene; listing the general location with the specific location and daypart will give additional details that will help determine how many days will be needed for that particular area. By adding these details, it’s easier to group scenes to cut down on was of time and energy.
Construction
Scenes that are filmed on a soundstage or at locations where modifications will need to be done. Would need to be noted in this category. Extra time will need to be allotted for the building, setting, and striking the sets.
Electronics
Any special lighting, sound, or gadgets would be listed here.
Set dressing
Unless there are changes due to the script, the first scene will be sufficient to set the standard for the entire project. Any modifications would be needed to be noted and the scenes scheduled accordingly.
Props
Not every prop needs to be listed. Only the ones that are required by the script or wouldn’t normally be found in the area.
VFX: makeup; digital, sound, mechanical
Visual effects take preplanning and are time-consuming. Knowing what scenes and the specific effects are required to accurately budget time and resources.
Characters
Most scriptwriting programs automatically list the speaking characters; however, characters without lines will need to be manually entered or they will not appear on the call sheets.
Crew
Most crews are set for the entire project and don’t need to be listed. This section would again be for the unusual or special crew members.
Wardrobe/Makeup/Hair
For continuity, these need to be listed according to the placement in the script timeline not according to the shooting schedule. By listing them according to which day they represent in the script, it’s easier to coordinate and account for the time needed to make any changes.
Animals/children
Animals and children are unpredictable. Additional time will need to be added.
Anything out of the ordinary that will consume time or resources
Having too many details is better than being caught off guard.
I will be using scenes from my project Never Can Say Good-bye as examples.
Scene 8
INT. HIDDEN ROOM: DAY
Michael shines the flashlight around the room. The beam hits the cracked mirror and reflects onto a rocking chair. THE OBSERVER (camera showing the ghost's perspective) WATCHES Michael. Michael tries to open the window; it's nailed shut. SHANE SCOTT (A woman in her mid-20's who believes the world is her toy.) WALKS into the doorway.
SHANE
(angrily)
What did you do? This isn't our house.
MICHAEL
(startled)
Amanda was happy I found it.
Shane nervously walks around. The Observer examines her. She sees her image in the mirror distort and morph; Shane screams and runs out.
Scene 8 Breakdown
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INT.HIDDEN ROOM: DAY
Character
* Michael
* Shane
* The Observer
Props
* Flashlight
* Bellows family pictures
Camera
* The camera will represent the ghostly perspective
* Drone camera
Location
* Bellows House
* Hidden room
* Afternoon
Set Dressing
* Table and chairs
* Full side bed
* Dressers
* Wooden rocking chair
* Curtains on the windows
* Bedding
* Family pictures
* Needlework project
* Old book on the nightstand
* Rag rugs
* needlepoint samplers
* Virgin Mary statue
* Angel statues
Wardrobe
* Women's clothing from the mid to late 1950s
* DAY ONE
Greenery
* Ivy on the outside of the window
Sound
* Door creaking
Electrics
* Drone camera
Crew
* Drone camera operator
Optical FX
* The Distorting image in a mirror
Scene 27
INT. LYNNE’S LIVING ROOM: NIGHT
Lynne and Elizabeth pleasantly chat after dinner.
LYNNE
I only know two ways to end a residue haunting. Change the energy by cleansing the space or by destroying the anchoring object.
ELIZABETH
What you think there it's residual, but there is actually a spirit.
LYNNE
I'm not sure what happens. If they are ready to move on everything happens as it should have in the first place.
ELIZABETH
What if she or he wasn't ready.
LYNNE
Most likely limbo.
ELIZABETH
For how long?
Lynne shrugs.
ELIZABETH (CONT.)
Wouldn't it be easier to just move on?
LYNNE
It's not that easy.
ELIZABETH
It is if you let it be.
(Walking to the window)
It's beautiful here.
LYNNE
(Studying Elizabeth)
This is my favorite spot.
ELIZABETH
I can see why.
LYNNE
This whole neighborhood used to belong to the Ramsdell family. James wanted Rachael to have the same luxury she had in New Orleans. The town just grew around it.
ELIZABETH
It must have been beautiful.
LYNNE
It broke Amanda's heart to sell it. She had wanted the whole estate to become a combination museum and public park.
ELIZABETH
Hard times sometimes force hard decisions.
LYNNE
Amanda sold the land to keep the Bellows House.
ELIZABETH
Why? It's just a house.
LYNNE
It's a shrine to Sara Jane and Randolph's love. That's why Audrey Bellows wanted to destroy it. Amanda believes Sara Jane and Randolph will incarnate here.
ELIZABETH
Come on. Even if reincarnation was real, how would she know?
LYNNE
She says she'll know. I believe her. But they better make it soon. Last year we nearly lost her to a stroke.
ELIZABETH
I think I saw her on my way here. She gave me the shivers.
LYNNE
She's a strong lady.
LYNNE
(Holding up the empty beer bottle)
Another?
ELIZABETH
(Still looking out the window)
Please.
Lynne returns to the kitchen. Elizabeth looks at the backyard. It transforms into the original estate. RACHAEL RAMSDELL APPEARS. The distance between Elizabeth and Rachael vanishes. Elizabeth becomes transfixed.
LYNNE
(Carrying two more beers)
What's the matter?
Lynne sees Elizabeth transforms into Sara Jane. She drops the bottles. Elizabeth becomes herself.
ELIZABETH
(nervously)
I should go.
LYNNE
I'll walk with you.
Scene 27 Breakdown
-
INT. LYNNE'S LIVING ROOM: NIGHT
Character
* Elizabeth
* Lynne
* Rachael
Special FX
* The distance between Rachael and Elizabeth collapses on itself until the women are standing face to face.
* Backyard transforms into front of Ramsdell house
Props
* Beer
Set Dressing
* Books
* Computer printer
* Fax machine
* Family pictures
* Rocking chair
* Living room furniture
* Shelves
* Virgin Mary statue
* Radio
* Television
* Magazines
* Knitting
Greenery
* Grass, trees, shrubs, garden
Sound
* Radio playing
Location
* Lynne's House
* Original Ramsdell estate
* Living room night
Wardrobe
* DAY ONE
Optical FX
* Elizabeth transforms into Sara Jane
In both examples, the scenes have been broken down into their individual elements. This information will be used to prepare the spreadsheet that will determine the number of shoot days that will be needed to produce Never Can Say Good-bye.
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