Hey, good luck getting your film into production, and thanks for making this video, as I found it helpful for script breakdown. If you need an editor or any other job role, please let me know and we can talk about it.
How can I make my shot list in a way where for a scene I know what the best shot is for a dialogue line? Is there a sort of system you can share with me?
In the line. “What’s wrong Mom”. Not very naturalistic in my opinion. “What’s wrong” or “what, what?” Seems better to me. Who says mom at the end of the sentence. I only would say mom to start a sentance. She knows she’s your mom so no need to say it. Just my opinion. Still watching enjoying the video. Like if her name was Lisa. “What is it Lisa”? You just wouldn’t say the personals name cuz there’s no need.
@@connorbrennan40 that’s a solid point, I think part of what I do in the writing is lay out the basic blocks of what the dialogue is looking to achieve and then working with the actor to make it something more custom. When I write dialogue I typically write what they mean to say like “I’m sad you’re leaving” instead of something more vague and then through rehearsals with actors finding a way to disguise the meaning through their performance in a way that feels natural
@@davinci3478I don’t live in LA or have any studio contacts, basically what I’ve learned is that self producing is the best way to get a story made. Crowd funding along with shareable equity is how I plan on making the film
There isn't a real industry standard per say. There is a rule of thumb, like how things are done, but in the end it all depends on the director and his preferred habits.
Honestly, that is not what I understand as a breakdown. This is a "shotlist" on screenplay. A screenplay breakdown is where each scene is broken down to it's bone. Every detail. How many actors and who, the location, furniture, accessories, make up, VFX, what sounds, costume, what camera type, is it gonna be on tripod, dolly,crane or all together, etc, etc,etc. I for example seldom do a shotlist annotation on the script. Now, in the end, everybody does it differently of course. But that is not what I understand as a breakdown.
See I would categorize that as a producers breakdown, where the shortlist or shot selection is more what this accomplishes as well as helping organize the parts of the scene to run on the day in what set up.
@@Leprutz im not sure to be completely honest, the biggest questions I get asked when I’m directing is “what are we shooting” and “what is the blocking for the scene” and “how many shots is this scene”. So, I find this method easiest to answer those questions specifically.
@@jackbynum Yeah exactly. That is why I have a shot list and a shooting order in which it is written which shots are getting done on this day, so I don't get bothered with these questions. Lol. But in the end it is exactly what I mean. Every director has a different way of dealing with things and also differebt habits of shooting. Half the script i don't even bother to make a detailed shotlist. I am figuring it out on the fly on the set. This gives me immense freedom and don't get stuck on a vision that might not pan put as well. And every kind of directing is legitimate. This is what I love about that job. I really want to see your feature film. Is your first or have you done anything else I can watch? Wish you the best for your project.
Protip @ 0:32 - remove the middle brad. Two brads, one on top and bottom, is industry standard. Seems silly but it helps the screenplay lay flat and stay open. You know… if you’re not sending a PDF.
@@jackbynum My pleasure. I should have lead by saying this is a great resource! Thanks for sharing and looking forward to seeing your feature come to life.
@@jackbynumthe main hero and the main opponent (of basically every scene) should want the same thing ultimately, or else your structure is broken. It usually has to do with control or power. And the story will also ultimately have to do with slavery and freedom, either out of it or into it or out of it and then back into it, etc. Your longline should be: “Hero with XYZ issue battles opponent over desire and has self-revelation about XYZ issue due to said battle” This is why sports movies are so easy to write.
@@DFMoray Protagonist and antagonist definitely do not have to want the same thing lmao. This one of the most bonkers theories on writing I've read. Where in the world did you learn this
Nice explanations jack, best of luck on your film!
Awesome breakdown! Looking forward to what's more to come :)
Look forward to your film
Great video man, subscribed. Look forward to seeing more of this film come together 👏
me ha encantado, espero que llegues muy lejos!😊
“A director doesn’t need to know how to write, however it helps if he knows how to read!”
Billy Wilder
Awesome breakdown. So excited to see you start the feature! Right of passage for all directors.
Thanks buddy! Same to you, really enjoying seeing your journey on 16mm.
@@jackbynum maybe a feature on 16 will be my first go? 🤷♂️
Certainly gets the blood pumping lol
Also, set up lookin' so clean bro
Thanks bro, totally stole it from Mike lol
Very interested to see where this goes! SUBBED!
@@welchworks me too thanks man!
Hey, good luck getting your film into production, and thanks for making this video, as I found it helpful for script breakdown. If you need an editor or any other job role, please let me know and we can talk about it.
@@CitizenHenry-tc1vn appreciate it!
How can I make my shot list in a way where for a scene I know what the best shot is for a dialogue line? Is there a sort of system you can share with me?
In the line. “What’s wrong Mom”. Not very naturalistic in my opinion. “What’s wrong” or “what, what?” Seems better to me. Who says mom at the end of the sentence. I only would say mom to start a sentance. She knows she’s your mom so no need to say it. Just my opinion. Still watching enjoying the video. Like if her name was Lisa. “What is it Lisa”? You just wouldn’t say the personals name cuz there’s no need.
@@connorbrennan40 that’s a solid point, I think part of what I do in the writing is lay out the basic blocks of what the dialogue is looking to achieve and then working with the actor to make it something more custom.
When I write dialogue I typically write what they mean to say like “I’m sad you’re leaving” instead of something more vague and then through rehearsals with actors finding a way to disguise the meaning through their performance in a way that feels natural
Is this an industry standard? I used MM Scheduler. This looks like a hybrid between a script supervisors lined script and a shooting script.
@@FilmPunk it’s an amalgamation of a few different processes for sure. This is just the simplest way I’ve found to do it
Great Video. Super helpful. Have you submitted it anywhere or taken to studios. How do you get a script produced as a low level filmmaker
@@davinci3478I don’t live in LA or have any studio contacts, basically what I’ve learned is that self producing is the best way to get a story made.
Crowd funding along with shareable equity is how I plan on making the film
There isn't a real industry standard per say. There is a rule of thumb, like how things are done, but in the end it all depends on the director and his preferred habits.
I'm glad, RUclips recomended me such an awesome video, by a rather small channel. BUT MAN, why are you putting your pencils so far away on your desk?
@@XlXloy 🤣
fire vid.
👏👏♥♥
If you haven't found a DP yet id love to be considered
Appreciate it!
Honestly, that is not what I understand as a breakdown. This is a "shotlist" on screenplay. A screenplay breakdown is where each scene is broken down to it's bone. Every detail. How many actors and who, the location, furniture, accessories, make up, VFX, what sounds, costume, what camera type, is it gonna be on tripod, dolly,crane or all together, etc, etc,etc.
I for example seldom do a shotlist annotation on the script. Now, in the end, everybody does it differently of course.
But that is not what I understand as a breakdown.
See I would categorize that as a producers breakdown, where the shortlist or shot selection is more what this accomplishes as well as helping organize the parts of the scene to run on the day in what set up.
@@jackbynum isn't that called a shooting order? What you are shooting on what day?
@@jackbynum Anyhow... it looks more like a shotlist what you did there, isn't it?
@@Leprutz im not sure to be completely honest, the biggest questions I get asked when I’m directing is “what are we shooting” and “what is the blocking for the scene” and “how many shots is this scene”. So, I find this method easiest to answer those questions specifically.
@@jackbynum Yeah exactly. That is why I have a shot list and a shooting order in which it is written which shots are getting done on this day, so I don't get bothered with these questions. Lol.
But in the end it is exactly what I mean. Every director has a different way of dealing with things and also differebt habits of shooting.
Half the script i don't even bother to make a detailed shotlist. I am figuring it out on the fly on the set. This gives me immense freedom and don't get stuck on a vision that might not pan put as well.
And every kind of directing is legitimate.
This is what I love about that job.
I really want to see your feature film. Is your first or have you done anything else I can watch?
Wish you the best for your project.
Protip @ 0:32 - remove the middle brad. Two brads, one on top and bottom, is industry standard. Seems silly but it helps the screenplay lay flat and stay open.
You know… if you’re not sending a PDF.
Haha I appreciate it thank you!
@@jackbynum My pleasure. I should have lead by saying this is a great resource! Thanks for sharing and looking forward to seeing your feature come to life.
hey bro, I am working on a screenplay, would you like reading it
You looking for feedback or where are you at with it?
No they both want the same thing. Control over his life.
Could be, I think barb has seen so many of these type of hair-brained schemes fail that she’s just lost the optimism
@@jackbynumthe main hero and the main opponent (of basically every scene) should want the same thing ultimately, or else your structure is broken. It usually has to do with control or power. And the story will also ultimately have to do with slavery and freedom, either out of it or into it or out of it and then back into it, etc.
Your longline should be:
“Hero with XYZ issue battles opponent over desire and has self-revelation about XYZ issue due to said battle”
This is why sports movies are so easy to write.
@@DFMoray Protagonist and antagonist definitely do not have to want the same thing lmao. This one of the most bonkers theories on writing I've read. Where in the world did you learn this