Filmmaking Techniques: 2008

Sunday, September 21, 2008

Filmmaking Technical crew

A film crew or Fimmaking Technical Crw is a group of people hired by a production company for the purpose of producing a film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. Crew are also separate from producers, those who own a portion of either the film company or the film's intellectual property rights. A film crew is divided into different departments, each of which specializes in a specific aspect of the production.

Production
“Production” is generally not considered a department as such, but rather as a series of functional groups. These include the "front office" staff such as the Production Manager, the Production Coordinator, and their assistants; the accounting staff; the various Assistant Directors; and sometimes the Locations Manager and his or her assistants. The Director is considered to be a separate entity, not within the departmental structure.
Executive Producer is usually an investor in the project or just a credit that the filmmaker gave to someone who paid for the credit. You can have as many executive producers as you want but generally keep it to a minimum.

Producer
A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project.

Production Manager
The production manager supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling. It is the production manager's responsibility to make sure the filming stays on schedule and within its budget. The PM also helps manage the day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator.

Unit Manager
The unit manager fulfills the same role as the production manager but for secondary "unit" shooting. In some functional structures, the unit manager subsumes the role of the Transport Coordinator.

Production Coordinator
The Production Coordinator is the information nexus of the production, responsible for organizing all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production.

Film Director
The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack. Though the director wields a great deal of power, he or she is ultimately subordinate to the film's producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred.

First Assistant Director
The first assistant director (1st AD) assists the production manager and director. The ultimate aim of any 1st AD is to ensure the film comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focussed on their work. He or she is in charge of overseeing the day-to-day management of the cast and crew scheduling, equipment, script, and set. A 1st AD may also be responsible for directing background action for major shots or the entirety of relatively minor shots, at the director's discretion.

Second Assistant Director
The second assistant director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks delegated to the 1st AD. The 2nd AD may also direct background action and extras in addition to helping the 1st AD with scheduling, booking, etc. The 2nd AD is responsible for creating Call Sheets that let the crew know the schedule and important details about the shooting day. In Canadian and British functional structures there are 3rd ADs and even Trainee ADs; in the American system there are 2nd 2nd ADs.

Production Assistant
A production assistant assists the first assistant director with set operations. Production assistants, almost always referred to as PAs, also assist in the production office with general tasks.

Script Supervisor
Also known as the "continuity person", the script supervisor keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script. He or she makes notes on every shot, also keeping track of props, blocking, and other details to ensure that continuity is maintained from shot to shot, and from scene to scene. The Script Supervisor's notes are given to the Editor to expedite the editing process. The script supervisor works very closely with the director on set.

Stunt Coordinator
Where the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the director.

Art Department
The Art Department in a major feature film can often number hundreds of people. Usually it is considered to include several sub-departments: the art department proper, with its art director, set designers and draughtsmen; sets, under the set decorator; props, under the propmaster; construction, headed by the construction coordinator; scenic, headed by the key scenic artist; and special effects.

Production Designer
A production designer is responsible for creating the physical, visual appearance of the film - settings, costumes, properties, character makeup, all taken as a unit. The production designer works closely with the director and the cinematographer to achieve the 'look' of the film.

Art
Within the overall Art Department is a sub-department, called the Art Department, which can be confusing. This consists of the people who design the sets and create the graphic art.

Art Director
The art director reports to the production designer, and more directly oversees artists and craftspeople, such as the set designer and set decorator, who carry out the production design.

Assistant art director
The first, second and third assistant art directors carry out the instructions of the art director. Their work often involves measuring locations, creating graphics and paper props, collecting information for the production designer and drawing sets. Sometimes a set designer is also the first assistant art director; in this capacity, he or she manages the work flow and acts as the 'foreman' of the drawing office.

Set Designer
The set designer is the draftsman, often an architect, who realizes the structures or interior spaces called for by the production designer.

Illustrator
The illustrator illustrates visual representations of the designs to communicate the ideas imagined by the production designer.

Sets
Set Decorator
The set decorator is in charge of the decorating of a film set, which includes the furnishings and all the other objects that will be seen in the film. He works closely with the production designer and coordinates with the art director. In recognition of the set decorator's importance, the Academy Award for Art Direction is given jointly to both the production designer and the set decorator.

Buyer
The buyer is the number two person in the set department below the set decorator. The buyer locates, and then purchases or rents the set dressing.

Set Dresser
The set dressers apply and remove the "dressing," i.e., furniture, drapery, carpets—everything one would find in a location, even doorknobs and wall sockets. Most of the swing gang's work occurs before and after the shooting crew arrives but one set dresser remains with the shooting crew and is known as the on-set dresser. In some countries, such as England and Ireland, the set dressing department is referred to as dressing props department.

Props
Props Master
The property master, more commonly known as the props master, is in charge of finding and managing all the props that appear in the film. The propsmaster usually has several assistants.

Props builder
The props builder, or more frequently propmaker, as the name implies, builds the props that are used for the film. Props builders are often technicians skilled in construction, plastics casting, machining, and electronics.

Armourer
The armourer is a specialized props technician who deals with firearms. In most jurisdictions this requires special training and licenses.

Construction
Construction Coordinator
The construction coordinator oversees the construction of all the sets. The coordinator orders materials, schedules the work, and supervises the often sizeable construction crew of carpenters, painters and labourers. In some jurisdictions the construction coordinator is called the construction manager.

Head Carpenter
The head carpenter is the foreman of a "gang" of carpenters and laborers.

Scenic
Key Scenic
The key scenic artist is responsible for the surface treatments of the sets. This includes special paint treatments such as aging and gilding, as well as simulating the appearance of wood, stone, brick, metal, stained glass--anything called for by the production designer. The key scenic artist supervises the crew of painters, and is often a master craftsperson.

Greens
Greensman
The greensman is a specialised set dresser dealing with the artistic arrangement or landscape design of plant material, sometimes real and sometimes artificial, and usually a combination of both. Depending on the scope of the greens work in a film, the greensman may report to the art director or may report directly to the production designer. If a significant amount of greens work is required in a film, then the Greens may be an identifiable sub-department, with its own team - often of a size numbering double figures - and hierarchy (eg. Greensmaster, Greens Supervisor, Foreperson, Leading Hand, Laborers). Specialists from other areas of the Art Dept. (eg. Fabricators, Sculptors, Painters/Scenics) may also be drafted to work exclusively on Greens.

Hair and make-up
Make-up Artist
Make-up artists are beauticians that apply makeup to anyone appearing on screen. They concentrate on the area above the chest, the face, the top of the head, the fingers, hands, arms, and elbows. Their role is to manipulate an actors on screen appearance whether it makes them look more youthful, larger, older, or in some cases monstrous. There are also body makeup artist who concentrate their abilities on the body rather than the head.

Hairdresser
The hair stylist is responsible for maintaining and styling the hair of anyone appearing on screen. He or she works in conjunction with the makeup artist.

Wardrobe
Costume Designer
The costume designer is responsible for all the clothing and costumes worn by all the actors that appear on screen. He or she is also responsible for designing, planning, and organizing the construction of the garments down to the fabric, colors, and sizes. The costume designer works closely with the director to understand and interpret "character," and counsels with the production designer to achieve an overall tone of the film.

Costume Supervisor
The Costume Supervisor works closely with the designer. In addition to helping with the design of the costumes, the he or she manages the wardrobe workspace. He or she is responsible for supervising the construction or sourcing of garments, the hiring and firing of support staff, the budget, paperwork, and department logistics.

Key Costumer
The Key Costumer is employed on larger productions to manage the set costumers, and to handle the Star's wardrobe needs.

Costume Standby
The Costume Standby is present on set at all times. It is his/her responsibility to monitor the quality and continuity of the actors and actresses costumes before and during takes. (S)he will also assist the actors and actresses with dressing. This person is also known as a 'set costumer'.

Art Finisher
An Art Finisher may be employed during the pre-production stage to "break down" garments. This specialised job includes making new clothing appear dirty, faded and worn. They are also known as breakdown artists.

Buyer
On large productions a Buyer may be employed to source and purchase fabrics and garments. A buyer might also be referred to as a shopper. This distinction is often made when the lead actor in a production has control over their wardrobe, and they may personally hire this person.

Cutter/Fitter
A costume technician who fits or tailors costumes, usually on-set. They can also be called cutters, seamstresses or tailors. Some celebrity actors have favorite cutters, and larger productions may hire several and have them on set at the same time, particularly in period film projects that might have complicated or extremely expensive extras wardrobe.

Camera
Director of Photography
The director of photography is the chief of the camera and lighting crew of the film. The DP makes decisions on lighting and framing of scenes in conjunction with the film's director. Typically, the director tells the DP how he or she wants a shot to look, and the DP then chooses the correct aperture, filter, and lighting to achieve the desired effect.

Cinematographer
The term cinematographer has been a point of contention for some time now. It is usually synonymous with "director of photography," though some professionals insist that it only applies when the director of photography and camera operator are the same person.

Camera Operator
The camera operator uses the camera at the direction of the cinematographer, director of photography, or the film director to capture the scenes on film. Generally, a cinematographer or director of photography does not operate the camera, but sometimes these jobs may be combined.

First Assistant Camera (Focus Puller)
The first assistant camera (1st AC) is responsible for keeping the camera in focus as it is shooting.

Second Assistant Camera (Clapper Loader)
The second assistant camera (2nd AC) operates the clapperboard at the beginning of each take and loads the raw film stock into the camera magazines between takes, if there is no additional specifically desiginated film loader. The 2nd AC is also in charge of overseeing the meticulously kept notebooks that records when the film stock is received, used, and sent to the lab for processing. Additionally, the 2nd AC oversees organization of camera equipment and transport of the equipment from one shooting location to another.

Loader
The loader is the designated film loader. He transfers motion picture film from the manufacturer's light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC. After exposure during filming, the loader then removes the film from the magazines and places it back into the light-tight cans for transport to the laboratory. It is the responsibility of the loader to manage the inventory of film and communicate with the 1st AC on the film usage and remaining stock throughout the day. On small production crews, this job is often combined with the 2nd AC. With the prevalence of digital photography, this position is often eliminated.

Camera Production Assistant (camera intern)
Usually a volunteer or trainee in the camera department, the camera PA assists the crew with menial details while learning the trade of the camera assistant, operator or cinematographer.

Digital Imaging Technician ("DIT")
On digital photography productions the digital imaging technician is responsible for the coordination of the internal workings of the digital camera. Under the direction of the cinematographer or director of photography, the DIT will make adjustments to the multitude of variables available in most professional digital cameras to creatively or technically manipulate the resulting image.

Steadicam operator
A Steadicam operator is someone who is skilled at operating a Steadicam rig (the genericized trademark for a camera stabilization rig).

Motion Control Technician/Operator
This technician operates a motion control rig, which is essentially a 'camera robot' that is able to consistently repeat camera moves for special effects use. Motion control rigs are typically rented with an experienced operator.

Production Sound
Production Sound Mixer
The production sound mixer is head of the sound department on set, responsible for recording all sound during filming. This involves the choice and deployment of microphones, operation of a sound recording device, and sometimes the mixing of audio signals in real time.

Boom Operator
The boom operator is an assistant to the production sound mixer, responsible for microphone placement and movement during filming. The boom operator uses a boom pole, a long, special piece of equipment made from light aluminum or carbon fiber, that allows precise positioning of the microphone above or below the actors, just out of the camera's frame. As well as the Placement of Radio Mics and other Microphones 'Hidden' on set. In France, the boom operator is known as the perchman.

Utility Sound Technician
The utility sound technician has a dynamic role in the sound department, most typically pulling cables, but often acting as an additional boom operator or mixer when required by complex filming circumstances. Not all films employ a utility sound technician, but the increasing complexities of location sound recording in modern film have made the job more prevalent. This role is sometimes credited as "cable man" or "python wrangler."

Grip
Grips are trained lighting and rigging technicians. The main responsibilities of a grip are to work closely with the electrical department to put in the lighting set-ups necessary for a shot. On the sound stage, they are responsible for moving and adjusting major set pieces when something needs to be moved to get a camera into position. They may belong to the International Alliance of Theatrical Stage Employees.

Key grip
The key grip is the chief grip on a set, and is the head of the set operations department. The key grip works with the director of photography to help set up the set and to achieve the correct lighting and blocking.

Best boy (Grip)
The best boy grip is the chief assistant to the key grip. They are also responsible for organizing the grip truck through out the day.

Dolly grip
The grip in charge of operating the camera dolly is called the dolly grip. He/she places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders.

Electrical
Gaffer
The gaffer is the head of the electrical department, responsible for the design and execution of the lighting plan for a production. Sometimes the gaffer is credited as "Chief Lighting Technician".

Best boy (Electrical)
The best boy electric is the chief assistant to the gaffer.

Lighting Technician
Lighting technicians are involved with setting up and controlling lighting equipment.

Editorial
Film Editor
The film editor is the person who assembles the various shots into a coherent film, with the help of the director. Film editors may belong to the American Cinema Editors (A.C.E.)

Colorist
With a photochemical process, the color timer adjusts the color of the film via printer lights for greater consistency in the film's colors. With a digital intermediate process, the colorist can use digital tools in manipulating the image and has greater creative freedom in changing the aesthetic of a film.

Negative Cutter
The negative cutter cuts and splices the negatives as directed by the film editor, and then provide the assembled negative reels to the lab in order for prints (positives for projection) to be made.

Visual Effects
Visual Effects Supervisor
The visual effects supervisor is in charge of the visual effects department. Visual effects refer to post-production alterations to the film's images. They are not to be confused with special effects, which are done during production (on set).

Compositor
A compositor is a visual effects artist responsible for compositing images from different sources such as video, film, computer generated 3-D imagery, 2-D animations, matte paintings, photographs, and text.

Inferno, Flame
These artists operate an Inferno or Flame visual effects system. These systems are manufactured by Discreet (now a division of Autodesk).

Roto, paint
These artists may rotoscope the footage, manually creating mattes for use in compositing. They may also paint visual information into or out of a scene, such removing wires and rigs, logos, dust busting, scratch removal, etc.

Matte Painter
These artists draw/paint entire sets or extend portions of an existing set.

Sound/Music
Sound Designer
The sound designer, or "supervising sound editor", is in charge of the post-production sound of a movie. Sometimes this may involve great creative license, and other times it may simply mean working with the director and editor to balance the sound to their liking.

Dialogue Editor
Responsible for assembling and editing all the dialog in the soundtrack.

Sound Editor
Responsible for assembling and editing all the sound effects in the soundtrack.

Re-recording Mixer
Balances all of the sounds prepared by the dialogue, music and effects editors, and finalizes the films audio track.

Music Supervisor
The music supervisor, or "music director", works with composer, mixers and editors to create and integrate the film's music. In Hollywood, a music supervisor's primary responsibility is to act as liaison between the film production and the recording industry, negotiating the use rights for all source music used in a film.

Composer
The composer is responsible for writing the musical score for a film.

Foley Artist
The foley artist is the person who creates and records many of the sound effects for a film.

Saturday, September 20, 2008

Screenplay Writing

Welcome to Movie lovers and Screen Writers, Directors also Filmmakers into my new outlined articles on Film and Television screenplay writing. Today I am going to tell you or introducing to you a common rules and regulations in screen-writing methods, such filmmaking and television genres. Most of Filmmakers and technicians are using these methods worldwide, especially in Hollywood.

Screenplay or Script Writing

A screenplay or script is a written plan, authored by a screenwriter, for a film or television program. Screenplays can be original works or adaptations from existing works such as novels.
The major components of a screenplay are action and dialogue, with the "action" being "what we see happening" and "dialogue" being "what we hear" (i.e., what the characters utter). The characters, when first introduced in the screenplay, may also be described visually. Screenplays differ from traditional literature conventions in ways described below; however, screenplays may not involve emotion-related descriptions and other aspects of the story that are, in fact, visual within the end-product.

Screenplays in print are highly formal, conforming to font and margin specifications designed to cause one page of screenplay to correspond to approximately one minute of action on screen; thus screen directions and descriptions of location are designed to occupy less vertical space than dialogue, and various technical directions, such as settings and camera indication are set apart from the text with capital letters and/or indentation. Professional screenplays are always printed in 12-point Courier, or another fixed-width font that appears like typewriter type.

In the United States, the Writers Guild of America, East (WGA) has final control on who may be awarded screenwriting credit for a screenplay in a union production. The WGA is one of several organizations in the U.S. and worldwide which recognize screenplays with awards.
A script for television is sometimes called a teleplay.

Sample Screenplay Script

Spec script
A spec script is a "speculative" screenplay, one that the Variety slanguage dictionary defines as being "shopped or sold on the open market, as opposed to one commissioned by a studio or production company."
Spec scripts are written for various reasons:
by writers, who hope to have a script optioned and eventually purchased by producers or studios;
by writer/directors, who want to direct a film themselves;
by amateur writers hoping to convince a literary agent to represent them or a producer to hire them.
Spec scripts have not always held as much cachet in the business as they do now. Ernest Lehman describes how his original script for North by Northwest was unusual at that point in his career:

Originals were not smiled upon in those days, believe it or not. There was very little interest in originals in those days. [...] Studios, distributors wanted the assurance of someone else having thought a property worth publishing[...] In those days, if you went to a party in the Hollywood community and somebody would ask, "What are you working on, Ernie?" and you replied, "I'm doing an original now," the response would be "Oh." [...] Like they were a little embarrassed[...] If you were working on something that you were going to create all by yourself, they'd secretly think, "He's in bad shape. Working on an original." That definitely was the climate at one time in this town.

Attracting producers
The process of 'going out' with a spec script can be an extremely tense and nerve-wracking one for a writer. If the writer has an agent, the agent will identify a number of prospective buyers who may range from small independent producers to executives working in the major studios, and attempt to build up 'heat' under the script. The script is sent out simultaneously to all the prospective buyers, usually to be read over the weekend, in the hope of attracting a bidding war.
If the script sells, the writer may receive a payment of anything from a few tens of thousands of dollars to several million. If not, the script is sometimes dead in the water because it is now in the databases of the studios and development executives, and has been marked as having been 'passed' on.

However, most of the hundreds of thousands of spec scripts penned each year are written by unknowns who are trying to attract attention and find it difficult to generate the kind of “buzz” that more established scribes count on to sell their scripts. (See the screenwriting documentary Dreams on Spec.)

Sample script
A sample script is usually not intended for production, but to showcase the screenwriting skills of the author, in hopes of attracting the attention of an agent or producer. Often a spec script which fails to sell goes on to be a sample script.

Shooting script
A shooting script is the version of a screenplay used during the production of a motion picture. Shooting scripts are distinct from spec scripts in that they make use of scene numbers (along with certain other formatting conventions described below), and they follow a well defined set of procedures specifying how script revisions should be implemented and circulated.

Overview
When a screenplay is approved for production, the scenes are assigned numbers which are included in the script alongside the scene headers. The numbers provide a convenient way for the various production departments to reference individual scenes.
After a shooting script has been widely circulated, any rewrites are distributed on revision pages. This avoids having to print and distribute an entirely new draft for every set of revisions. Revision pages are distributed on colored paper (a different color for each set of revisions), with the revisions themselves marked by asterisks. The progression of colors varies from one production to the next, but a typical sequence would be: blue, pink, yellow, green, gold, salmon, cherry, white, and then back to blue.

In some cases, usually before the start of principal photography, an entirely new "white draft" will be distributed in lieu of colored revision pages. The pages in a white draft are renumbered from scratch, while the original scene numbers are maintained.

Preserving scene and page numbers
When revisions are made to a shooting script, they must be accomplished in a way that doesn't disturb the pre-existing scene numbers. For example, if a new scene is to be inserted between scenes 10 and 11, the new scene will be numbered 10A. Every scene thus retains its own unique number throughout the course of the production. When a scene is omitted, its number is preserved in the script along with the phrase (OMITTED). This effectively retires the number so that it can't be reused by a new scene inserted later at the same location.

Page numbers in a shooting script are handled in a similar way. When revision pages are distributed, the page numbers must flow sequentially into the pre-existing page numbers. For example, if page 10 is revised such that it now occupies a page and a half, the revisions will be distributed on two pages numbered 10 and 10A. These two pages will replace page 10 in the outstanding drafts. Conversely, if pages 15 and 16 are shortened such that they now occupy a single page, the revisions will be distributed on a single page numbered 15-16.

Scene continued
When a numbered scene is split across pages, (CONTINUED) appears at the bottom of the prior page, and CONTINUED: appears at the top of the subsequent page. This continued indicator appears along with the number of the scene being continued and a bracketed count of how often the scene has been continued thus far, e.g. 107 CONTINUED: (2). The number is usually omitted when it's equal to one.

Dialogue continued
When dialogue is split across pages, (MORE) appears below the portion of dialogue on the first page, similar to a parenthetical but indented the same as the character's name. On the subsequent page, the remaining dialogue is headed by the character's name, which is extended by an abbreviated continued indicator, e.g. JOHN (CONT'D).
When a character speaks more than once consecutively, with only action separating the speeches, (continuing) parentheticals can be used in the subsequent speeches. (continuing) parentheticals are positioned the same as standard ones: below the character's name and indented from the dialogue. Some writers indicate consecutive dialogue by including (CONT'D) beside the character's name (the same as for dialogue split across pages). Many writers choose not to indicate consecutive dialogue at all.

Dialogue continueds apply to both spec and production scripts. They are mentioned here because of the confusion that arises over the many uses of continued.

The revision slug
A slug (header) appears at the top of every revision page, aligned vertically with the page number. The revision slug typically includes the date the revisions were circulated, the color of the pages in parentheses, and usually, the name of the production or some other descriptive information. Every set of revisions is distributed along with a title page that includes a list of the revision slugs for every set of revisions distributed thus far.

Revision marks
Script revisions are marked with asterisks in the right hand margins of the revision pages. When many revision marks are present on a single page, or within a single paragraph or scene, the marks may be consolidated into a single mark. For example, if all the lines in a given passage of dialogue are marked, the marks can be consolidated into a single mark appearing alongside the name of the speaker above the dialogue. In the case of scenes, this single "consolidation mark" appears alongside the scene header. For pages, the consolidation mark appears beside the page number.

Screenwriting software
Most screenwriting software applications include functions for handling the formats and procedures described above, with varying degrees of automation.
Screenwriting software applications are word processors specialized to the task of writing screenplays. The need for such programs arises from the presence of certain peculiarities in standard screenplay format which are not handled well by generic word processors. A good example would be the formatting and revision-tracking requirements of shooting scripts. The page-break constraints imposed by standard screenplay format are also difficult to implement using standard word processors.

Most of the major screenwriting programs are standalone desktop applications. These include Celtx, DreamaScript, Final Draft, Montage, Movie Magic Screenwriter, Movie Outline, and Sophocles.

Some new solutions are web applications and run in a web browser with no software to install. These include ScriptBuddy, Scripped and Zhura.
Many other programs are available as add-ins for generic word processors such as Microsoft Word. Examples include Dr. Format and Script Wizard. There is also a package for LaTeX called screenplay.

Some screenwriting applications, such as Celtx and Sophocles, also incorporate production scheduling and budgeting capabilities. Others, such as Zhura, provide additional collaborative editing tools.

History
The first screenwriting software was a stand alone script formatter, Scriptor, from Screenplay Systems. It took a text file generated by a word processor and inserted the proper page break tags.

When used in conjunction with a TSR program such as SmartKey or ProKey -- keyboard utilities that assigned a sequence of commands to keystroke combinations -- the "dot commands" that Scriptor required could be inserted semi-automatically.
Additionally, keyboard macros could be programmed to properly indent and enter abbreviations -- allowing a user to customize the working of the word processor.
SmartKey was popular with screen writers from 1982-1987, after which word processing programs had their own macro features.

An update to Scriptor understood the style sheets used in Microsoft Word for DOS. And so the need for key macro programs was lessened.
Scriptor's limitation was that once formatted it was difficult to re-import the resulting text back into a word processor for further editing.
The next generation of screenplay software hooked into Microsoft Word. Warren Script Application was initially released as a set of style sheets for Word for DOS. It was updated for Word for Windows circa 1988.

gScript, a shareware script formatter / template, as released via CompuServe in 1989. It was included on the disk accompanying the book "Take Word for Windows to the Edge," published by Ziff-Davis in 1993. It has since been updated and released commercially as ScriptWright.
This third generation of screenplay software consists of the standalone script writing programs such as Movie Magic Screenwriter, Final Draft, Scriptware.

The latest generation adds online storage and collaboration. New partnerships, such as that recently announced between Movie Magic Screenwriter and Scripped, may lead to online and offline synchronization.

List of Screenplay Writing software
BPC-Screenplay - Screenwriting software Microsoft Windows
Celtx - An open source project on Mac OS X, Microsoft Windows, and Linux.
Final Draft - Screenwriting software Mac OS X, and Microsoft Windows. Considered the industry standard.

Montage software - Popular screenwriting software for Mac only.
Movie Magic Screenwriter - Integrated professional screenwriting software. Available on Mac and Microsoft Windows.

Movie Outline - Professional script writing and story development software for Mac and PC.
ScreenCraft Screenwriting Software - Windows based screenwriting software for MS Windows.
Scripped - Free professional browser-based screenwriting text editing software.
Zhura - Free online professional screenwriting software. Features public and group collaboration.

Model Screenplay: Titanic
Hi friends here I am giving first seven Scenes Screenplay from famous Hollywood film “Titanic”.

Titanic

A screenplay by James Cameron

Cast: KATE WINSLET... Rose DeWitt Bukater
LEONARDO DICAPRIO... Jack Dawson
KATHY BATES... The Unsinkable Molly Brown
BILLY ZANE... Caledon Hockley
BILL PAXTON... Brock Lovett
Written and Directed by: JAMES CAMERON

1 BLACKNESS
Then two faint lights appear, close together... growing brighter. Theyresolve into two DEEP SUBMERSIBLES, free-falling toward us like expresselevators.
One is ahead of the other, and passes close enough to FILL FRAME, lookinglike a spacecraft blazing with lights, bristling with insectilemanipulators.
TILTING DOWN to follow it as it descends away into the limitless blacknessbelow. Soon they are fireflies, then stars. Then gone.

CUT TO:

2 EXT./ INT. MIR ONE / NORTH ATLANTIC DEEP
PUSHING IN on one of the falling submersibles, called MIR ONE, right up toits circular viewport to see the occupants.
INSIDE, it is a cramped seven foot sphere, crammed with equipment. ANATOLYMIKAILAVICH, the sub's pilot, sits hunched over his controls... singingsoftly in Russian.
Next to him on one side is BROCK LOVETT. He's in his late forties, deeplytanned, and likes to wear his Nomex suit unzipped to show the gold fromfamous shipwrecks covering his gray chest hair. He is a wiley, fast-talkingtreasure hunter, a salvage superstar who is part historian, part adventurerand part vacuum cleaner salesman. Right now, he is propped against the CO2scrubber, fast asleep and snoring.
On the other side, crammed into the remaining space is a bearded wide-bodynamed LEWIS BODINE, sho is also asleep. Lewis is an R.O.V. (REMOTELYOPERATED VEHICLE) pilot and is the resident Titanic expert.
Anatoly glances at the bottom sonar and makes a ballast adjustment.

CUT TO:

3 EXT. THE BOTTOM OF THE SEA
A pale, dead-flat lunar landscape. It gets brighter, lit from above, as MIRONE enters FRAME and drops to the seafloor in a downblast from itsthrusters. It hits bottom after its two hour free-fall with a loud BONK.

CUT TO:

4 INT. MIR ONE
Lovett and Bodine jerk awake at the landing.

ANATOLY

(heavy Russian accent)

We are here.

EXT. / INT. MIR ONE AND TWO

5 MINUTES LATER: THE TWO SUBS
skim over the seafloor to the sound ofsidescan sonar and the THRUM of big thrusters.

6 The featureless gray clay of the bottom unrols in the lights of the subs.
Bodine is watching the sidescan sonar display, where the outline of a hugepointed object is visible. Anatoly lies prone, driving the sub, his facepressed to the center port.

BODINE

Come left a little. She's right in front of us, eighteen meters. Fifteen.Thirteen... you should see it.

ANATOLY

Do you see it? I don't see it... there!

Out of the darkness, like a ghostly apparition, the bow of the shipappears. Its knife-edge prow is coming straight at us, seeming to plow thebottom sediment like ocean waves. It towers above the seafloor, standingjust as it landed 84 years ago.
THE TITANIC. Or what is left of her. Mir One goes up and over the bowrailing, intact except for an overgrowth of "rusticles" draping it likemutated Spanish moss.
TIGHT ON THE EYEPIECE MONITOR of a video camcorder.
Brock Lovett's facefills the BLACK AND WHITE FRAME.

LOVETT

It still gets me every time.
The image pans to the front viewport, looking over Anatoly's shoulder, tothe bow railing visible in the lights beyond. Anatoly turns.

ANATOLY

Is just your guilt because of stealing from the dead.
CUT WIDER, to show that Brock is operating the camera himself, turning itin his hand so it points at his own face.

LOVETT

Thanks, Tolya. Work with me, here.
Brock resumes his serious, pensive gaze out the front port, with the cameraaimed at himself at arm's length.

LOVETT

It still gets me every time... to see the sad ruin of the great shipsitting here, where she landed at 2:30 in the morning, April 15, 1912,after her long fall from the world above.
Anatoly rolls his eyes and mutters in Russian. Bodine chuckles and watchesthe sonar.

BODINE

You are so full of shit, boss.

You want Titanic Film full Screenplay ?

Thursday, September 18, 2008

Documentory film on "Shirdi Sai Baba Life History" (Exclusive Video)

Saturday, August 30, 2008

Exclusive Documentary film on "Hinduism" [Video]

Friday, August 8, 2008

'Independence Day' Screenplay [Part 3]

EXT. JASMINE'S HOUSE – CONTINUOUS
Steve picks up the morning paper and opens it. He doesn't notice the DOZENS of neighbors quickly packing up and rushing to get away as he reads the paper oblivious.

JASMINE (O.S.)

You want milk with your coffee?

Jasmine appears behind him, her view, too, obscured by the open newspaper. Suddenly another HELICOPTER room overhead.
Annoyed, Steve lowers his paper.
STEVE AND JASMINE'S POV
As the paper is lowered we SEE the helicopter SWOOP down. As it flies away we SEE... THE ALIEN CRAFT
Covering all of Los Angeles. This is the first time we see the entire craft. It is stupendous. Steve's jaw hits the floor. The milk goes CRASHING as Jasmine SCREAMS.

CUT TO:

INT. STAIRWELL – DAY
Running for all he's worth, David sprints down the stairs.
INT. COMPACT CABLE OFFICE – CONTINUOUS
Dashing off the stairs, David stops seeing that the room is now completely empty. The wall of monitors play for no one.
David walks up to one, adjusting the volume.
T.V. - CNN BROADCAST - (DISTORTED BROADCAST SIGNAL)
A space ship logo spins next to the words VISITORS: CONTACTCRISIS. Wolf Blitzer comes on screen live from the Pentagon.

WOLF BLITZER

Pentagon officials are reporting more ships have just arrived over the capitals of India, England and Germany.

As he speaks we get quick glimpses of the other ships.

MARTY (O.S.)

I know, babycakes. Calm down.

David spins around at the sound of the voice but the room is still empty. David leans down and looks under a desk where he finds Marty still on the phone with his wife.

DAVID

Tell her to get the kids and leave town.

MARTY

What happened?

DAVID

(yells)

Just do it!

Marty realizes David is dead serious.

MARTY

Babycakes, pack the kids up and take them to your mother's. Don't ask. Go. Mary hangs up, crawls out from under the table.

MARTY (cont'd)

Okay, why did I just send my family to Atlanta?

DAVID

Remember I told you that the signal hidden within our satellite signal is slowly recycling down to extinction.

MARTY

Not really...

DAVID

That signal. It's a countdown.

MARTY

(confused)

A countdown to what?

DAVID

Think. It's like in chess. First you strategically position your pieces. Then, when the timing's right. You strike.

David motions to the television.

BLITZER

...there are additional unconfirmed sightings over Japan, the Mediterranean, and China...

DAVID

They are positioning themselves all over the world and using this one signal to synchronize their efforts. In approximately six hours the signal will disappear and the countdown will be over.

MARTY

Then what?

DAVID

Checkmate.

Marty takes a beat to digest. Then, grabbing the phone....

MARTY

I gotta call my brother, my bookie, my lawyer... fuck my lawyer...

David also grabs a phone. Suddenly the bank of monitors synchronize into one enormous image across the entire video wall; the President addressing the nation.
INT. PRESS ROOM, WHITE HOUSE – SAME
The President stands at the podium giving his address.
PRESIDENT WHITMORE
My fellow Americans, a historic and unprecedented event has taken place. The question as to whether or not we are alone in the universe has been answered...
ANGLE - SIDE ENTRANCE TO PRESS ROOM
As Constance watches the President, she unconsciously mouths the words of his speech, after all, she did write them. A
PRESS AIDE tugs on her sleeve. She tries to wave her off.

PRESS AIDE

He says he's your husband.

Her expression drops. She takes the phone from her.

CONSTANCE

What do you want?

DAVID

(filtered)

You have to leave the White House.

CONSTANCE

This is not the time or the place to have this same old discussion.

INT. COMPACT CABLE OFFICES – SAME

DAVID

You don't understand. You have to leave Washington.

INT. SIDE OFFICE, WHITE HOUSE – DAY
Impatient, Constance tries to get off the phone.

CONSTANCE

In case you haven't noticed, we're in a little bit of a crisis here. DAVID

(filtered)

I've worked with embedded loading. They're communicating with a hidden signal. They're going to attack...

CONSTANCE

You're being paranoid.

DAVID

(filtered)

It's not paranoia. The embedding is very subtle. It's probably been overlooked... Constance hangs up. Her face betrays mixed emotions.

INT. COMPACT CABLE OFFICES – SAME
David stares at the phone, pissed. Something on T.V.
catches his attention. Through the snowy image he SEES...

PRESIDENT WHITMORE

(filtered)

...My staff and I are remaining here at the White House while we attempt to establish communication...

Hanging up the phone, David sprints for the exit.

PRESIDENT WHITMORE (cont'd)

...so remain calm. If you are compelled to leave these cities, please do so in a safe and orderly fashion.

SMASH CUT TO:

CABS SLAMMING TOGETHER - NEW YORK CITY STREETS
The rush to get away creeps slowly as cars jam the streets in total grid-lock. David pedals his bike furiously through traffic
EXT. GEORGE WASHINGTON BRIDGE - NEW YORK – DAY
The mass exodus has reached the bridge. Total congestion.
David fights his way through.
EXT. CLIFFSIDE, NEW JERSEY – LATER
The New York skyline behind him across the Hudson, David jumps off his bike, and races towards a row of tract houses.
EXT. MOISHE'S TRACT HOUSE - SECONDS LATER
David BANGS on the door. It flies open. Moishe is holding a hunting rifle, pointing it at David.

DAVID

Pops!

MOISHE

The television said they've started with the looting already Vultures. DAVID

You still got the Olds?

MOISHE

You want to borrow the car? You don't have a license.

DAVID

That's okay. You're driving.

CUT TO:

INT. JASMINE'S HOUSE – DAY
Steve, wearing his Marine flight officer uniform, shoves the last of his things into his duffel bag. We notice there are small figurines of dolphins everywhere. Jasmine hovers nervously behind him.

JASMINE

You can't go. Call them back.

STEVE

Baby, you know how it is. I have to report to El Toro right away.

JASMINE

You said you were on leave for the Fourth.

STEVE

They cancelled it. Why are you acting like this?

Jasmine grabs the blinds and yanks them away. We SEE the alien craft through the window.

JASMINE

Why? That's why. That thing scares the piss out of me.

EXT. DEBROW HOUSE – CONTINUOUS
Dylan sits behind the wheel pretending to drive. Steve grabs him, pulling him out. He reaches into his duffel, grabs a small brown paper bag.

STEVE

Here. I got these for you. Be careful with them.

Dylan opens the bag; fireworks. Jasmine walks over.

DYLAN

Cool.

Steve tosses his gear into the back, opens his door.

JASMINE

Wait. I have to tell you something.

STEVE

What?

JASMINE

(loses her nerve)

Be careful.

STEVE

Look, after your shift tonight, why don't you grab Dylan and come stay with me on base.

JASMINE

Really? You don't mind?

STEVE

(smiling)

Naw. I'll just tell my other girlfriends they can't come over tonight.

Pissed, she hits him. He loves it.

JASMINE

You know, you're not as charming as you think you are.

STEVE

Yes, I am.

JASMINE

Dick-weed!

STEVE

Butt-munch.

They kiss. Steve hops into his car and peels out. Jasmine takes the bagfromDylan.

JASMINE

I'll take these.

DYLAN

Mommmmmm...

CUT TO:

EXT. JERSEY - HIGHWAY - LATER THAT DAY
A perfectly preserved '68 Olds drives cautiously down the highway. Around him we see other cars packed to the gills as they make their escape from New York.
INT. OLDS – SAME
Not the most confident driver, Moishe holds the steering wheel close to his chest.

MOISHE

It's the White House, for crying out loud. You can't just drive up and ring the bell.

DAVID

Can't this thing go any faster?

MOISHE

You think they don't know what you know? Believe me, they know. She works for the President. They know everything.

DAVID

They don't know this.

MOISHE

And you're going to educate them? Tell me something, you're so smart how come you spent eight years at M.I.T. to become a cable repairman?

DAVID

Dad...

MOISHE

All I'm saying is they've got people who handle these things, David. They want HBO, they'll call you.

CUT TO:

INT. HOTEL LOUNGE, LOS ANGELES - LATE AFTERNOON
Mrs. Whitmore is at a house phone. Behind her we see several news crews waiting for interviews.

PRESIDENT WHITMORE

(filtered through phone)

I want you out of there.

MARGARET

You're staying there to keep people calm. It's the right thing to do. I'm not going to let them criticize you for it.

INT. WHITMORE BEDROOM - WHITE HOUSE – SAME
The President sits on his bed, his daughter lays next to him, watching T.V. The signal distortion is getting worse.

PRESIDENT WHITMORE

Okay, fine but the second your interviews are done, I have a helicopter ready to take you to Nellis Air Force...

MARGARET

(filtered)

How's the munchkin?

PRESIDENT WHITMORE

She's glued to the T.V., just like the rest of the world. I love you too. Here she is...

He hands Patty the phone as General Grey and Nimziki appear in the doorway. The President walks over to them.

GENERAL GREY

More ships keep arriving, fifteen in total so far.

NIMZIKI

This is crazy. We're loosing our first strike capabilities!

GENERAL GREY

We're trying to communicate with them on all frequencies but we're getting nowhere. Atlantic Command is working on a type of visual communication.

PRESIDENT WHITMORE

What the hell are they up to?

CUT TO:

EXT. TRAILER PARK –
A long crowded highway of people trying to escape from Los Angeles can be seen in the distance. The huge space craft hovering behind them.
Miguel is on the roof of the trailer, adjusting the T.V. antenna trying to get a picture. Suddenly the image clears and we SEE a group of people in a crowded hallway.

REPORTER

(filtered)

...a local crop duster was arrested today attempting to land at Edwards Air Force Base...

On the T.V. we SEE Russell being escorted to a police car.

Mortified, Miguel can't believe what he's seeing.

RUSSELL

They've got to do something. I was abducted by space aliens ten years ago. They did all kinds of experiments on me. They've been studying us for years, learning our weakness. We've go to do something before they kill us all!

TROY (O.S.)

Just as Troy starts to climb up, Miguel changes the channel to Mrs. Whitmore. Troy sits down next to Miguel.

MRS. WHITMORE

(filtered)

...we need to remain calm. As more people decide to leave the cities, safety is key...

MIGUEL

Troy, you remember Uncle Hector, from Tucson?

TROY

He's got that SEGA Saturn CD, 64 bit, right?

MIGUEL

Yeah. What would you think if we went there to live for a while?

TROY

That'd be cool!

Miguel thinks for a second, makes a decision.

MIGUEL

Pack up, we're going.

Miguel jumps down from the roof. Troy climbs down the ladder.

TROY

(yelling after him)

What about Dad?

ALICIA AND OLDER BOY

Kissing. It's getting hot. Alicia laughs, pushes him away

OLDER BOY

This could be our last night on Earth. You don't want to die a virgin, do you?

ALICIA

What makes you think I'm a virgin?

The Older Boy is taken off guard. Before he can answer the tarp they were hiding under is ripped away. Miguel stands there.

MIGUEL

Come on, we're going.

ALICIA

I'm not going anywhere...

Miguel grabs her by the wrist and pulls her away.
EXT. FREEWAY - OUTSIDE WASHINGTON – NIGHT
We see the long highway leading to Washington, the space ship hovering above it. One side of the freeway is packed solid, the other completely empty, save for one car...
INT. MOISHE'S OLDS – NIGHT
Moishe looks to the other side of the freeway, jam packed. On his side, they are the only car for miles.

MOISHE

The whole world is trying to get out of Washington and we're the only schmucks trying to get in.

As Moishe drives, David distracts him as he unpacks his backpack unloading his laptop. He grabs a CD.

MOISHE (cont'd)

What the hell is that?

DAVID

This, pops, is every phone book in America.

MOISHE

You think an important person like Constance is going to be listed?

DAVID

She always keeps her portable phone listed, for emergencies. Sometimes it's just her first initial, sometime her nickname...

David starts to look it up. Suddenly...
DOZENS OF CARS HEADING STRAIGHT FOR THEM
In the attempt to get out, hundreds of cars have been re- directed by the military to use the opposite side of the highway.

MOISHE

Oh my God!

Moishe SWERVES violently to avoid collision, barely missing the oncoming traffic. Dodging right to left, Moishe hangs on for dear life.
A Military Office, assisting in diverting the cars turns just in time to see the Olds whiz by.
David and Moishe are bounded around the inside of the car as Moishe tries to veer through traffic.
Suddenly A TRUCK blocks off their only escape route.
Moishe turns HARD and drives up onto the right shoulder.
OVERHEAD ANGLE - OLDS AND TRAFFIC
The Olds is the only car in headed that direction. Using the shoulder, swerving to miss barricades, they drives off an exit ramp.

DAVID

Nice driving, pops!

Dangerously close to a heart attack, Moishe is, for once, at a loss for words. Over their adrenaline pumped faces...

MALE VOICE (V.O.)

...put your hands together for Sabrina!

CUT TO:
INT. STRIP CLUB - LOS ANGELES – NIGHT
A bikini-clad Sabrina twirls gracefully on the stage. As she comes to a stop we reveal Sabrina is actually Jasmine. She looks out into the audience and her expression DROPS. REVERSE ANGLE - JASMINE'S POV - EMPTY CLUB
Five strippers and eight customers. All crowded near the television watching the news.
ANGLE T.V. - ROOFTOP - LOS ANGELES
Helicopter footage of people gathered on the rooftops of downtown Los Angeles holding up drawings of space aliens.

NEWSCASTERS

(filtered)

...from the "it could only happen in California" file, hundreds of UFO fanatics have gathered on the rooftops of downtown Los Angeles, welcoming the new arrivals...

INT. DRESSING ROOM – CONTINUOUS
Jasmine storms into the dressing room. Wiping off her makeup, she sits down next to TIFFANY who watches the same report on a small b&w.

JASMINE

I can't believe I even came in tonight. What was I thinking? TIFFANY

(re: T.V.)

Isn't this cool? And you thought I was nuts. Oh, look, I brought mine with me. Tiffany holds up a drawing of a space alien.

JASMINE

You're not thinking of joining those idiots?

TIFFANY

I'm going over there soon as I'm off. Wanna come?

Jasmine turns to Tiffany, dead serious.

JASMINE

Tiffany, I don't want you to go up there. Promise me you won't.

(Tiffany pouts)

Promise!

TIFFANY

I promise.

JASMINE

Okay. I'm gone. I'm outta town for a while.

Her boss MARIO enters and walks over to his private office in back. He opens the door and finds Dylan playing with his dog, Boomer.

MARIO

What the hell's your kid doing here?

Jasmine rushes past picking up Dylan and carrying him away as she heads for the exit. Boomer follows.

JASMINE

You try to find a sitter today.

MARIO

Where do you think you're going? You leave, you're fired.

JASMINE

(out the door)

Nice working with you, Mario.

CUT TO:

EXT. WASHINGTON D.C. – NIGHT
The streets are nearly deserted. Millions of small lights on the underbelly of the craft cast strange reflections on the streets below. The Olds drives on its way towards the Capitol building.
INT. OLDS – CONTINUOUS
David types frustratedly on his laptop.

MOISHE

Not listed, huh?

DAVID

I just haven't found it yet. I tried C. Halbrook, Connie Halbrook, Spunky Halbrook...

MOISHE

Spunky?

DAVID

College nickname.

MOISHE

You try Martin?

DAVID

She didn't take my name when we were married.

Moishe shrugs. David gives it a shot. Finds it. The machine

BEEPS.

MOISHE

(sarcastic)

So what do I know?

CUT TO:

INT. LOCKER ROOM - EL TORO MARINE CORPS STATION – NIGHT
A crowded locker room. Steve enters.

MALE VOICE (O.S.)

Where the hell've you been?

STEVE

Ah, were you guys waiting for me?

Several Marines throws towels at Steve as he makes his way to his locker. His best friend, JIMMY, sits next to him.

JIMMY

Can you believe it? This is serious shit, Stevie. They've recalled everyone!

As Steve sits he SEES some envelops stuck into the side of his locker.

STEVE

Well, the mail's still working.

He flips through the envelops and FREEZES when he sees one with the NASA insignia on it. Jimmy snatches it away from him.

JIMMY

Junk mail. You don't want this.

Steve quickly snatches it back, right it open and reads. From the disappointment on his face we can tell it's bad news.
Realizing, Jimmy puts a hand on Steve's shoulder.

JIMMY

I don't believe it. They make you learn how to fly everything from an Apache to a Harrier and still they turn you down? What else do they want you to learn?

STEVE

How to kiss ass.

Steve crumples at the letter and tosses it. Angrily he opens his locker. Pasted on the locker door we see photos of Jasmine next to the photos of the space shuttle, Apollo Missions, and a
NASA insignia bumper sticker.
As Steve stuffs his jacket into the locker, something falls out. Before Steve can grab it, Jimmy snatches it up first.

JIMMY

(embarrassed)

Jasmine has this thing for dolphins. I had them make it...

STEVE

I thought you said you were doing to break it off.

Steve snatches it back, embarrassed.

JIMMY (cont'd)

Steve, listen to me, you're never gonna get to fly the space shuttle if you marry a stripper.

Steve knows he's right. He's torn.

CUT TO:

EXT. WHITE HOUSE - MOMENTS LATER – NIGHT
The Olds stops near the White House. From here we can SEE tanks and armed patrols. A small group of protesters have gathered, upset about the military hardware. Signs: "Don't provoke" "Violence begets Violence
INT. ODS – CONTINUOUS
David adjusts a small portable satellite, connecting it to his
phon and laptop computer.

MOISHE

So, you want to ring the bell or should I?

David flips open the phone, dials the number on the screen.

DAVID

Perfect, she's using it.

MOISHE

It's perfect the line is busy?

DAVID

Yes. I can use he signal to triangulate her exact position in the White House.

MOISHE

You can do that?

Shooting his father a look.

DAVID

(sarcastic)

All cable repairmen can.

INT. WHITE HOUSE - HALLWAY - MOMENTS LATER
Constance is just finishing a call on her cellular phone.

CONSTANCE

...Sally, take my cat with when you leave. No I'm staying here at the White House. Take care. The moment she hangs up, it RINGS. Surprised, she answers.

CONSTANCE

What?

DAVID

(filtered)

Connie, don't hang up.

CONSTANCE

David? How'd you get this number?

DAVID

Walk to the window. Right in front of you.

Constance looks up to the large glass windows. She walks over to it, looking out.

CONSTANCE

What am I looking for?

CONSTANCE'S POV - STREET - OLDS – DAVID
Between two of the tanks outside, Constance can SEE David standing on top of the Olds across the street. Moishe steps out, waves. Constance is stunned.

CONSTANCE

(to herself)

How does he do that?

CUT TO:

INT. BRENNON TRAILER – NIGHT
Sulking, Alicia sits in back with he walkman on. Troy sleeps while Miguel drives. Suddenly Miguel his the brakes, as something comes SAILING DOWN FROM THE SKY
We realize it's the B-WING PLANE landing on the stretch of roadway directly in front of them.
EXT. ROADWAY – CONTINUOUS
The plane lands, skids into a turn. Russell jumps out, walks over to the trailer. We can tell he's drunk again.

MIGUEL

They let you out?

RUSSELL

Just what the hell do you think you're doing?

Miguel moves to meet Russell away from the trailer, not wanting the others to hear.

MIGUEL

We're leaving, don't try and stop us.

RUSSELL

You're not going anywhere. You hear me? I'm still your father.

Miguel explodes, this has been building up for some time.

MIGUEL

No, you're not! You're just the man who married my mother. You're nothing to me! Russell is momentarily silent, stunned. Recovering...

RUSSELL

Troy's still my son no matter how you feel about me.

MIGUEL

For once in your life think about what's best for Troy. Who has to beg for money to buy him medicine when you screw up? Who?

Suddenly we hear glass CRASHING. Both men spin to find Troy standing behind them.

TROY

Stop it! I'm not a baby! I don't need your stupid medicine. I don't need anyone to take care of me!

Miguel leans down to see the broken MEDICINE BOTTLE on the floor. Miguel rushes over to him, furious.

MIGUEL

You know what this stuff costs? Do you want to get sick again!? Do you!?

Frustrated, Miguel shoves Troy aside and heads back into the trailer. Wobbly from the drinking, Russell stands there pathetically, watching.
EXT. ANDREWS AIR FORCE BASE – NIGHT
A large group of press rush over toward FOUR APACHE HELICOPTERS, each refitted with a large LIGHT BOARDS, as they slowly lift off the ground. Cameras flash, reporters yell questions to the Officers assigned to keep them at bay.
Several news organizations do stand up remotes. We TRACK past them to the CNN crew.

CNN REPORTER

What you see behind me are four Apache helicopters...

To be continued…

Thursday, July 31, 2008

'Independence Day' Screenplay [Part 2]

YELLOW LIGHTS FLASHING ON
as an ALARM quickly BUZZES. David leans into frame and opens the door to the microwave. We WIDEN to reveal...
INT. DAVID'S CUBICLE - COMPACT CABLE – DAY
David retrieves his home-make cup-a-soup. We SEE this cubicle clearly has the David touch; ecology posters, plants, tons of computers and electronic gizmos.

MARTY

Please, tell me you're getting something.
Marty enters, looking over David's shoulder as he eats.

DAVID

There's good news and bad news.

MARTY

What's the bad news?

DAVID

You're in meal penalty for disturbing my lunch.

MARTY

And the good news is you won't charge me.

DAVID

No. The good news is I found the problem and it's not our equipment. There's some weird signal embedded within the satellite feed.

MARTY

That's the good news?

David slides over to another computer and turns on an intricate computation program.

DAVID

Yes, because the analog signal has a definite sequential digital patterns embedded within it. When I find the exact binary sequence and I apply a phase reversed signal to that calculated spectra analyzer I built you last Christmas, we should be able to block out the overlay completely...

MARTY

...and we'll be the only guys in town with a clear picture? That's my man.

CUT TO:

EXT. CALIFORNIA FARMLANDS, IMPERIAL VALLEY – DAY
Racing over back roads behind a long open field, Miguel rides his beat-up motor bike, searching. Looking up he SEES something in the air.
MIGUEL'S POV - AN OLD BI-WING AIRPLANE
converted into a crop-duster, BUZZES overhead. Spraying insecticide wildly, the plane zigzags over the field.

MIGUEL

(yelling)

Russell! God damn it, Russell!
Looking down from the cockpit, RUSSELL BRENNON waves stupidly. Shaggy blonde hair and two days' growth, Russell is the image of a fifty-one-year-old little boy.
Miguel follows him below, screaming at him. Russell, flying recklessly, looks down at Miguel not understanding. By the time he looks back he SEES... A LINE OF TREES at the edge of the field, nearly on top of him. In a trick move, Russell turns the plane on ITS SIDE, and SLICES through the narrow gap between the trees.
Miguel screams with delight at his prowess. Miguel looks pissed.
ANGLE - OTHER SIDE OF TREES - MOMENTS LATER
Miguel races over, skidding to a halt next to the landed Bi-with plane.

MIGUEL

Just what the hell do you think you're doing?

RUSSELL

(climbing down)

I'm bringing home the bacon. Earning my keep. And doing a fine job if I do say so myself.

MIGUEL

It's the wrong field, you idiot! Lucas' farm is on the other side of town.

RUSSELL

You sure?

MIGUEL

Damn it, he was doing you a favor. You know how hard it is to find someone who doesn't think you're completely crazy?

(MORE)

What are we supposed to do now? Huh? Where are we supposed to go now?

Pissed, Miguel peels away, kicking gravel back at Russell. Pathetically, he reaches into his jacket and pulls out a bottle of Jack Daniels. He takes a healthy swig.

CUT TO:

EXT. IRAQI DESERT - REFUGEE CAMP – NIGHT
A tent city. Ubiquitous overcrowding and poverty. Several hundred refugees settle down for the night. Super: Northern Desert, Iraq A BEDOUIN stokes a small fire besides his family's tent.
Suddenly a group of shouting SCREAMING TRIBES PEOPLE come rushing past him.
The Bedouin watches them with confusion.
Overcome with curiosity he goes against the tide of people, up the hillside.
As the Bedouin reaches the top of the hillside, his mouth falls open, aghast as he SEES...

THE SKIES - THE PHENOMENON

Creeping from across the horizon above the rocky mountain terrain, a wide FIREBALL high in the sky, flaring and exploding. A terrifying sight.

CUT TO:

EXT. USS EISENHOWER - AIR CARRIER - ESTABLISHING – DAWN
Super: Battle Carrier, USS Eisenhower - Persian Gulf
INT. USS EISENHOWER - RADAR ROOM – DAY
A loud KLAXON ALARM is ringing out.

The FIRST LIEUTENANT

comes rushing in.

LIEUTENANT

Ensign, status?

SAILOR #1

We have a total radar black out over a thirteen kilometer area.

The Lieutenant moves over to the main radar screen. The entire upper portion of the screen is BLANK. And the blank area is MOVING.

LIEUTENANT

Have a complete diagnostic run...

SAILOR #1

Excuse me sir, radar may be malfunctioning but infrared is off the map!

He diverts the Lieutenant's attention to another screen; A BRIGHT SEA OF RED light bleeds off the map.

LIEUTENANT

Get the CINC Atlantic Command on the line.

CUT TO:

INT. PENTAGON - COMMANDING CENTER – DAY
A technical OFFICER rips off a data sheet as it shoots out of the printer and rushes over to the Commanding Officer.

OFFICER

Sir, we now have visual range with incoming over Iraqi airspace.

COMMANDING OFFICER

A second sighting?

OFFICER

Yes Sir, this just came in from the Eisenhower.

The Commanding Officer grabs a phone laying off the hook.

COMMANDING OFFICER

Correction, we have two confirmed visual contacts. One over Iraq, one over the Pacific.

INT. OVAL OFFICE – DAY
The room is packed. The President and his chief advisors are there along with the Joint Chief of Staff. Representatives from the Atlantic Command and U.S. Space Command have formed small clusters around telephones.

GENERAL GREY

Where in the Pacific?

(turning to the President)

They've spotted one off the California coast line. Surrounded by the Secret Service, the President is speechless.
Constance Halbrook comes rushing into the room and whispers to the President.

PRESIDENT

Put it on.

Constance moves over to a cabinet and turns on the T.V. (the reception is still fuzzy, picture "rolling"). The CNN News broadcast shows the phenomenon over Novosibirsk, Russia. There is mass hysteria behind the reporter.

NEWSCASTER

(filtered)

...sightings of this atmospheric phenomenon have been reported here in Novosibirsk, Russia and other parts of Siberia. Moving too slowly to be a comet or meteor, astronomers are baffled as to its origin...

Everyone is locked onto the television, mesmerized.

NEWSCASTERS (cont'd)

(filtered)

...Widespread panic has gripped the countryside as thousands have taken to the streets and clogged the highways. Hundreds have been injured...

General Grey confers with the Atlantic command CINC. He nods, turns to the President and whispers.

GENERAL GREY

Mr. President, we have an AWAC on the west coast. E.T.A. with contact point, three minutes.

INT. AWAC AIRPLANE – DAY
Wall to wall computer, radar and intelligence gathering equipment. Technicians frantically try to adjust as the system goes hay wire.

RADAR TECH #1

(reporting into radio)

It's no use. Side radar doesn't see a thing!

RADAR TECH #2

(reporting)

That's correct. We're IMC blind, sir.

We TRACK across them over to the pilots and into the cockpit.

Cloudy skies. The PILOT squints out the window as he speaks.

PILOT

Negative. We still have zero visibility.

EXT. AWAC AIRPLANE - CLOUDY SKIES – DAY
ZOOMING overhead as we SEE the AWAC sailing through a thick cloudy sky.
Super: Pacific Coastline, California
The AWAC disappears from view into the clouds.
INT. OVAL OFFICE – SAME
The President and his top advisors are gathered around a speaker phone listening to the pilot of the AWAC.

PILOT

(filtered)

Instrumentation is malfunctioning. We can't get any kind of reading on what's in front of us.
INT. AWAC – SAME
The Pilot squints as he tries to see through the clouds.

PILOT

Wait a minute, it may be clearing.

Suddenly the clouds part before us and we're face to face with a WALL OF FLAMES. INT. AWAC – SAME
The speaker phone cracks and distorts.

PILOT

(filtered)

Jesus God! The sky's on fire!

EXT. AWAC AND PHENOMENON – SAME
The AWAC attempts to climb sharply as we get our first real look at the atmospheric phenomenon. Majestic and monstrous.
The AWAC is not going to be able to make it.
Quickly it is ENGULFED in the flames.

INT. OVAL OFFICE – SAME

The phone line goes dead. General Grey spins to an AIDE.

GENERAL GREY

Get them back on line.

AIDE #1

(on other phone)

Line's gone, sir.

The ATLANTIC COMMAND CINC, turns from a different phone.

AAC CINC

Two more have been spotted over the Atlantic. One is moving toward New York, the other is headed this direction.

CHIEF OF STAFF

How much time do we have?

AAC CINC

Less than ten minutes.

NIMZIKI

(turning to aid)

Organize a military escort to Crystal Mountain.

GENERAL GREY

(to President)

Sir, I strongly recommend we move you to a secured location immediately.

... The President hesitates, he turns to Constance.

PRESIDENT

Can we expect the same kid of panic here as in Russia?

CONSTANCE

More than likely.

NIMZIKI

Mr. President, you can discuss this on the way.

Torn, the President grapples with a decision. Finally...

PRESIDENT

I'm not leaving.

NIMZIKI

We must maintain a working government in a time of crisis...

PRESIDENT

I want the Vice President, Secretary of Defense, the whole Cabinet and the Joint Chiefs taken to a secured location. I'm staying here. I am not going to add to a public hysteria that could cost lives.

NIMZIKI

But, Mr. President...

PRESIDENT

So far these things have not become hostile. For the moment let's assume they won't.

(to Constance)

Connie, let's issue statements advising people not to panic, to stay home and take cover. Constance issues commands to her staff as they quickly exit along with most people in the room. General Grey goes over to the President.

GENERAL GREY

With your permission, Mr. President, I'd like to remain my your side.

PRESIDENT

I had a feeling you would.

GENERAL GREY

Sir, what happens if they do become hostile?

PRESIDENT

Then God help us.

CUT TO:

INT. DAVID'S CUBICLE – DAY
On the T.V. behind David, news footage of the phenomenon in Russia plays silently. Oblivious, David works his computers.

FEMALE CO-WORKER

(stopping in doorway)

David, are you watching this?

David waves her away, deep in concentration. Suddenly a computer BEEPS. Excitedly David prints out his finding. He grabs it and exits.
INT. COMPACT CABLE OFFICE – CONTINUOUS
Engrossed in his printout, David walks past his co-workers who are glued to the distorted picture on the television, watching the phenomenon.
INT. MARTY'S OFFICE – CONTINUOUS
Marty stares at his television watching General Grey addressing the press. David enters, staring at his reading.

DAVID

I've got a lock on the signal pattern. We can filter it out.

MARTY

(distracted)

Huh? Oh, good, hood.

DAVID

Strange thing is, if my calculations are right it'll be gone in approximately seven hours anyway. The signal reduces itself every time it recycles. Eventually it will disappear. Are you listening?

MARTY

(still glued to T.V.)

Can you believe this?

DAVID

What re you talking about?

MARTY

Haven't you been watching?

David turns for the first time to the television and sees the phenomenon. Constance comes on addressing the press.

CONSTANCE

(filtered)

...so far the phenomenon has not caused any damage. In all likelihood it won't...

INT. WHITE HOUSE PRESS ROOM – SAME
More reporters rush in from the back quickly setting up as this hastily called press conference continues.

CONSTANCE

...everyone should remain calm. Take cover where you can but the important thing is not to panic.
INT. BRENNON MOBILE HOME – SAME
Miguel, Alicia and Troy watch the static riddled T.V.

CONSTANCE

(filtered)

...we have a fix on three different occurrences about to appear over American cities. One is headed toward Los Angeles...

INT. MARTY'S OFFICE – SAME

CONSTANCE

(filtered)

...the other two are on our Eastern seaboard headed towards New York and Washington, D.C...

Suddenly hectic CO-WORKER #2 appear at the door.

CO-WORKER #2

Jamie says this building has an old bomb shelter. We're heading down there now.

MARTY

(dry; to David)

Feel no shame in hiding.

INT. HALLWAY – CONTINUOUS
A crowd of people head down the hall for the shelter while others stay glued to the set. There is a mix of fascination and panic. David watches the commotion, dumb struck.

MARTY

Oh shit, I better call my wife.

INT. AIRPORT DINER - LATE MORNING
Depressed Russell nurses a beer at the counter. Three FLIGHT
MECHANICS walk in, having a good laugh. One of them spots Russell and moves over to him.

MECHANIC #1

Hey, Russ, heard you had a little trouble this morning. Dusted the wrong field?

The Mechanics laugh. Russell tries to ignore them.

MECHANIC #2

I know, you're probably still a little confused from your hostage experience.

MECHANIC #2

Hostage experience? Something happen to you, Russ?

MECHANIC #1

He ain't never told you!? Seems years back our boy here had been kidnapped by aliens. Did all kinds of experiments on him and such. Tell him, Russ.

RUSSELL

Not today, guys. Okay.

Russell gets up and heads for the door.

MECHANIC #1

You just gotta get a couple more beers in him, he'll tell you all about it. Crazy stuff. Won't you, Russ?

EXT. SMALL AIRPORT – CONTINUOUS
The Mechanic follows Russell outside, his buddies in tow.

MECHANIC #1

Hey, Russ, when they took you up in their space ship, they do any sexual things to you?

The mechanics crack up laughing. Suddenly the things around them begin to RUMBLE. The SHADOW engulfs them, silencing the Mechanics. Panicked they turn and RUN AWAY. Russell just looks up at the sky, grabs his Jack Daniels and takes another swig.
EXT. TRAILER PARK – SAME
Dogs bark and people stumble out of their trailers as enormous SHADOW creeps over them.
INT. BRENNON MOBILE HOME – CONTINUOUS
The windows grow DARK and the room begins to RUMBLE. Miguel rushes to the door, ushering his siblings out.
EXT. TRAILER PARK – CONTINUOUS
Alicia and Troy step out the door, stopping dead in their tracks. Miguel follows them only to look up and SEE...
THE PHENOMENON - DARK CLOUDS
The flames are burning out, replaced by huge plumes of dark smoke billowing around the edges of the phenomena. Only small traces of extinguishing flames illuminate it.
INT. COMPACT CABLE - STAIRWELL – SAME
David pushes past the people making their way down, fighting against the tide. Another CO-WORKER (#3) stops halfway.

CO-WORKER #3

Aren't you coming, David?

DAVID

No way, I've got to see this.

EXT. WASHINGTON MONUMENT – SAME
Frightened tourists run for cover as the colossal SHADOW approaches. Reflected in the water below we SEE the fiery apparition transfigure into the dark foreboding clouds.
THE LINCOLN MEMORIAL - WASHINGTON, D.C. – SAME
The SHADOW writhes up the detailed statue of Lincoln, devouring him completely until we are left in total darkness.
INT. WHITE HOUSE - HALLWAYS – SAME
People are being evacuated from their offices. Patricia, the President's daughter, breaks away from her nanny.
INT. WHITE HOUSE - OVAL OFFICE – SAME
The President talks on the phone. Constance waits nearby.

PRESIDENT WHITMORE

(into phone)

Of course, Russia and the United States are in this together. Yes, Mr. President, you have my word. Yes, Das Vedanya.

The President hangs up.

CONSTANCE

What is their position?

PRESIDENT WHITMORE

I think he was drunk.

Patricia bursts through the door and runs into her father's arms, terrified. A SECRET SERVICE man appears.

SECRET SERVICE GUY

Mr. President, we have to go. Abruptly, the room DARKENS as it begins to RUMBLE.

EXT. WHITE HOUSE – SAME
The long, dark SHADOW moves across the entire White House, engulfing it in darkness.
EXT. HUDSON RIVER, NEW YORK - STATUE OF LIBERTY – SAME
In the distance we SEE the mutated phenomenon's dark gray clouds nearing Miss. Liberty. As it approaches we SEE the New York skyline begin to darken.
EXT. BLACK TOP BASKET BALL COURT, NEW YORK – SAME
Kids playing basket ball. A young BOY stops playing, staring skyward. One by one, they all look upwards, stunned as a long dark SHADOW creeps over them.
With a loud CRASH, several New York Cabs SLAM into one another in the street. Two more cars crash into them. A pile up ensues.
EXT. WALL STREET - SECOND LATER
Foot traffic stops as the long SHADOW crawls over the entire area.
EXT. ROOFTOP - COMPACT CABLE – SAME
Large satellite dishes beset a doorway to the roof which flies open. David steps out just as a long, dark SHADOW covers over him, sending the city into darkness.
David looks up to SEE...
SKYLINE AND ALIEN CRAFT
Protruding through the dark clouds we get a glimpse of the underbelly of a colossal ALIEN CRAFT, its outer veneer of smoke and clouds beginning to fade away.
Below we see PANIC, cabs SLAMMING into one another, people staring, people screaming. No one knows how to react.
David runs to the other side of the rooftop, overlooking Central Park, to get a better look.
DAVID'S POV - CENTRAL PARK – SAME
The entire park is plunged into darkness as the craft above blots out of the sun. Amazing as it may seem, the hovering craft BLANKETS THE ENTIRE PARK and BEYOND. We still have NOT seen an entire craft.

DAVID

(realizing)

My God. The signal.

EXT. LOS ANGELES BASIN - WIDE ANGLE - LATER MORNING
A panoramic view of the Los Angeles basin. Slowly filling the screen, we SEE a portion of the enormous space craft as it creeps towards the city, obliterating our view.
EXT. HILLSIDE RESIDENTIAL AREA – SAME
A station wagon, filled with kids and a harried HOUSEWIFE, comes to a stop. The passenger door opens and a young six- year-old boy, DYLAN steps out.

HOUSEWIFE

Dylan, tell your mom you can stay overnight again Thursday.

Suddenly a car SAILS over a nearby hill in front of them, hitting the ground with a BANG. Two more cars follows, air bound.
As the Housewife turns she SEES...
SPACE SHIP – SAME
Rising over the mountain we SEE the Space Ship as it nears the city, blocking out the sunshine.
Panicked, the Housewife hits the gas and peels out, leaving a confused Dylan staring skyward.
INT. BEDROOM – CONTINUOUS
Two people sleep as Dylan runs into the room.

DYLAN

Mommy, look at!

He rushes away. The SHADOW moves past the window, darkening the room. His mother, JASMINE DUBROW, stirs.

JASMINE

(re: darkness)

It's too early, baby.

She turns back over. Suddenly the room briefly RUMBLES.

MAN

Earthquake?

JASMINE

Not even a four pointer. Go back to sleep.

Shrugging, the man does.

HOLLYWOOD SIGN (FORMERLY SC. 72) – SAME
In Los Angeles. The SHADOW slowly covers the sign.
EXT. WHITE HOUSE - WINDOW – SAME
The President and his daughter cautiously approach the window staring in awe at the amazing sight above them. Several others approach from behind.
Cautiously some people begin to walk outside, staring up at the leviathan, mouths agape.
INT. OVAL OFFICE – SAME
Slowly staff members approach, gazing out the window.
Constance steps up behind the President.

CONSTANCE

What do we do now?

PRESIDENT WHITMORE

Address the nation. There are a lot of very frightened people out there right now.

CONSTANCE

Yeah. I'm one of them.

EXT. WASHINGTON D.C. - ALIEN CRAFT – SAME
All of Washington is under the shadow of this gargantuan alien craft. A stunning tableau.

CUT TO:

INT. JASMINE'S DEBROW'S BEDROOM – SAME
The man sleeping next to Jasmine's beagle BOOMER drops Steven's tennis shoes on top of him, waking him.

JASMINE

He's trying to impress you.

STEVE

He's doing a good job.

He pats the dog on the head and takes the shoes. Steven gets up and makes his way to the bathroom.
INT. BATHROOM – CONTINUOUS
As Steve takes a pee, he SEES out the window a family packing up their car, others standing around staring at something in the distance. A HELICOPTER flies overhead.

STEVE

Neighbors are moving. I think they're tired of earthquakes.

He finished and flushes.
INT. LIVING ROOM – CONTINUOUS
Steve enters the living room.The television is playing a news broadcast.

NEWSCASTER

...with little damage reported to the southland area. People are advised not to panic...

STEVE

Hon, something's on the table 'bout the quake.

Jasmine sits up in bed, yelling out to Steve.

JASMINE

Dylan out there?

Steve turns, looking for Dylan when the doggie door pops open and Dylan crawls through.

STEVE

What have you been up to, Sport?

DYLAN

(holding his gun)

Shooting aliens.
Steve musses up the boy's hair, smiling.

JASMINE

(entering)

Coffee?

Steve mumbles an affirmative as he exits.

To be continued…

Sunday, September 21, 2008

Filmmaking Technical crew

Saturday, September 20, 2008

Screenplay Writing

Thursday, September 18, 2008

Documentory film on "Shirdi Sai Baba Life History" (Exclusive Video)

Saturday, August 30, 2008

Exclusive Documentary film on "Hinduism" [Video]

Friday, August 8, 2008

'Independence Day' Screenplay [Part 3]

Thursday, July 31, 2008

'Independence Day' Screenplay [Part 2]

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