If a tree falls on a car in a forest
... will the scene be labeled as INT. CAR or EXT. CAR?
At the last meeting, a perennial question was asked once again: If a scene takes place in a car, do we have to slug it as EXT. CAR? Or can we write INT. CAR?
We take the former view- if it improves the readability of our script by specifying that the scene takes place inside or outside a car, then we’re going with the INT. option. But we hesitate to disregard Scott’s experience on this matter.
INT. CAR –DAY
Morpheus dials long distance on the car phone.
Right about now we'd kill for a copy of the spec script for Fast and the Furious..
posted by The Ten Angry Men @ 8:19 PM
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3 Comments:
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From Lethal weapon:
INT. CAR - DAY
Sergeant Martin Riggs is driving. He looks like he hasn't slept. He certainly hasn't shaved.
From Get Shorty:
INT. CAR -- SAME TIME
Tommy looks up at the hotel as Chili takes a pair of leather gloves from top of the dash, opens the door. Tommy looks over at him.
From Ferris Bueller's Day Off:
INT. CAR. CAMERON
He's sitting behind the wheel of his car.
From Fargo:
INT. CAR
Carl Showalter is driving. Gaear Grimsrud stares blankly out.
From Chinatown:
INT. CAR - EVELYN & GITTES - DUSK
Evelyn driving.
From Blade Runner:
INT. CAR - NIGHT
Deckard is behind the wheel, face in shadow, eyes staring straight ahead.
and
EXT./INT. CAR - STREETS - NIGHT
Moving through the dark city streets. Deckard turns a corner and guns it up a long, steep hill.
etc...
Philippe
There's a lot of examples in published concordances or script-o-rama movie transcripts that choose the subject of a shot in choosing the slug line location and not the lighting or location of the camera.
In that case someone peeking in a window could be an interior shot, I suppose - but I'd still debate the point.
That said, the 'rules' of script formatting have been known to change so lets hear more thoughts on the subject!
Scott
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