John August

QandA

Pre-Lap

Formatting, QandA, Words on the page

questionmarkThanks for posting the script to The Nines. In it, you give some dialogue a “(PRE-LAP)” extension. This dialogue begins in V.O., bridges us to the next scene, and continues onscreen. Obviously, it’s a useful and commonly used device.

The term “Pre-Lap” makes obvious technical sense, but is it common enough for us unknowns to use in our scripts? I’ve seen some scripts that use “(BRIDGING)” or “(BRIDGE)” – or even put some explanation in action paragraphs. I’d hate to adopt “PRE-LAP” only to find that low-level readers think I’m making up my own neologisms, or using obsolete technical terms like SFX or M.O.S.

What would you recommend?

–bagadonuts

Pre-lapping is when dialogue begins before we’ve cut to the scene in which it’s spoken. Here’s an example from The Nines:

He turns his back to the foyer, listening to the instructions on the phone.

GARY

Nine leopards run through the jungle.

(listening)

I bought two cakes at the store.

His identity evidently confirmed, he hangs up. He looks back into the foyer.

GARY (PRE-LAP) (CONT’D)

The house is haunted. There’s a zeitgeist, or something.

EXT. UPSTAIRS DECK – DAY

Margaret has brought coffee and pastries from Susina.

MARGARET

Poltergeist, and no. Maybe they were rats. L.A. is teeming with rats. They live in the palm trees.

Often, it’s a choice made editorially, during post-production, but you can also write it in if it helps sell a joke or moment. It’s common enough — and simple enough — that I think most readers will understand it in context, even if they’re unfamiliar with the term.

You should know that some readers despise pre-laps, despite their usefulness. If you use them, you need to have a vigilant script supervisor, because these dangling lines of dialogue can find themselves forgotten in the rush of production.

They love it and they’re passing

Film Industry, Psych 101, QandA

questionmarkThe good news is that I’ve got a script out, my rep has gotten it into a number of hands and studios. The bad news is that they love it enough to pick up the phone and rave about the writing, but they’re passing because of content/violence. Granted, it is not a safe flick. It is however, fresh and a great ride. There must be fearless producers out there, looking, presumably aching, for something they can sink their teeth into. How the hell do I find them?

In other words, how do you make your first Kill Bill, or Sin City or Pulp?

— Rodney
New York

Been there. We took Go out as a spec script, and everyone really liked it — but no one wanted to buy it. I would go in for meetings, and executives would pitch me projects that were, “a lot like your script, which was great by the way. We would totally love to do that. Man. But we just can’t do that here.”

We ultimately sold Go to a tiny production company that had foreign financing. Eventually, a big studio bought us out, but only once we had a hot director and an attractive cast.

So that may be where you go next, Rodney — finding a director who loves your script and can help get actors attached.

In the meantime, take people at their word that they really like your script, and land some writing assignments. In the time between Go being an unsold spec and Go being a movie in theaters, I’d written four paid projects. I would have had a career even if the movie had never been made.

So capitalize on people’s affection for your script to find something that pays money. And know you’re not the only writer in your situation.

From Russia with Questions

Education, International, QandA

questionmarkMy name is Nerses, I am from Moscow, Russian Federation. I have two questions and I hope you will find time to answer on some of them.

I am 16 and next fall I’m going to apply to US universities as an international applicant. But before getting into film school (like USC or UCLA), I want to receive my bachelor in something not connected with filmmaking. That’s one of my problems, as I haven’t yet decided what other specialization I can be good at. Right now I am thinking about undergraduate Advertising and Public Relations in Chapman University (by the way, it also has very good film programs). But my question is, can I get into Screenwriting or Producing program of graduate film school, if I already have BFA in Film Studies (a.k.a. Critical Studies) or Television & Broadcast Journalism?

And, my second question is, did any of your friends from USC get into Hollywood film industry and become successful filmmakers being international alumni? I am asking this question, because I didn’t hear much about famous people, who had similar situation to mine (kid from another country trying to find his way to get noticed)?

— Nerses

Advertising is a great and relevant degree to choose for undergraduate studies. You’ll learn a little bit of production (probably shooting some commercials on video), but most of your time will be spent writing and pitching, which are skills you’ll be using a lot of in the film industry. Having some marketing classes under your belt will also be a help.

I speak with first-hand experience: I was an undergrad Advertising major, with a minor in English.

However, if you find an undergraduate film program that appeals to you, don’t dismiss it out of hand. I strongly believe you should pursue what fascinates you at every stage in your education (and life). I don’t think it would affect your chances of getting into a film graduate program regardless.

As for your second question, yes, we had several international students in my film school class who went on to be quite successful. For instance, Miles Millar, the executive producer of Smallville, hails from England. In my class of 25 students, four were international students, and three of them are still working in the industry.