John August

QandA

Foreign languages

Formatting, QandA

I’m curious about the use of foreign languages in predominately
English scripts. In CHARLIE’S ANGELS, where the Angels speak a
‘secret language’ in front of Eric Knox and his partner, how did you go about
writing it? Is
it standard to write the scene in English and later translate it? Could you
offer any tips or ‘guidelines’ to be used when placing foreign languages in
a script?

–Jaklene

The "secret language" spoken in CHARLIE’S ANGELS is actually Finnish,
although the pronunciation is probably spotty. The screenplay only printed
what they were saying in English. A translator came in quite a bit later, just
before filming. (Incidentally, the subtitled English is completely different
from what they’re actually saying in Finnish. Because some scenes got flopped
around in post-production, we used the subtitles to switch a major part of
the Dylan/Knox timeline.)

In terms of your own screenplays, obviously, most readers won’t be able to
read dialogue in a foreign language, beyond the occasional "hola" or "s’il
vous plait" which can go untranslated. So you need to make a decision
how you’re going to handle it in your script. There are no hard-and-fast rules,
but here’s how I usually do it.

  1. If it’s just a word here and there, and the meaning is obvious in context,
    don’t bother translating it. An example is when a ubiquitous foreign bad
    guy shouts at his men to do something. Since it doesn’t really matter what
    he’s
    saying, just use the foreign word if you know it. Sometimes, this type
    of dialogue doesn’t even make it on to the dialogue line, and gets summarized
    in the action
    like, "Moldona SHOUTS at his men to stop the angels."

  2. If you think the dialogue would probably be subtitled in the movie, italicize
    it in the script.

  3. If characters are speaking in a foreign language for the duration of a
    scene or scenes, put a parenthical like "(in Russian; subtitled)" for
    the first speaking character, then just use italicized English for the
    rest of the scene or scenes.

  4. This is more of a pet peeve, but a lot of words that are technically foreign
    are pretty common in Engish too, so don’t italicize things like gringo,
    taco, samurai or vis-a-vis. It sticks out and feels pretentious.

Shooting shorts

Film Industry, QandA

Is it worthwhile for an aspiring writer with no experience or job prospects
to write and direct a short film if he thinks he has the right idea for an
entertaining, short, and cheap film, as well as knowing people who can shoot
it?

–A.A.

Absolutely. That’s what my very talented former assistant Rawson Thurber recently
did. He wrote and directed a funny short film called "Terry Tate: Office
Linebacker," which he later sold to Reebok and turned into a series of
commercials that debuted in the Superbowl. He now has a movie to direct at
Fox with Ben Stiller.

That’s a pretty extreme success story, but even if Rawson had followed a more
typical career trajectory, the short film would have served him well. He could
have gotten it into film festivals, hopefully attracting enough attention to
land him an agent, and possibly the opportunity to direct videos, commercials
or other projects. And since Rawson is also a writer, it was a good combination
with the comedy script he’d written.

Making a good short film is an incredible amount of work, but it’s absolutely
worthwhile if you have directing ambitions.

Sold a script, next stop: agency

Film Industry, QandA

I just sold my first screenplay to an independent production company. I have
no agent, so I’d like to get one off of this, if I can. I have other completed
screenplays, one of which this company is going to help me set up as a director.
What else can I do to best leverage this situation?

–Eric

First, congratulations. Second, thank you for proving a point I often stress
when talking to aspiring screenwriters: an agent is not mandatory. You sold
your script without one, as have many other writers.

You’re right in assuming that setting up your script will help you get an
agent. My advice is to sit down with the executives at the production company,
and other smart Hollywood friends you have, and make a list of which agents
and agencies might be a good fit for you. (Generally, newer writers tend to
be served by newer agents, who are looking to expand their client list.)

We usually think of agents selling to producers, but it works the other way
too: see if the producers would be willing to call the agents they’re friendly
with, and send them your script. If you have an attorney, he or she may also
be able to help.

If there are any other agents you’re interested in, but don’t have any easy
connection, simply write them a letter. Explain that you’ve sold a script and
are about to set up another, and that you’re looking for an agent to help represent
you.

Some agents will pass on you. That’s life. But in general, agents want writers
who work. That’s you.

Transitions

QandA, Words on the page

Ordinarily, the scripts I tend to write are by nature
shooting scripts. In all probability its due to the fact that I know that
I’m going to be the one
directing them, so they’re very "CUT TO" and "FADE TO" heavy.
However, I’ve recently been entertaining the idea of entering a few in screenwriting
contests and most of the feedback I’ve received from peers has been that shooting
scripts are often dismissed as being "unprofessional."
Have you found this to be the case? If so, what sorts of things need to be
avoided and why?

–Richard

It’s truly a matter of personal style. I’ll explain how I approach it, but
you should know that there is not one right answer.

I use "CUT TO:" when it’s meant to be an especially blunt transition.
The classic and bad example is when a character says, "I will never, ever
get on a train." CUT TO: He’s on a train. (This is a situation where some
writers use, "SMASH CUT TO:", but that’s always seemed tacky to me,
like a cymbal crash.)

CUT TO: is also helpful when you’re finishing up a series of short scenes in one location, and then need to make it clear to the reader that you’re jumping
to a new place and time.

Overuse of fades can feel like the writer is trying to "direct from the
page," generally a no-no. One or two in a script won’t raise any hackles.
Fifteen will. So be judicious.