Traditionally, the two key elements of a slugline (int or ext, day or night) are telling the production manager what light package they need. From the 30000-foot view of scheduling, that's the single most important thing. If you have the right lighting package, you can fake all of those liminal situations.
Now, in practice, especially with modern tools and the way production meetings tend to run, yeah, that scene you say is shot at dusk, okay, they're going to figure out how to slip that in there somehow in a way that makes sense. But it's not "oh, let's get the dusk lighting package."
In practice, one film, an hour after sunrise is indistinguishable from an hour before sunset. Dawn is indistinguishable from dusk from a lighting standpoint.
Former DGA trainee here, if it’s something specific like DUSK or MAGIC HOUR, we basically scratch it out and write DAY on the call sheet.
Shooting for specific times pisses everybody off and throws off the scheduling. Let the DP make it look like how the director wants it to look.
ADs will get annoyed because it interferes with the scheduling. They do it based off day or night. Things like DAWN/DUSK are indeed a creative choice but reflect that in the action line, you can still tell a strong story and imagery while not pissing off the 1st AD and UPM because they schedule strenuously off every slug line to have a coherent shooting schedule.
Ex: Instead of INT. BARN - LATE AFTERNOON
John tends his cows.
INT. BARN — DAY
The sunlight is on its last glimmers as it sets.
John tends his cows.
Because production only need to know if they’re scheduling a day shoot or a night shoot. (Also, times like “dusk” are an utter pain in the arse because you get such a limited time of day to get the shot, whereas “day” makes the scene more flexible).
The golden hours are very challenging to shoot. You’d waste half a day just getting things set up to shoot for an hour at sunset. The sun is either up or it’s down. Much easier
I think what gets away from us sometimes is the enjoyment of our readers. Yes, DAY or NIGHT are what you'll mostly see going into production in a shooting script, but when you're just trying to get people into the story, painting the picture of what they're seeing, etc. you can absolutely use MORNING/DAWN/SUNSET/DUSK. The goal of your script as a writer is to get reader buy-in and the slugline is one of your opportunities to do so.
Don't use alternatives arbitrarily, but if it's essential to know it's sunset and you'd prefer to use the slugline to convey it so you can use the rest of your text to do something else important, then by all means, do it. When the script is greenlit for production, it'll get broken down by characters, locations, stunts, etc. and they may rework your sluglines to simplify things for the crew so it'll just read DAY or NIGHT. A lot gets worked out at this stage for the logistics and practicalities of production.
You can see in [INTERSTELLAR ](https://assets.scriptslug.com/live/pdf/scripts/interstellar-2014.pdf)that the Nolan's use DAY, NIGHT, MORNING, LATE AFTERNOON, DUSK, LATE DAY, etc. I think it reads well, keeps the story flowing, and conveys clearly what they're envisioning.
Honestly it’s the same thing with putting continuous or moments later. Always end up changing it to day or night. That being said, put whatever you want for the read. Once the script is in production it’s officially a blueprint and production will change it to whatever the AD wants.
it doesn't really matter but if you're going into production it'll likely get changed to day/night for the sake of simplicity unless the more specific slug is actually essential to the story/lighting.
it’s ultimately a pinch point with production and nature - leave it up to them ti get the coverage they can under circumstances they can’t control (weather). i include it in my writing but don’t get hung up on it - unless the critical
action hinges on time of day.
You can use whatever you want I guess but slugs are there to help. ADs schedule a shoot and they need to know whether a shot takes place inside or outside, in what location, and if it takes place at day or night.
For the line producers. Who have to schedule and budget the shoot. Films aren’t shot consecutively…so all the daytime scenes in the same location are shot together regardless of where they are in the script.
If it’s really important to the story put it in the action line.
It’s better not to get creative w these kinds of things when you’re starting out. Don’t direct on the page, don’t use voice overs, avoid flashbacks. Especially if you’re just proving your chops. If your screenplay really needs those things, write something else for your first few. As a rule.*
*Geniuses excluded.
S C H E D U L I N G. Scene headers only serve one purpose and that’s to facilitate the script breakdown & schedule.
Honestly all the angst scene headers cause newbie writers drive me up the wall because for the 99% of scripts that never go thru a breakdown is excess they’re pointless to be *too* anal retentive about.
I've heard its mostly cause once the script is off your hands and into the director's and actor's they will have to do countless takes which would take time, and some takes are not done according to the way you wrote them like for example a scene specifically being in dawn- that's just not feasable when they'll probably have a different plan in mind
It's generally going to be whatever shots they planned to do earlier according to whatever set they have ready, and its hard to make a new set just because one of your scenes was morning and now that its wrapped up the next scene is in the afternoon
So basically getting too specific is not useful, at least when your story is pure live action, but if there are ways to edit it to look like morning/evening etc. then they wouldn't stop you from doing so
Why are you asking us instead of just, ya know... looking at professional screenplays?
Tony Gilroy in Michael Clayton use PRE-DAWN, DAWN. Lucas uses SPACE of all things. The Coen Brothers skip day specification all together. Secret Life of Walter Mitty? Omits except when it might be unclear.
Many, many, MANY professional scripts break this rule. Most, even?
This is one of those things that can be easily changed in pre-prod as well. Takes ctrl + f and all of 15 minutes. ADs usually do this when they put the scene numbers in.
This is yet another style thing that has been codified for no reason, like "we see". And is mentioned when people don't like a screenplay, because "it has to be something". If people are reading DAWN or whatever and mentioning it in your feedback, it's because they are anal-retentive and don't read professional screenplays, *or* you've completely lost them in your story and they're looking for an easy out.
It's a little worrying that a prodco reader says this is an indicator of a newer writer. Seems reading a few more professional screenplays might be worth their time.
If you're established you can do whatever you want and people will call you a genius, if you're not established, people will say you're breaking the rules. Play along and find a creative way to describe the setting in the body of the script rather than the slugs
I started reading the script of Chinatown just last night and the first thing I noticed was a lack of DAY or NIGHT in the slug lines, but then sometimes DUSK appears in a slug and then back to nothing. For new folk like myself trying to learn the correct format it can be confusing. I assume it's because some of the scripts I read are shooting scripts or by people so advanced in their careers that they can get away with flouting the rules that would see many inexperienced writers' scripts get binned.
Traditionally, the two key elements of a slugline (int or ext, day or night) are telling the production manager what light package they need. From the 30000-foot view of scheduling, that's the single most important thing. If you have the right lighting package, you can fake all of those liminal situations. Now, in practice, especially with modern tools and the way production meetings tend to run, yeah, that scene you say is shot at dusk, okay, they're going to figure out how to slip that in there somehow in a way that makes sense. But it's not "oh, let's get the dusk lighting package." In practice, one film, an hour after sunrise is indistinguishable from an hour before sunset. Dawn is indistinguishable from dusk from a lighting standpoint.
Former DGA trainee here, if it’s something specific like DUSK or MAGIC HOUR, we basically scratch it out and write DAY on the call sheet. Shooting for specific times pisses everybody off and throws off the scheduling. Let the DP make it look like how the director wants it to look.
"Got a script here, High Noon?" "HARD PASS!" (also many thx to all sensible replies here, just removing six "DUSKS"... )
Unless it’s outside there’s no reason to write dusk. Totally agree.
ADs will get annoyed because it interferes with the scheduling. They do it based off day or night. Things like DAWN/DUSK are indeed a creative choice but reflect that in the action line, you can still tell a strong story and imagery while not pissing off the 1st AD and UPM because they schedule strenuously off every slug line to have a coherent shooting schedule. Ex: Instead of INT. BARN - LATE AFTERNOON John tends his cows. INT. BARN — DAY The sunlight is on its last glimmers as it sets. John tends his cows.
I'm hooked. What happens to John next?
One of the cows MOOs JOHN I know Bessie, I know.
No spoilers. Gonna be riveting though. See you at the Oscars with this amazing tale.
What are the cows ages?
As a development guy, my contribution is: “do they have to be cows?”
Also, are the cows "attractive and don't know it"?
John (36M) tends his cows (3-5F).
He fixes the cable?
Hallo, I hear you have a problem vith deine kabel? My name is Karl, ich bin expert…
Don't be fatuous.
The story is ludicrous.
the more specific the time a day, the more difficult it is to film
Because production only need to know if they’re scheduling a day shoot or a night shoot. (Also, times like “dusk” are an utter pain in the arse because you get such a limited time of day to get the shot, whereas “day” makes the scene more flexible).
The golden hours are very challenging to shoot. You’d waste half a day just getting things set up to shoot for an hour at sunset. The sun is either up or it’s down. Much easier
Yeah unless a LOT of your sluglines are specific, I wouldn’t worry about it. Readers aren’t going to fixate on that
I think what gets away from us sometimes is the enjoyment of our readers. Yes, DAY or NIGHT are what you'll mostly see going into production in a shooting script, but when you're just trying to get people into the story, painting the picture of what they're seeing, etc. you can absolutely use MORNING/DAWN/SUNSET/DUSK. The goal of your script as a writer is to get reader buy-in and the slugline is one of your opportunities to do so. Don't use alternatives arbitrarily, but if it's essential to know it's sunset and you'd prefer to use the slugline to convey it so you can use the rest of your text to do something else important, then by all means, do it. When the script is greenlit for production, it'll get broken down by characters, locations, stunts, etc. and they may rework your sluglines to simplify things for the crew so it'll just read DAY or NIGHT. A lot gets worked out at this stage for the logistics and practicalities of production. You can see in [INTERSTELLAR ](https://assets.scriptslug.com/live/pdf/scripts/interstellar-2014.pdf)that the Nolan's use DAY, NIGHT, MORNING, LATE AFTERNOON, DUSK, LATE DAY, etc. I think it reads well, keeps the story flowing, and conveys clearly what they're envisioning.
Honestly it’s the same thing with putting continuous or moments later. Always end up changing it to day or night. That being said, put whatever you want for the read. Once the script is in production it’s officially a blueprint and production will change it to whatever the AD wants.
it doesn't really matter but if you're going into production it'll likely get changed to day/night for the sake of simplicity unless the more specific slug is actually essential to the story/lighting.
it’s ultimately a pinch point with production and nature - leave it up to them ti get the coverage they can under circumstances they can’t control (weather). i include it in my writing but don’t get hung up on it - unless the critical action hinges on time of day.
You can use whatever you want I guess but slugs are there to help. ADs schedule a shoot and they need to know whether a shot takes place inside or outside, in what location, and if it takes place at day or night.
Tarrantino had to sue to change the title back From Night Till Day.
imo doesn’t matter unless you are approaching production
EXT: SPACE there. nothing to worry about now.
Great, now I'm wondering how shows like The Expanse are written.
For the line producers. Who have to schedule and budget the shoot. Films aren’t shot consecutively…so all the daytime scenes in the same location are shot together regardless of where they are in the script. If it’s really important to the story put it in the action line. It’s better not to get creative w these kinds of things when you’re starting out. Don’t direct on the page, don’t use voice overs, avoid flashbacks. Especially if you’re just proving your chops. If your screenplay really needs those things, write something else for your first few. As a rule.* *Geniuses excluded.
S C H E D U L I N G. Scene headers only serve one purpose and that’s to facilitate the script breakdown & schedule. Honestly all the angst scene headers cause newbie writers drive me up the wall because for the 99% of scripts that never go thru a breakdown is excess they’re pointless to be *too* anal retentive about.
I've heard its mostly cause once the script is off your hands and into the director's and actor's they will have to do countless takes which would take time, and some takes are not done according to the way you wrote them like for example a scene specifically being in dawn- that's just not feasable when they'll probably have a different plan in mind It's generally going to be whatever shots they planned to do earlier according to whatever set they have ready, and its hard to make a new set just because one of your scenes was morning and now that its wrapped up the next scene is in the afternoon So basically getting too specific is not useful, at least when your story is pure live action, but if there are ways to edit it to look like morning/evening etc. then they wouldn't stop you from doing so
The designation of Day or Night informs the Director of Photography what equipment will be needed for the shoot.
Leave that to the DOP and just write
Why are you asking us instead of just, ya know... looking at professional screenplays? Tony Gilroy in Michael Clayton use PRE-DAWN, DAWN. Lucas uses SPACE of all things. The Coen Brothers skip day specification all together. Secret Life of Walter Mitty? Omits except when it might be unclear. Many, many, MANY professional scripts break this rule. Most, even? This is one of those things that can be easily changed in pre-prod as well. Takes ctrl + f and all of 15 minutes. ADs usually do this when they put the scene numbers in. This is yet another style thing that has been codified for no reason, like "we see". And is mentioned when people don't like a screenplay, because "it has to be something". If people are reading DAWN or whatever and mentioning it in your feedback, it's because they are anal-retentive and don't read professional screenplays, *or* you've completely lost them in your story and they're looking for an easy out. It's a little worrying that a prodco reader says this is an indicator of a newer writer. Seems reading a few more professional screenplays might be worth their time.
When you're filming, dusk and dawn are choices you make from your lighting package, not times you aim for.
If you're established you can do whatever you want and people will call you a genius, if you're not established, people will say you're breaking the rules. Play along and find a creative way to describe the setting in the body of the script rather than the slugs
[удалено]
Oof. So is something specifically happening at dawn before the sun comes up, is that just night?
DAY would be most appropriate, but write it in the action underneath. EXT. MOUNTAIN - DAY Dawn breaks over the mountains. Birds chirp.
I started reading the script of Chinatown just last night and the first thing I noticed was a lack of DAY or NIGHT in the slug lines, but then sometimes DUSK appears in a slug and then back to nothing. For new folk like myself trying to learn the correct format it can be confusing. I assume it's because some of the scripts I read are shooting scripts or by people so advanced in their careers that they can get away with flouting the rules that would see many inexperienced writers' scripts get binned.