Script Breakdown Scheduling The Complete Guide to Film

Start With the Script ü Completing a Script Breakdown begins with a script. ü The script must be in standard screenplay format, in order for you to complete the breakdown accurately. © 2017 Taylor & Francis

Overview of the Process - 1 1. Read the script. 2. Breakdown the script into elements using colored pencils or tagging. 3. Breakdown the pages into 1/8’s. 4. Transfer the elements and page count onto breakdown sheets (computer). © 2017 Taylor & Francis

Overview of the Process - 2 5. The breakdown sheets get transferred (computer) onto strips, which forms the production board. 6. Arrange the strips on the board by parameters. 7. When (6) is done, you have formed the bones of the shooting schedule. 8. Print various schedules from the strip board for distribution to crew. © 2017 Taylor & Francis

The Elements RED ORANGE AQUA GREEN BLUE LIME PINK BROWN WARDROBE SPEAKING CAST STUNTS EXTRAS/SILENT BITS EXTRAS/ATMOSPHERE SPECIAL FX PROPS VEHICLES/ANIMALS SND FX CIRCLE M-UP/HAIR* ASTERISK SPECIAL EQUIPMENT BOX AROUND © 2017 Taylor & Francis

Identifying Elements ü Underline each element with the different colors (or tag, more on this later). Rules: ü Underline each element only one time PER SCENE. ü Watch for items that carry over from scene to scene, but are not explicitly stated in the script. © 2017 Taylor & Francis

Next: Break the Script Into 1/8’s ü Draw a dividing line between each scene in the script. ü Divide each section into 1/8’s so that you have 8/8’s for a total script page. ü Sometimes this requires a judgment call. ü Consider how long it will take to shoot a scene. ü If you have a scene longer than how many pages you will shoot in a day, divide the scene further. © 2017 Taylor & Francis

11 EXT. FOREST - DAY Regina, Fila and the Wochera stand in the forest with Donato, the doctor and a crowd of children. 4/8 Thank you. REGINA Slayvnak reacts with surprise. Fila brandishes her gun. DR. SLAYVNAK Well, oh, yes, well, that's She grabs Donato and leads him from the room. A few of the Wochera women follow. 2/8 12 and 13 2/8 EXT. WOCHERA COMMUNITY TOWER/FRONT ENTRANCE - NIGHT Prono stands before a hole, blown into the front door of the tower. He climbs inside the hole falls to the ground. INT. WOCHERA COMMUNITY TOWER/FRONT ROOM - NIGHT Prono gets up and looks around the room. He starts to laugh. His laughter becomes hysterical as his body begins to disintegrate. © 2017 Taylor & Francis

Tagging ü Tagging is done in some screenwriting software. ü Go through each scene and tag each element. ü Export the file. ü Import this file into your scheduling software. ü The computer does most of the work, but this can be dangerous. ü The computer will not carry over important items that are not explicitly stated. © 2017 Taylor & Francis

Next: Transfer elements onto breakdown sheets. ü Be careful, this MUST be accurate. ü If you forget or overlook an element, it won’t be on set. ü Always double-check your work. ü This is the hardest, most tedious part, from here on, the computer does most of the work. © 2017 Taylor & Francis

The Breakdown Sheet What is it? ü It’s a visual grid of the elements

Example Breakdown Sheet © 2017 Taylor & Francis

The Next Step ü Now that the breakdown sheets are complete, you create your

Next: Schedule your film ü This is where you determine in what order you will shoot your scenes. ü As much as possible, use the scheduling parameters to make your decisions. ü Always go back through the schedule to re-check your work. ü The schedule WILL change as locations, script and cast are locked. ü It’s easy to go back and make changes. © 2017 Taylor & Francis

Scheduling Parameters ü These are the prioritized order of considerations that determine how you schedule your film. ü You use these as guidelines, not all parameters in the following order will be possible. It depends on your production and its needs. © 2017 Taylor & Francis

ü Start with: LOCATIONS: you don’t want to go back to the same location more than once, if you can avoid it. ü CAST MEMBERS: you want the least amount of holding days. You can only drop and pickup once in a show. ü DAY/NIGHT: be careful of turnaround and crew’s body clocks when switching from days to nights or vice versa. ü EXT/INT: It’s better to do exteriors first, in case of bad weather. Secure interiors as cover sets. ü SEQUENCE: Determined by the needs of your film. ü CHILDREN: If union, there are very strict rules. If non-union, check your state for labor laws. Either way… © 2017 Taylor & Francis

ü We still have an obligation to treat them well. And, they won’t last long anyway, so don’t overwork them. ü TIME PERIODS: Allow for enough prep and strike time for the art department. ü TIME OF YEAR: Be aware of the amount of available light and weather conditions for certain locations. ü SPECIAL EFFECTS & STUNTS: Schedule FX and stunts together so you don’t have to bring in these crew more than once. ü SPECIAL EQUIPMENT: Underwater cameras, large cranes, the shotmaker, rainmakers. © 2017 Taylor & Francis

ü Schedule your strips according to these parameters. ü Take time, think about it.

Printing Schedules ü Next you will print your schedules from the software. ü Productions

A Final Note ü As production progresses, changes happen. When new versions of documents

Revision Colors WHITE BLUE PINK YELLOW GREEN GOLDENROD BUFF (the rest as per preference)

Conclusion Breaking down a script begins with reading the script and knowing it well. You can create a breakdown either by hand or with the use of certain screenwriting software. After you break the script into eighths, you can derive an accurate page count per scene and continue the process of creating strips. Once the schedules are finished, they are printed and distributed to a variety of crew members. © 2017 Taylor & Francis