Dictionary for Filmmakers and Screenwriters
VOCABULARY AND TERMS FOR THE FILM INDUSTRY AND SCRIPTS
by Jaden
ACQUISITIONS = The department that seeks and purchases completed films and materials.
ACTION = The scene description area in the script where you describe what the audience will see on the screen; this appears under the Scene Heading. Describe the location, the clothes, the weather, and what the characters are doing physically in the environment. [DO NOT describe things that cannot be seen on screen, like "where he went to school last year." Such information has to be expressed in dialog; for example, "What are you doing back at school, didn't you graduate last year?" ]
ACTOR = An individual who plays a character in a script, performing action and dialog, recorded on film or digitally.
ADAPTATION = Rewriting someone else’s original work, either just changing it from novel form to screenplay, or altering it completely with a new angle.
AD LIB = There is no written dialog, the actor invents his own dialog.
AGENCY = A company of agents organizing transactions between entertainment entities and talent.
AGENT = Represents talent, solicits work, and legally has the right to negotiate terms of talent’s agreement.
ANALYSIS = 1 to 2 pages of comments about script’s strengths and weaknesses.
ASSISTANT DIRECTOR (AD) = Helps the director to prepare and shoot scenes during production. On big budget or complicated films, there may even be a 1stAD and a 2ndAD. (Note: A Director’s Assistant is something totally different, see definition.)
ASSOCIATE PRODUCER = Supports the producer, handles budget, schedule, and other production logistics. It might be the line producer, the production manager, or the first AD who receives this credit.
BACKGROUND = Actors without speaking lines from the script. AKA extras. Described in the script like this: “In a panic, PEOPLE flood the streets of Manhattan.”
(BEAT) = A dramatic pause. Placed between dialog, it means to wait a moment before saying the next line.
BRADS = Brass fasteners that bind the script at the top and bottom holes (only 2 of the 3), they are usually gold and look like thumbtacks.
BUDGET = Entire cost of making the film.
CASTING AGENT = Finds and auditions actors for the roles designated in the script.
CHARACTER NAME = The Character Name should be simple and the most commonly used name that other characters in the story use to address this person. For example, if a character’s real name is Jane Smith, but everyone calls her Jammy, her Character Name should be JAMMY and it is ok if people sometimes address her as Ms. Smith or Jane during dialog. The first time you introduce a Character Name to your script, put it in CAPS; it can look like this “JAMMY (aka MS. JANE SMITH)”. Afterwards, use normal grammar, “Jammy.” When the character is speaking, the Character Name is always centered on the page and in CAPS just above the dialog. If you want to have a mystery character and don’t want to reveal who it is until the end, you introduce it with your code name, like GHOST, and then at the end, write in the action area something like: “Ghost enters the room and we see a lock of hair that reveals it is actually Jammy.”
CINEMATOGRAPHER = The person controlling the motion picture camera who films the live action scene and discusses with the director and DP to get the desired image.
CONSIDER = “Consider” from script coverage that you submitted to a producer means that your script is probably great, but not flawless, and they are trying to figure out if they can use you as a writer or make your script into a profitable film.
COVERAGE = Document of script’s info, logline, rating, synopsis, and analysis; roughly 5 pages. Saves a producer or agent the 2 hours from reading a script.
CREATIVE DEPARTMENT = Also development. Seeks and acquires materials for film or television.
CU = Close-Up. In the camera frame would be something the size of a face or a hand. We would see on the movie screen something close-up, as if we were 1 foot away from it.
DAILIES = Film footage from the previous day’s shoot. Shown to catch problems early on and help with direction and continuity. Also used for early marketing.
DEVELOPMENT = A script in development has been bought, is being polished and prepared for filming.
DEVELOPMENT EXECUTIVE = Finds new material, acquires it, prepares and packages it.
DGA = Directors Guild of America
DIALOG = The words and conversations spoken by characters. Justified left, dialog is centered 3 inches from the left edge of the page and 2 inches from the right edge of the page.
DIRECTOR’S ASSISTANT = Handles administrative tasks for the director.
DIRECTOR’S CUT = Per the DGA, the director has the right to make the first cut of the movie the way they think it ought to be. The studio may change it thereafter before release to the public.
DISTRIBUTOR = The intermediary company between studios and exhibitors, the arm that puts films and merchandise out on the market, profitting by high sales.
DP = Director of Photography. Working with the director to get the overall desired look and feel of the script and movie, this person may or may not actually shoot film or be the cinematographer. For instance, a DP on an animation film may never look through a camera lens or touch film.
ECU = Extreme Close-Up. This would be where something very small is in camera frame only, such as a lady bug or a freckle.
EDITOR = Cuts scenes (by actual film or digitally on a computer) and places them together in the order he and the rest of the creative team thinks tells the story best. Director will have biggest say.
EDITOR’S CUT = Before anyone else has added their input, the editor has first go at editing the film.
EXHIBITOR = Movie theatres.
FEATURE FILM = Usually two-hour long movie.
FINANCIER = Provides money without any artistic input.
FLOATING = Script on the market, not yet purchased.
FONT = Standard and mandatory font for a script is COURIER size 12. By using this font and size, about one page of script equals one minute of movie time.
GREENLIGHT = A script that has been bought and is fully prepared to go into production and start filming. Now cast and crew may be assembled.
HIGH CONCEPT = Means the story is easily sellable and marketable with just a few words. Think: Titanic or Earthquake or Babe Ruth.
IDEA = An abstract story thought in the creator’s mind.
INDEPENDENT = Not working as a salaried employee or function of any major established studio or agency. Later, independent films, producers, directors, actors, writers may get picked up, signed, or paid by major companies after the film is a success. With more creative freedom and less hands in the pot, this allows ‘nobodies’ to become ‘somebodies’.
LINE PRODUCER = Mostly a logistical position, not creative; handles budget, scheduling, and implementation.
LOGLINE = 1 – 3 lines that sum up the story. Example: “Giant squirrels from Sirius attack Earth.”
MANAGER = Works closely with talent to create a roadmap for the overall career, advises what types of work to take or reject, and solicits work for the talent. Not allowed to negotiate the financial terms of the talent’s agreement.
MARGINS = This is the blank space on the paper that has no text. Standard and mandatory script margins are 1.5 inches from the left and 1 inch from the right. Dialog is 3 inches from the left and 2 inches from the right. Using this margin standard along with the Courier Font size 12 generally makes 1 page of script equal to 1 minute of movie time. Don’t fudge it! It is not to your or anyone’s benefit to add more margin or reduce the margins. The extra space on the left side is for binding.
NETWORKING = Making contacts in the industry for future work possibilities.
(OC) = Off Camera. It is a direction that means you hear the dialog, but do not see the person who is speaking in camera frame.
OPEN ASSIGNMENT = Writing / editing someone’s else script or idea.
OPTION = To option the rights to a script, someone pays a sum of money to hold the script off the market; the duration may be anywhere from 6 months to 10 years, the amount may be $1 to $100,000, depending on how well-known the writer is. $1,000 to $10,000 range is common. At the end of that time, if they are unable to make a movie, they might purchase another option on the script or let it go back on the market.
(OS) = Off Screen. You hear the person’s dialog, but they are neither on camera nor in the vicinity of the scene. They are somewhere further away.
OUTLINE = A document of brief lines describing major points of the story.
PACKAGING = To sell a story or get it closer to production, each time an important actor or director or other big name is attached to work on the project, it increases its chances of being made; this is packaging.
PAPER = Paper for scripts is white with 3-hole punch, 8.5 x 11 inches. Once a script goes into pre-production, various paper color designates various versions of the script. As a writer trying to sell a script, only use white.
PASS = If you receive a “PASS” on your script coverage that you submitted to a producer, it means that they feel they cannot make money from this script or the writer. It does not necessarily mean that they did not like your script, just that they don’t see it as profitable or a good fit to the company.
PITCH = Aaaaah the dreaded pitch! You have a few minutes to sell your 120 pages screenplay; what are you going to say about it? It’s basically a verbal logline, and if they like that, then you can move into the treatment phase with more details. You need to say something terse, potent and grabbing.
POST-PRODUCTION = This is the phase after development and production, moving into editing, adding sound, visual effects, and reshoots.
PRE-PRODUCTION = Before filming, figuring out the budget, the casting, film crew, catering, locations, set designers, style, required items, storyboards, acting rehearsals and more.
PRODUCER = In the old days, a producer was the guy who made it all happen, who oversaw the whole project, and brought together all the necessary creative and financial elements to turn a story into a film. Now, you will see producer credits for half the cast, the director, the writer, and the cat across the street. Why? For the big bucks on the back end per the existing studio legal contracts; everyone wants their piece of the pie. This is a big point of contention in today’s entertainment legal departments. Sometimes a producer has simply provided all the financing and had no creative input at all. When you see a producer credit today, what that person has actually done is a mystery.
PRODUCTION = The time during which filming is happening, cast and crew are present and involved.
PRODUCTION ASSISTANT (PA) = Does anything and everything to facilitate the film production process. Handle actors, block off traffic, inform make-up they’re wanted on set, anything.
PRODUCTION COMPANY = Studios and networks outsource their work to production companies who can handle all aspects of production, usually hiring a fully freelance staff per film. At this location, you may have casting, filming and editing happening, or it could just be an office who arranges for those things to happen elsewhere.
PRODUCTION DESIGNER = Orchestrates the actual film set look, adding fake flowers or fog or sepia toned buildings, as designated in the script or by the director.
PRODUCTION EXECUTIVE = From the development team, the person who makes things happen, and moves it along.
PRODUCTION MANAGER (PM) = Multi-tasker who organizes and coordinates scheduling, script breakdown, principal photography, locations, budget, actors, and other talent, working with the director and producer.
PROSE = Written straightforward in standard grammatical form, not screenplay format or poetry or any kind of specific structure or style.
PURCHASE AGREEMENT = A legal binding contract that includes various details: purchasing price of the creative material and future rights for film, TV, publications, merchandise, video, and more.
READERS = People paid to read your script and give coverage.
RECOMMEND = “Recommend” noted by a reader who did the script coverage for a script that was submitted to a producer means: This script is excellent! Highly suggest buying the script and/or hiring the writer.
REPRESENTATION = An agent, manager or lawyer who speaks on writer’s behalf in order to solicit work or to negotiate an agreement.
RIGHTS = The authority and ownership of a creative property; the person who has the rights decides the fate of the material, whether it can be bought or sold, and how that money will be distributed. When you write something, you have the rights. When you sell it to a Studio, depending on the purchase agreement, the Studio takes over the rights.
SAG = Screen Actors Guild
SAMPLE SCREENPLAY = This may be a script that received a “consider” rating. For example: The dialog was fantastic, but there was no story. They keep it on file and call this writer when they need a writer to punch up the dialog on another script that is strong on story, but weak on dialog.
SCENE DESCRIPTION = (See ACTION)
SCENE HEADING = Describes whether we are inside (INT. / interior) or outside (EXT. / exterior), what location, and if it is day or night. Keep this as simple as possible. This information is mostly for director, cinematographer, lighting crew, and locations. [Do not put any elaborate descriptions here such as time, city, rain,special effects, etc; save that for the ACTION area.]
Looks like: INT. MAMA’S HOUSE – DAY
SCREENPLAY = A story written in a specific format that allows it to be easily transferable into a motion picture, including setting description, action and dialog only, nothing that cannot be seen or heard on film. White paper. 3-hole punched. 2 brass fasteners at the top and bottom holes. Title page only, NO silly cover designs or fancy bindings or pictures. Courier font size 12. Margins in inches: 1.5 from left, 1 from right. Dialog margins: 3 from left, 2 from right. Page numbers: top right side, .5 down, 1 from right.
SCRIPT = Screenplay or teleplay.
SHOOTING SCHEDULE = Daily details of the production film schedule: times, dates, locations, cast on camera, and scenes being filmed.
SHORT LIST = Second and third choices for talent.
SLIP = A script that has been passed to someone in secrecy or unofficially.
SPEC SCREENPLAY = A screenplay on the market for sale or a film script submitted as a writing sample.
STORY EDITOR = Decides which scripts the Studio Exec ought to see.
STORYBOARD = Based on the script, it is an illustrated version of the movie, like a comic book, made during pre-production, revealing every single film shot angle, characters’ positioning, the director’s vision, and any other visual creative elements. This is used to facilitate the preparation and filming of the movie.
STUDIO = A company who produces films or an actual film set location.
STUDIO EXEC = The big cheese in a company who will decide the fate of your life.
SUBMISSION RELEASE = Nobody wants to get sued; almost everyone in the industry will request you sign a legally binding agreement that says you won’t sue if you want them to read your material. Unless it is your best friend, don’t send off your script without asking permission first or signing a release agreement. As original as we all think we are, there are probably 20 scripts already floating around with the same idea! It’s nobody’s fault, you don’t live in a vacuum of blank space.
SYNOPSIS = 1 to 2 pages, summary of story.
TALENT = Generally, this means the Actors, but it can also include Directors, Writers or any artistic participant.
TELEPLAY = A script written for television (not movie theaters).
TREATMENT = A detailed prose style summary of the story and characters. 1-30 pages.
UNSOLICITED MATERIALS = Materials sent without permission.
(VO) = Voice Over. This is a narrator who may or may not be on screen. It might be a person’s thoughts, or the voice from a person who wrote the letter which is in a character’s hands, or someone unrelated to the film at all, like the narrator for a documentary.
WGA = Writers Guild of America.
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26 Responses to “Dictionary for Filmmakers and Screenwriters”
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I’m trying to write a script and was wondering if there were any workshops in Minnesota that take place so I can get my ideas started. I’m not a professional obviously and just wanted to get to know how to start.
Thanks
Filmon
I suggest going to the book store, reviewing and buying a
screenwriting book. The ones I recommend are on the right panel of my
page.
As for workshops, you can either take screenwriting courses in local
colleges and universities. You can also look up online for local
workshops. The bigger the city, the bigger the chance there will be
workshops offered.
Also, you can arrange to meet people in your area:
http://www.meetup.com
hai ,
i have so many stories and i want someone to assist me regarding this .
thanks
devender
chotikainthola@yahoo.co.in
Devender,
1) If you want to write your stories yourself, I suggest getting a book about screenwriting or novel or short story writing. Study those books and start writing in your first language. After you are finished writing, seek an editor or qualified friend to help you polish it before sending to agents or publishers.
2) If you are wealthy (and preferably you and your stories are unique
and interesting), you can pay and dictate your stories to a writer who can
write the stories for you. That will cost many thousands of dollars,
because it can take many months or years to write a book/screenplay,
depending on the content and length, and writers need to eat too.
3) Partner up with someone who is a good writer and agrees to write
your story with you for free.
Hey,
I am reading a monologue have to remember it for an interview. I came across the word (beat) which I don’t understand. The other one I do. So can anyone help with this.
I’m I suppose to hum a beat, tap something to signify drum roll etc. Lost on this one.
Jay
Hi Jay,
(beat)
It means punch the person next to you.
*Smile* Just kidding.
It means that you wait a beat – it means to wait a moment before saying the next line. (beat) is a pause.
Written in screenplay it looks like this:
JAY
Hi. (beat) What’s your name?
Written in prose, it would look like this:
Jay says, “Hi.” Then he twiddles his thumbs and nervously builds up the courage to ask her, “What’s your name?”
It is a dramatic pause.
To beat on the drum, as a direction of action, is of course hitting the drum for sound.
To hum a beat, could mean to hum for a moment or to make a drum sound with your mouth and vocals. You will have to ask which they want.
Good question. Thanks. I will add it to the dictionary now.
Jaden
[...] For what movies have you done storyboards? [...]
[...] section to see scripts and formatting. You may also type keywords into my search box or go to vocabulary to find answers to your questions. Whether you have a book or not, go to Academy of Motion Pictures [...]
I have several story outlines plus one hand written story completed. I recently
purchased Final Draft 7 to write my Screenplays. Would it best for me to write all of these and register them all at once, or do them one at a time. Also how does Hollywood calculate the price they’re willing to pay for the rights to a screenplay?
Just wondering in Alabama.
Russ in Alabama — Good questions.
Go to my RESOURCES section and find WGA link at the bottom. The Writers Guild of America (WGA) has negotiated minimum prices for every specific type of writing related to film, television, and radio. There you will find the prices. They only tell you the minimum you can expect, but you have the opportunity to make far more than that if you have excellent material and a great agent.
You should register each of your materials as soon as you finish them and have a first draft. You can register them all at the same time or at any other time. It does not matter. You will have to go through the entire process individually for each one.
Most importantly, register your material before sending it out to anyone affiliated with entertainment.
You may register anything from an idea to an entire book.
Again, go to RESOURCES for the links to COPYRIGHT or WGA. Each one will suffice. Copyright is considered more official, but costs more, and takes a printed hard copy in the mail. WGA is plenty good, cheaper, and easier with an electronic copy. For something I think I could make a lot of money, I register into both.
Who in the business do you approach when trying to get new talent noticed? Casting agency? Producer?
Tammy — Please be more specific. Are you the talent or a filmmaker or an agent? What kind of talent? An actor or writer or filmmaker?
I will attempt to answer this very broad question. To get noticed, the best thing talent can do, whether actor, writer, or filmmaker, is to be involved in the making of GOOD movies, even if it is only 1 minute or 2 hours, doesn’t matter, as long as it is entertaining. Throw it up on YouTube or enter into Film Festivals.
Actors need to act and be seen acting. Writers need their writing to be produced and made into the visual. Once a body of work is created, then the talent can solicit an agent to represent him or her. The agent then takes it from there and seeks much bigger and higher paying jobs for the talent.
Also, a manager or publicist may be required if a person wants to go really big and famous, or already is big and famous due to some silly YouTube video she made. To be widely known, the talent needs to do lots of work and have the maximum amount of people see their work. Press coverage in newspapers and magazines needs to be pursued.
An actor can start by finding independent film jobs through craigslist or the universities and colleges or making their own.
The talent needs to create a body of work as his or her calling card.
Create and be seen!
I never realized how many terms there are! the new ones I have heard (well just new to me) are from the voices of Robert Pattinson, Kristen Stewart and Catherine Hardwicke in their behind the scenes voices commenting on the movie. Including MOS, eye line, continuity error (its embarassing how many times I have listen to them speak).
I appreciate all of the information, tips, and advice that is posted in this site. But realistically speaking; ofcourse after getting swindled out of funds already it has come to my remembrance! It’s not anymore, at this time, what you are capable of, but moreso who you know. You cam be the best writer, producer, actor or actress; no matter what you are good at. if someone who is already well known pays you entirely no attention, your chances of making it or making enough are far and wide. There are so many professional agencies and agents with all of this glorious information and assistance, but what it boils down to is everything has it’s price. The more money you have to back youe material or self, the better your chances are. depending on what it is you do quite naturally. You may believe what you want, but the bottom line in to take out. Just my opinion though!
Hi speak for my script, my name is Talbert i have a script that has budget $ 2-5 million U.S. location WASHINGTON, female lead
The screenplay is under Industry circulation awaiting Overall Review due to few rewrite on location WASHINGTON, the script is open for review at her stage.
I seek financing and producer, besides investors are welcome
The screenplay is recommend by Script P.I.M.P LL C Blvd Hollywood U.S. Info@scriptpimp.com, http://WWW.script pimp.com
Thank you,
Talbert.
Hi. i like writing songs and poems. Will screnwriting be the major for in college if i want to write songs and poems for a living?
Hi Jason,
No, screenwriting / film would not be the best study for you if you are into songs and poems.
For you, I would say English Literature and maybe Music Theory, or something like that would be more appropriate.
Im new at this, therefore i dont know the technicism to describe each of my scenes. Do you know a website that would giveme the technical words.
Thank you
Jose, I don’t understand what you are seeking?
Maybe this ?
Scene Heading:
INT. HAUNTED HOUSE — NIGHT
Scene Description / Action area:
Timmy enters the Haunted House and peels through thick webs. A skeleton falls on him.
Character Name:
TIMMY
Parenthetical:
(scared)
Dialog:
AAaaaah, get me out of here!
Looks like this in a script:
INT. HAUNTED HOUSE — NIGHT
Timmy enters the Haunted House and peels through thick webs. A skeleton falls on him.
TIMMY
(scared)
AAaaaah, get me out of here!
what is ECU?
Stanley — ECU means Extreme Close-Up I believe. For instance, Close-up would just mean showing the person’s face or hand, whereas ECU would be all the way zoomed in on a booger in the nose or a bug crawling on the hand.
Thanks for the good question.
I have been very interested in writing screenplays for a long time. I have mentioned this aspiation to some people and they were so pessimistic about it ever bcoming a reality.
They all had the same excuse that thousands of people attempt and only a handfull ever make it. I am not naive i know it will be difficult but is it worth spending x amount of years trying to make it as a writer???
Steve — For me, I am compelled to write, I can’t help myself. I write all the time because I enjoy doing it. If you don’t love it and don’t have to do it, then your chances of succeeding at it reduce in an already difficult field. Write because you love to write, not because you expect to make a million bucks, as those chances are of course very slim. If you love to write, it doesn’t matter what anyone has to say about it.
what is full form of O.B in dialogue version of movie script?
I do you get an agent?
Assita — Hello. For your answer, please read this article:
Do I Need an Agent?
http://www.screenwritingforhollywood.com/connections/do-i-need-an-agent
Rameshraju — I have not seen OB. Maybe someone else can tell us. Usually O stands for “Off”… B = ? Maybe it was a mis-typed letter? Maybe it was supposed to be OS? For Off Screen.