Sometimes directors add intercuts to their films during post-production. Another film technique could also make these scenes clearer. Two or more juxtaposed scenes that are lengthier, and thus more elaborate, may be too difficult for viewers to follow at the same time. Following the two different sides of a simple telephone call using an intercut is easy. In these instances, screenwriters should consider whether other film techniques would make their narrative clearer.Īn intercut can also be confusing if the scenes juxtaposed together are very long. If an intercut shows any more than two locations, it can become confusing. Scenes where one character watches another from a distance, such as scenes involving a stalkerĪn intercut isn’t always the best option, though.Digital conversations through text message or online instant messaging.Intercuts usually show different perspectives or propel action in the following scene types: Make a script shorter and more readable by eliminating multiple scene headings/sluglines.Summarize some action or narrative development.Emphasize the link between different scenes.Make a story more engaging by skipping over unnecessary details.Tell a more complex story with multiple plot lines.Reasons to Intercutįilmmakers use intercuts for several reasons. One of his most notable examples is the 1916 film “Intolerance.” In this ambitious movie, Griffiths intercuts four parallel storylines occurring centuries apart. His intercuts enhanced continuity in his films. Griffiths pioneered the technique as early as 1909. While this film sequence uses the technique of intercutting, it is not called an intercut on the film’s script.įilmmakers have used intercuts throughout cinematic history. For example, they might move from a close-up to a wide shot. However, filmmakers can also intercut one shot type with another contrasting shot type. It'd be a shame to leave out details that would make this sequence better for the sake of it being difficult to get down on paper (in my humble opinion.An intercut typically juxtaposes scenes in different locations. Perhaps many of you will say it's up to the director to make those decisions, but since I am a writer-director, I have to make it clear for myself and everyone else reading this script. I see the individual shots and cuts in my mind, and if I can't convey what I see in my mind and get it down on paper, I consider it a failure. The example above is only one of many cases I can think of where I've encountered this problem. This sequence takes place at a real place I happen to know, and it's got a driveway / even smaller dirt road leading down to the house itself. I'm not sure driveway is the correct word to use here. This scene covers various locations: a highway, smaller dirt road, a driveway and ultimately end up on the exterior of a house by the sea. How could you write this sequence without using so many sluglines considering this is technically several different locations? Together they walk into the house to have a look at the crime scene.ĭuring this sequence, the investigators are constantly talking, and we cutaway to their angry boss who's waiting for them. The investigators park in front of the house, get out of the car and walk up the porch to greet their angry boss. He's talking to his colleague who has no choice but to endure his ill-tempered mood. On the porch of the house stands their angry boss who's waiting for the investigators to show up. The driver makes a right onto a driveway leading down to a remote house by the sea. First on the highway, then a smaller dirt road.
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