telephone

[filmnut]

This question has probably been asked before but what do you think is the best way to write a conversation over the phone.

Thx!:snoopy

[macalicious731]

Here's the script for "Phone Booth":

www.stationfive.com/movie..._Booth.txt (http://www.stationfive.com/movies/Scripts/Phone_Booth.txt)

I don't know if that's the best way, but it's the only example I could think of for the time being.

Of course, in that situation the character on the other side of the phone is heard, but never seen during the phone conversations. So, depending on how your screenplay works, you might want to seek out another example where the camera would swap scenes between each character.

<3.

[Ivylilly]

Keep it as short as possible. If you want the audience to hear the person on the other side, write is as dialog and the slug of the person on the other side would be:

PERSON (O.S.)
(filtered)

If you want to do an intercut (the audience sees both people talking) you put that in the scene heading:

INT./EXT. OFFICE / PAY PHONE - INTERCUT

Then scene directions and dialog as usual....

You can also write it so that the audience can hear only one side of the conversation. In this case, make sure you separate the monologue by "beat"

Hope this helps...

[mammamaia]

O.S. is only used when the person is in the scene but 'off screen' [not on camera]... such as behind a door or in another room...

what i'm sure you meant for the phone dialog was V.O. [voice over], meaning the person is elsewhere physically, but heard in the scene...

and when V.O. is used, you don't need 'filtered' [it's an antiquated term, anyway]... the simplest way is to just add (VO) or (on phone) or (on speaker), if voice not coming from the handset, after the character's name...

using 'beat' is also not done these days... use of -- after an interrupted bit of dialog or ... to signal a pause, is all that's needed...

love and hugs, maia

[montreal1]

The way Doris Day and Rock Hudson did in their movie.

[filmnut]

Thankyou, a few of those ideas were circulating in my brain. I will use the intercut but I am now using the (VO) for another scene.:party

[dpaterso]

It's always good to hear so many different viewpoints covering the same topic! I used to insert (into phone) and (filtered) as parentheticals, but those darn script analysis tools always count these as if it's significant somehow -- maybe it's a plot to identify newbies over-fond of wrylies? -- and if there's a lot of phone calls then the final count looks artificially heavy. So I put them alongside the character names instead, e.g.

The phone RINGS. Eddie picks up.

EDDIE (INTO PHONE)
Yeah?

MALE VOICE (FILTERED)
Who the hell is this?

EDDIE
Who the hell is this?

MALE VOICE
Is that Room three-twelve?

EDDIE
Yes it's Room three-twelve.

MALE VOICE
Where the hell is my wife?

EDDIE
That's a good question. Isn't
she with you?

MALE VOICE
I'm coming up there and I'm gonna
knock your block off, buddy.

EDDIE
Have to find me first, you jerk.

Eddie hangs up.

...Feel free to tell me that's completely wrong. Big shrug, it's clear, and that's all that matters.

-Derek
-----------------------"Now lemme see your war face! Oh, I think my bunny slippers just ran for cover." ~Mushu to Mulan, MULAN

[mammamaia]

...sorry, but it's close to completely wrong... and not really clear...

a. eddie is in the scene, so no parenthetical is needed after his name in the dialog... putting anything there is strictly amateur stuff...

b. 'filtered' is antiquated... (on phone) or (VO) are what's most used, or (amplified), if on a speaker...

c. every time the 'male voice' is speaking, you must repeat the (VO) or whatever...

try not to hate me too much, ok?... love and hugs, maia

[dpaterso]

...sorry, but it's close to completely wrong... and not really clear...

Beg to differ, it's nowhere near completely wrong, and it's pretty clear. Which makes me ask, just how dumb are script readers? Are they retarded? Do they need pictures drawn in crayon before they understand?

a. eddie is in the scene, so no parenthetical is needed after his name in the dialog... putting anything there is strictly amateur stuff...

Your response relies on a lot of assumptions. First and foremost, what if someone else is present? Just for fun's sake:

Eddie looks at Maggie.

EDDIE
So where's the dead girl?

MAGGIE
She was right here.

EDDIE
That's funny, I don't see a body.
Or even a drop of blood.

The phone RINGS. Eddie picks up.

EDDIE (INTO PHONE)
Yeah?

MALE VOICE (FILTERED)
Who the hell is this?

EDDIE
Who the hell is this?

Eddie covers the phone with his hand.

EDDIE
Some guy.

MAGGIE
Ask him who he is.

MALE VOICE (FILTERED)
Is that Room three-twelve?

EDDIE (INTO PHONE)
Yes it's Room three-twelve.

MALE VOICE
Where the hell is my wife?

Eddie covers the phone with his hand.

EDDIE
The husband, looking for the wife.

MAGGIE
Ask him if he knows she's dead.

EDDIE (INTO PHONE)
That's a good question. Isn't she
with you?

MALE VOICE (FILTERED)
I'm coming up there and I'm gonna
knock your block off, buddy.

EDDIE
Have to find me first, you jerk.

Eddie hangs up.

....Which reads pretty clear to me. Educate me -- copy/paste the above and write it your way.

b. 'filtered' is antiquated... (on phone) or (VO) are what's most used, or (amplified), if on a speaker...

Everyone has an opinion on this, too. If I want an unclear connection or distortion then I'll use "filtered" -- that's what it means.

c. every time the 'male voice' is speaking, you must repeat the (VO) or whatever...

Waste of words. Once who's talking is established there's no need to repeat until the circumstances change, see above.

try not to hate me too much, ok?

Shrug, I'd have to know you and you'd have to do something pretty bad for me to hate you.

-Derek
-----------------------"So, he didn't tell you and he didn't tell me. That means it's something he doesn't want us to know!"
"Good work, Nancy Drew!" ~Will & Grace

[mammamaia]

Beg to differ, it's nowhere near completely wrong, and it's pretty clear. Which makes me ask, just how dumb are script readers? Are they retarded? Do they need pictures drawn in crayon before they understand?

...you are, in effect, drawing pictures with some of what you wrote [see below]...

a. eddie is in the scene, so no parenthetical is needed after his name in the dialog... putting anything there is strictly amateur stuff...

Your response relies on a lot of assumptions. First and foremost, what if someone else is present? Just for fun's sake:

Eddie looks at Maggie.

EDDIE
So where's the dead girl?

MAGGIE
She was right here.

EDDIE
That's funny, I don't see a body.
Or even a drop of blood.

The phone RINGS. Eddie picks up.

EDDIE (INTO PHONE)
Yeah?

...picture drawn!... he picks up the phone, so it's clear he's now talking into it... especially since the caller's dialog follows... thus, you did NOT need (INTO PHONE)...

MALE VOICE (FILTERED)
Who the hell is this?

EDDIE
Who the hell is this?

Eddie covers the phone with his hand.

EDDIE
(turns to Maggie)
Some guy.

MAGGIE
Ask him who he is.

Eddie resumes phone conversation.

MALE VOICE (FILTERED)
Is that Room three-twelve?

EDDIE
Yes it's Room three-twelve.

MALE VOICE
Where the hell is my wife?

EDDIE
(to Maggie)
The husband, looking for the wife.

MAGGIE
Ask him if he knows she's dead.

Eddie frowns, then shrugs, returns to caller.

EDDIE
That's a good question. Isn't she
with you?

MALE VOICE (FILTERED)
I'm coming up there and I'm gonna
knock your block off, buddy.

EDDIE
Have to find me first, you jerk.

Eddie hangs up.

....Which reads pretty clear to me. Educate me -- copy/paste the above and write it your way.

...did... see above in bold... if you want to show interaction with maggie about the call, scene would work better if you give some indication of what eddie and maggie's reaction is to what's being said on the phone... i just added one little bit, to demonstrate...

m

[Bess McNeil]

IvyLilly's answer is the correct one.

[mammamaia]

she's right about all but using 'O.S.' and 'beat'... for the reasons i gave...

[Bess McNeil]

No, she's right about everything.

I get paid to write for film and television. I know these things.

[filmnut]

Beat is just a little outdated isn't it, why not just (pause)?:b

[mammamaia]

then you should know the basic difference between OS and VO... and if you still insist ivylily is right about using OS for a phone conversation, then i have to wonder why...

and 'beat' is more than a little outdated [in film]... while it may be used in tv work, no one who knows screenwriting is gonna be using it in a film script, unless they've been writing [and selling!] them for decades and it's just a habit...

[Bess McNeil]

I'll list my credits if you'll list yours.

[Writer1]

Nice reply, Bess...we'll see if she responds to your challenge...smiles.

Bess is correct, mamma.

VO is used as a narrative device to describe what's on-screen or to add to what's being seen.

[dchapma123]

I have to agree with Ivy and the rest.

O.S. suggests that the person speaking is speaking at the same time as the scene taking place. That would normally be someone in the room who is just off-camera, but it would also include someone on the other end of a telephone line.

V.O. has a completely different connotation. It suggests someone speaking at a DIFFERENT time and place as the action on the screen. This cold be run of the mill narration, or it could be used when someone continues speaking after a scene has shifted to a new locale.

[Bess McNeil]

Precisely.

But I'll concede that "pause" may be a better choice than "beat".

:)

[toto1958]

OS and VO, isn't that a cocktail?:rollin

Bess maia is a good woman.

[Bess McNeil]

Obviously. Good intentions go a long way. :)

[mammamaia]

OS [off screen] means the person has been established to be IN the scene [AT the location given in the slug line] but is simply not 'on camera' at the time the dialog is spoken [such as having gone into an adjoining room, or when the camera is focused on a person being interviewed] ... which can not include a person on the other side of a phone conversation [unless he/she's speaking from the next room and we hear the voice 'on site' and not through the phone handset or speaker... OS is not determined by being spoken 'at the same time' as derek states, but only by being in the same place physically, not just via voice]...

VO [voice over] is what's used for all dialog delivered by characters not only not seen on camera, but who are in a location OTHER THAN that designated in the slug line... such as on the other end of a phone conversation; announcements over loudspeakers; narration over a scene; et al.

this is the accepted norm in the screenwriting/film biz... it may be otherwise in tv, but if you're writing screenplays for feature films, and do what you folks [ivy, bess, derek, writer1] propose, it will be 'wrong'...

as you all seem to be convinced you're right and i'm wrong, i guess we'll just have to agree to disagree... but i'll continue to advise beginners to follow the rules 'n regs on this subject, as endorsed by those who teach screenwriting, such as trottier (pgs 139/140) and as shown in scripts by some of the best writers in the business [e.g., the abyss; contact; nixon; as good as it gets]...

love and hugs, maia

[Bess McNeil]

You never answered. What are your credits? I'm curious. You seem to have a lot of emotional investment in being seen as an authority on screenwriting.

I write both features and tv. That's how I earn a living. I try to help people out who are just finding their way in the business, because I know how long and difficult a road it is. I've been there. And I'm one of the few that has actually succeeded in making this their life's work.

I can give you a link to the trailer for a feature film I wrote, which will be released next November. I can also link you to websites to a new television series I'm writing for, which premieres June 2nd. But first you have to tell me what your credits are, since you expressed doubts about my credibility. That wasn't very kind of you.

[Writer1]

Hiya, Bess

I've seen several of your posts here and on Done Deal.

I'd love to take a look at those links...see what you've been up to...smiles.

Also, if you have the time...I have 12 pages(in 2 sections) posted in the Done Deal Script Pages forum...Passage To Fortune...lemme know what you think.

Thanks,

Mark

[Bess McNeil]

I'll email you.

:)

[Bess McNeil]

Okay it's done. :clap

[mammamaia]

mea culpa!... you're right, that was both unkind and rude of me, bess... my most sincere apologies... i hope they'll be accepted... i've edited the post... if it's not now well within the bounds of courtesy, please let me know, ok?...

as for:

You seem to have a lot of emotional investment in being seen as an authority on screenwriting.

...i don't see where you could have gotten this idea, since i've never claimed to be 'an authority' on screenwriting or any other type of writing, but merely give my opinion on the subject at hand, whenever i have one, and feel it's appropriate... as do all of us here... as a former professional writing consultant and writer in many fields myself, i do have quite a bit of knowledge and experience, but i don't in the least consider that it qualifies me an 'authority'...

...and i certainly don't have any 'emotional investment' in anything i do for writers, other than the understandable pleasure one feels when able to help others in any way, without being paid to do so... since i don't feel badly when not able to help someone, i think that puts 'emotional investment' out of the picture...

...as for what you call 'my credits' i don't see everybody else here being asked to give their life history when voicing an opinion , so i don't see any reason to do so myself...

...those who want my help privately, email me and are given whatever information they ask for [within reason]... they're also given references from others i've helped/mentored and, if they need more, i put them in touch with some of those mentees, so the prospective ones can ask what they want about how satisfied [or not] they were with what i did for them...

...again, i apologize for seeming to doubt your claim of work history... but i still am puzzled as to why you don't seem to be in line with hollywood screenwriting norms on OS vs VO...

...but, if it works for you, it does.... i'll continue to advise beginners according to industry standards, however...

respectfully, maia

[NikeeGoddess]

the thing about industry standards is that they're always changing...even in formatting. there are no hard rules. ie - the use of "beat" is still acceptable but, it should be very significant and not overused.

...as for what you call 'my credits' i don't see everybody else here being asked to give their life history when voicing an opinion that is b/c we don't set ourselves up as mentors

[mammamaia]

the thing about industry standards is that they're always changing...even in formatting. there are no hard rules. ie - the use of "beat" is still acceptable but, it should be very significant and not overused.

true, about 'beat'... but the standard re 'vo' and 'os' hasn't changed, that i can see...

...as for what you call 'my credits' i don't see everybody else here being asked to give their life history when voicing an opinion that is b/c we don't set ourselves up as mentors

i do offer to mentor/help writers privately... and, when they contact me, if they want/need info on my background, i deal with that privately, too... i don't see any reason why i should do so publicly, since i'm not soliciting clients for a fee... i agree that those who make money helping writers, should offer some bona fides to justify the cost, but i wouldn't say they have to do so on the board, as long as such info is posted on their website...

i've been doing this for years now, dealing with hundreds of requests per month... and no more than 1-2% of all who contact me ever bother to ask for my 'credentials'... why?... it seems to be because they just judge my competence by what i tell them about their writing and how i help them to improve it... per the old saying, 'If it ain't broke, don't fix it!' i'll just go on as i have been... anyone who's not satisfied with that, doesn't have to come to me for help, right?

love and hugs, maia

[NikeeGoddess]

i don't see any reason why i should do so publicly,
personally, i don't care about your credentials but, you sometimes ask others to do so - the pot calling the kettle black imo

[toto1958]

Theres got to be some rules in Hollywood that are immutable.

[mammamaia]

i don't see any reason why i should do so publicly...
personally, i don't care about your credentials but, you sometimes ask others to do so - the pot calling the kettle black imo

...not a valid charge, since i 'd only ask if a poster is touting their services for a fee, or claiming 'expert' status [which i don't/wouldn't]... i don't ask anyone who's just offering advice to prove they have a right to do so... we all have that right, don't we?

...but, when someone is claiming to be an 'expert' or is soliciting business on the board, i don't see why it's out of line for me or anyone else here, to ask for some background...

...i have no idea why you seem to have such an axe to grind in re me:shrug , nikee, but i've nothing against you and often even compliment you for giving good advice... i sure wish you'd get over it and bury the axe/hatchet [in something other than my skull]!:peace ?

love and :hug s [anyway], maia

[NikeeGoddess]

i'm not so focused on the money. if someone claims to be an expert and doesn't charge a fee then they should still reveal their credentials especially when YOU expect others to do so. and if someone says they don't charge a fee then for some reason you think they're a fraud or a swindler praying on newbies' pocketbooks. many people come on the boards for the same reason as you do (no money changes hands) but, they shouldn't have to justify it just because you ask.

i really only responded b/c YOU asked why.

there's no need to compliment my advice to another. i don't get my kicks that way. ;)

[JustinoIV]

"and if someone says they don't charge a fee then for some reason you think they're a fraud or a swindler praying on newbies' pocketbooks."

The case you're thinking about I think was Mark Hernandez. I did have some doubts about him myself, but that was because some on Done Deal claimed he was shady.

The last time Mark posted here, I looked him up in the script archives at Done Deal. He's made three sales that I'm aware of. (they were listed there). I posted those sales here and Maia gave her best wishes to all involved, and her apologies.

I think we all can see why there is paranoia on all sides, simply due to the nature of the business.

I remember I once submitted a script to someone I found out couldn't have produced a $50 bill, much less a movie.:lol

Since then, if a prodco requests my script or emails me about a potential writing assignment, I look up their credits in www.imdb.com If I can't find them there, I dismiss them.

If an agent asks for my script, I looked them in the script archives and I look for evidence of their sales in google. If they're legit, I can find them.

[toto1958]

I'm not even pro writer and I know not to give a penny out to anyone when it comes to any writing your selling, that's a huge no no.:peace

Credentials, should always be thoroughly checked out at the B.B.B first before anything else, and thats just to start. If you don't check out their credentials, then the only one to blame is your self and no one else, You'll be singing that Led Zeppelin song "Nobodys fault but mine":peace

Rule number one in Hollywood is: PROTECT YOUR SELF FIRST AND EVERYONE ELSE SECOND. If you go against this rule then you're certain to suffer.:peace

[JustinoIV]

You're 100% right there, Toto!

You can find out if businesses have had complaints about them at the b.b.b. For looking for film credits, though, I'd say www.imdb.com is the best source. It's owned by Amazon.com, and it has in the credits and info on almost every film made.

If you do a google on producers or agents, you can find a lot of info on them, including newspaper articles (if they are legit).

[NikeeGoddess]

i was referring to those who don't charge a fee
and posters like BessMcNeil who writes for a Canadian tv show that's premiering this month - she might not come back here b/c....well, :grr - that post was edited btw

anyhoo
the imbd is an excellent source for most but, does it include agents and managers? it surely doesn't include consultants and mentors. scriptpimp is the only source where i've seen mentors credentials.

but, have you ever considered that some of the best sources may have never produced anything? it is possible. i've met one. and then there are people like Erik Bauer, the editor of Creative Screenwriting and one who puts on the massive Expo every year. not everything is black and white in this business.

[toto1958]

I looked up Mary Poppins on imbd, it said

Mary Poppins (1964)

Written by : P.L Travers (Pamela Lyndon Travers)
Birth name: Helen lyndon Goff
Born: August 9th, 1899
Died: April 23rd, 1996

Disliked the 1964 Disney film Mary Poppins (1964), as she felt it made the title character, whom she had created in her books, too sweet.

Was awarded an OBE (Officer of the Order of the British Empire) in 1977 for her contribution to literature.

Imbd didn't have any credits of her on there.

Thats all I got from ibmd.

I found another site that says P.L Travers wrote the book but that Bill Walsh and Don Dagradi are the ones who wrote the screenplay. Ibmd didn't have The screenwriters on there.

movies.go.com/filmography/Credits?movie_id=6430 (http://movies.go.com/filmography/Credits?movie_id=6430)

I looked around on the internet to find a photograph of P.T Travers and i found one. Ibmd didn't have a photo of her. Heres what she looked like:

www.geocities.com/merrystar3/travers.html (http://www.geocities.com/merrystar3/travers.html)

Ibmd was missing a lot of information on her.

[JustinoIV]

"anyhoo
the imbd is an excellent source for most but, does it include agents and managers? it surely doesn't include consultants and mentors. scriptpimp is the only source where i've seen mentors credentials."

Well, if you pay for the service, you find who what screenwriter, director, or actor is represented by what agent. The free service is mainly good for checking film credits of people in the industry.

A search is google can lead to newspaper and magazine articles on agents and managers.

"but, have you ever considered that some of the best sources may have never produced anything? it is possible. i've met one. and then there are people like Erik Bauer, the editor of Creative Screenwriting and one who puts on the massive Expo every year. not everything is black and white in this business."

True, and there is a first time for everything. That I'm well aware of, and of everyone who is credited now, at some point obviously they weren't credited.

It's just that with so many sharks, and well as lousy people out there, I prefer to submit to people whose credits I can verify.

Of course, on a message board like this, it doesn't matter at all. Excellent but uncredited sources could be people who have worked in the industry in various capacities like readers, assistants to agents, producers, or directors, etc.

The only time I have asked for credits on a message board was when someone was asking for submissions, when a contest advertized itself (to see if the winners got agency representation or sales), or if someone was making major claims I doubted. (on one board, someone claimed that all screenwriters signed deals with a lawyer paying him an automatic 5% of income, along with the usual 10% for an agent, and 15% for a manager, and 5% for an accountant.) That's obviously B.S. (35% out of your salary) so I asked for the credits of the person making those claims.

[Ivylilly]

(This message was left blank)

[toto1958]

Ivy did it:clap

[Ivylilly]

The bottom line:

With VO and OS

If someone gives me a script where VO is used for anything other than behind the scenes narration, I'll tell them to change it because that's literally all it's used for.

I actually have "PHONE BOOTH" here in the office. So after all this commotion I got of my ass, found it and flipped through it. There's nothing but phone conversation for 105 pages. ALL (OS), never (VO) not even once. It's a recent script that's been produced, released and all... If that's not a standard then what is?

Oh, and credits do matter if the info you're providing to newbies is not accurate. I, for once was baffled by Maia's response... Was I doing something wrong all along? Should I be asking for a tuition refund from my film school...?

[toto1958]

You sound frustrated with that Ivy.


I wouldn't want to watch a movie that has 105 minutes of telephone talk on it.

Yawnnnnnnnnnnn.

[SimonSays]

One of the big problems with these boards is that there is too much input from too many people who are usually well intentioned, but often misinformed.

As Ivy pointed out VO means exactly what it says VOICE OVER- as in VOICE OVER the picture - which 99% of the time is narration. Dialogue between characters in a scene is never, under any circumstances considered a voice over - even if one of those characters is on the moon! How ever well intentioned mama may be - she is wrong.

If you use VO instead of OS you will confuse the reader. And the one thing you never ever want to do is confuse your reader. Your reader is your friend, your reader is the gatekeeper to paradise. Your reader does not LIKE to be confused.

Confused reader = REJECTION!!!!!!

No one is going to reject a great screenplay for most of the minutia that is discussed on these threads. As long as that minutia does not confuse your reader. No one is going to reject a great screenplay if you put in the occasional wryly.

If you have a great story with great characters and great dialogue and you show more than you tell - you will not be deemed "an amateur". But a poorly structured script, with one dimensional characters will be deemed "amateur" even if it is perfectly formatted, spell-checked and wryly-free.

The real issue with this phone call scene, whether you intercut or not, is to make it as short as humanly possible. Get out the info that you need to get out and then get out of there. Phone conversations are boring to watch - unless one of the characters is loading a gun or having sex while he's on the phone.

In the end screenplays are stories, and screenwriters are storytellers. That is more important than ANYTHING else. Save the wryly editing and phone call formatting for the rewrite stage. First draft should be all about the story and the characters.

[toto1958]

Arent VO and Os only suppose to be enhancements for any movie with few exceptions?








I still cant get over 105 minutes of telephone talk in a movie:wha

What a waiste of good film :wha

[Writer1]

I too pulled up the script for PHONE BOOTH...smiles...a damn good read by the way...it sure surprised me.

Sometimes it's just not worth arguing with individuals who, despite good intentions, pass along incorrect information and refuse to admit when they're mistaken.

[toto1958]

Ok, so you have seen the movie or script, does tha make you a big shot? Sheeshe. I just can't imagine what two people could be saying on teh phone for 105 minutes unless it's two teenage girls talking on the phone after their curfues about the mall.oh well.

[SimonSays]

I'm not trying to convince Mama she's wrong Writer1. I'm suggesting to those seeking advice on these kind of things, that this site is not the best place to seek this advice.

I've seen a lot of things on this board that just don't apply in the real world (make that unreal world) of Hollywood. And I see people wasting way too much time and energy focusing on them and then getting the wrong information to boot.

[mammamaia]

the phone booth script i have [by larry cohen], hasn't even one single, solitary OS in it!... for one phone call, he uses VO [!] and for all the rest, he just uses VOICE or KELLY'S VOICE or MAVIS' VOICE... and NARRATOR...

is it possible that the one you folks have is a transcription? ...this is the one i'm referring to:

"PHONE BOOTH"

by

Larry Cohen

November 15, 2002

it's a 'draft' and thus, i would imagine, as he wrote it...

[FlickTick]

My co-writer and I are having a duke-out on this one.
We are beyond name-calling by now.
The long knives are about to be drawn.
We need a referee.
In my opinion a one-face-only conversation is about as amateurish as a flash-back.
If it has to be telephone conversation, show both parties in intercut mode.
Only use a telephone conversation if it is really required.
I strongly believe a telephone conversation should only be used when the caller is unknown or mysterious.

Thank you,

FlickTick.

[toto1958]

I guess the parents with teens are staying out of this conversation.

[dpaterso]

SimonSays,
I've seen a lot of things on this board that just don't apply in the real world (make that unreal world) of Hollywood. And I see people wasting way too much time and energy focusing on them and then getting the wrong information to boot.
Sure, but it's a great way to twiddle your mental thumbs while you're trying to figure how to write your current scene. Procrastination is wonderful therapy.

mammamaia, V.O. or O.S., big shrug, pro screenwriters get to write it any way they please. All that matters to me is whether the conversation is easy to follow and makes sense.

FlickTick,
In my opinion a one-face-only conversation is about as amateurish as a flash-back.
If it has to be telephone conversation, show both parties in intercut mode.
Only use a telephone conversation if it is really required.
I strongly believe a telephone conversation should only be used when the caller is unknown or mysterious.
Intercutting has my vote, unless the caller's identity must be kept secret.

But sometimes characters can't all conveniently gather together in the same location, so phone conversations are a necessary evil.

-Derek
-----------------------One of the many reasons you should never listen to dpat ~PipeWriter

[toto1958]

This is reminding me of Doris Day and Rock Hudson. Both of them in the bath tub with suds up to the ceiling and their talking to each other.

[mfj]

I had to say to FLickTick.... avoid phone conversations? In an age where everyone has a cell phone glued to their ear wherever you go? You're kidding right? Good luck with your screenwriting career. :D