OPENING CREDITS

When I mentioned it to a producer a while ago, their response was "Sure. Why not?"

They didn't care. But I also knew perfectly well that they'd treat it like a suggestion and nothing more. They'd just ignore it if they didn't like it.

I used "CREDITS BEGIN" & "CREDITS END" to top & tail the sequence.

Mac

Unless you think it's important to the story I wouldn't put a title or credit sequence.

I wouldn't bother, and here's why.

If your script opens with a series of undramatic action scenes, let's say we witness a burglar breaking into a house or a bank or whatever, silent stuff, that's an ideal place for credits -- and you don't need to tell anyone, it's obvious.

If your script opens with a lot of people stuff, setup, intro, dialogue, that's not suitable, so maybe the credits will be delivered first, over black with stirring music, or while location is established. Again, obvious.

There are films whose opening credits are spaced out over several scenes, maybe even over several minutes, popping up unobtrusively, a little bit here, a little bit more there, until finally they're done. I mention this variant because it makes me think credits are the director's domain. (Darn these smug know-it-alls who think they can play god because they're behind the lens...)

But it's like show, don't tell. Deliver the style of opening you want to deliver so the timing of the credits is obvious. Or if you can't, leave it up to the gods to decide. That's what they'll do anyway. Just tell the story. In real life, when you meet people, credits don't scroll up in mid-air between you. Or do they?

-Derek
Derek's Web Page - stories, screenplays, novels, insanity.

BTW, Enigma - Derek & Joe are giving the good advice here.

My comment is based on my experience, but:
a. I've never sold anything so my experience doesn't count for much -and-
b. One swallow does not make a summer -and-
c. The 'industry' around here is a bit different to Hollywood. (Different hoops to jump through, etc. Not easier. Just different)

If I were in your shoes, I wouldn't listen to me.
And my 9EEE feet would be cramped.

Mac

Mac, my British tuppence worth doesn't weigh more than your Australian two cents worth. All advice is personal opinion so the more theories, the better.

-Derek
Derek's Web Page - stories, screenplays, novels, insanity.

Hey Enigma.

We all agree that a screenplay is a blueprint, so does an archetect indicate what color the walls should be or what furniture you should use?

I get the feeling you are more like Frank Lloyd Wright, who designed houses with those details as part of the schematic. We should all be so important and demanding.

Unless the title sequence is so "never before seen," spectacular and most important, crucial in telling the story you have, don't use it.

In all the scripts I have written, I have only done so once. Oddly enough it is the one I just sold. The producer has already told me that title sequence will be changed.

This industry runs on first impressions and fragile egos. Putting anything in your script which is too specific and production wise (camera angles, titles, casting choices, etc) will only give an impression that you are an amatuer. Once that impressions sets in, it will taint the overall impression of the read. The same holds true for formatting and stylistic errors. NO matter how great your script is, they may be pissed too much to enjoy the script for what it is worth.

You're job is not go give them a clear picture, but to let them develope their own clear picture from your words. A producer wants to buy a script to make it his own, not to make it for you.

What I mean is for you to use words that convey the image you want without holding their hands and showing them exactly what you want. For example.

Bob walks into the ultra modern bedroom.

vs.

Bob walks into the ultra modern bedroom, furnished with Fredirick Mann's signature collection, complete with stainless steel bed, black onyx lamps with chrome shades and dark grey walls.

Of course that's too much description, but also, it's too specific with no room for personal vision and taste of the reader.

You want to paint with broad brush strokes and leave the fine details to the set designer, the director or in this case, the reader.

The producer will read your sentence and should see in his own mind, his vision of what Ultra Modern is, not yours. Putting a title sequence falls under this rule.

It's an art form in itself to be show clarity of intentions but vague in execution. Fine balance here and titles cross that line.

Of course there are exceptions with every so called rule and some people and scripts sell despite these rules.

Enigma said:

But who is Frederick Mann anyway?

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An obscure 20th century modernist designer, which brings up a point.

What you think may be a perfect example runs the risk of the reader not understanding your intent or better yet, not agreeing. The reader's perfect vision of ultra modern may be googie. It's almost always better to let the reader determine for himself what a perfect example is.

Nowhere does Shakespeare describe Juliet other than age and calling her a beauty. This way, the reader can insert his/her own vision of what a great beauty of 16 is. If Shakespeare described a beautiful girl from his time period, many people today wouldn't be so impressed.

Enigma said:

...somebody read the novel and during the script conference, page references to the novel, about what was going on, were no doubt noted!

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Don't confuse spec with shooting, original spec vs. specs on assignment.

Enigma said:

And for "holding hands," isn't that exactly what any writer does to his readers?

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Yes, for novelists, no for screenwriters. Your job is to get him excited enough to want to make it himself, using your blueprint as the design. Again, does the architect tell the home owner what color to paint the walls? No, unless that architect is so famous, so revered, that they go to him because he makes all those choices for them. And of course, they want someone to hold their hand. Producers don't.