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The script breakdown sheet is the single most important production form during this phase because all future reference and production work will be based on it. Anything missing in the breakdown sheet is likely to be missed during the shoot on the set, and thus will be missed on the screen. It is essential that the utmost care be taken during this step of production. The Production Manager creates a separate breakdown sheet for each scene in the screenplay. Eventually, the number of breakdown sheets must equal the number of scenes in the screenplay.

1. Date of current screenplay version.

To minimize confusion, it is important to distinguish the breakdown sheets for various versions of the screenplay. A screenplay often can go through many drafts and revisions. All these revisions must be evaluated, new breakdown pages drawn up, and old ones replaced. Previous breakdown sheets should be put aside when the new pages are available for replacement.

2. Date when breakdown sheet is written.

If a development period extends over a period of time (certainly the case on most projects-sometimes years are required to put together financing), it is helpful to know when the script breakdown was prepared. This date serves as a safeguard but may be omitted (it will appear on budget forms).

3. Name of production company

Also included here should be the names and telephone numbers of those who will handle any problems that arise.

4. Title and number of production.

On a television series, such as a weekly sitcom, single episodes are frequently given numbers in addition to titles. In theatrical motion pictures, though, production numbers are uncommon. When the production manager is working on different projects at the same time, this information becomes crucial.

5. Breakdown sheet page number.

This information helps confirm that the breakdown is complete.

6. Scene number.

The importance of numbering scenes extends into the whole organization of a production, from start to final mix. Some screenwriters do not care to number their screenplays. In this case, the PM or production secretary must do it. Without scene numbers, no further work on the production makes sense because all planning and cross-referencing are determined by scene numbers. Never change these numbers! Even when new scenes are added or old ones are deleted, use the numbering system already established. Label new scenes by adding A, B, C, and so on. For example, scene 23A would be the correct number for a new scene that follows scene 23. When scenes are deleted, just make a note, such as “Scene 23 deleted”.

7. Name of location or set where scene takes place.

This does not mean the name of the site where filming will be done. It describes The setting of the scene in the context of the screenplay’s story line, not in the context of production logistics. The name of the setting must be identical to the name used in the screenplay. If the screenplay states “mansion”, for example, this is the term that should be used on the breakdown sheet. This consistency cuts down on confusion in later planning. The description should be as precise as possible. For example, “fireplace/living room” is clearer than just “living room” or “fireplace”.

8. Interior or exterior.

This information defines where the scene is to be shot, whether at an inside or outside location. The location will have consequences for planning and scheduling, and thus this information is important. Even if the dialogue or content of the scene makes clear where it takes place, this data must be part of the breakdown sheet heading to avoid confusion. The Production Manager sometimes must clarify the precise location with the screenwriter or director. For example, “front door” could mean that the scene is being shot from the inside looking out or from the outside looking in. From the standpoint of logistics and organization, this could mean a big difference and could result in different time schedules.

9. Scene description.

In this portion of the breakdown sheet, the PM describes in a few sentences the action or activity that takes place in the scene. This serves as a reminder of the content and scope of the scene and makes unnecessary the constant rereading of the screenplay.

10. Day or night.

This indicates the time of day during which the scene takes place. It does not necessarily mean that the scene must be shot at that particular time of day. For example, a scene designated “INT DAY” or “INT NIGHT” can be shot at any time of day, provided no windows on the set or location reveal the actual time of day. In an artificially lit, windowless room, a night scene can be shot during daytime, of course, because the difference cannot be ascertained visually. If the screenplay does not clearly indicate when a scene is to take place, the PM must clarify this with the author or the director as soon as possible.

11. Page count.

This section of the breakdown sheet indicates the length of the scene in the screenplay. Each screenplay page is divided into eighths. The page count is not an absolutely reliable method of determining the length of the actual shooting of the scene. A scene only one-eighth of a page long might take days to shoot if

it involves a complicated military action, for example, and a scene of seven-anda- half pages, consisting of a simple stream-of-consciousness monologue, might be shot in two hours. However, experience shows that the page count usually serves as a workable indication of the production effort needed to get the scene “in the camera”.

12. Cast.

Here, the PM lists all speaking parts that appear in the scene, whether big or small. The parts may also be numbered, starting with “1″ for the leads and continuing with lesser parts. It is helpful to mark the parts played by minors (those under 18 years of age) by either adding “M” or noting the actors’ ages in brackets. Minors require special treatment during shooting, and this has a direct effect on scheduling and logistics.

13. Stunts.

Because stunt work is usually rather time-consuming, a reminder about stunts that must be performed is important here for planning. Also listed should be those who will perform and direct the stunts.

14. Extras/atmosphere.

In this section, the PM lists all general extras required (such as for a crowd scene) and divides them into categories: male, female, juvenile male, juvenile female. The PM also indicates how many minors, if any, are needed. Generally, this information is determined in cooperation with the director.

15. Extras/silent bits.

Included in this category are all extras who must perform in such a way that they stand out from the general extras-for example, a waiter serving a drink without speaking. Should the waiter have a line, the character would be listed under “Cast”. Here again, the number, sex, and perhaps age of these extras should be noted.

16. Security and teachers.

This portion of the breakdown sheet serves as a reminder of when a scene requires additional personnel. Although security people and teachers do not appear in front of the camera, extra attention (and expense) is required when they are necessary. Teachers are always mandatory when shooting with minors, and security personnel may be needed under certain circumstances, such as crowd control, work with explosives, and so on. The conditions that, by law, require the presence of private security are well defined. In this section, the PM also lists fire marshals, children’s guardians, nurses, first-aid personnel, and military security, if applicable. For out-of-state productions, local laws must be checked and observed.

17. Special effects.

Here, the PM indicates all the special effects the scene requires, including optical, mechanical, pyrotechnic, and makeup effects. All special effects, especially when executed on the set during the actual shooting, require extra time and preparation, and thus careful scheduling. Digital effects to be finished during postproduction frequently require special care and attention during the original shoot. These may be time-consuming in preparation and execution and a SFX supervisor most likely will be on the location to make sure everything will fit together later on.

18. Props, set dressing, greenery.

This section lists all items that are part of the scene and will be seen. Props are Items used by an actor or extra, such as a book a character reads, puts down on a table, and picks up later. Special care must be taken of props that are part of the plot and are used by actors. Frequently, more than one of the same prop must be available in case it becomes damaged. Set dressing refers to items that decorate a set and will not be moved, such as books on a library shelf. Once a set has been dressed, unless the story line makes changes necessary, the set dressing usually remains untouched. Greenery describes all plants not part of the original location.

19. Vehicles and animals.

All vehicles seen on screen, the so-called picture cars, are listed here. Cars used as production vehicles or for transportation of equipment are not included. Working with animals can be unpredictable, so the PM may have to arrange for special time allowances. Also, some animals are more difficult to handle than others. Dogs tend to be easy; cats and birds can be difficult. For most animals, an extra animal handler may be needed to guide the animal through the action. This person also might be mentioned under Security/teachers”. In all matters that require special knowledge, the PM should not hesitate to talk to experts-special effects people, animal handlers, heads of departments, and so on.

20. Wardrobe.

Only those pieces of clothing that stand out from the general wardrobe and that require special attention belong here. This includes items that may get damaged, stained, or wet, and that must be replaced to maintain continuity.

21. Estimated number of setups.

This section has special importance because it describes the number of different camera setups the director needs to cover the scene. The coverage may vary greatly from director to director. Each new camera setup usually means moving the equipment around, relighting the set or location, and restaging the action of actors. All this is very time-consuming and affects the speed and economy of the production. Thus, the number of setups determines the amount of finished, usable film at the end of a shooting day. Getting a grip on the working style of the director and the DP, who lights the set, is one of the production manager’s most important activities.

22. Estimated production time.

Using the information on the breakdown sheet, the PM estimates how long the production of the scene will take, from the crew’s arrival at the location to its departure. It includes time spent unloading, positioning, and hooking up the equipment; shooting the various setups; and wrapping. The length of time required for these tasks is very difficult to estimate because particular circumstances of location, access to the shooting site, amount of equipment needed, and number of actors to be prepared in wardrobe and costume make each scene different. As a rule of thumb, however (and use this guideline with caution), it takes one hour to set up equipment and lights and to get the location in shape for filming; it takes slightly less to wrap. The PM should walk the location with the director and the DP and talk over each and every detail. This is the only reliable way of predicting how long it will take to shoot a given scene.

23. Special equipment.

This section serves as a reminder of any special equipment needed for the scene-that is, any equipment that will be rented for just one scene, rather than the entire shooting period. Examples include Steadicams, special cranes, and camera helicopters.

24. Production notes.

The final space on the breakdown sheet is where the PM lists anything of special importance to the production. For example, this might be a comment that the scene is a flashback and requires period props and wardrobe or that special contacts are required. In other words, the PM notes here anything out of the ordinary. If a still photographer will be used only for certain scenes and days of the production, this fact can be mentioned. One more person on the set requires one more meal, for example, and in this case additional time must be scheduled so the photographer can take publicity stills.

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October 23rd, 2008 | Tags: filmmaking, tutorial | Category: Video Production | Subscribe to comments | Leave a comment | Trackback URL