Comment écrire les en-têtes de scène (sluglines) d'un scénario
Comment écrire les en-têtes de scène, ou sluglines, d'un scénario : intérieur ou extérieur, lieu, moment de la journée, dans cet ordre. Plus quand commencer une nouvelle scène et comment gérer flashbacks et montages.
Dans cette leçon, vous apprendrez
- Les trois parties d'un en-tête de scène : intérieur ou extérieur, le lieu et le moment de la journée
- Comment ScreenWeaver suggère les préfixes, les lieux et les moments de la journée pendant la frappe
- Comment un nouveau lieu dans un en-tête devient un décor dans votre barre latérale
- Quand il faut un nouvel en-tête de scène, et quand utiliser LATER
- Pourquoi un lieu doit toujours garder exactement un seul nom
- Comment gérer les flashbacks, les appels téléphoniques et les montages
Chaque scène d'un scénario commence par un en-tête de scène, parfois appelé slugline. Cette leçon montre comment écrire des en-têtes de scène qui répondent à deux questions à la fois : où sommes-nous, et quand ? Vous apprenez les trois parties, intérieur ou extérieur, le lieu et le moment de la journée, et comment l'autocomplétion de ScreenWeaver suggère les préfixes, vos lieux existants et des moments de la journée comme NIGHT, DAWN, LATER, CONTINUOUS ou MOMENTS LATER (la liste reste en anglais).
Vous apprenez aussi quand commence une nouvelle scène, pourquoi la jetée ne doit jamais devenir le quai ou l'embarcadère, et comment garder des en-têtes concrets. La lecture des cinq en-têtes de scène de The Night Ferry montre comment le temps qui passe de la nuit à l'aube peut porter tout un film. La leçon se termine par les cas particuliers : flashbacks, appels téléphoniques entre deux lieux et montages.
Transcription complète
Transcription de la narration en anglais.
0:04Every scene starts with a scene heading, sometimes called a slugline. It answers two parts before anything else happens. Where are we? And when?
0:14A scene heading has three parts. First, interior or exterior. Are we inside or outside? Then the place. Then the time of day. Exterior, the jetty, night. Interior, the ferry cabin, night. Simple. In capitals and always in that order.
0:36Let's type the first one. In the toolbar, choose scene. As soon as you type the first letter, ScreenWeaver suggests the standard prefixes. Interior, exterior, interior slash exterior and I slash E for scenes that move between the two. Use the arrow keys to pick one and press enter.
0:57Now the place. The jetty. Because it's a new place, the suggestion list offers to create it. Confirm and the jetty is added to your places in the sidebar. From now on, every time you start a heading with interior or exterior, your existing places are suggested. So you never misspell them.
1:16Then type a space, a dash and a space. And the list offers the times of day. Day, night, dawn, dusk, morning, afternoon, evening, but also later, continuous, moments later and same time. Pick night.
1:35When do you need a new scene heading? Every time the place changes or the time jumps. When Maya steps from the jetty into the cabin, that's a new place, new heading. When we come back to the cabin a little later, that's the same place at a later time. Interior, the ferry cabin, night, later.
1:56One rule matters more than all the others in Screenweaver. Name a place exactly the same way every time. The jetty is always the jetty. Never the dock in one scene and the pier in the next. Each different name creates a different location. And later, a different set in your storyboard.
2:16Keep headings short and concrete. A place a camera can go to. Not a feeling. The ferry deck. Not somewhere in the fog. If the place needs more detail, that's what the first action line is for.
2:29Here are all the scene headings of the night ferry. So you can see the pattern. Exterior, the jetty, night. Interior, the ferry cabin, night. Exterior, the ferry deck, night. Interior, the ferry cabin, night, later. And exterior, the island harbour, dawn. Five headings. Four places. And the time of day moving from night to dawn. Which is the whole emotional journey of the film. Readable from the headings alone.
3:01A few special cases you'll meet. A flashback. Put it in the heading. Interior, the ferry cabin, night. Twenty years earlier. Or write flashback as the first word of the action. A phone call between two places. Give each place its own heading. And cut between them. And a montage, a series of short images. Write a heading for the main place, then one short action line per image. Clarity first. The reader must always know where and when we are.
3:34Your exercise. List every place of your story and write the scene heading of each scene. With interior or exterior, the place and the time. Next lecture, the action lines. Where the film really happens.