脚本の柱（シーン見出し／スラッグライン）の書き方
脚本の柱（シーン見出し、スラッグライン）の書き方を解説します。屋内か屋外か、場所、時間帯を、この順番で書きます。さらに、新しいシーンを始めるタイミングと、回想やモンタージュの扱い方も学びます。
このレッスンで学ぶこと
- 柱の3つの部分：屋内か屋外か、場所、時間帯
- 入力中に ScreenWeaver が接頭辞、場所、時間帯を提案する仕組み
- 柱に書いた新しい場所が、サイドバーのロケーションになる仕組み
- 新しい柱が必要になるときと、LATER を使うとき
- 1つの場所には必ず1つの名前だけを使うべき理由
- 回想、電話、モンタージュの扱い方
脚本のすべてのシーンは柱（シーン見出し）から始まります。スラッグラインと呼ばれることもあります。このレッスンでは、「ここはどこか」「いつなのか」という2つの問いに一度に答える柱の書き方を紹介します。屋内か屋外か、場所、時間帯という3つの部分を学び、ScreenWeaver の自動補完が接頭辞、すでにある場所、そして NIGHT、DAWN、LATER、CONTINUOUS、MOMENTS LATER などの時間帯をどう提案してくれるかを見ていきます。
さらに、新しいシーンが始まるタイミング、「桟橋」を途中で「波止場」や「埠頭」と呼び変えてはいけない理由、柱を具体的に保つ方法も学びます。The Night Ferry の5つの柱を読むと、夜から夜明けへと移る時間の流れが、1本の映画全体を運べることがわかります。最後に特殊なケースとして、回想、2つの場所をまたぐ電話、モンタージュを扱います。
全文の文字起こし
英語ナレーションの文字起こしです。
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.