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Storyboard Format

Screenplay Formats

In professional production, the duties of the screenwriter and director — that is, the

functions of creating the story and then visualizing it — are usually strictly segregated. The

writer usually creates a script in

master scene

form, like the one you see here. It contains

dialogue, descriptions of settings and actions, and descriptions of characters, but it does

not indicate how any of these are to be treated visually. Usually, the next step is for the

director to prepare a

shooting script,

(see next page) which indicates the visual treatment in

detail.

The shooting script often contains some degree of re-writing of elements from the writer’s

master scene script. After all, the division of labor between director and screenwriter is

artificial. In the finished work, the visualization and the story go hand-in-hand, one is not

really distinct from the other. The director may come up with a visualization that works with

the dialogue and descriptions exactly as written in the screenplay, but it is more likely that

the director will make changes in the script to fit the visual sceme. It would seem to make

sense to consider story and visualization together from the beginning, and in fact a number

of directors write their own scripts and a number of writers have become directors. A few

scriptwriters add more visualization to their screenplays, as in the example on the following

pages, but the director still may make changes in fleshing out the story visually, as

indicated by the storyboard based on way this scene was actually filmed.

Screenplay including some visualization

North by Northwest,

screenplay by Ernest Lehmann, directed by Alfred Hitchcock