Thanks Mama, nice to know that I'm not the only one trying to keep these kids in line. :lol:
What I meant to say is that I have ONLY heard there can be some variations to screenplays.
And like I said, you heard wrong. Only the tiniest of variations are allowed, and camera directions are not tiny details. They are very significant.
As far as camera angles, ect...that's entirely up to the producer.
And again to backup Mama, the producer has nothing to do with the camera angles. That's the director's job. And even though the producer is the director's boss, not even they will try and tell him how to frame his shots. That's how rigidly defined these roles are and how jealously people will defend their turf.
In point of fact, when on set you are not even allowed to talk to the director. If you have information that he needs to know, then you take it to the 1st Assistant Director and HE talks to the director. The only thing you are ever allowed to say to the director, or the actors for that matter, is "Here's your coffee, sir."
When writing a screenplay aren't you supposed to give basic screen actions?
Yes, BASIC actions like "John sits down at the desk." Not, "Closeup of John sitting at the desk.".The first is action, the second is camera direction. One will get your work, the other will get you fired.
Argueing with us over what your friends have said won't get you anywhere. Listening to people that actually do this for a living will. And I do do this for a living. I started out as a grip on set, moved up to lighting, then camera, then on to special effects. I've been at production meetings when we went over the scripts. I've taken them apart to decide how and in what order to film them. And I've been on set with my face pushed up against the camera trying to get the shot the director asked for.
I have been there. I have done it. And I'm telling you that no spec script with camera direction of any kind EVER gets accepted and never sees so much as the first frame of film. IT DOES NOT HAPPEN.
Furthermore, scripts are rigidly formated because hundreds of people will be reading it and working from it, and we need to know exactly where to look, and at what, in order to do our jobs efficiently. We simply do not have time to interpret a poorly formated script or weed out needless camera direction that will only be ignored anyway. It confuses the process and makes our jobs harder. That is why we don't accept them.
The cardinal rule of film employment is that your job is constantly in danger and you can be replaced within moments. If you can't be bothered to take the time to stick to format and do it the way we want it done, then there are a thousand people right behind you that are. I have litterally lost count of the number of young interns I have seen escorted off the set because they wanted to try and reinvent the wheel and thought that they knew everything about how this buisiness works. We get a new one every week because they are constantly being shown the door when they demonstrate a lack of temperment for the job.