ABSTRACT
Writing a script, simply put, involves describing what the eye sees through the camera lens and what the ear hears on the audio track. This is where we should start. It sounds easy enough. The problem is, as we found out in the fi rst chapter, knowing what to leave out. When you try to write a script for the fi rst time, you usually end up describing too much or not thinking concretely about what is visible within the frame. You must describe the essential visual event that happens in front of the camera,
but without preempting the basic production responsibilities of the director. Describing what the camera sees means understanding the basic technique of shooting and what separates one shot from another. To communicate your intentions (and a script is nothing but a set of intentions that others must realize), you must let go of some habits that have been drilled into you for writing expository prose. Other habits must take their place.
