Reader Question: What about a credit sequence at the beginning of a spec script?
I explain why you shouldn’t do it. And also how to handle it in a spec.
I explain why you shouldn’t do it. And also how to handle it in a spec.
A question from Gregaria:
First, you said it’s generally the mark of an amateur if a script includes an opening credit sequence. With my script, there’s an entire montage-y scene at the beginning that begins introducing the numerous characters and plot lines. The scene takes place in the course of one day to establish “normal” life before everything is disrupted. I can only see this working as a credit sequence. I haven’t included the credits themselves. Do I need to re-work this scene?
Gregaria, why do you think this can only work as a credit sequence? Check out the beginning of Broadcast News which introduces the movie’s three main characters as youths in back-to-back-to-back scenes, a 6-minute opening sequence. Or the movie Sorcerer which, as I recall, begins with the introductions of four characters (maybe more), none of them seemingly related until they all come together. While credits may play over those movie introductions, the fact that each set of scenes per each character has its own beginning, middle, and end means the intro sequence could stand on its own sans credits.
Can your ‘montage-y’ beginning work the same way?
You’re right re about not including a credit sequence in a spec script. You may have absolutely splendid ideas about it, you may even ‘see’ exactly how your movie should start. But as you say, a credit sequence in a spec script is a sign of an amateur. Why? Because the credit sequence is a production decision. The director makes that choice. Now let’s say you sell the script. Certainly you may make known what your splendid ideas are for a possible credit sequence. But that’s the time to convey those ideas, not in a selling script.
Specific to your situation: If for some reason you really feel like the opening can not work unless it’s written as a credit sequence, where does that leave you? Which leads to another one of my writing mantras:
There is always another way.
There is no one single way to write a story, one single way to write a scene, one single way to begin a script. The only limit is your imagination, willingness to brainstorm, and patience. Of course, some approaches are better than others. Hopefully you find one which feels right to you. But even then, you must always be flexible. And if you embrace this mantra — there is always another way — you can afford to be flexible.
At the risk of straying a bit from your question, this is not an insignificant point. If you write what you think to be the perfect script, sell it, then have your first round of meetings with the studio, producers, talent, etc, what if they want you to change it? What if they don’t think it’s perfect, they think it can be improved? If the writer is stuck with their belief that they’ve written the perfect script, then the odds are about a bazillion to one that the writer will be replaced and another writer brought on. A screenwriter must be able to listen to criticism, consider it, and try out different solutions based on the notes they receive. You can best do that if you subscribe to the theory: There is always another way.
So circling back to your question: If you can only see your opening working as a credit sequence, not a stand alone introduction without credits, and the fact is a script which includes a credit sequence comes off as amateurish, then it appears you only have one choice: change the opening. Fortunately for you… and where have I heard this before… there is always another way.
I’ll bet GITS readers can come up with other examples of movies that start with some sort of series of scenes or montage, even ones that don’t have credits over them. Hopefully, Gregaria, you’ll figure out a way to keep your opening without the credits. That could be your easiest and best solution.