1. Script Breakdown & Scheduling
The Complete Guide to Film & Digital Production: The People & The Process
Lorene M. Wales, Ph.D.
© 2017 Taylor & Francis

2. Start With the Script
Completing a Script Breakdown begins with a script.
The script must be in standard screenplay format, in order for you to complete the breakdown accurately.
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3. Overview of the Process - 1
Read the script.
Breakdown the script into elements using colored pencils or tagging.
Breakdown the pages into 1/8’s.
Transfer the elements and page count onto breakdown sheets (computer).
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4. Overview of the Process - 2
The breakdown sheets get transferred (computer) onto strips, which forms the production board.
Arrange the strips on the board by parameters.
When (6) is done, you have formed the bones of the shooting schedule.
Print various schedules from the strip board for distribution to crew.
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5. The Elements RED SPEAKING CAST ORANGE STUNTS AQUA EXTRAS/SILENT BITS
GREEN EXTRAS/ATMOSPHERE
BLUE SPECIAL FX
LIME PROPS
PINK VEHICLES/ANIMALS
BROWN SND FX
WARDROBE CIRCLE
M-UP/HAIR* ASTERISK
SPECIAL EQUIPMENT BOX AROUND
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6. Identifying Elements
Underline each element with the different colors (or tag, more on this later).
Rules:
Underline each element only one time PER SCENE.
Watch for items that carry over from scene to scene, but are not explicitly stated in the script.
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7. Next: Break the Script Into 1/8’s
Draw a dividing line between each scene in the script.
Divide each section into 1/8’s so that you have 8/8’s for a total script page.
Sometimes this requires a judgment call.
Consider how long it will take to shoot a scene.
If you have a scene longer than how many pages you will shoot in a day, divide the scene further.
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8. 4/8 2/8 2/8 © 2017 Taylor & Francis 11 EXT. FOREST - DAY
Regina, Fila and the Wochera stand in the forest with Donato, the doctor and a crowd of children.
REGINA
Thank you.
Slayvnak reacts with surprise. Fila brandishes her gun.
DR. SLAYVNAK
Well, oh, yes, well, that's
She grabs Donato and leads him from the room. A few of the Wochera women follow.
12 EXT. WOCHERA COMMUNITY TOWER/FRONT ENTRANCE - NIGHT
Prono stands before a hole, blown into the front door of the tower. He climbs inside the hole and falls to the ground.
13 INT. WOCHERA COMMUNITY TOWER/FRONT ROOM - NIGHT
Prono gets up and looks around the room. He starts to laugh. His laughter becomes hysterical as his body begins to disintegrate.
4/8
2/8
2/8
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9. Tagging Tagging is done in some screenwriting software.
Go through each scene and tag each element.
Export the file.
Import this file into your scheduling software.
The computer does most of the work, but this can be dangerous.
The computer will not carry over important items that are not explicitly stated.
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10. Next: Transfer elements onto breakdown sheets.
Be careful, this MUST be accurate.
If you forget or overlook an element, it won’t be on set.
Always double-check your work.
This is the hardest, most tedious part, from here on, the computer does most of the work.
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11. The Breakdown Sheet What is it?
It’s a visual grid of the elements for each scene.
No one will see these.
A good way to check your work.
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12. Example Breakdown Sheet
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13. The Next Step
Now that the breakdown sheets are complete, you create your schedule via the production strip board.
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14. Example Strips
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15. Next: Schedule your film
This is where you determine in what order you will shoot your scenes.
As much as possible, use the scheduling parameters to make your decisions.
Always go back through the schedule to re-check your work.
The schedule WILL change as locations, script and cast are locked.
It’s easy to go back and make changes.
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16. Scheduling Parameters
These are the prioritized order of considerations that determine how you schedule your film.
You use these as guidelines, not all parameters in the following order will be possible. It depends on your production and its needs.
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17. SEQUENCE: Determined by the needs of your film.
Start with: LOCATIONS: you don’t want to go back to the same location more than once, if you can avoid it.
CAST MEMBERS: you want the least amount of holding days. You can only drop and pickup once in a show.
DAY/NIGHT: be careful of turnaround and crew’s body clocks when switching from days to nights or vice versa.
EXT/INT: It’s better to do exteriors first, in case of bad weather. Secure interiors as cover sets.
SEQUENCE: Determined by the needs of your film.
CHILDREN: If union, there are very strict rules. If non-union, check your state for labor laws. Either way…
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18. We still have an obligation to treat them well
We still have an obligation to treat them well. And, they won’t last long anyway, so don’t overwork them.
TIME PERIODS: Allow for enough prep and strike time for the art department.
TIME OF YEAR: Be aware of the amount of available light and weather conditions for certain locations.
SPECIAL EFFECTS & STUNTS: Schedule FX and stunts together so you don’t have to bring in these crew more than once.
SPECIAL EQUIPMENT: Underwater cameras, large cranes, the shotmaker, rainmakers.
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19. Schedule your strips according to these parameters.
Take time, think about it.
Watch out for key scenes, emotional scenes.
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20. Printing Schedules
Next you will print your schedules from the software.
Productions will typically print:
Shooting Schedules
Production Schedules
One-Liners
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21. A Final Note
As production progresses, changes happen. When new versions of documents are published, each version goes to a new revision color.
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22. Salmon, Cherry, Tan, Gray, Ivory
Revision Colors
WHITE
BLUE
PINK
YELLOW
GREEN
GOLDENROD
BUFF
(the rest as per preference)
Other Colors:
Salmon, Cherry, Tan, Gray, Ivory
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23. Conclusion
Breaking down a script begins with reading the script and knowing it well. You can create a breakdown either by hand or with the use of certain screenwriting software.
After you break the script into eighths, you can derive an accurate page count per scene and continue the process of creating strips. Once the schedules are finished, they are printed and distributed to a variety of crew members.
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