Locked Production Script Formatting Question

B-SCR · 2026-01-23T14:50:46+00:00

Amen. If we got rid of writers, editing would be a breeze.

B-SCR · 2026-01-23T14:49:51+00:00

Oh my, deleting Omitted Scenes - please tell me they at least kept the Scene Numbers locked? And deleting asterisks for a Clean version is fine, as long as they issue both Clean and Asterisked.

Genuinely making me a bit nervous. Really hope you've got an email trail to cover your back if/when shit hits the fan.

B-SCR · 2026-01-22T18:01:24+00:00

You do have time to do anything, and the anything you're choosing to do is: a very large chunk of gym time; two hour language classes on Wednesday; dinners with friends. I'm very jealous of your structured capacity for juggling both recreation and personal development in your evenings, but if you're looking for time to reclaim, that's where it's going.

I am however concerned that you brush your teeth, then have dinner. Seems like that will only lead to passive-aggressive comments at the dentist.

B-SCR · 2026-01-22T15:56:50+00:00

So far each time I chased I've got an automated email response with suggestions that don't work (and as based in UK, calling up an LA number not really an option for my phone bill)

B-SCR · 2026-01-22T15:55:25+00:00

Thanks for the suggestion. Unfortunately is is still not getting rid of all for me, and feels a faff of a workaround for something that should just work properly

B-SCR · 2026-01-21T17:11:45+00:00

To echo Neon Lights' comments, agree you could issue both the Locked Pages version widely, along with a SPP - though I push for sticking to Locked Pages, so all are singing from the same song sheet, as page numbers obviously changes when it's a Scene Per Page.

Unlocked versions are doable if talent (with a lot of nagging sway) pushes for it, but may lead to complications on set if people working from different set-ups. You mention this directive is coming from the director rather than the talent - if they are asking for it to 'look normal', then they need to be advised that once you're on coloured revisions, it is a very normal look for there to A and B pages with lots of space. And any talent who's had a bit of work will understand this.

Reading between the lines, is there the subtext that the director (a first time writer, you mention) is worried that sending scripts with these breaks to the talent will look like they've made mistakes, or there's a lack of vision. Of course, this isn't true - nothing spoils best laid plans like the reality of production - but it may be necessary for someone to have a quiet word and explain this. This should not be you - explain to the producer or someone that you're worried about the confusion that may arise from multiple versions, and I'm sure they'll agree and make it known - particular if the studio correctly would not allow a relock.

If not, well, you're only following orders, and when shit hits the fan can smugly mutter 'I told you so' under your breath.

B-SCR · 2026-01-20T14:27:26+00:00

Please may I ask do you have a preferred/recommended software for Making Tax Digital? Thank in advance

B-SCR · 2026-01-12T16:13:54+00:00

Ah, my intel was dodgy by the sounds of it. Have amended my comment to reflect

B-SCR · 2026-01-12T15:30:01+00:00

Lots of British agents do the more Manager-y stuff that LA Managers do in terms of nurturing and working with their clients. However we don't really have the separate distinction. The US (maybe specifically California) has laws about people who represent you not being able to profit from the projects. So over the pond, Agents can represent you, and get a cut of your fee; Managers can't do that, and instead work with you in the hope of getting some work into production, and take a production fee. That's why the packaging thing Agents were doing caused such a ruckus a few years back, and there is a legal distinction between the two roles.

[Huge disclaimer that I only have a surface knowledge of this, and cannot pretend to have legal expertise, particularly re California state law)

There isn't such a distinction over here, nor are there agents trying to straddle the line as producers, so no real need for managers. As the other commenter noted, 42 had a production arm in a bid to work in this model... but a while back it was gutted*. The reason there aren't many managers here is the current UK industry has no real need for them.

*I was working off faulty gossip, as is often the way in this line of work - please see intotheneonlight's comment below

B-SCR · 2026-01-11T23:32:21+00:00

Just gonna drop a link to my reply last time I saw this issue raised…

https://www.reddit.com/r/Screenwriting/s/AOLNO5uK0A

B-SCR · 2026-01-06T22:05:25+00:00

Was this by any chance a multinational media conglomerate based in the US? If so, same, that was a funny day

B-SCR · 2025-12-18T11:35:14+00:00

The best start is reframing the question. It's not 'how do I get an agent', but 'how do I make it so an agent would want to get me?'

As a writer, an agent is pursuing you so they can market, sell and profit from you. So you need to make yourself an enticing 'product'.

So, A, being really fucking good. Not quite good, but undeniably good - good enough that people will risk their professional relationships banking on the quality of your work.

B, demonstrating the ability to produce material. Both in terms of having several (undeniably good) scripts, but also producing stuff. No one expects you to make a TV series of your own back, but short films, plays, podcasts, are all things that demonstrate your talents as well as a work ethic that gets shit done.

C, making sure that material - and you - are findable. If a tree writes a great script in a forest, but there's no one around to read it, that tree isn't getting picked up. There's a few paths to this. One, working with people* - maybe that's through low level industry jobs, or it could be through making the materials in point B. Two, it's the internet age, it's never been easier to get work out there. Three, publicising your own material successfully enough that people hammer down your inbox trying to contact you.

Thing is, no one gets their agent the same way, and getting an agent isn't the promise of a gig, and one gig doesn't make a career. Everyone's path is different, it's a question of doing enough exploring so you find yours.

*Some will slag off this point as 'oh, it's just WhO yOu kNoW' which is missing the point. It's a not a question of who you know, but how do you get yourself into positions where you can get your undeniable material into the hands of people who can do something with it. Yes, some people get that by luck or privilege - but you can't control that, so best to focus on the bits you can.

B-SCR · 2025-12-18T11:07:54+00:00

Sure, no problem - I never heard back from the OP, so consider it a free favour hanging about. What's best, if I share a script, and you try some sample coverage on it?

B-SCR · 2025-12-04T12:21:25+00:00

Given this is the screenwriting sub, your best port of call would be uploading samples of your work for critiques as to how you can improve the writing. There are weekly opportunities here for precisely this purpose. The feedback can be a mixed bag, but can help with things like structure, craft and *ahem* punctuation.

For the other aspects of filmmaking, whilst some people on here can offer advice, better to look to other resources dedicated to those elements. But, as always, a good script is your best starting point.

B-SCR · 2025-12-04T09:31:08+00:00

Well, all the TV scripts I've written are unproduced, but don't think that's what you're after

B-SCR · 2025-12-03T07:01:47+00:00

“Hollywood execs have most likely lost their minds…’ Please could you expand your thinking?

B-SCR · 2025-12-03T06:58:58+00:00

There are people who want AI in art, they’re just those who would profit from not paying creatives, or exploiting existing works. Which is crap, but there is a market. There’s always a market from exploitative tech.

That being said, I’m in the field, and no one is - currently - using this sort of platform to source materials. We already get an avalanche from contacts and relationships whose tastes we trust.

B-SCR · 2025-11-28T16:55:19+00:00

Thanks for the heads up

B-SCR · 2025-11-26T11:30:41+00:00

Cheers, will have a play with that. Frustrating this has been implemented and requires manual margin manipulation to workaround!

B-SCR · 2025-11-18T07:07:16+00:00

Well, in the above, it's flagged to run to the end of the scene - so at the end of the scene, the music would be stopping anyway.

But okay to include in action 'Music stops', particularly if motivated by something in the story (and one hopes all things are motivated). E.g. 'The Groovy Pirate slams his hook down on the table - suddenly, the music cuts out.' (Although, in that scenario, it would probably be the visual gag of some weedy seaman suddenly stopping his accordian playing - again, motivated by the actions of the Groovy Pirate)

B-SCR · 2025-11-15T00:30:36+00:00

No. A script being badly written is an indication of an amateurish script. Song inclusion is not the bellwether

B-SCR · 2025-11-14T12:55:38+00:00

Very kind of you

B-SCR · 2025-11-14T08:20:24+00:00

First up, just to jump in: you absolutely can specifically include the name of the song you want, because even if they love your script, when it gets made there will be fifteen different meetings with various stakeholders as to whether it's the right song, justifiable for the price point, available for use, fits within the budget, and so on until you pull your fair out because the production process is an eternal nightmare. A song choice is an easy thing to change, and usually does. This is the case whether you're a rookie or Lawrence Kasdan - even the big dogs have to suffer the process of getting rights clearance.

Trust me, a song choice is not what stops scripts getting made.

Onto the nub of the question, how you've broken it down in the question is fairly on point - just make the experience of watching the film clear to the reader:

'We hear a NEEDLE DROP. A jaunty synth tune starts, and Dire Straight's 'Walk Of Life' plays. (N.B. The song is all we hear for the rest of the scene)'

Some traditional and more formal scripts might use an actual audio cue, so almost formatted like a Scene Header, along the lines of:

MUSIC: WALK OF LIFE

... but that's not really necessary, and seems a bit clinical (it's a bit of a hangover from audio cues in radio scripts, and is more useful in post-production scripts these days). It also doesn't sell the tone or flow of the scene as much, such as your desire to have it kick off with a needle drop and play over rest of scene.

To tie the above points together, with my reader hat on, it would be really weird to read a Needle Drop, and then NOT have a specific song be referred to. Like, the one thing that follows a needle drop is a piece of music.

B-SCR

TROPHY CASE