Movies and TV have a special jargon
If you want to be taken seriously as a screenwriter, you need to know the language of the film industry. The following guide offers script, production, and industry terminology in a compact lexicon. The words, phrases, and their definitions are compiled from a dozen books and conversations with colleagues in the film industry. The stories behind some terms are likely apocryphal, but fun to read.
Movie sets are another country with a language all their own, much of it rich in history, much of it fading or forgotten. There are virtually no written records of the etymology of many of these words and expressions. It’s largely an oral tradition passed down over the last hundred years.
— Tony Bill in Movie Speak: How to Talk Like you Belong on a Film Set (2008), p. v
– A –
Abby, the / Abby Singer – Second-to-last shot of the day on a set. Named for Abner (Abby) E. Abby Singer (1917-2014), an assistant director known for efficiently running sets. Singer told crews to start packing early, so the production day would end on time and on budget.
above-the-line / A budget items – In a budget, the “A” items appear “above the line” in a spreadsheet that indicates the key personnel salaries and the cost of securing rights to a work. The producer, director, writer, and stars are the “A” people in the budget.
act – 1) Stories traditionally follow the three-act structure of beginning, middle, and end. The Greeks did it, we do it. Another model is into, through, and beyond; this suggests the story started before the audience entered and continues after the lights rise. 2) In television, scripts are broken into three, four, and five acts around the commercial breaks. Said a student, “Shakespeare must have had a lot of commercials.” Label the acts and start them on new pages. Directors don’t like to hunt for the acts. 3) As a verb, “stop acting” is an admonition to adjust from stage to more subdued film acting. Actors love to act; directors often tell them to stop it.
action – 1) [script] Narrative or paranthetical telling actors what to do, though directors will change the action. 2) [production] The word said by a director or assistant director to tell the actors to act the crew to do their things. Some directors enjoy calling “Action” while others mumble or nod to the A.D.
ADR / automated dialogue replacement / looping / dubbing – Recording dialogue to either add dialogue for a character not shot facing the camera or to fix dialogue with a recording issue. Dubbing is used by some directors, but most reserve that term for over-dubbing a different langauge or different (“approved for all audiences”) dialogue. Directors would like to avoid ADR, and so would film editors. ADR costs money and lots of time.
adjustment – An increase in daily pay for extra duties. Unions dictate standard adjustments for special duties or extra time on set. Producers don’t want adjustments. Line Producers exist to avoid adjustments and overages.
ampersand (&) – Indicates a team of writers on a story or screenplay; “John Smith & Paula Jones” worked as a team, and will share equal credit. Screen credit rules are so complex, only lawyers and the Writers Guild of America can decipher the tangled guidelines. Partners with an & are better than being the writer “and” replaced. See and.
anamorphic / CinemaScope / Scope – Film shot in widescreen format, usually 2.39:1 (width to height). Widescreen televisions are 16:9 and old-style television was 4:3 (almost a square, but not quite). Anamorphic movies often feature beautiful wide shots.
and – Indicates a separate writer or team assigned to revise, alter, or fix a story or screenplay. What it translates into is, “and they hired someone else.” If credits read, “Screenplay by John Smith and Tim Brown” the writers did not collaborate, but will divide credit for the script. The “and” contrasts to the “&” (ampersand) that does indicate collaboration. See ampersand.
answer print / first final proof – First “complete” version of the film with sound and effects in place, viewed by the director and producers to verify any issues have been answered. It is never the final proof because someone will have suggestions and/or corrections.
apple box / [apple] crate – Box measuring 8x12x20-inches used to position props and actors during filming. Commonly used for short male leads, but also to position Also a convenient chair for people behind the camera.
Assistant Director (A.D.) – As the name implies, an A.D. helps the director. Large projects might include a Second A.D. (a real title) to oversee extras and crews preparing for future shots. There can be more than one Second A.D., but the title remains “Second” like an official rank. The A.D. is usually an aspiring director, so treat the A.D. kindly.
Associate Producer – [film] The Producer, that person with the “Produced by” credit at the start of a movie and on the posters, has the power to grant the Associate Producer title to someone with a “significant production function” during the process. Producers Guild of America guidelines state that an “assistant” anything cannot be an Associate Producer. In film, some Line Producers are also Associate Producer or Co-Producer. Assume the Associate Producer has a direct line to the powers-that-be. Lowest rank among those called producers, Associate Producers tend to be on set and actively involved with filming.
author’s script – See spec script. Nobody films what the author wrote.
– B –
baby spot – Traditionally a light of 500-1000 watts. Modern LEDs are still referred to as baby spots, with similar lumen ratings.
back to one – Request made by the director or assistant director for the cast and crew to return to the beginning of a scene.
bar / barrel / batten / pipe – A metal tube from which lighting, scenery, backdrops, or any other equipment is hung.
barn doors – 1) Black flaps attached to lights that help focus or shape the beam. 2) Another phrase for elephant doors.
base camp – Location of actors trailers, catering, equipment trucks, and everything else needed for a location shoot. Often, a lot of unncessary items are there, too.
beat – 1) [script] Quick pause, indicated in dialogue with the parenthetical (beat). 2) An important moment in a screenplay or final film. Writers and directors often use “beat sheets” to map story structures.
beat sheet – List of major plot points or story moments that advance the action in a screenplay or other work. Many formulas exist, and even more formats. Beat sheets range from simple checklists to complex spreadsheets.
Bechdel Test – “Test” developed as satire by artist Alison Bechdel in 1985. For a script or film to pass the Bechdel Test, it must contain at least one scene in which two or more named female characters have a sustained conversation about any topic besides men. An exception allowed by most reviewers and critics is a serious conversation about differences that challenges gender bias.
beef – Relative power of set lights. Directors might request more or less beef.
below the line – Budget items including the salaries for crew, technicians, and all stages of film production. See above the line.
best boy – Second of command in the grip department, usually responsible for logistics and paperwork.
B.G. – Background. 1) Extras can be called “background” and things in the distance are in the background. 2) A matte image can also be a background.
billy clip – Clamping set of pliers or Vise-grips with flat plates in place of the ridged jaw. “Vise-grip” is a trademarked name, so don’t spell it “vice.”
blocking – Determining the paths actors in camera should follow during a scene. With single camera filming, accurate blocking is essential. Multi-camera filming has allowed for more relaxed blocking.
block shot – In single camera filming, recording an entire scene or scenes from one side of the action. Cameras and lighting are then moved in the scene is shot again (and possibly again) from various perspectives.
blonde – Any “2K” light.
blow – To overexpose or over light a part of the background to hide what isn’t there. Often done with windows and doorways on a set to obscure the lack of an ideal backdrop.
boom / fishpole – Rod used to position microphone above actors, held by the “boom man” (who might be a woman). After a few minutes, human arms tire and the boom drops into the shot. Nobody wants that.
boom up – Raising a camera that is mounted on a crane or dolly. This should be a smooth motion, especially if done to follow action.
B-roll – Film or video stored separately from the main shots, used by editors to locate fill or background. B-roll often includes exteriors and establishing shots.
break film – Technically, film was cut (“broken”) to separate the shot film from unexposed footage. Others argue to “break” was to stop filming. Either way, the call to “break film” was the moment film was sent to a lab for overnight processing. Today it refers to sending digital files to editors. Because editors and labs work at night, files must be received by deadline.
breathing – Tendency of film to display fluctuations of focus, and something a few digital directors seek to re-create because… well, just because. It’s similar to adding “flare and glare” when there is none. Thanks J.J. Abrams.
broad – Any stationary, steady fill light. Shorthand for “broad light.”
Brodkin – Extreme close-up (ECU). Named for Herbert Brodkin, a New York producer and director known for the 1960s classic series The Defenders. Close-ups captured courtroom shock, horror, anger, and all other emotions. If you do this with the eyes of an actor, you get a “Kirk,” named for a starship captain on a bold mission to overact.
broom it – Command to remove something from the set. Usually yelled by an unhappy A.D.
bubble – Any incandescent light.
budget – 1) The financial plan for a film. 2) The planned filming for a day. The “budget” for the day is the production schedule, and that matters because time is money.
buff and puff – Send back to makeup for a retouch.
build (noun; not “to build”) – Anything built temporarily for a set is a called a build. Existing buildings or setting is called practical.
bump – 1) Daily salary increase paid to an extra or day player, especially if kept over the scheduled call or for dialogue. 2) When a crew member must perform extra duties he or she receives a daily bump for the temporary promotion in title.
business – 1) Actions, not always in the script, that an actor performs to reveal more about his or her character. 2) Something everyone in the industry claims to understand.
butterfly lighting – Diffused lighting centered on an actor’s face meant to minimize any flaws. Some actresses insisten on this in the past, but less effective with high-definition camera gear.
– C –
C47 – Wooden clothespin. Yes, clothespins are called C47s on production sets. Rumor has it that a line producer used the code after an accounting department complained about all the clothespins being purchased to hold screens, backdrops, and mattes in place.
Cardellini – Clamp used to secure lights and electrical gear, created by a grip named Steve Cardellini. Thank you, Steve.
Central Casting Corporation – Yes, there is a Central Casting, and most extras used to be hired “direct from Central Casting” in Hollywood.
Century light – Spotlight, once manufactured by the now defunct Century Lighting Company in California. The name does not refer to the brightness of the light or the famous Twentieth Century Fox logo.
CGI / computer generated imagery – Technology replacing matte painters, hand animators, and some actors. Rebel filmmakers use people and old techniques, which do look better to some viewers.
cheat – Pretending an object or person is on the set, since the camera only records a limited frame. Actors “cheat” a non-existent foil when talking into a camera.
check the gate – Request (order) by the directory of photography (cinematographer) to check the lens, shutters, and other mechanics of a camera. With monitors, the D.P. quickly notices problems. The “gate” was the shutter and dirt on the gate could scratch film. Today, spots of dirt, smears of oil, grime, and hair show up all-to-well on high-definition video.
chicken coop – Six-lamp fixture, featuring two rows of three lights, hung from above a set to light the entire scene. The six lights can be positioned individually, reducing shadows or creating them as needed.
choker – Extreme close-up (ECU) shot and cropped at the neck up.
CinemaScope – Film shot in anamorphic widescren, at up to a 2.66:1 ratio. Some theaters had curved screens to accomodate the width. See anamorphic.
clean [shot] – Shot of a single actor, with nothing major in the background. The D.P. might say, “I want this clean.”
clear the eyeline – When a director reminds people to get out of the view of actors trying to talk to each other during a scene. Even if not in the camera shot, people and objects distract the actors.
clear the lens / shot – Said when a director or camera operator wants everyone out of the way, considerably more polite than what the director wants to say.
closed set – Only the essential people on set. Sometimes actors ask for closed sets for emotional scenes. Directors sometimes close the set to producers and studio executives, too, so scenes can remain secret from the media.
cold open – When a film starts immediately, with no introduction or title cards. In the old days, both plays and movies premiered with a few words of introduction. Credits, also appeared before films. A teaser is a form of cold open, followed by credits.
condor – Telescoping boom that might reach to 120 feet, but normally used for 20- to 40-foot distances when you need to film from a distance. The boom can hold lights and / or microphones.
cone – 1) Shape of a light beam. 2) Sound collecting half-sphere.
continuity – Everything in a scene or film remains consistent if it has continuity; audiences notice continuity mistakes. 1) avoiding mistakes with costuming or make-up that cause “migrating” wounds, body art, jewelry, etc. 2) Making sure events in later scenes don’t contradict the “facts” established earlier. Shooting out of order, the script supervisor has to monitor continuity issues.
Co-Executive Producer – In television land, the Co-Executive Producer reports directly to the Executive Producer. If he or she is the Line Producer (and/or Showrunner) the Co-Executive Producer is responsible for above and below the line operations. In television, the Co-Executive Producer is often the Line Producer / Showrunner because the Producers Guild of America suggests that to receive a credit as Co-Executive Producer the individual must: 1) be a lead writer with supervisory responsibilities; or 2) direct the series while acting as Line Producer on set; or 3) be listed as “Produced by” so long as no other person receives the “Produced by” credit. See Producer.
Co-Producer – Feature films and television differ on what a Co-Producer title means, and the Producers Guild has suggested guidelines for both. 1) [film] The credit of Co-Producer (or Line Producer) refers to the individual reporting directly to the individual(s) receiving “Produced By” credit. The Co-Producer is responsible for the logistics of the production, from pre-production through completion of production. All Department Heads report to the Co-Producer during a film project, from start to finish. 2) [television] Co-Producer reports directly to the Supervising Producer. Though the PGA suggests that Co-Producer identifies the creative contributors to the series and those people performing a number of producing functions, there are more “Co-Producers” each television season. The guidelines are vague enough that many on-screen stars receive “Co-Producer” credits for participating in the “decision making” process.
coverage – 1) [script] To analyze (ideally after reading) a script, identifying its strengths and weaknesses. 2) [set] Shooting the same scene from various angles.
cover page – Simple cardstock sheet, 110-pound paper, with nothing on it. Traditionally, the cover and backing are light blue and secured with two brass brads through the three-hole punched script at the top and bottom, leaving a middle hole empty. See fly page.
cowboy shot – Shooting an actor from the waist up, which was done to show the cowboy’s gun in Westerns. It was important that the audiences never forgot the heroes and outlaws had guns.
crab [dolly] – Rubber-wheeled cart that allows a camera to move in all directions smoothly while filming.
craft services – There is a union that oversees the serving of refreshments to the crew (the craftsmen) during production. These “crafties” are not the full catering service, which is yet another expense. Craft services handles snack time.
crossing the lens – Walking in front of the camera while the director, cinematographer, or operator is lining up a shot. Do not do this, as the Director of Photography is likely to turn bright red and curse your offspring.
C-stand – a tripod used to hold lights in position.
cue – Something, anything, that triggers an action or line from an actor’s character. Angry looks from the director are not cues, but remain effective.
cut – what a director, and only a director, yells to stop the filming of a scene. 2. switching camera angles in a scene or cutting to the next scene.
cut in camera – to perfectly time and arrange scenes, with no alternate takes. Generally, the result of too much confidence in the shots.
cyc / cyclorama – a round backdrop or set, which allows filming in 360 degrees during a continuous shot.
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– D –
Dailies / rushes – the footage selected from the previous day (sometimes the same day) shown to the director so he or she can determine if any reshooting is necessary. The DP selects what to show the director, and might organize the footage in loose sequence.
dance floor – smooth plywood floor on which cameras on tripods or dollies can be moved while filming.
day for night – filming night scenes during the day with filters either to save money or for special effects. Also known as La Nuit Américaine, the title of a film by François Truffaut.
day out of days – a chart indicating the days that specific actors are needed on set; used for budgeting (planning, scheduling).
D.I. – digital intermediate. The “intermediate” digital copies of a scene while it is being manipulated and graded.
dingle – a stick, branch, or cutout hung in front of a light to cast shadows.
director – the person assumed to be in charge throughout film production, but answerable to producers and studio executives who will most likely second-guess all but the most established director.
director’s cut – “Final draft” of a film, submitted to the producers and studio executives for approval. It is rarely the final cut, however.
dirty – when any object or person is in the foreground of a shot, in addition to the primary actor.
dog collar / safety bond [strap] – cable used to secure lights and gear to overhead rigging in case the bolts and clamps fail.
do-si-do – to spin a camera around during a shot. A complex filming maneuver, since nothing can be around the set or it will be captured in the shot.
D.P. – the Director of Photography is the cinematographer in charge of lighting and filming, telling the crew (especially camera operators) what the director would like to see.
dress to the camera – position an object or person for the best shot.
DSLR – Any digital camera based on the classic film camera “single lens reflex” design. Even mirrorless cameras are often called DSLR cameras. The mirror, prism, and shutter of an SLR camera combined to create the classic “click” we know as a camera sound. (The shutter was only one element of that sound.)
dub – fix any sounds, especially dialogue, by recording replacement audio.
dubbing – replacing the words of dialogue with other words, or another language. Dubbing must not be confused with ADR or looping, when audio is “cleaned” in a studio with the same lines being re-recorded.
Dutch angle – any camera shot that isn’t parallel to the horizon of the set. Originally, these were Deutsch (German) angles in classic silent and early sound films. The spelling “evolved” as happens.
Duvetyne – a thick black, often treated cloth, used to block light, especially by covering windows. A thicker version is called “commando cloth” for some inexplicable reason.
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– E –
ECU / extreme close-up – what it says. Sometimes a shot of only a part of the actor’s face, such as the eyes or mouth. Other parts, no so often.
electrics / juicers / sparks – electricians.
elephant door – the huge doors to a soundstage that permit loading and loading large sets and gear.
Emily – a single-lamp broad (light).
establishing shot – Reveals when and where the film, or following scene, takes place. Writers once labled ESTABLISHING SHOT in script slugs, but it should be obvious without the lable.
[fix] executive producer – this could be 1) person responsible for securing funding, 2) showrunner responsible for a series, 3) line producer overseeing daily operations, 4) someone bribed with a fancy title. [fix — The Produced By credit shall be in the primary credit position among all PGA-sanctioned credits for theatrical motion pictures. Subject to the control of the Owner, The individual receiving Produced By credit shall have final responsibility for all business and creative aspects of the production of the motion picture, with direct participation in making decisions concerning a major portion of the producing functions (see PCOC Section 1 for comprehensive list).]
[TV] The credit of Executive Producer is to be granted to the individual whose only reporting responsibility is to the entities financing and distributing the series. Subject to the control of the Owner (see Rules of Arbitration, section I.B), the Executive Producer has final responsibility for the creative and business aspects of the production of the series, with direct participation in making decisions concerning a majority of the producing functions (see Section 3 for comprehensive list).
exteriors – Footage of the “exteriors” of scene locations. You might see a house, then cut to the kitchen. The director assumes you’ll believe this kitchen is in the house. In budgeting, the list of exteriors needed is important. Stock footage might be used, if it isn’t recognizably stock.
extras – Not the stars. Not the secondary characters. Directors would love to replace these actors with CGI. See background.
eye – camera lens.
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– F –
five-and-dime [treatment or coverage] – Reading the first five and last ten pages of a screenplay. Most scripts don’t survive the five-and-dime, unless the writer pays someone to provide coverage. “Give it the five-and-dime,” is a request for a reader to skim and report back quickly.
fly page / fly sheet / cover page – Title page of a screenplay. Uncertain of the origin, the title page is often removed before readers cover a script, to ensure some level of impartiality. The fly page follows a cardstock cover page, ideally 110-pound paper in blue.
foreground / F.G. –
– G –
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– H –
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– I –
insert – A shot within a shot, usually a quick glance at an object that will be important or serves as a visual metaphor. In a screenplay, this is capitlized with the object: INSERT - DEAD ROSE IN VASE
intercut
interiors
– J –
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– K –
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– L –
line producer – Sergeant major on a film set, the line producer oversees daily operations during production. The crew leads report to the line producer, who reports to the producer (or executive producer) in charge of the budget and logistics. Line producers are sometimes granted the title assistant director, production manager, or assitant executive producer and likely has to wear two or three hats on set.
– M –
master scene
match cut
montage
MOS – Without sound. Lots of stories for why this is, but in scripts MOS indicates no sound from the scene, though music might be heard. Example: SERIES OF SHOTS - MOS
– N –
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– O –
off camera / O.C. –
off screen / O.S. –
– P –
paranthetical – direction
[fix] POST-PRODUCTION SUPERVISOR 1. The Post Production Supervisor reports directly to the Co-Producer/Line Producer. 2. The Post Production Supervisor is responsible for the coordination and oversight of the entire post production process, but not primarily as a production company executive.
[fix] POST PRODUCTION COORDINATOR 1. The Post Production Coordinator reports directly to the Post Production Supervisor. 2. The Coordinator is responsible for facilitating post production functions as assigned by the Post Supervisor, which can involve interaction with various studio and post production departments concerning any and all aspects of the logistics of post production, such as working with the vendors, helping prepare day player contracts and crew deal memos, scheduling ADR, making travel arrangements, distributing paperwork, maintaining crew lists, etc.
practical – existing buildings, objects, and natural setting that can be used for a scene. Cheap and practical, nothing has to be a build.
[fix] producer [film] – The Produced By credit shall be in the primary credit position among all PGA-sanctioned credits for theatrical motion pictures. Subject to the control of the Owner, The individual receiving Produced By credit shall have final responsibility for all business and creative aspects of the production of the motion picture, with direct participation in making decisions concerning a major portion of the producing functions (see PCOC Section 1 for comprehensive list).The list of potential “producers” on a production includes:
Executive Producers; Producers; Supervising Producers; Senior Producers; Line Producers; Associate Producers; Segment Producers; Field Producers; Story Producers; Production Managers; Visual Effects Producers and Coordinators; Post-Production Supervisors and Managers; Production and Post-Production Coordinators.
[fix TV] producer – The individual receiving the Produced By credit reports directly and immediately to the Executive Producer. There never shall be more than one Produced By credit on any episode of a series. {This is often the Line Producer, the person running the budget and schedule.} The individual receiving the Produced By credit has the primary responsibility for the logistics of the production of the series, from pre-production through delivery of each episode; all Department Heads report directly to the Produced By. If the individual who performs the Produced By functions is granted the title of Co-Executive Producer, there shall be no Produced By credit afforded on the series.
Production Assistant (P.A.) – .
[fix] PRODUCTION COORDINATOR: 1. The Production Coordinator reports to the person(s) receiving the Produced By credit, the Co-Producer/Line Producer the Production Supervisor/Manager or UPM. 2. The Coordinator interacts with various studio and production departments concerning any and all logistics of production and is responsible for facilitating production requirements including, but not limited to, equipment contracts, purchase orders, film inventory, insurance, day player contracts, crew deal memos, travel and shipping, call sheets, production reports, cast and crew lists, and compliance with various union report requirements.
production script / shooting script –
[fix] PRODUCTION SUPERVISOR/MANAGER 1. The Production Supervisor/Manager reports directly and immediately to the person performing the Co-Producer/Line Producer or UPM functions. 2. The Production Supervisor/Manager has the primary responsibility for the logistics of the production of the motion picture, from pre-production through the completion of production.
props –
– Q –
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– R –
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– S –
screen credit –
showrunner –
slug [line] – Scene headings within a formatted script are slugs.
stock [footage] / stock shot –
[fix TV] The Supervising Producer reports directly to the Exec. Producer and/or Co-Exec. Producer. The credit of Supervising Producer is granted solely at the discretion of the Exec. Producer. The credit of Supervising Producer shall apply only to primary creative contributors to the series that perform, in a decision-making capacity, a substantial number of producing functions. The credit of Supervising Producer only shall apply to primary creative contributors to the series that qualify under one of three categories: Having received the credit of Writer-Producer for no less than two full seasons of this or other series episodes that have been nationally telecast; OR Having received the credit of Producer or “Produced By” for no less than two full seasons of this or other series episodes that have been nationally telecast; OR As a director who has responsibility for supervising all episodic directors on the series.
synopsis –
– T –
talent – Actors, in theory.
treatment –
– U –
Unit Production Manager – Directors Guild of America title for a position similar to the Producers Guild of America’s Production Coordinator and sometimes similar to a Line Producer. This all gets very confusing, with each guild having its own rules for these positions and screen credits.
– V –
[fix] VISUAL EFFECTS PRODUCER 1. The Visual Effects Producer reports directly to the individual receiving the “Produced By” credit and/or the Visual Effects Supervisor. 2. The Visual Effects Producer is responsible for a film’s visual effects budget and schedule across at least two of the three phases of a motion picture’s pre-production, production, and post-production process.
[fix] VISUAL EFFECTS CO-PRODUCER 1. The Visual Effects Co-Producer reports directly to the Visual Effects Supervisor and/or the Visual Effects Producer. 2. The Visual Effects Producer is responsible for overseeing several Visual Effects Coordinators and/or assuming many of the day-to-day tasks of the Visual Effects Producer.
[fix] VISUAL EFFECTS COORDINATOR 1. The Visual Effects Coordinator reports directly to the Visual Effects Co-Producer. 2. The Visual Effects Coordinator is responsible for facilitating visual effects functions as assigned by the Visual Effects Co-Producer, which can involve interaction with various production and post-production departments concerning any and all aspects of the logistics of visual effects.
voice over / V.O. –
– W –
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– XYZ –
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