When you have a character talking on the phone who is not in the scene that the audience is watching (e.g. Bill is in a phone booth talking to Jim who we only hear but never see) – do you use (O.S.) or (O.C.) or something else?

--RMT

I would use O.S., which means “off screen.” I think the distinction is supposed to be that O.C. ("off camera") applies when the speaker is physically in the same space as the person he’s talking to, but just not on camera, while O.S. is when speaker and listener are in different places.

I don’t think the distinction between the two terms is all that useful. In fact, I never use O.C., even in situations where it would probably apply – I just use O.S., and no one is ever confused.

I can’t say for certain what my aversion to O.C. is. It may be that on a subconscious level, I know that the “C.” stands for “camera,” and I try to never refer to the camera itself. I think it takes the reader out of the story, reminding them that what they’re reading is just a script.

However, there’s absolutely nothing wrong with O.C. – most readers will know what it means. So if it floats your boat, by all means use it in appropriate situations. Which does not include this one.

I'm a film school dropout who has a reel of work and would like to see about getting an agent.

Is the best option contacting agencies directly and hoping to land a meeting, or do I have to have more for them to go on before I try and schedule a meeting? (I don't know if this question is commonly asked but the fact is its a current pressing matter for me.)

--Teddy

I have very mixed feelings about the importance of having an agent in a day and age where finding anyone is only a click away. I will address this inquiry, but I wonder why you are a “film school dropout”. I hope you are not among the throngs of young people who want to become directors so they may get rich, powerful AND famous overnight and do so without any regard for the craft or art of filmmaking. I am sure you are not, right?

Film school has a lot to offer, but let’s address the agent issue. Usually agencies will want to take on up-and-comers who have already made a name for themselves through the festival circuit, music videos, commercials, or even the internet. Without having done some work that gives you credibility, you will probably not get representation. I always think about the quest for an agent as being similar to unsigned bands looking for a manager. I guess an agent or manager can help, but the strategy that seems more viable and realistic to me is one where a filmmaker does a great short, feature, animated piece or whatever and makes a big impression either by self-distribution, internet exhibition, or even by giving it away for free at festivals. I knew some guys down in Texas (where else?) who drove around in a truck and projected their movie on the side of buildings!! With current technology, you can not only be inventive with the making of the movie, but also with getting it seen by the public.

Agents are good at making the most of a good situation, i.e. if you have something of a name and are somewhat recognized, they can exploit that. Few, if any, these days will take an unproven entity and go out on a limb. They can only put you under contract for a limited time, and that is probably one reason they are very conservative in signing new clients.

I think there was an incredible injustice at last year's Academy Awards. The best cinematography movie winner Master and Commander winning over Girl with a Pearl Earring and Seabiscuit ? Come on!!! (Not to mention City of God and John Seale's Cold Mountain).

What do you think about that? What was your favorite cinematography in 2003 (even among the not-nominated films). Do you think Academy has been "reasonable" recently in its cinematography awards?
-R Marcell

As I am an Academy voter I guess I am not supposed to comment negatively on the awards! However, the awards process is a curious one as departments vote for the nominees and then everyone votes for the winners. This sometimes means that the nominee list is OK but the winner tends to be the most “popular” film, which usually means the film that was most successful in the box office. This isn’t because of some conspiracy; it’s just human nature.

On the whole I think the Awards list is OK. Of course there are many films I think were left out (mostly my own!), but then that’s always going to be personal opinion. It’s a bit like Best Restaurant or Best Bottle of Wine – there’s no maths here, just opinions.

I’d go for City of God but not for Cold Mountain. I prefer Master and Commander over Girl with a Pearl Earring, but that’s just because I don’t like cinematography that looks like painting: but then I think Eduardo Serra is one of the best cinematographers currently working.

Clubs always attract negative publicity and the Academy is no different. We are really just a bunch of people who are good at what we do and once a year throw a party to celebrate the business we work in. The world has decided to take it all a bit too seriously and it’s become a Really Big money spinner so the fun has gone out of it in some ways, and the months spent obsessing about the Awards is a real pain if you happen to be shooting a movie during Awards Season. The general opinion amongst cinematographers is that whilst being nominated might be good for your career, winning is not often as beneficial as it might seem.

John August's screenwriting credits include Go, Big Fish, Titan A.E. and both Charlie's Angels movies. His current projects include Charlie and the Chocolate Factory, Tarzan, and Corpse Bride. He also maintains a screenwriting-oriented website at johnaugust.com.

Born and raised in Boulder, Colorado, John earned a degree in journalism from Drake University in Iowa, and an MFA in film production from the Peter Stark program at the University of Southern California. He lives in Los Angeles.

Got a question about screenwriting? Send it to Ask a Writer.

Got a question about directing? Send it to Ask a Director.

If you are considering working in the movie industry, Oliver Stapleton has written a brief guide available at www.cineman.co.uk.

Got a question about cinematography? Send it to Ask a Cinematographer.