SMASH CUT TO: Another lame transition

Smash cut to a lame transitionScreenwriters are always told to write visually because film is a visual medium, and “SMASH CUT TO” somehow has emerged as a “technique” to convey a sudden cut to a new scene. As Benedict Cumberbatch’s Sherlock would say — actually, he would rightfully dismiss you with, perhaps, a glare, if even that, and move on to higher intellectual ground, where you should be, because SMASH CUT TO, if anything, actually will get in the way of the dramatic transition effect for which you poorly are attempting to compensate. The key to a dramatically effective transition from one scene to the next stems not from terminology, but instead from Continue reading “SMASH CUT TO: Another lame transition”