Hey, Scott: I'm keeping in mind that you're the successful screenwriter (with the best blog around, to boot) and I'm just the wannabe. But I thought the classic explanation for what to capitalize was straightforward and old-school: "The screenplay is the blueprint for the movie." Anything that someone needs to *supply* to produce the movie from the script is called out in caps: a sound effect (like a screech), a prop (like wreckage), a special effect (like a burning hull, or glass flying), the setup for a particular shot (close-up on newspaper hitting the ground, or scope of an action shot). They're the parts list that gets lined up in pre-production.

F-that... i don't caps anything except for character names upon introduction... caps just break up the flow of reading the damn thing, and their only purpose is for the director... or propsmaster, lighting guy etc

let the director direct... and the props or lighting guy should read the entire f'n script anyway not just look for the caps stuff - or he shouldn't be on the film at all

Hey, thanks so much for fielding my question and for the very detailed answers.

In looking at the examples provided, it's interesting how usage changed between. For me, Die Hard seem to be over using capitalization a bit. But with Pirates, there's a more studied, poetical feel for it.

Granted, one is describing a kinetic action sequence, the other an environment (and mood). I guess it comes down to how much visual information you want to convey and in what context, bearing in mind the effect it has on the reader's ability to follow the story.

For a whole new level of CAPS usage, check out any of the Bourne scripts.