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A Complete List of Hollywood Slang

Ever been on a film set and felt like everyone was speaking a foreign language? Hollywood is notorious for its insider lingo.

If you want to navigate the backlot like a pro, you’ll need to master the slang. From quirky equipment names to cryptic production terms, here’s your ultimate guide to cracking the code of Hollywood-speak.

Check it out below.


A Complete List of Hollywood Slang

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  • Abby Singer: The second-to-last shot of a filming day.
  • ADR (Automated Dialogue Replacement): Re-recording dialogue in post-production.
  • Apple Box: Wooden boxes used for set building, positioning actors, and various equipment needs.
  • Above the line: Budget for key creative personnel (director, producer, major stars).
  • Back nine: Traditionally, the second half of an 18-hole golf game; where production deals are often made.
  • Backlot: A studio-owned outdoor area with permanent sets or space to build them.
  • Banana: A curved lighting stand.
  • Beat: A brief pause or change in an actor’s delivery for dramatic effect.
  • Beat Sheet: A basic outline of a screenplay, listing key plot points and scenes.
  • Below the line: Budget for technical crew and production costs.
  • Best Boy: Assistant to either the key grip or the gaffer (chief electrician).
  • Bible: A comprehensive document outlining the world, characters, and overall arc of a television series.
  • Blocking: Planned physical movements of actors within a scene.
  • Blue/Green Screen: Large colored backdrops used for visual effects (actors are filmed in front of them, and the screen is replaced in post-production).
  • Boilerplate: Standard legal language used in contracts.
  • Bounce: Reflecting light with a white board or similar to soften the source.
  • B-roll: Supplemental footage used to establish setting or add visual interest.
  • Bump: A slight pay increase.
  • C-47: A clothespin (used on lights and elsewhere in film sets).
  • Call sheet: Daily schedule outlining the day’s scenes, locations, cast/crew needed, and important notes.
  • Cattle Call: A large, open casting call.
  • Chemistry Read: Actors audition together to test their potential onscreen chemistry.
  • China Ball: A paper lantern that provides soft diffused lighting.
  • Cold Read: Auditioning with a script with little to no preparation.
  • Comp: Free tickets for an actor’s friends/family, or free services during production.
  • Cookie (Cucoloris): A patterned cutout used to create dappled light effects.
  • Coverage: The different camera angles and shots used to capture a scene.
  • Craft services (“crafty”): The on-set snack and drinks table.
  • Dailies: The raw footage shot on any given filming day.
  • Day Player: An actor hired for a single day’s work.
  • Development Hell: A project stuck in the development phase for an extended period.
  • Dolly: A wheeled platform used for moving the camera smoothly.
  • Flag: Black fabric used to block or shape light.
  • Fourth Wall: The imaginary barrier between the actors and the audience.
  • French Hours: Long workday without a traditional lunch break.
  • Gaffer: The head electrician responsible for lighting on a film set.
  • Golden Time: Overtime pay rate.
  • Greenlight: A project getting studio approval to move forward.
  • Grip: Crew member responsible for camera support, rigging, and non-electrical set work.
  • Holding Deal: When an actor’s paid a retainer to stay available for a project.
  • Honeywagon: A trailer containing portable restrooms.
  • Hot Set: A set that’s ready for filming and cannot be disturbed.
  • In the pocket: When an actor has totally embodied their character.
  • Looping: A type of ADR where actors watch themselves on screen to better sync dialogue replacement.
  • Magic Hour: The period during sunrise and sunset with soft, golden light.
  • Mark: A designated position for an actor to hit during a scene.
  • Martini on the Rocks: Similar to a Martini shot, but with a bit of unusable footage at the end.
  • Martini Shot: The last shot of a filming day.
  • Meal Penalty: Financial penalty if the crew doesn’t get a meal break on time.
  • Motivation: The underlying reason behind a character’s actions.
  • MOS: Filming without sound (stands for ‘Motor Only Sync’). Can also mean “mit out sound”.
  • Off-book: Having your lines memorized and not needing the script.
  • One-liner: A brief, single-sentence synopsis of a film or TV pitch.
  • Option: Securing temporary exclusive rights to a script or book, usually with payment involved.
  • Package: Combining a script with attached talent (director, actor) to make it more appealing.
  • Pencilled In: Tentatively scheduled but not fully confirmed.
  • Pickup: Additional filming done after the main shoot.
  • Pitch: When a writer or filmmaker presents their project idea to potential buyers.
  • Playback: Playing recorded audio or video on set.
  • Polish: A final script rewrite focusing on minor tweaks and dialogue cleanup.
  • Sandbag: Bags filled with sand used to stabilize cameras, lights, etc.
  • Sides: The portions of a script an actor needs for their audition.
  • Spec Script: A screenplay written without being commissioned, hoping to sell it later.
  • Speed: The command from the sound mixer when recording is rolling and ready.
  • Stinger: An extension cord.
  • Stealing Focus: When an actor subtly draws attention away from the main action of a scene.
  • Sticks: A tripod.
  • Table Read: Cast gathers to read the script aloud, often a first production step.
  • Tentpole: A big-budget film expected to be a blockbuster and anchor a studio’s release schedule.
  • Texas Switch: Switching an actor for a stunt double discreetly during a shot.
  • Tracking: How audience awareness and interest in a project build over time.
  • Turnaround: A project abandoned by one studio and picked up by another.
  • Walk and Talk: A scene featuring characters moving and conversing.
  • Wrap: Signifies the end of a shooting day or the entire production
  • Wrap Gift: A small present given to cast and crew at the end of production.

Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.

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