In another article from Living the Romantic Comedy, they analyze the structure of Slumdog Millionaire. After watching the movie, I commented to my buddy about how beautifully the story was structured, and this blog encapsulates why it works so well. See it in it's original form here.
Structure, Structure, Structure
If movies are story, and they are, then screenplays are structure. -- William Goldman
You may have heard by now that this year's indie sleeper Slumdog Millionaire is being considered a dark horse Oscar contender for Best Picture. You might think such buzz is due to the exotic factor (Bollywood-color drama and romance in the slums of India!), that it's a Danny Boyle movie (Trainspotting, 28 Days), or that it's got that ridiculously gorgeous woman in it (Freida Pinto). All of these elements do contribute to what makes the movie such a wild and satisfying ride, but -- please don't throw things at the story analyst -- I think the movie works on account of its structure.
Structure9 Structure is the biggest old bugaboo in screenwriting circles. Reams have been written about this aspect of the craft, which is as misunderstood and misused as it's slavishly adhered to. I'm presently teaching a screenwriting class where the students are busily banging their heads against the specter of structure, as they work out the big beats of their plot en route to a viable outline of their movie. And they'd be the first to tell you that this is the opposite of fun.
Often the cry of the newbie screenwriter, knee-deep in such a painful process, is why?! Why is it so infernally important that one have the structure of a story locked in, before one starts to write actual scenes in earnest? Why not just... y'know, have fun with the thing? Write and make discoveries, figuring out what works and doesn't work on the fly?
Structure4 I'm all for all of that. But Slumdog answers that"why" in a way that no amount of theorizing could. It's a vivid demonstration of why sooner than later, deciding on a structure and committing to it is the best thing a screenwriter can do.
Here's what you learn in the opening of the movie (what follows is no spoiler, since far more of the plot has already been spilled in Slumdog's glowing reviews):
Eighteen-year-old Dev Patel has reached the last stage of India's Who Wants To Be A Millionaire? TV show. He's on the verge of hearing and answering the final question in front of millions of viewers. But Dev is merely a go-fer at a Mumbai telemarketing center, an uneducated "slumdog" who couldn't -- shouldn't -- be educated enough to have gotten this far. And so, suspected of cheating, he's imprisoned and interrogated, even tortured, by the local police. What Dev eventually explains is that each correct answer he's given on the show came from some fairly grim experience he had, growing up the hard way on the streets of Mumbai. Such as... And we're into our first flashback.
Structure_Flowchart How brilliant a construct? Let's see. As my writer-director friend Bob Dolman (Far and Away, How to Eat Fried Worms) puts it, any story is only as good as the predicament its protagonist is in. It's only when your character is between a powerful rock and an equally compelling hard place that an audience sits up and takes notice.
So: I'd like to tell you the story of what it's like to grow up dirt-poor in Mumbai. Here's where I was born, and here are my parents, and here's the kids I used to play with, and...
Bo-ring!
How about instead, I put you in the epicenter of perhaps the most important moment of my life -- when I'm poised on the brink of becoming a millionaire... or after coming all this way, losing the huge sum I've already won, and leaving as poor as I've always been?
Now you've got our attention.
And how about we add in the threat of my being strung up and having electrical wires attached to some sensitive body parts... and perhaps being locked in prison for the rest of my days, if I can't prove my innocence?
We're listening.
Now, wouldn't you like to know what I went through as a kid, to learn the answer to the first question I got right on this show? It was pretty awful.
Go on.
And how about, with each story-about-how-I-learned-an-answer, I tell you about my best friend and the girl I fell in love with, and how she came between us... and I spin that decades-spanning tale (it's got guns, betrayal and even the Taj Mahal in it) right up to the present moment, where friend and girl and I all hang in the balance of: what happens next?
Dude! Just tell us where's it playing and what time it goes on.
Slumdog-millionaire-sp
Since I'm not familiar with the source material, a novel called Q & A written by Vikas Swarup, I can't tell you how much of this concept is Swarup and how much is director Boyle and screenwriter Simon Beaudroy (who also wrote an involving little pic called The Full Monty). But I would wager that Swarup didn't start out, first and foremost, with a burning desire to tell a story about a quiz show.
Structure_img01 No, he probably had a passionate investment in a story about two best friends growing up on the streets of Mumbai. In fact, judging by some on-screen evidence, he might've been interested in telling a modern-day version of The Three Musketeers (with a little Oliver Twist thrown in). But my point is, how did that story end up riveting millions of butts in their seats?
Structure.
It helps that Boyle is a director of ceaseless energy and visual invention. But this time his considerable talents are brought to bear on a story that just -- keeps -- coming. Each flashback is a story in itself, with its own rising arc and tensions. And each time we come back to a present that's increasingly more meaningful and suspenseful.
Structure2005_e800 Plus you get an all-singing, all-dancing kickass Bollywood musical number.
As to the consummate why? of structure, here's my final answer: structure is the skeleton you hang your story on, and if you build it right, just about any image -- say, from a kid literally covered in outhouse manure to a haunted beauty caught alone in the monsoon rain -- will compel our attention.
Slumdog Millionaire even has a neat thematic subtext to play out, about how disparate, seemingly random events that felt like pure chaos when you lived them can actually sum up The Story of You. But it wouldn't have been such an indelibly memorable movie-to-see, if it wasn't told in such a canny, crafty manner.
Structure, structure, structure.
Showing posts with label filmmaking. Show all posts
Showing posts with label filmmaking. Show all posts
Monday, December 8, 2008
Friday, November 28, 2008
Thomas Kinkade should leave filmmaking to the pros.
Poached directly from this Vanity Fair article, who obtained the exclusive on it. This is a memo circulate to the entire crew of The Christmas Cottage. For S and G, here it the trailer. I should caveat, I've never produced anything shot on 35mm with a dvd distribution by Lionsgate that starred multiple academy award nominated actors, but still...come on.
Thomas Kinkade's
The Christmas Cottage
The sixteen guidelines for creating the "The Thomas Kinkade Look".
1) Dodge corners or create darkening towards edge of image for "cozy" look. This may only apply to still imagery, but is useful where applicable.
2) Color key each scene to create mood, and color variation. When possible, utilize cooler tones to suggest somber moods, and warmer, more vibrant tones to suggest festive atmosphere. In general, create a color scheme for each scene that can be accentuated through filtering, DI treatments, or through lighting. Most of my paintings feature an overall cool color envelope, into which warm accents are applied.
3) Create classic compositions. Paintings generally utilize a theme and variation compositional motif. Heavy weighting of the image towards one side, with accented areas of interest balancing it on the other side. Allow the eye to wander into the scene through some entry point. Be aware of where the viewer is standing at all times. Utilize traditional eye levels for setting the shot -- that is, no high vantage points, off-kilter vantage points, or "worms eye view" vantage points. Generally focus on a standing adults viewpoint of the scene at hand.
4) Awareness of edges. Create an overall sense of soft edges, strive for a "Barry Lyndon" look. Star filters used sparingly, but an overall "gauzy" look preferable to hard edge realism.
5) Overall concept of light. Each scene should feature dramatic sources of soft light. Dappled light patches are always a positive, glowing windows, lightposts, and other romantic lighting touches will accentuate the overall effect of the theme of light.
6) Hidden details whenever possible, References to my children (from youngest to oldest as follows): Evie, Winsor, Chandler and Merritt. References to my anniversary date, the number 52, the number 82, and the number 5282 (for fun, notice how many times this appears in my major published works). Hidden N's throughout -- preferably thirty N's, commemorating one N for each year since the events happened.
7) Overall sense of stillness. Emphasize gentle camera moves, slow dissolves, and still camera shots. A sense of gradual pacing. Even quick cut-away shots can slightly dissolve.
8) Atmospheric effects. Whenever possible utilize sunset, sunrise, rainy days, mistiness -- any transitory effect of nature that bespeaks luminous coloration or a sense of softness.
9) A sense of space. My paintings feature both intimate spaces and dramatic deep space effects. We should strive for intimate scenes to be balanced by deeper establishing shots. (I know this particular one is self-evident, but I am reminded of it as I see the pacing of the depth of field in Kubrick's "Barry Lyndon".)
10) Short focal length. In general, I love a focal plane that favors the center of interest, and allows mid-distance and distant areas to remain blurry. Recommend "stopping down" to shorten focal lengths.
11) Hidden spaces. My paintings always feature trails that dissolve into mysterious areas, patches of light that lead the eye around corners, pathways, open gates, etc. The more we can feature these devices to lead the eye into mysterious spaces, the better.
12) Surprise details. Suggest a few "inside references" that are unique to this production. Small details that I can mention in interviews that stimulate second or third viewings -- for example, a "teddy bear mascot" for the movie that appears occasionally in shots. This is a fun process to pursue, and most movies I'm aware of normally have hidden "inside references". In the realm of fine art we refer to this as "second reading, third reading, etc." A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.
13) Mood is supreme. Every decision made as to the visual look of each shot should include the concept of mood. Music can accentuate this, use of edges can accentuate this, atmospheric effects accentuate this, etc.
14) The concept of beauty. I get rid of the "ugly parts" in my paintings. It would be nice to utilize this concept as much as possible. Favor shots that feature older buildings, ramshackle, careworn structures and vehicles, and a general sense of homespun simplicity and reliance on beautiful settings.
15) Nostalgia. My paintings routinely blend timeframes. This is not only okay, but tends to create a more timeless look. Vintage cars (30's, 40's, 50's, 60's etc) can be featured along with 70's era cars. Older buildings are favorable. Avoid anything that looks contemporary -- shopping centers, contemporary storefronts, etc. Also, I prefer to avoid anything that is shiny. Our vintage vehicles, though often times are cherished by their owners and kept spic-n-span should be "dirtied up" a bit for the shoot. Placerville was and is a somewhat shabby place, and most vehicles, people, etc bear traces of dust, sawdust, and the remnants of country living. There are many dirt roads, muddy lanes, etc., and in general the place has a tumbled down, well-worn look.
16) Most important concept of all -- THE CONCEPT OF LOVE. Perhaps we could make large posters that simply say "Love this movie" and post them about. I pour a lot of love into each painting, and sense that our crew has a genuine affection for this project. This starts with Michael Campus as a Director who feels great love towards this project, and should filter down through the ranks. Remember: "Every scene is the best scene."
The list above is not all-inclusive, but is a good starting point for internal dialogue. These guidelines are not listed in order of importance, but are dictated off the top of my head. After painting for nearly 40 years, I still wake up every morning daydreaming about new ways to make paintings. Creating a movie is a natural extension of the picture making process, and hopefully my catalog of visual paintings, along with my visual guidelines in this memo will provoke dialogue, experimentation, and a sense of over-arching visual purpose.
Thomas Kinkade's
The Christmas Cottage
The sixteen guidelines for creating the "The Thomas Kinkade Look".
1) Dodge corners or create darkening towards edge of image for "cozy" look. This may only apply to still imagery, but is useful where applicable.
2) Color key each scene to create mood, and color variation. When possible, utilize cooler tones to suggest somber moods, and warmer, more vibrant tones to suggest festive atmosphere. In general, create a color scheme for each scene that can be accentuated through filtering, DI treatments, or through lighting. Most of my paintings feature an overall cool color envelope, into which warm accents are applied.
3) Create classic compositions. Paintings generally utilize a theme and variation compositional motif. Heavy weighting of the image towards one side, with accented areas of interest balancing it on the other side. Allow the eye to wander into the scene through some entry point. Be aware of where the viewer is standing at all times. Utilize traditional eye levels for setting the shot -- that is, no high vantage points, off-kilter vantage points, or "worms eye view" vantage points. Generally focus on a standing adults viewpoint of the scene at hand.
4) Awareness of edges. Create an overall sense of soft edges, strive for a "Barry Lyndon" look. Star filters used sparingly, but an overall "gauzy" look preferable to hard edge realism.
5) Overall concept of light. Each scene should feature dramatic sources of soft light. Dappled light patches are always a positive, glowing windows, lightposts, and other romantic lighting touches will accentuate the overall effect of the theme of light.
6) Hidden details whenever possible, References to my children (from youngest to oldest as follows): Evie, Winsor, Chandler and Merritt. References to my anniversary date, the number 52, the number 82, and the number 5282 (for fun, notice how many times this appears in my major published works). Hidden N's throughout -- preferably thirty N's, commemorating one N for each year since the events happened.
7) Overall sense of stillness. Emphasize gentle camera moves, slow dissolves, and still camera shots. A sense of gradual pacing. Even quick cut-away shots can slightly dissolve.
8) Atmospheric effects. Whenever possible utilize sunset, sunrise, rainy days, mistiness -- any transitory effect of nature that bespeaks luminous coloration or a sense of softness.
9) A sense of space. My paintings feature both intimate spaces and dramatic deep space effects. We should strive for intimate scenes to be balanced by deeper establishing shots. (I know this particular one is self-evident, but I am reminded of it as I see the pacing of the depth of field in Kubrick's "Barry Lyndon".)
10) Short focal length. In general, I love a focal plane that favors the center of interest, and allows mid-distance and distant areas to remain blurry. Recommend "stopping down" to shorten focal lengths.
11) Hidden spaces. My paintings always feature trails that dissolve into mysterious areas, patches of light that lead the eye around corners, pathways, open gates, etc. The more we can feature these devices to lead the eye into mysterious spaces, the better.
12) Surprise details. Suggest a few "inside references" that are unique to this production. Small details that I can mention in interviews that stimulate second or third viewings -- for example, a "teddy bear mascot" for the movie that appears occasionally in shots. This is a fun process to pursue, and most movies I'm aware of normally have hidden "inside references". In the realm of fine art we refer to this as "second reading, third reading, etc." A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.
13) Mood is supreme. Every decision made as to the visual look of each shot should include the concept of mood. Music can accentuate this, use of edges can accentuate this, atmospheric effects accentuate this, etc.
14) The concept of beauty. I get rid of the "ugly parts" in my paintings. It would be nice to utilize this concept as much as possible. Favor shots that feature older buildings, ramshackle, careworn structures and vehicles, and a general sense of homespun simplicity and reliance on beautiful settings.
15) Nostalgia. My paintings routinely blend timeframes. This is not only okay, but tends to create a more timeless look. Vintage cars (30's, 40's, 50's, 60's etc) can be featured along with 70's era cars. Older buildings are favorable. Avoid anything that looks contemporary -- shopping centers, contemporary storefronts, etc. Also, I prefer to avoid anything that is shiny. Our vintage vehicles, though often times are cherished by their owners and kept spic-n-span should be "dirtied up" a bit for the shoot. Placerville was and is a somewhat shabby place, and most vehicles, people, etc bear traces of dust, sawdust, and the remnants of country living. There are many dirt roads, muddy lanes, etc., and in general the place has a tumbled down, well-worn look.
16) Most important concept of all -- THE CONCEPT OF LOVE. Perhaps we could make large posters that simply say "Love this movie" and post them about. I pour a lot of love into each painting, and sense that our crew has a genuine affection for this project. This starts with Michael Campus as a Director who feels great love towards this project, and should filter down through the ranks. Remember: "Every scene is the best scene."
The list above is not all-inclusive, but is a good starting point for internal dialogue. These guidelines are not listed in order of importance, but are dictated off the top of my head. After painting for nearly 40 years, I still wake up every morning daydreaming about new ways to make paintings. Creating a movie is a natural extension of the picture making process, and hopefully my catalog of visual paintings, along with my visual guidelines in this memo will provoke dialogue, experimentation, and a sense of over-arching visual purpose.
Tuesday, October 14, 2008
Think of it as Film School...
...when you're starting your career. The beauty of film school is that it's an incubator for people to have terrible projects. And trust me, everyone's first project is a disaster. so is their second, third, and fourth.
It doesn't matter if you are an actor, a director, a cinematographer, or a writer, you will invariably SUCK when you start your career. If you are beginning in a career in entertainment, look in the mirror and tell yourself, "I SUCK".
Don't worry, there is an upside, because you are SUPPOSED to suck. The only way you become GOOD at something is to do it A LOT! and I mean A LOT A LOT. For example, every actor in LA is in some sort of acting workshop, even working actors go to classes to improve their craft. Because they know that it's a constant process to improve and that in every class they get just a little bit better.
When I first started working, I was on hundreds of projects feeling my way, and getting to a point where I thought it was time to direct. And my first three shorts were a disaster. This was a professional cinematographer, who had been on hundreds of shoots, and when I edited everything together, it was tragic. Luckily, I moved past it, and eventually became comfortable enough in my own skin to direct a feature and a couple TV shows.
So, why do I bring it up...because you should let yourself suck. Don't expect your first script to be perfect, or your first directing experience to be flawless. It's too lofty to think you should be great from the outset. Allow yourself to suck for a while. Now, if you've written ten scripts, or directed ten movies, and you're still terrible, that's another issue.
Since moving to LA, I've found that just as many people SAY they are something as actually are doing something. It's very easy to call yourself a writer because you've done a script, or a director for having directed one short film. However, the truth is that Actors act, ALL THE TIME. Writers write ALL THE TIME, directors direct ALL THE TIME, and producers produce ALL THE TIME. And THAT is how they get better.
Just remember this, STEVEN SPIELBERG'S first movie sucked. If you could get your hands on it, he would be embarrassed. There may be flashes of genius, but he worked, and worked, and worked at it before he even got a small break. I heard a statement a couple months ago that a new writer will gladly give their first script to anyone, while a professional writer will never show their first script to ANYONE. Once again, because even professional writers SUCK when they start out.
At UPC, I read a lot of scripts, and its pretty easy to see who the professional writers are and who are the people that don't have it yet. The professional writers have all the tricks to make their script pop, because they sucked for a while until they learned how to do things. It's not that the other writers aren't good, but there is an intangibility to the writing that stands out with a professional writer.
And that is what film school provides, the ability to suck without fear of reprisal, the be atrocious without fear of repercussions. To be given a grade, and a way to grow into a career, to develop your eye and your voice. So, when thinking of your career, think of it as film school. Let's say a writer writes five full features in film school. Well, you should give yourself at least five scripts to develop yourself as a writer, instead of sending out your first script as gold.
Remember, it's okay to SUCK. It's okay to need more work, because everyone does. But, it's important to know your inadequacies, and be working towards changing it. And as I said in a previous post, it could take between 5 and 10 years to be discovered in this business, and some people are never discovered. Everyone in this city has one thing in common, they used to SUCK, and now they are at some level of not SUCKING quite as much.
Remember, YOU SUCK, and that's okay.
It doesn't matter if you are an actor, a director, a cinematographer, or a writer, you will invariably SUCK when you start your career. If you are beginning in a career in entertainment, look in the mirror and tell yourself, "I SUCK".
Don't worry, there is an upside, because you are SUPPOSED to suck. The only way you become GOOD at something is to do it A LOT! and I mean A LOT A LOT. For example, every actor in LA is in some sort of acting workshop, even working actors go to classes to improve their craft. Because they know that it's a constant process to improve and that in every class they get just a little bit better.
When I first started working, I was on hundreds of projects feeling my way, and getting to a point where I thought it was time to direct. And my first three shorts were a disaster. This was a professional cinematographer, who had been on hundreds of shoots, and when I edited everything together, it was tragic. Luckily, I moved past it, and eventually became comfortable enough in my own skin to direct a feature and a couple TV shows.
So, why do I bring it up...because you should let yourself suck. Don't expect your first script to be perfect, or your first directing experience to be flawless. It's too lofty to think you should be great from the outset. Allow yourself to suck for a while. Now, if you've written ten scripts, or directed ten movies, and you're still terrible, that's another issue.
Since moving to LA, I've found that just as many people SAY they are something as actually are doing something. It's very easy to call yourself a writer because you've done a script, or a director for having directed one short film. However, the truth is that Actors act, ALL THE TIME. Writers write ALL THE TIME, directors direct ALL THE TIME, and producers produce ALL THE TIME. And THAT is how they get better.
Just remember this, STEVEN SPIELBERG'S first movie sucked. If you could get your hands on it, he would be embarrassed. There may be flashes of genius, but he worked, and worked, and worked at it before he even got a small break. I heard a statement a couple months ago that a new writer will gladly give their first script to anyone, while a professional writer will never show their first script to ANYONE. Once again, because even professional writers SUCK when they start out.
At UPC, I read a lot of scripts, and its pretty easy to see who the professional writers are and who are the people that don't have it yet. The professional writers have all the tricks to make their script pop, because they sucked for a while until they learned how to do things. It's not that the other writers aren't good, but there is an intangibility to the writing that stands out with a professional writer.
And that is what film school provides, the ability to suck without fear of reprisal, the be atrocious without fear of repercussions. To be given a grade, and a way to grow into a career, to develop your eye and your voice. So, when thinking of your career, think of it as film school. Let's say a writer writes five full features in film school. Well, you should give yourself at least five scripts to develop yourself as a writer, instead of sending out your first script as gold.
Remember, it's okay to SUCK. It's okay to need more work, because everyone does. But, it's important to know your inadequacies, and be working towards changing it. And as I said in a previous post, it could take between 5 and 10 years to be discovered in this business, and some people are never discovered. Everyone in this city has one thing in common, they used to SUCK, and now they are at some level of not SUCKING quite as much.
Remember, YOU SUCK, and that's okay.
Saturday, September 6, 2008
Ricky Gervais has the right idea.
Oh, if it were only like this. Saw this here.
The Best Advice Is: Be in charge. Then you can do anything. If you're not in charge, always play characters who have your haircut. That saves an hour in the morning. No wigs, no beards. Forget it. I had to wear a beard for one day. Ridiculous. Forty minutes. No. My haircut: ten minutes. And don't choose ridiculous costumes. Choose normal clothes. Ordinary trousers, ordinary shoes that you can put on yourself. Costume: five minutes. Hair and makeup: ten minutes. That's it. No costumes. No wigs. Own haircut.
Two: Do your own accent. You don't want to have vocal coaching. Don't do anything that needs skill. If there's a scene and it says " . . . rides a horse," say, "You do not need me to ride that horse." Because you'll have to learn how to ride a horse. That could take, like, two weeks. Too busy. Too much trouble.
Three: Always say that your character should be sitting down. Don't ever be standing at the beginning of a scene. So if it starts off, "There's a knock at the door, you get up and answer the door," you'll be up and down for eight hours. Convince them that you should sit there and say, "Come in." When we were filming Ghost Town, I tried to convince the director, David Koepp, that we should do a remake of Ironside together. It's the old TV drama with Raymond Burr as a detective in a wheelchair. Also, I've always wanted to play someone in a coma. Just comes out of it at the end. I was really jealous of Colin Farrell when I found out that Phone Booth was shot in just 16 days. Some of it, he was sitting on the floor of the telephone box. One location, sitting down.
Four: If there are long and complicated monologues, cut them. Say, "I don't think I'd say that." No one will think you're being lazy; it comes across as integrity.
So if any directors are reading this, I will work every day. I will give it my all. I will give it everything. I will give you 100 percent between the hours of, say, eight and six. And that's from pickup to wrap. If it's, like, two miles away, you can't go, "You'll be picked up at six, it'll be over at eight." You're having a laugh. My pickup is no earlier than seven-thirty. I'm not a maniac. I have to be wrapped by six. Five-day weeks. I only shoot in London and New York. No night shoots. No wigs. No nudity--that's more for the general public's sake as opposed to mine. And let's not go on and on with it. Let's try to keep it under five, six weeks. So, Spielberg--your move.
--As told to David Walters
The Best Advice Is: Be in charge. Then you can do anything. If you're not in charge, always play characters who have your haircut. That saves an hour in the morning. No wigs, no beards. Forget it. I had to wear a beard for one day. Ridiculous. Forty minutes. No. My haircut: ten minutes. And don't choose ridiculous costumes. Choose normal clothes. Ordinary trousers, ordinary shoes that you can put on yourself. Costume: five minutes. Hair and makeup: ten minutes. That's it. No costumes. No wigs. Own haircut.
Two: Do your own accent. You don't want to have vocal coaching. Don't do anything that needs skill. If there's a scene and it says " . . . rides a horse," say, "You do not need me to ride that horse." Because you'll have to learn how to ride a horse. That could take, like, two weeks. Too busy. Too much trouble.
Three: Always say that your character should be sitting down. Don't ever be standing at the beginning of a scene. So if it starts off, "There's a knock at the door, you get up and answer the door," you'll be up and down for eight hours. Convince them that you should sit there and say, "Come in." When we were filming Ghost Town, I tried to convince the director, David Koepp, that we should do a remake of Ironside together. It's the old TV drama with Raymond Burr as a detective in a wheelchair. Also, I've always wanted to play someone in a coma. Just comes out of it at the end. I was really jealous of Colin Farrell when I found out that Phone Booth was shot in just 16 days. Some of it, he was sitting on the floor of the telephone box. One location, sitting down.
Four: If there are long and complicated monologues, cut them. Say, "I don't think I'd say that." No one will think you're being lazy; it comes across as integrity.
So if any directors are reading this, I will work every day. I will give it my all. I will give it everything. I will give you 100 percent between the hours of, say, eight and six. And that's from pickup to wrap. If it's, like, two miles away, you can't go, "You'll be picked up at six, it'll be over at eight." You're having a laugh. My pickup is no earlier than seven-thirty. I'm not a maniac. I have to be wrapped by six. Five-day weeks. I only shoot in London and New York. No night shoots. No wigs. No nudity--that's more for the general public's sake as opposed to mine. And let's not go on and on with it. Let's try to keep it under five, six weeks. So, Spielberg--your move.
--As told to David Walters
Friday, August 29, 2008
Definitions of common Crew Gigs Terms (All CL posts)
This is a re-post of an informative link I was sent about the Actual/Craigslist meaning of crew positions. It was obviously written with a specific bent, but that doesn't make it any less accurate. Thanks to my friend, Jeff, for sending it to me. For all of you looking for a way in, and are using Craigslist, this is a pretty good primer, and relatively humorous.
This is a dictionary to help with understanding titles, requirements, and descriptions posted in the Craigslist Crew Gigs section. This may also be useful to other job boards. If anything is missing from this compilation, or needs amendment, feel free to let the creators know.
A-List –
Actual Meaning: Top name, high Q-Score talent.
Meaning on Craigslist: Formerly A-list decades ago, until they developed that nasty habit, and they fell from glory, and the headlines.
Assistant Director-
Implied Position & Responsibilities: Create schedules, keep crew and director on schedule for the day, contacting late crew members, sending out tomorrow’s schedule.
Actual Low Budget Requirements/Expectations: Assist the director by getting coffee, dry cleaning, picking up food for the rest of the crew.
Award Winning –
Implied Meaning: Prestigious award or recognition for accomplishments.
Actual Meaning: 1) I submitted my film to a festival, and it wasn’t rejected. Not only that, but I got an award, such as Least Despised, Best use of Helvetica Typeface in a Title, or some other nonsensical-feel-good award.
2) Nothing.
Often seen with: Great Experience, Unfortunately, Deferred
Boom Operator –
Implied Position & Responsibilities: Holds boom pole steadily out of frame, consults with sound mixer on best microphone selection, covers for mixer if familiar with the equipment and job responsibilities.
Actual Low Budget Requirements/Expectations: 1) See Sound Mixer.
2) See PA/Production Assistant
Catering –
Implied meaning: A team that prepares hot meals specifically for the crew every 6 hours.
Actual Low Budget meaning: We went out and got you pizza.
Continuity Supervisor –
See Script Supervisor
Copy/Credit/Food –
Implied Meaning: You will receive a copy of the completed work, proper credit in the film that will appear in festivals and get you more work as a result, and be fed on set.
Actual Meaning: If we ever finish this, you will receive a copy of the film, but unlikely, because of the associated costs of making duplicates. Your name may be put in the credits, if we remember you when we actually finish this thing, probably mis-spelled. You may never actually see them though. You will be fed food. It will probably be pizza or Taco Bell, because it is cheap. You will eat it every day, and it will not change.
Often used with: Great Experience, Unfortunately, Festival, award winning
Craft Service –
Implied Position & Responsibilities: a person or crew whose sole job is taking care of the people engaging in crafts (the film makers) by having finger foods, snacks, and other on set relief’s (such as sunscreen, gum, water, etc) available at a table, as well as sometimes bringing them on set to people that can not leave set.
Actual Low Budget Requirements/Expectations: We have candy and possibly cold soda on set.
Deferred Pay –
Implied Meaning: You will be paid when we sell this and make money.
Actual Meaning: If/when we will sell this and make money, and unless you follow our film, know where we live, and can prove in accounting that we turned a profit, you wont be paid. See No pay.
Director of Photography/DP:
Implied Position & Responsibilities: Establishing the visual look and aesthetic of the film, guiding the gaffer in lighting styles, operates the camera and composes the shots.
Actual Low Budget Requirements/Expectations: 1) Holds the camera, uses the light provided, or provides the truck with the equipment, places the lights in position.
2) Double Penetration. Your Efforts, and your wallet.
Often seen with: award winning, Experienced, highly skilled, unfortunately
See also: Equipment (your own)
Easy –
Implied Meaning: Very simple, little effort needed, we know what we are doing and taking about.
Actual Meaning: We have no idea what we are talking about, this will take twice as long as we expect, or longer.
As used on Craigslist: “We need an editor for a quick and easy job. We have 3 hours of tape that needs to have our logo put up in the corner of the screen. This shouldn’t take too long, and can be done in about an hour. Great experience for students!”
Often seen with: Editor, Experienced, no pay, great opportunity.
Equipment (Provided) –
Implied meaning: we have all that you will need, there is no need to rent anything for this project.
Actual Meaning: We were told this would work. Often the equipment was not meant for the job, or is the wrong equipment entirely for the job, or will not work with other equipment that it was intended to.
Example: Kino Ballast for HMI, RCA cable for DVI HD screen, XLR for quarter inch mixer, etc
Equipment (Your Own) –
Your own gear, provided to the project, with no mention of a kit fee/rental charges. Renting equipment and charging it to production is not an option, you MUST have everything. EVERYTHING, including expendables, which will not be reimbursed. Insurance is not mentioned, let alone covering your equipment, so when that PA that is there for the great experience and connections drops it, you shouldn’t get too upset, and should have a replacement on hand.
Expendables –
Actual Meaning: Gear that is used during the process of film making. This includes Gaff tape, paper tape, electrical tape, C-47’s, black wrap, Duvetyne, pens, markers, lens cleaners, air cans, sound reports, moleskin, bounce boards, Velcro, zip ties, bulbs, the list can go on and on. THESE THINGS ARE NOT OUT OF POCKET ITEMS.
Meaning on a Low Budget Production: Provided by department, when it runs out, we can find an equivalent, send a PA to the 99 cent store, or do without.
As seen on Craigslist: -Not seen on Craigslist-
See Also: Kit Fee
Experienced –
Implied Meaning: Highly skilled and highly paid professional.
Actual Meaning: Moderately to Highly skilled, not well paid, if at all.
Often seen with: unfortunately, great connections, experience, IMDB.
As seen on Craigslist: “We need a highly experienced DP with all their own gear and a 5 ton truck to light our Award winning short ‘Summers Dawn’. Unfortunately we cant pay you much now, (only $300) but this will be a great crew, and great food.”
Festival –
Implied Meaning: Prestigious film screening and marketing place, such as Sundance, Cannes, etc.
Actual Meaning: I got accepted at my local High school, community, etc film screening.
Often seen with: Award Winning.
Food –
Implied Meaning: you will be fed food that sustains your energy levels and keeps you motivated to continue.
Actual Meaning: You will get (pizza/fast food burgers/tacos/whatever the 99 cent store has) See also Well fed.
Often seen with: Unfortunately, Great experience, copy/credit/food
Great Experience/ Connections / Opportunity–
Implied Meaning: You will network and learn a lot from the seasoned pro’s that are also working on this set.
Actual Meaning: You will be used and abused, because we don’t know what we are doing, and neither do the department heads. Actual experience earned will be to watch out for people like us.
IMDB-
Implied Meaning: Prestigious recognition of a recognized source.
Actual Meaning: We think the best are posted on IMDB.
As seen on Craigslist: “DP with extensive IMDB credits”, “Applicants without IMDB credits will not be considered!”
Note: IMDB will post just about any project, and some of the most celebrated festival winners aren’t even listed on IMDB. Not everything created gets placed on
IMDB
Insurance –
paperwork guaranteeing compensation for loss. Nonexistent on most No/low budget craigslist productions
Intern –
Guaranteed no Pay, Also referred to as slave labor.
See Production Assistant, No Pay.
Location (Need) –
Often searching for Apartment, House, or Mansion. No mentions of insurance, or compensation, aside from copy, credit, ability to eat production food (often pizza), as well as huge appreciation from film makers. If compensation is offered, it is $100-300 a day, or flat fee of $1000. No mention if you will be able to access your place during production.
NOTE: Your place WILL be damaged as a result of a film shoot, no matter how careful people are. That is the nature of the business. Insurance covers that, insist on production insurance, and read it to make sure that it covers damage to your property, as well as injuries to crew on your property. Also, check to see that the insurance is valid! Sad to say, but people will fake their insurance paperwork.
No Pay –
Implied Meaning: You will not be paid, compensated for your time, or given any money whatsoever.
Actual Meaning: You wont be paid at all, or compensated for expenses, will be expected to do the impossible, “work” overtime, and be treated like crap.
Often seen with: Great Experience, Excellent Connections
See Also: Slave Labor
Paid –
Implied Meaning: 1) You will be fairly compensated for your time, experience, and expendables.
2) We are professionals, and want to compensate you fairly.
Actual Meaning: You will receive $125 for your time, experience, and expendables.
NOTE: 1) Most CL posters are not familiar with the term ‘expendables’.
2) $125 is just above Minimum wage, not counting overtime.
Party Scene –
Implied Meaning: The shoot will consist of elements of a party, including extra’s drinking, dancing, and having fun. We will shoot this with coverage.
Actual Meaning: We are inviting our friends over, giving them beers, and need you to film it.
As seen on Craigslist: “We will be shooting a party Scene Saturday night, and need Art Dept, a DP, and Sound. No pay, but there will be cute girls and free Beer! Serious Inquires Only”
Often seen with: Unfortunately, great experience, no pay
NOTE: Beer is often included as a form of payment.
Pay –
See Paid
Production Assistant/PA -
Implied Position & Responsibilities: inexperienced learning position, Driver, “gopher”, coffee fetcher, assistant to whomever needs them on set, trash emptier, odd job completer. Often leads to being invited to join other crew members on future shoots.
Actual Low Budget Position & Responsibilities: same, but often for no pay or appreciation, can be a dead end position.
As seen on Craigslist: “We are looking for an awesome PA to help us out in our busy office, scheduling interviews, casting sessions, and go on lunch runs.” “PA needed to work from home replying to submissions via email for casting. Great Experience!” “Experienced PA needed to assist on set, go on runs, and assist busy producer. No pay, Great Experience! Copy/Credit/Food”
Reel –
Actual Meaning: Demonstration of abilities on previous projects in the creative sense, such as Director, DP, Editor, Composer, Art Director or Set Designer.
Implied Meaning: Demonstration of abilities.
As seen on Craigslist: “We are looking for an experienced (grip, boom operator, set dresser, PA) for our feature. Please send reels and résumé’s to this address. APPLICATIONS WITHOUT REELS AND RESUME’S WILL NOT BE CONSIDERED!
Note: These positions are not ones that have reel’s. This is analogous to requiring applicants to McDonlads to have previous and extensive work experience in the food service industry, or not bothering applying.
Script Supervisor –
Implied Position & Responsibilities: Keeping performances to the script, tracking coverage and shots to ensure that everything was covered for editing, maintaining logs for the editing process, taking continuity photographs and maintaining them for later reference when scenes are later referred to, or reshot.
Actual Low Budget Requirements/Expectations: Picking up the dogshit from the lawn between takes or shoot dates, so we can “maintain continuity”.
Simple –
See Easy
Sound Mixer –
Implied Position & Responsibilities: Upon reviewing script, consulting with camera, lighting, and art department, selects microphones, mixers, and other equipment. Goes on Tech Scouts. Mixes production sound to a recorder and in some cases to camera as well, works with Boom Operator to record clean, crisp audio.
Actual Low Budget Requirements/Expectations: Show up on the day with all necessary equipment without seeing script and get good sound, even though we are shooting next to the (freeway/airport/railroad/playground). Oh, and here is a PA to hold your Boom Pole. He’s getting great experience!
Unfortunately –
Implied Meaning: We are truly regretful and/or sorry.
Actual Meaning: 1) Bend over and take it, and don't complain.
2) We are incompetent schmucks, and this professional wont put up with our shit.
As seen on craigslist: “Unfortunately, we can not pay you at this time,” “Unfortunately, our (AD/Sound Mixer/PA) had an (emergency/Prior Commitment/mysteriously disappeared), and we need a replacement ASAP.”
Often seen with: Great Connections, Great Experience, Award Winning, Professional
Well Fed -
Implied Meaning: You will get hot, catered meals, and have craft services on set.
Actual Meaning: You get two slices of pizza.
See Also: food, copy/credit/food
This is a dictionary to help with understanding titles, requirements, and descriptions posted in the Craigslist Crew Gigs section. This may also be useful to other job boards. If anything is missing from this compilation, or needs amendment, feel free to let the creators know.
A-List –
Actual Meaning: Top name, high Q-Score talent.
Meaning on Craigslist: Formerly A-list decades ago, until they developed that nasty habit, and they fell from glory, and the headlines.
Assistant Director-
Implied Position & Responsibilities: Create schedules, keep crew and director on schedule for the day, contacting late crew members, sending out tomorrow’s schedule.
Actual Low Budget Requirements/Expectations: Assist the director by getting coffee, dry cleaning, picking up food for the rest of the crew.
Award Winning –
Implied Meaning: Prestigious award or recognition for accomplishments.
Actual Meaning: 1) I submitted my film to a festival, and it wasn’t rejected. Not only that, but I got an award, such as Least Despised, Best use of Helvetica Typeface in a Title, or some other nonsensical-feel-good award.
2) Nothing.
Often seen with: Great Experience, Unfortunately, Deferred
Boom Operator –
Implied Position & Responsibilities: Holds boom pole steadily out of frame, consults with sound mixer on best microphone selection, covers for mixer if familiar with the equipment and job responsibilities.
Actual Low Budget Requirements/Expectations: 1) See Sound Mixer.
2) See PA/Production Assistant
Catering –
Implied meaning: A team that prepares hot meals specifically for the crew every 6 hours.
Actual Low Budget meaning: We went out and got you pizza.
Continuity Supervisor –
See Script Supervisor
Copy/Credit/Food –
Implied Meaning: You will receive a copy of the completed work, proper credit in the film that will appear in festivals and get you more work as a result, and be fed on set.
Actual Meaning: If we ever finish this, you will receive a copy of the film, but unlikely, because of the associated costs of making duplicates. Your name may be put in the credits, if we remember you when we actually finish this thing, probably mis-spelled. You may never actually see them though. You will be fed food. It will probably be pizza or Taco Bell, because it is cheap. You will eat it every day, and it will not change.
Often used with: Great Experience, Unfortunately, Festival, award winning
Craft Service –
Implied Position & Responsibilities: a person or crew whose sole job is taking care of the people engaging in crafts (the film makers) by having finger foods, snacks, and other on set relief’s (such as sunscreen, gum, water, etc) available at a table, as well as sometimes bringing them on set to people that can not leave set.
Actual Low Budget Requirements/Expectations: We have candy and possibly cold soda on set.
Deferred Pay –
Implied Meaning: You will be paid when we sell this and make money.
Actual Meaning: If/when we will sell this and make money, and unless you follow our film, know where we live, and can prove in accounting that we turned a profit, you wont be paid. See No pay.
Director of Photography/DP:
Implied Position & Responsibilities: Establishing the visual look and aesthetic of the film, guiding the gaffer in lighting styles, operates the camera and composes the shots.
Actual Low Budget Requirements/Expectations: 1) Holds the camera, uses the light provided, or provides the truck with the equipment, places the lights in position.
2) Double Penetration. Your Efforts, and your wallet.
Often seen with: award winning, Experienced, highly skilled, unfortunately
See also: Equipment (your own)
Easy –
Implied Meaning: Very simple, little effort needed, we know what we are doing and taking about.
Actual Meaning: We have no idea what we are talking about, this will take twice as long as we expect, or longer.
As used on Craigslist: “We need an editor for a quick and easy job. We have 3 hours of tape that needs to have our logo put up in the corner of the screen. This shouldn’t take too long, and can be done in about an hour. Great experience for students!”
Often seen with: Editor, Experienced, no pay, great opportunity.
Equipment (Provided) –
Implied meaning: we have all that you will need, there is no need to rent anything for this project.
Actual Meaning: We were told this would work. Often the equipment was not meant for the job, or is the wrong equipment entirely for the job, or will not work with other equipment that it was intended to.
Example: Kino Ballast for HMI, RCA cable for DVI HD screen, XLR for quarter inch mixer, etc
Equipment (Your Own) –
Your own gear, provided to the project, with no mention of a kit fee/rental charges. Renting equipment and charging it to production is not an option, you MUST have everything. EVERYTHING, including expendables, which will not be reimbursed. Insurance is not mentioned, let alone covering your equipment, so when that PA that is there for the great experience and connections drops it, you shouldn’t get too upset, and should have a replacement on hand.
Expendables –
Actual Meaning: Gear that is used during the process of film making. This includes Gaff tape, paper tape, electrical tape, C-47’s, black wrap, Duvetyne, pens, markers, lens cleaners, air cans, sound reports, moleskin, bounce boards, Velcro, zip ties, bulbs, the list can go on and on. THESE THINGS ARE NOT OUT OF POCKET ITEMS.
Meaning on a Low Budget Production: Provided by department, when it runs out, we can find an equivalent, send a PA to the 99 cent store, or do without.
As seen on Craigslist: -Not seen on Craigslist-
See Also: Kit Fee
Experienced –
Implied Meaning: Highly skilled and highly paid professional.
Actual Meaning: Moderately to Highly skilled, not well paid, if at all.
Often seen with: unfortunately, great connections, experience, IMDB.
As seen on Craigslist: “We need a highly experienced DP with all their own gear and a 5 ton truck to light our Award winning short ‘Summers Dawn’. Unfortunately we cant pay you much now, (only $300) but this will be a great crew, and great food.”
Festival –
Implied Meaning: Prestigious film screening and marketing place, such as Sundance, Cannes, etc.
Actual Meaning: I got accepted at my local High school, community, etc film screening.
Often seen with: Award Winning.
Food –
Implied Meaning: you will be fed food that sustains your energy levels and keeps you motivated to continue.
Actual Meaning: You will get (pizza/fast food burgers/tacos/whatever the 99 cent store has) See also Well fed.
Often seen with: Unfortunately, Great experience, copy/credit/food
Great Experience/ Connections / Opportunity–
Implied Meaning: You will network and learn a lot from the seasoned pro’s that are also working on this set.
Actual Meaning: You will be used and abused, because we don’t know what we are doing, and neither do the department heads. Actual experience earned will be to watch out for people like us.
IMDB-
Implied Meaning: Prestigious recognition of a recognized source.
Actual Meaning: We think the best are posted on IMDB.
As seen on Craigslist: “DP with extensive IMDB credits”, “Applicants without IMDB credits will not be considered!”
Note: IMDB will post just about any project, and some of the most celebrated festival winners aren’t even listed on IMDB. Not everything created gets placed on
IMDB
Insurance –
paperwork guaranteeing compensation for loss. Nonexistent on most No/low budget craigslist productions
Intern –
Guaranteed no Pay, Also referred to as slave labor.
See Production Assistant, No Pay.
Location (Need) –
Often searching for Apartment, House, or Mansion. No mentions of insurance, or compensation, aside from copy, credit, ability to eat production food (often pizza), as well as huge appreciation from film makers. If compensation is offered, it is $100-300 a day, or flat fee of $1000. No mention if you will be able to access your place during production.
NOTE: Your place WILL be damaged as a result of a film shoot, no matter how careful people are. That is the nature of the business. Insurance covers that, insist on production insurance, and read it to make sure that it covers damage to your property, as well as injuries to crew on your property. Also, check to see that the insurance is valid! Sad to say, but people will fake their insurance paperwork.
No Pay –
Implied Meaning: You will not be paid, compensated for your time, or given any money whatsoever.
Actual Meaning: You wont be paid at all, or compensated for expenses, will be expected to do the impossible, “work” overtime, and be treated like crap.
Often seen with: Great Experience, Excellent Connections
See Also: Slave Labor
Paid –
Implied Meaning: 1) You will be fairly compensated for your time, experience, and expendables.
2) We are professionals, and want to compensate you fairly.
Actual Meaning: You will receive $125 for your time, experience, and expendables.
NOTE: 1) Most CL posters are not familiar with the term ‘expendables’.
2) $125 is just above Minimum wage, not counting overtime.
Party Scene –
Implied Meaning: The shoot will consist of elements of a party, including extra’s drinking, dancing, and having fun. We will shoot this with coverage.
Actual Meaning: We are inviting our friends over, giving them beers, and need you to film it.
As seen on Craigslist: “We will be shooting a party Scene Saturday night, and need Art Dept, a DP, and Sound. No pay, but there will be cute girls and free Beer! Serious Inquires Only”
Often seen with: Unfortunately, great experience, no pay
NOTE: Beer is often included as a form of payment.
Pay –
See Paid
Production Assistant/PA -
Implied Position & Responsibilities: inexperienced learning position, Driver, “gopher”, coffee fetcher, assistant to whomever needs them on set, trash emptier, odd job completer. Often leads to being invited to join other crew members on future shoots.
Actual Low Budget Position & Responsibilities: same, but often for no pay or appreciation, can be a dead end position.
As seen on Craigslist: “We are looking for an awesome PA to help us out in our busy office, scheduling interviews, casting sessions, and go on lunch runs.” “PA needed to work from home replying to submissions via email for casting. Great Experience!” “Experienced PA needed to assist on set, go on runs, and assist busy producer. No pay, Great Experience! Copy/Credit/Food”
Reel –
Actual Meaning: Demonstration of abilities on previous projects in the creative sense, such as Director, DP, Editor, Composer, Art Director or Set Designer.
Implied Meaning: Demonstration of abilities.
As seen on Craigslist: “We are looking for an experienced (grip, boom operator, set dresser, PA) for our feature. Please send reels and résumé’s to this address. APPLICATIONS WITHOUT REELS AND RESUME’S WILL NOT BE CONSIDERED!
Note: These positions are not ones that have reel’s. This is analogous to requiring applicants to McDonlads to have previous and extensive work experience in the food service industry, or not bothering applying.
Script Supervisor –
Implied Position & Responsibilities: Keeping performances to the script, tracking coverage and shots to ensure that everything was covered for editing, maintaining logs for the editing process, taking continuity photographs and maintaining them for later reference when scenes are later referred to, or reshot.
Actual Low Budget Requirements/Expectations: Picking up the dogshit from the lawn between takes or shoot dates, so we can “maintain continuity”.
Simple –
See Easy
Sound Mixer –
Implied Position & Responsibilities: Upon reviewing script, consulting with camera, lighting, and art department, selects microphones, mixers, and other equipment. Goes on Tech Scouts. Mixes production sound to a recorder and in some cases to camera as well, works with Boom Operator to record clean, crisp audio.
Actual Low Budget Requirements/Expectations: Show up on the day with all necessary equipment without seeing script and get good sound, even though we are shooting next to the (freeway/airport/railroad/playground). Oh, and here is a PA to hold your Boom Pole. He’s getting great experience!
Unfortunately –
Implied Meaning: We are truly regretful and/or sorry.
Actual Meaning: 1) Bend over and take it, and don't complain.
2) We are incompetent schmucks, and this professional wont put up with our shit.
As seen on craigslist: “Unfortunately, we can not pay you at this time,” “Unfortunately, our (AD/Sound Mixer/PA) had an (emergency/Prior Commitment/mysteriously disappeared), and we need a replacement ASAP.”
Often seen with: Great Connections, Great Experience, Award Winning, Professional
Well Fed -
Implied Meaning: You will get hot, catered meals, and have craft services on set.
Actual Meaning: You get two slices of pizza.
See Also: food, copy/credit/food
Wednesday, August 27, 2008
Finding a writer...
Good afternoon Russell,
What would you suggest as a first approach for enlisting the services of a writer for a movie concept that I have? My story now resides on audio-tape and written notes with a creative writer in Nashville. She created the synopsis. But we need someone to take us to the next level.
There are three important questions that need to be asked when you are looking for a writer. They are:
1- Can the writer write?
2- Does he write for your genre?
3- Do you like the writer and feel he can finish the script you commission him to write?
1-This sounds obvious, but it is very important to make sure you get writing samples from the people you would want to write your script. Don't make a choice with your heart because you like someone. It's a long, arduous process to write a script.
2-While the writer may be an excellent writer, you like him, and their script is great for a specific genre, it doesn't mean that he can write for your genre. Most, if not all, successful writers are excellent at writing for their genre. Writers want to get put on a "list" or be type-cast into a genre. Basically, when someone asks for a list of the best writers for X genre, they're name will be on that list. If they are good at everything, they never get on any list...which means they never get paid.
An example, Quintin Tarrentino doesn't write romcoms, and Paul Guay doesn't write psychological horror. It's almost like having an engineering degree, you can be electrical, mechanical, nuclear, robotics, etc. While there are many similarities, there are enough differences that you wouldn't want a electrical engineer working on your nuclear reactor.
This is, of course, a hyperbole. But, if you want a horror writer, you should find a horror writer, not a romcom writer. Not only will they know the mechanics of the writing horror, but they will be more into writing the script, and most likely produce a better script. Now, you can sometimes find a really good writer who is looking to flip genres, and they can work out. However, I would recommend that if you look for someone like this, you make sure he has substantial credits first. If you go this way, you may be able to get a really good deal on a great writer.
It is important also to understand that IMDB credits don't mean anything with writing. There are writers who have written 20 scripts on assignment, and very successful, and may have 3 produced scripts.
3-While it's not a requirement to like the person who's gonna write your script, you want to be sure he's going to come out with YOUR vision, not his. Many writers can write excellent scripts on spec, but find it hard to write on commission because it's fulfilling someone else's vision. So, its important to make sure the person you are hiring can fulfill your vision, and incorporate the points that you want. Basically, that he is a collaborator.
Now, on the flip side, you DO NOT want to hire someone who is a doormat. The person you hire should have an opinion that can change the script for the better. A good writer will make your vision better than you thought it could.
What you DON'T want is someone who will take your ideas, tell you he'll follow them, and then turn out a whole different script. I call this the BILLY WALSH. This is opposed to the Joe Eszterhas, which will take your script, do what he wants, return something usable, but it will still be your idea.
Writing is usually roughly a 6 week process to first draft, then you will have to give notes, wait for a rewrite, give more notes, rewrite, notes, polish. So, if you don't have someone that can do the job, you could be wasting 6 months of time. Most writers will give you a price based on 2 re-writes and a polish. They will give you a date you can expect the draft, and deliver on that date. It is RARE to find someone who will allow you in on the process, showing you pages, etc. However, if you are working with a young writer I would demand in the contract to see pages on a regular basis to make sure the writer is fulfilling your vision, and writing well.
If you can find someone nice, it's always better not to work with ASSHOLES. They just add gray hairs. The only thing that adds grays faster is Incompetent Nice Guy Yes Men.
Good Luck.
What would you suggest as a first approach for enlisting the services of a writer for a movie concept that I have? My story now resides on audio-tape and written notes with a creative writer in Nashville. She created the synopsis. But we need someone to take us to the next level.
There are three important questions that need to be asked when you are looking for a writer. They are:
1- Can the writer write?
2- Does he write for your genre?
3- Do you like the writer and feel he can finish the script you commission him to write?
1-This sounds obvious, but it is very important to make sure you get writing samples from the people you would want to write your script. Don't make a choice with your heart because you like someone. It's a long, arduous process to write a script.
2-While the writer may be an excellent writer, you like him, and their script is great for a specific genre, it doesn't mean that he can write for your genre. Most, if not all, successful writers are excellent at writing for their genre. Writers want to get put on a "list" or be type-cast into a genre. Basically, when someone asks for a list of the best writers for X genre, they're name will be on that list. If they are good at everything, they never get on any list...which means they never get paid.
An example, Quintin Tarrentino doesn't write romcoms, and Paul Guay doesn't write psychological horror. It's almost like having an engineering degree, you can be electrical, mechanical, nuclear, robotics, etc. While there are many similarities, there are enough differences that you wouldn't want a electrical engineer working on your nuclear reactor.
This is, of course, a hyperbole. But, if you want a horror writer, you should find a horror writer, not a romcom writer. Not only will they know the mechanics of the writing horror, but they will be more into writing the script, and most likely produce a better script. Now, you can sometimes find a really good writer who is looking to flip genres, and they can work out. However, I would recommend that if you look for someone like this, you make sure he has substantial credits first. If you go this way, you may be able to get a really good deal on a great writer.
It is important also to understand that IMDB credits don't mean anything with writing. There are writers who have written 20 scripts on assignment, and very successful, and may have 3 produced scripts.
3-While it's not a requirement to like the person who's gonna write your script, you want to be sure he's going to come out with YOUR vision, not his. Many writers can write excellent scripts on spec, but find it hard to write on commission because it's fulfilling someone else's vision. So, its important to make sure the person you are hiring can fulfill your vision, and incorporate the points that you want. Basically, that he is a collaborator.
Now, on the flip side, you DO NOT want to hire someone who is a doormat. The person you hire should have an opinion that can change the script for the better. A good writer will make your vision better than you thought it could.
What you DON'T want is someone who will take your ideas, tell you he'll follow them, and then turn out a whole different script. I call this the BILLY WALSH. This is opposed to the Joe Eszterhas, which will take your script, do what he wants, return something usable, but it will still be your idea.
Writing is usually roughly a 6 week process to first draft, then you will have to give notes, wait for a rewrite, give more notes, rewrite, notes, polish. So, if you don't have someone that can do the job, you could be wasting 6 months of time. Most writers will give you a price based on 2 re-writes and a polish. They will give you a date you can expect the draft, and deliver on that date. It is RARE to find someone who will allow you in on the process, showing you pages, etc. However, if you are working with a young writer I would demand in the contract to see pages on a regular basis to make sure the writer is fulfilling your vision, and writing well.
If you can find someone nice, it's always better not to work with ASSHOLES. They just add gray hairs. The only thing that adds grays faster is Incompetent Nice Guy Yes Men.
Good Luck.
Friday, August 1, 2008
Making a movie...
...is incredibly frustrating because you have to rely on so many people. The dp has to light correctly, the actors have to act correctly, the camera op has to frame correctly, the producer has to produce correctly, and even the editor has to edit correctly.
Now, a lot of what that means is not only showing up and doing your job, but also doing it in a timely fashion. It is usually the problem that shows up in editing, because in low-budget films, you have to allow your editor and producers work on other projects in order to get a reasonable price. Either that or go with an inexperienced editor. Either way, what always ends up happening is a week becomes a month, and a month becomes a year. It's currently happening with my first feature, where we are 13 months out of principle photography. Now, granted, there were tons of problems, set-backs, and problems with all of the principles on the movie, but at the end of the day it's still 13 months out of principle.
Now, it wouldn't be that huge a problem, if we weren't having trouble lining up our next project, and if we didn't have a new project that is filming in October. So, we have to lock picture, do ADR, set sound/soundtrack, put up a website, and find a distributor.
It's definitely time to pull our stuff together and get this movie done.
Now, a lot of what that means is not only showing up and doing your job, but also doing it in a timely fashion. It is usually the problem that shows up in editing, because in low-budget films, you have to allow your editor and producers work on other projects in order to get a reasonable price. Either that or go with an inexperienced editor. Either way, what always ends up happening is a week becomes a month, and a month becomes a year. It's currently happening with my first feature, where we are 13 months out of principle photography. Now, granted, there were tons of problems, set-backs, and problems with all of the principles on the movie, but at the end of the day it's still 13 months out of principle.
Now, it wouldn't be that huge a problem, if we weren't having trouble lining up our next project, and if we didn't have a new project that is filming in October. So, we have to lock picture, do ADR, set sound/soundtrack, put up a website, and find a distributor.
It's definitely time to pull our stuff together and get this movie done.
Thursday, July 3, 2008
directing non-union television
I watched a TV show I directed last year, and ended up producing/writing the pilot episode. Now, usually you would get pay for each Writing, Directing, and Producing, you would be entitled to residuals, etc. But with a non-union show, you are expected to do a lot more. In fact, since it's your name at the end credits, people associate you with the good and bad of the end product.
See, I'm a writer, but I'm also a director, and a producer, so I can see things from a lot of angles. The thing I like best about writing, besides creating a world from scratch, is that after you write the script, you can defer to both the director and producer as having the responsibility for the end product. For every mind-numbing change, for every stupid plot hole, you can say, hey it's not me, it's the director. However, when you are directing, that's not the case. Even if you have the footage ripped from you and edited without any input from you, which is what happened to me, it is still your show. Even if you have only been in editing for 2 hours because that's all the producer can afford (which by the way I was never paid for), it's still your baby. Even if everyone on set compliments how you run the show, when a producer or editor screws up it's all on you.
Now, with this project it wasn't so bad. The editor had never edited for TV before, and the on set crew was lack-luster at best. However, I am not going to be ashamed when I show it to potential distributors and tell them this is a rough cut. But it brings up a point that I should mention...
See, I'm a writer, but I'm also a director, and a producer, so I can see things from a lot of angles. The thing I like best about writing, besides creating a world from scratch, is that after you write the script, you can defer to both the director and producer as having the responsibility for the end product. For every mind-numbing change, for every stupid plot hole, you can say, hey it's not me, it's the director. However, when you are directing, that's not the case. Even if you have the footage ripped from you and edited without any input from you, which is what happened to me, it is still your show. Even if you have only been in editing for 2 hours because that's all the producer can afford (which by the way I was never paid for), it's still your baby. Even if everyone on set compliments how you run the show, when a producer or editor screws up it's all on you.
Now, with this project it wasn't so bad. The editor had never edited for TV before, and the on set crew was lack-luster at best. However, I am not going to be ashamed when I show it to potential distributors and tell them this is a rough cut. But it brings up a point that I should mention...
- writing, directing, producing, or acting on assignment is just that...an assignment. You are not an auteur, unless you are very lucky. No, you are a person who is paid to do a job, do it well, and bring in your expertise. It's not being a writer/director on a high budget film.
- It's not your vision, it's their. Your job is to make their vision come to life, cut out the bad ideas, leave the good, and make it the best project it can be.
- You are meant to get in, on time, under budget, and still maintain the artistic integrity.
- The best you can ask for is a thanks. What you normally get is yelled at, complained to, undermined, and threatened.
So, I'm here...now what?
As the posting states, This is all about what to do when you're in La. Once again, I'm not an expert, having no job, but as part of my networking experience , I talk to a lot of people. And in those talks, I've met with a lot of people who have had success, failure, and more success, and these are the things I've gleaned.
--Successful people fail...a lot. Everyone I've talked to had a moment when they thought about changing professions. Lots of them had to work demeaning, terrible, awful jobs before they got even the smallest break. All of them had sleepless nights when the wondered why they came to LA.
--The key to success is to Write/Act/Direct and prepare so when the moment comes, you will be able to hand that killer reel, wonderful script, or amazing movie to the producer and they will want to make you a success.
--Don't ever stop networking. It doesn't matter if you're tired, weak, sick, or hurt, networking is the only way people will know you are there.
There are thousands of failures out there who are incredibly talented, and they get burned out and go back home. Every day, lots of people come into LA, hoping they will be the next big things. And the same days, lots of them come back from LA with their tail between their legs because they didn't get their break.
I emailed a Show Runner this morning. I asked him how he got into the business, etc. etc. bullshit. And he was gracious enough to email me back.
"Dear Russell,
The key to the television business is writing.
Spec scripts are the only doorway in.
If you haven't gotten a spec script into the producers of a show yet keep
plugging away at it. This is one of those deals where you have to constantly try, try again."
And there you have it...
--Successful people fail...a lot. Everyone I've talked to had a moment when they thought about changing professions. Lots of them had to work demeaning, terrible, awful jobs before they got even the smallest break. All of them had sleepless nights when the wondered why they came to LA.
--The key to success is to Write/Act/Direct and prepare so when the moment comes, you will be able to hand that killer reel, wonderful script, or amazing movie to the producer and they will want to make you a success.
--Don't ever stop networking. It doesn't matter if you're tired, weak, sick, or hurt, networking is the only way people will know you are there.
There are thousands of failures out there who are incredibly talented, and they get burned out and go back home. Every day, lots of people come into LA, hoping they will be the next big things. And the same days, lots of them come back from LA with their tail between their legs because they didn't get their break.
I emailed a Show Runner this morning. I asked him how he got into the business, etc. etc. bullshit. And he was gracious enough to email me back.
"Dear Russell,
The key to the television business is writing.
Spec scripts are the only doorway in.
If you haven't gotten a spec script into the producers of a show yet keep
plugging away at it. This is one of those deals where you have to constantly try, try again."
And there you have it...
Saturday, June 7, 2008
Working on a proper film
Okay, so I've worked on tons of films, from no budget to millions. However, I've been off the production wagon for a while, both because of my old job as an executive producer and my disability.
However, this past week I was able to work as a production assistant for an IMAX documentary "We the People". Now, I've been director, DP, producer, and Writer on different projects, but I needed the money to help me move, and I liked the premise. Not to mention, I've never even seen 70mm film, let alone a 70mm film camera, so it was exciting to be able to work with the format.
I made sure to take extensive notes on how their production was set up, ask everyone what their history with the project was, and take stock of how the ADs ran a set. And I have to say, it was refreshing to be with people who know what they are doing. There was no yelling, or belittling, or confusion. Everything ran properly, like a well-oiled machine.
And, it comes down to this...plan properly. The thing that separated them from the new production companies with less money...yes, the food was better, and yes the equipment was better, and yes the people were more experienced... was the preparation, and the fact they knew exactly what they wanted and how to get it. In addition, they had plenty of crew to work in the positions they needed. They brought their own generators to set and had their own trailers. But, the major thing is, they were prepared and they treated their people with respect.
So, take a lesson from it, if you're in production, treat everyone with respect and figure out what the heck you are doing, don't yell, it's not becoming, and keep your nose clean.
However, this past week I was able to work as a production assistant for an IMAX documentary "We the People". Now, I've been director, DP, producer, and Writer on different projects, but I needed the money to help me move, and I liked the premise. Not to mention, I've never even seen 70mm film, let alone a 70mm film camera, so it was exciting to be able to work with the format.
I made sure to take extensive notes on how their production was set up, ask everyone what their history with the project was, and take stock of how the ADs ran a set. And I have to say, it was refreshing to be with people who know what they are doing. There was no yelling, or belittling, or confusion. Everything ran properly, like a well-oiled machine.
And, it comes down to this...plan properly. The thing that separated them from the new production companies with less money...yes, the food was better, and yes the equipment was better, and yes the people were more experienced... was the preparation, and the fact they knew exactly what they wanted and how to get it. In addition, they had plenty of crew to work in the positions they needed. They brought their own generators to set and had their own trailers. But, the major thing is, they were prepared and they treated their people with respect.
So, take a lesson from it, if you're in production, treat everyone with respect and figure out what the heck you are doing, don't yell, it's not becoming, and keep your nose clean.
Tuesday, May 27, 2008
LA/Budget
With the moving to LA, things are getting hectic. I have been writing, rewriting, and worrying like crazy. The thing about LA is, you have no more excuses. The past three years I've said that it's because I'm not in La, but now if I'm in LA there are no more excuses.
Also, we have finally received a budget for JBF and looking it over, we are not happy. We are logging all of the errors and problems in order to discuss with them at our next meeting. We hope that it will be productive and happen before I move to LA, but there is nothing that guarantees it.
The thing about dealing with independent producers, lawyers, or financiers is that nothing is quick. There are deadlines that are constantly blown, forcing x to happen when y should happen. We have probably blown 10-20 financial opportunities waiting for this budget, and when we received it we were very underwhelmed. Maybe of the sections were not complete, there were several sections that were ALLOWS instead of actual weekly numbers, and the detail in the sections was not adequate. To top it off, it was a budget I could have put together in 2 days, not 6 months. To top of the top off, there was no line item for a writer. I wrote the script, did 3 revisions and a polish, and there was NO line item for it. One of the many joys of independent production.
See, this is one of the reasons I am happy about LA. There is a professionalism about the town, I would hope. There are TV studios, Movie Studios, production companies, producers, and people who understand business.
Also, we have finally received a budget for JBF and looking it over, we are not happy. We are logging all of the errors and problems in order to discuss with them at our next meeting. We hope that it will be productive and happen before I move to LA, but there is nothing that guarantees it.
The thing about dealing with independent producers, lawyers, or financiers is that nothing is quick. There are deadlines that are constantly blown, forcing x to happen when y should happen. We have probably blown 10-20 financial opportunities waiting for this budget, and when we received it we were very underwhelmed. Maybe of the sections were not complete, there were several sections that were ALLOWS instead of actual weekly numbers, and the detail in the sections was not adequate. To top it off, it was a budget I could have put together in 2 days, not 6 months. To top of the top off, there was no line item for a writer. I wrote the script, did 3 revisions and a polish, and there was NO line item for it. One of the many joys of independent production.
See, this is one of the reasons I am happy about LA. There is a professionalism about the town, I would hope. There are TV studios, Movie Studios, production companies, producers, and people who understand business.
Thursday, January 10, 2008
dishwasher
so, for the past 18 months, I've been having problems with my dishwasher. We have been trying to get it replaced, but to no avail. In the meantime, we have had 2 stoves, three washing machines, two dryers, and a new sink. However, the dishwasher still stands there. And it got me to thinking. About what, I don't know, but I really want that new dishwasher. It's been like a quest. Everytime we call maintenance, we hope and pray this will be the time for the new dishwasher, but never does it happen. I was going to go into something prophetic about the film industry from this, but I actually have no idea how I could tie it in.
So, I'll just start on a film related topic. Today is a pretty big day in the life of BNS media. Our champion at the studio we want to produce a feature through is meeting with investors today in the hopes that they will like the script, and want it produced. Even more hopefully, I would like for me to direct. We have already conceded that Tom will not DP, Christoph will not star, and most likely Skyler will not be as involved as we would like him. However, we are steadfast in the hopes that I will be able to direct this movie. And I think it's not without merit. I know what I'm doing. I've directed a feature and a couple tv shows. I've worked as a dp and camera operator. And I'm a full-time producer. I would like to think I am qualified, but at the end of the day, its all about what the producer wants. If the hand a big check and say, sorry we're going with this director, what are you gonna do? Not much, that's what I tells ya. So, we sit and pray and hope that it all works out. Just like with this damn dishwasher. See, I did it afterall, I'm even greater than I thought I was.
In the next installment, Tightness meets greatness.
So, I'll just start on a film related topic. Today is a pretty big day in the life of BNS media. Our champion at the studio we want to produce a feature through is meeting with investors today in the hopes that they will like the script, and want it produced. Even more hopefully, I would like for me to direct. We have already conceded that Tom will not DP, Christoph will not star, and most likely Skyler will not be as involved as we would like him. However, we are steadfast in the hopes that I will be able to direct this movie. And I think it's not without merit. I know what I'm doing. I've directed a feature and a couple tv shows. I've worked as a dp and camera operator. And I'm a full-time producer. I would like to think I am qualified, but at the end of the day, its all about what the producer wants. If the hand a big check and say, sorry we're going with this director, what are you gonna do? Not much, that's what I tells ya. So, we sit and pray and hope that it all works out. Just like with this damn dishwasher. See, I did it afterall, I'm even greater than I thought I was.
In the next installment, Tightness meets greatness.
Monday, January 7, 2008
Already Bored
It's not even a week into this thing and I'm already bored. Of course, that's not the point. The point is that I want to write more, get the free flow of ideas out, and hopefully think more clearly.
In film news today, I figured out how to make one of my characters in the new script I'm writing, Red Bicycle, more interesting. Unfortunately, I feel awful and the BCS game is on tonight so I'm going to take a nap, head over to Jon's, my buddy, and watch. There's nothing better than two undeserving teams playing each other to rekindle a love of football for an entire week.
I'm not really sure how long these things are supposed to be, but I feel like this isn't done near long enough. So, with that in mind, I'm just going to start free-writing in hopes of finding a good topic.
I feel like I want to talk about red bicycle, and my writing process. I call it the "Groove On It" Process. This, unlike most writers, means I'm not gonna do a lot of pre-writing. What I do is I just think about it in my spare time, until I have some sort of interesting framework in my head. Then, I start writing. It doesn't have to be Shakespeare, or even Killer Nerd, at this point. All it needs to do is have the characters and relative action right. If those things are wrong, then I go back, scrap that scene, and try again. When it feels right, then I move on. It's kind of weird and not what we are taught, but I find the more rules I know, the more I am able to successfully break them. And that is the lesson for the day. It's important, critically important, to know the rules, to study the need for certain things, to not think that you're idea is better than every idea to come before you, to not think that you can reinvent the wheel. The truth is, the wheel will never be re-invented, the most innovative people are the ones that take the wheel, and add radials to it, or make them bigger, better, stronger, faster.
These are the people that know the rules they are breaking, and bend them to their advantage. And that's a little bit of advice to everyone out there.
More coming on my tightness.
In film news today, I figured out how to make one of my characters in the new script I'm writing, Red Bicycle, more interesting. Unfortunately, I feel awful and the BCS game is on tonight so I'm going to take a nap, head over to Jon's, my buddy, and watch. There's nothing better than two undeserving teams playing each other to rekindle a love of football for an entire week.
I'm not really sure how long these things are supposed to be, but I feel like this isn't done near long enough. So, with that in mind, I'm just going to start free-writing in hopes of finding a good topic.
I feel like I want to talk about red bicycle, and my writing process. I call it the "Groove On It" Process. This, unlike most writers, means I'm not gonna do a lot of pre-writing. What I do is I just think about it in my spare time, until I have some sort of interesting framework in my head. Then, I start writing. It doesn't have to be Shakespeare, or even Killer Nerd, at this point. All it needs to do is have the characters and relative action right. If those things are wrong, then I go back, scrap that scene, and try again. When it feels right, then I move on. It's kind of weird and not what we are taught, but I find the more rules I know, the more I am able to successfully break them. And that is the lesson for the day. It's important, critically important, to know the rules, to study the need for certain things, to not think that you're idea is better than every idea to come before you, to not think that you can reinvent the wheel. The truth is, the wheel will never be re-invented, the most innovative people are the ones that take the wheel, and add radials to it, or make them bigger, better, stronger, faster.
These are the people that know the rules they are breaking, and bend them to their advantage. And that's a little bit of advice to everyone out there.
More coming on my tightness.
Sunday, January 6, 2008
Steelers
As i mentioned, not everything in my blog is going to be film related. My goal is simply to create a blog a day about something in my life. If I can hone in on film 9 days out of ten I'll be happy, but if it's one day out of ten, I'll still reach my goal.
So, the Steelers, my Homeboys, played the Jaguars last night. And I was home, at my mother's house in VA. Right by her house there is a great sports bar with has about 30 70 inch hd tvs, and the steelers game was playing on ALL of them. I called up a few of my friends and we all met right after the Redskins game. Now, the skins lost, but that didn't stop the skin's faithful from chanting "hail to the redskins" about 30 times.
BAck to the game, it's a game the steelers were destined to lose. Home play-off game, Rothlisberger playing piss-poor, against the only team to beat them at home in the regular season. And, apparently the defense got that memo b/c the jags ran rough-shot over the steelers through the entire game, except inexplicably during the fourth quarter when the passed while up by 18. But, three picks in the first half by Big Ben was just too much to get up from, despite coming back and actually being up 29-28 after rallying from an 18 pt. deficit.
The major problem, however, was that for the league's best defense, the Jags had a 96 yd. td run, average an ungodly yac on the ground, and got a huge gain from a designed qb draw on 4th and 2 that won the game for Jacksonville.
It shows that the stats lie often, and as I predicted weeks ago, the Steelers D would crumble in the playoffs, much like the almost crumbles to not win their division. Any team that loses to Baltimore, 2nd string or not, does not deserve to win a playoff game.
In other news, the Skins lost. After 4 wins in a row including a 21-pt win in dallas, many were saying Sean Taylor (#21) was with the team. After their loss yesterday, my friend texted me this message:
"Redskins lose by 21. Must be a sign...That they actually suck"
Eat it 'skins.
To bring it around the film. Both stories had interesting story archs. In both games, the Seahawks/Jaguars got out to big leads. In both games, the Steelers/Redskins rallied to lead by 1 point. But, unlike a hollywood story, in the waning seconds, the rallies were not enough, stamped out by 2 pick 6's for Washington and a waning seconds field goal by Jacksonville/fumble by Big Ben.
If this were The Replacements or Varsity Blues, or a movie, in the final seconds, down by a score, a miraculous play or hook and ladder would have saved the day. But this ain't a movie, and you ain't Keanu Reeves. Hell, apparently you ain't even Boise State.
Coming up...More of me being tight.
So, the Steelers, my Homeboys, played the Jaguars last night. And I was home, at my mother's house in VA. Right by her house there is a great sports bar with has about 30 70 inch hd tvs, and the steelers game was playing on ALL of them. I called up a few of my friends and we all met right after the Redskins game. Now, the skins lost, but that didn't stop the skin's faithful from chanting "hail to the redskins" about 30 times.
BAck to the game, it's a game the steelers were destined to lose. Home play-off game, Rothlisberger playing piss-poor, against the only team to beat them at home in the regular season. And, apparently the defense got that memo b/c the jags ran rough-shot over the steelers through the entire game, except inexplicably during the fourth quarter when the passed while up by 18. But, three picks in the first half by Big Ben was just too much to get up from, despite coming back and actually being up 29-28 after rallying from an 18 pt. deficit.
The major problem, however, was that for the league's best defense, the Jags had a 96 yd. td run, average an ungodly yac on the ground, and got a huge gain from a designed qb draw on 4th and 2 that won the game for Jacksonville.
It shows that the stats lie often, and as I predicted weeks ago, the Steelers D would crumble in the playoffs, much like the almost crumbles to not win their division. Any team that loses to Baltimore, 2nd string or not, does not deserve to win a playoff game.
In other news, the Skins lost. After 4 wins in a row including a 21-pt win in dallas, many were saying Sean Taylor (#21) was with the team. After their loss yesterday, my friend texted me this message:
"Redskins lose by 21. Must be a sign...That they actually suck"
Eat it 'skins.
To bring it around the film. Both stories had interesting story archs. In both games, the Seahawks/Jaguars got out to big leads. In both games, the Steelers/Redskins rallied to lead by 1 point. But, unlike a hollywood story, in the waning seconds, the rallies were not enough, stamped out by 2 pick 6's for Washington and a waning seconds field goal by Jacksonville/fumble by Big Ben.
If this were The Replacements or Varsity Blues, or a movie, in the final seconds, down by a score, a miraculous play or hook and ladder would have saved the day. But this ain't a movie, and you ain't Keanu Reeves. Hell, apparently you ain't even Boise State.
Coming up...More of me being tight.
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