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

Evaluating your future

So, I neglected my blog this week...and I'm sorry.

First, a shameless plug. If you are out there reading this blog, please, please, please, tell your a friend. If you have a blog, link me. I'm a big whore for promotion.

A couple announcements...

I started a gig at an UNNAMED PRODUCTION COMPANY (UPC) on Thursday in their TV department. I was only there two days last week, but I'm sure It'll be good fodder for future posts.

Also, tomorrow is my birthday.

Okay, now onto the post. It's not going to be heavy on production, I'll warn you that now.

Whenever I get around to my birthday, it always makes me take a moment and evaluate my life goals. If I'm going to rule the world by the time I'm 30, I gotta get off my butt and start moving.


#1:

I always start by making a list of where I expected to be at this point in my life. I have a very detailed long term and short term plan for success, which I recommend for anyone who wants to be constantly disappointed in themselves.

At 26 I wanted to have two features in distribution and have funding in place for a a 1 million dollar independent feature. The year started out promising, but in the end it hasn't panned out. In fact, I have 0 films in distribution, and we are still working on funding for our next project. Scratch that off my list of conquests.


#2:

After depressing myself with what I didn't accomplish, I make a list of things I did accomplish.

I got married.
I moved to LA.
I wrote several pilots which got some attention.
I was contracted to write a feature and a treatment.
I have one feature in post-production, and my company is acquiring a second film.
I started a pitch and development company with two partners.
I directed two television shows.

By all accounts, that's not a bad year. It may not be the year I wanted, but for being on disability for five months it's not too bad.

#3:

Finally, it's time to make goals for the coming year.

So, why am I telling you this? Is it because I like to hear myself talk, or see myself write?

No, as usual it's to give you an exercise you can use in your life. All successful people have goals. They have a long term goal...Rule the World. But they also have short term goals...pay rent, get a shite job at a good company, etc. I read an article about Roger Goodell, commissioner of the NFL. Apparently, Roger started as an unpaid intern in the public relations department and he worked himself up to commissioner of one of the biggest and most profitable companies in the world. His long term goal...Commissioner of the NFL. I'm sure many people laughed at him when he was getting the higher ups coffee, but it was all part of his goal.

In the world of entertainment, there are many more disappointments than successes. It's very easy to not be able to see the forest for the trees, and to look for greener pastures. Keeping yourself focuses on your goals allows ME to keep going while striving for my long term goals.

I know this wasn't a great post, but give me a break...it's my birthday.

Disastrous...

...movies. They happen. Not every good movie is a huge success. Not every huge success is a good movie.

I was surfing around the 'net this morning and saw an article discussing the 10 worst box offices of all time. I'm not sure this list is 100% accurate, and it obviously doesn't go into deep detail about the depth of the financial problems each movie caused (Like how Cleopatra actually forced 20th Century Fox to sell off a large portion of their lot. That's right. All of you residing in Century City, thank Elizabeth Taylor's first dollar gross deal for your domicile). Still, it was an interesting read.

Of all the movies on the list, my favorite has to be ZYZZYX Road. This is a movie that cost 2 million dollars to make, features one of today's hottest actresses, Katherine Heigl, and made a whooping $30 at the box office. Not $300,000, $30,000, $3,000, or even $300. No, it made a theatrical gross of $30. The movie DID only screen at one theater in Texas for ONLY a week, but that averages out to just over $4.25 A DAY!

Now, I should mention that the article does not discuss the success of the film in ancillary markets (DVDs, Internet, Pay TV, Cable, etc). However, usually the formula is roughly 3-5x theatrical is the expected profits on DVD. So, on the high end, their expected return should be no more than $150 (that was a joke). To be fair, right now there are films being screened in NY and LA to empty houses just to qualify for Academy Award consideration. In addition, movies do sometimes find their audience on DVD. Filmmakers like Kevin Smith depends on DVD sales. So, theatrical does not ALWAYS dictate home video sales.

The director, John Penney, claims that this was a deliberate move. He was forced to screen the film domestically to fulfill his obligation to SAG regarding theatrically released films. He did not want to domestically distribute the film until after a successful foreign release. So, he rented out a theater for one week and screened the film once a day, without publicity. How successful was his plan? From Wikipedia "The film was released in twenty-three countries and by the end of 2006, had earned about $368,000. As of today, the film has not yet received the legitimate domestic distribution that was supposed to follow its foreign release."

In the filmmaker's defense, losing $2 million dollars is FAR less than any of the other films on that list. And, you have to applaud the independent spirit. He did go on to direct another film, which is more than most people ever get. At least it wasn't THE ADVENTURES OF PLUTO NASH. Wow, I started out to bash the film, and ended up realizing a deep respect for the filmmaker's independent spirit. Weird how that works out, huh?

On a final note, Disaster movie has a 0% on Rotten Tomatoes through it's first weekend. I've been reading rotten tomatoes for a long time and I've never seen a 0% for a major studio release. If you have, leave a comment so I can check it out.

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

Conception vs. Execution

I was playing a puzzle game last night, and I kept getting stuck on one problem. I understood the mechanics on how to get the problem solved, and had a brilliant way to solve it, but I just could execute the moves to make the solution work. And it got me thinking about the difference between having an excellent concept and being able to EXECUTE it.

See, a lot of people have great concepts for scripts. They write great synopses, cover letters, treatments, and queries. They get a producer interested in the idea, and that person requests the project. But, when the producer gets the project, it's poorly executed. Terribly executed, actually. Anything from the dialog being bad, the structure being poor, to the complete lack of formatting.

This is why there are throngs of irritated, antsy, and bitter development executives and readers in this town. Because almost everything they request is shite. The statistic I like to throw around is 9 out of ten scripts I'm going to know in the first ten pages is a pass. Of those 10, at least 5 and usually more like 8 others fall apart in the second or third act. Which leaves 2-5 out of 100 scripts that MAY be useful to me. Of those 2-5 many have budgets that are out of my range, or genres I'm not looking for. So, if I'm lucky MAYBE 1 in 100 scripts are worth going forward on. In the past three years, I have only recommended 3 scripts, none of which ended up getting a contract due to various reasons. And I've read in the ballpark of 500-1000 scripts. That is NOT a good average.

People ask me all the time why I'm passing on their project when I was excited initially to see it. Almost 100% of the time its because the project is executed poorly.

See, there is are two major factor in dealing with a writer. The first is that they have a great script. But the more important factor is that they can handle a relationship with the producer. And, if someone can't execute a script, they certainly can't handle executing competent re-writes. And if they can't do competent re-writes I have to find a writer who can execute them. So, why don't I just hire that other writer to begin with? It'll cost me less, in the long run.

As far as developing a career in the entertainment business, it's important to show you can EXECUTE a concept as well as you can IMAGINE a concept. If Steven Spielberg shot Raiders of the Lost Ark on a Handycam, he can have the best script in the world but the execution would not work. On the other hand, if he shot a terrible script for $100 million dollars, the shots, acting, and direction may be brilliant, but the terrible script would lead to terrible execution.

So, it's important to DELIVER on the concept you are pitching. Yes, you can spend $30k on the one-sheet, design, trailer, epk, etc to get the investor excited, but if the script is executed poorly they will look at the script and pass. Of course, if Angelina Jolie says yes to your movie...you could greenlight Everybody Poops, the Action film written by Little Timmy.

Which is just like solving a puzzle in a video game. If you know how to solve the puzzle, but can't make the little men do the tasks that are required to solve it, you'll be stuck on the same level for an hour. But, don't cry for me. I finally got through it.

Football...

...is back, in the states. And as a tribute I want to give you a metaphor about writing a screenplay.

To set it up, a football drive consists of a series of plays that are all designed with the end goal of scoring a touchdown. However, in that there are many smaller battles to score first downs. Every four downs, the offense has the opportunity to move the ball ten yards. If they make it ten yards, they have another set of downs, and thus another chance to score. This is truly what sets football above and beyond a sport like soccer. In soccer, the goal is to drive the ball down the field in one play and score. The conflict comes in the end of the game with the final score.

So, what makes football so much more dramatic than soccer on a minute by minute basis? IMHO, it's the drives. See, if football was set up to have to score a touchdown on 4 plays, much of the conflict would be gone.

Instead, we are riveted to EVERY ten yards. Every play could get another set of downs, every down could be an interception, every down could be a touchdown. Which is what keeps us coming back.

And now, to tie it back to filmmaking...think of your script as a scoring drive. If you scored on a hail mary pass on the first play, yes it would be interesting for a moment, but the true drama comes from the conflict and after the initial exhilaration is gone, the audience asks WHAT NEXT. The drama comes from every mistake, every failure, that leads to the players lining up and running it again. Football players are truly dramatic figures, great heroes, because they constantly fail, but they get up and find a way to do it again.

So, you see, with the GOAL in mind of a touchdown, your characters need to focus on the drive, getting the next play a little further down the gridiron. And, when they get sacked for a loss, have them pick themselves off and get back in the huddle.

God, I LOVE football. Anyone else?

Synopses

So, over the past two days I've had an abnormal amount of synopsis which did not follow the standards of what a synopsis should look like. This got me to thinking, and if these people are so wayward in their definitions of a synopsis, maybe some of my readers have the same problem.

So, what is a synopsis. A synopsis:

4. Definite the characters in the story
3. Give a backbone to the script
2. Tell the story
1. Make the audience WANT to read the whole script.

1. Make the audience WANT to read the whole script.

Basically, what you are trying to do is make the reader buy into the idea of the world you have constructed. If you have a script, this is basically the one page definition of your story. Hit all the high points, taking out all of the other stuff. Outside of your logline, it is the most simplified version of your story. After reading a synopsis the reader should WANT to read further.

2. Tell the story

Some questions the synopsis should answer are:

-Who are the main characters? (Capitalized the first time they are introduced, always with a description)
-What do they want?
-How are they impeded from getting that goal?
-What is the inciting incidents of the story?
-What are the conflicts of the story?
-What are the BEATS of the story? (The critical points that introduce another internal or external conflict, the points that move the story along.)

These are some questions that need NOT be answered:

-What is the backstory of the characters? (a little bit is okay, a sprinkle, not a dallup)
-What are the clinical definitions of terms and why are the important to the story?
-What is the five page backstory of the fictional setting of this story?
-How will this carry into further episodes? (for a TV series)
-Why this story is important?

Any important information relating to further defining the character should be answered in a COVER LETTER or a PRODUCTION BIBLE, of THE SCRIPT.

The only thing the synopsis should do is to TELL THE STORY. It is a one page hand-out of the STORY of the movie/show/book. It should be NARRATIVE, not EXPLANATORY. Let me FEEL the story, because that's how I know if I want to read more.

3. Give the backbone of the script

How is my script different from the other 100 million scripts out there. The example I've been using recently is:

Halo 3, Gears of War, Doom are all the same game. They are about an elite military unit that has to kill aliens. There is nothing new about the story. Video games have been made about it for 20 years, and will be made about them for the next 20. However, what was DIFFERENT about the games was the story behind the game. How THIS military unit differed from THAT military unit. How THESE aliens were different from THOSE aliens.

To give you a different example from film, pick out three RomComs from your DVDs and tell me how they are different from each other. Each is about a guy who falls for a girl or a girl who falls for a guy. The only thing that makes any of them different is the story. It's about two people falling for each other, but HOW is yours different from mine. That is what a synopsis, logline, and treatment do for your project. What makes your script DIFFERENT. Because otherwise, it's the same.

So, a synopsis has to give why this script is different, and specifically what moments, beats, in the script make it different. A logline is meant to give a gist of a story for an elevator pitch. However, a synopsis has to lay out in broad terms how the story will be executed towards a logical conclusion.

4. Define the characters of the story

To a lesser extend, the reader needs to connect with the characters, to understand their motivation and want to follow them on this journey. If the characters are not believable, their motivation not compelling, no one will be able to follow their journey, much less want to invest in their character.

So, there it is. Make sure it's one page...it's not a treatment, tighten it up, and make it sing. Remember, it's about the STORY, not the BACK-STORY.