So, in my life as a reader, not to be confused with my life as a writer, producer, director, or camera operator, I read A LOT of scripts. One of my clients even sends the coverage back to the writer with all of my comments. Which is fine, but it inevitably means that I get e-mails from writers begging me to change their grade from a pass to a recommend.
So, I wish to recount one story that recently happened. I had finished a rather bizarre animated script, and submitted my coverage for it. I thought the dialog was weak...in fact I gave it a 1 on a scale of 1-5. It was set a long time ago, but the dialog was contemporary, on-the-nose, boring, bland, and awful.
However, the writer wrote me back, insisting "the dialog was fresh, witty, and original. A breath of fresh air". He didn't use the words, I thought, no. He said it as if it was a fact. Now, of course I had to tell him that I thought differently, and though it was one man's opinion, it was the correct one.
but, this brings up a good point in your writing...there is no need to defend it. If someone doesn't understand something, you have to look and consider it as something that is deficient in your script. You will not be in the theatre to tell the people what your script is really saying, so there is no need to do it to me now. Instead, take comments you get, and figure out why it didn't work. You can explain yourself, and your intentions and ask questions about why it didn't work. But, there is no use defending your script.
Another example, I belong to the scriptwriter's network's tv writer's group. this past week, i had a script reviewed by them. It was a half hour sitcom, and I had never done a half-hour. So, I was anxious to see how it went over. And, unfortunately, it didn't go so well. The structure was off as was the characterization. Now, when i say this, it wasn't off my a ton, but it was off enough that it wasn't clear what my true intentions are.
However, when I was getting notes, the people gave suggestions that I was actually intending to be in the story. This character should do this...hmmm, I thought my character was already doing that. But, instead of complaining that my character was already like that, I said...interesting, that was my intention. Now, I have to go back and make sure my intention is coming across on the screen. I came home and immediately began re-writing and came up with a draft I think addresses all of the concerns.
Once again, it wasn't big overhauling that I did with the script, but USING, not DISMISSING, the comments made the script better, more understandable, and eventually more commercial.
So, if you ever find yourself looking at a reader, whether a professional one or a friend, and saying...hey, you are wrong, x IS something even if you don't get it, stop yourself. It's not the case at all. SOMEONE didn't get it. You are too close to it. Take the comment go back, and try to make it a little clearer...of course, not everyone is always right, and you have to draw a line in the sand somewhere.
Monday, July 21, 2008
Friday, July 18, 2008
Playing Tennis is part of the job
I HAD to play tennis last Monday. Regardless of the fact that I like tennis, and enjoy talking with the person I was playing with, we were there to discuss business. People in regular 9-5 jobs don't understand how playing golf, tennis, going to lunch, and getting drinks are part of the job, but they are.
For instance, to piggyback on a previous post, networking events are fun. There are tons of people all talking about film and having drinks. However, its also work. Its my job to meet to most influential people, make them see what an amazing asset I can be, and make contacts that can help both me and my company in the long run.
For those of you who may be reading, first: Thank you. But more importantly, working in film is a different experience every day. Because of the fact that every person in the industry is an independent contractor, and everyone has a project to pitch, it's like working with a hoard of salesmen. Some of them are shysters, some are middle class businesses, and some are legitimate fortune 500 companies, but they are all salesmen. The best of them can sell a terrible idea in a shiny package, proverbial snake oil. The worst of them spend 5 years developing a wonderful concept that goes nowhere.
The difference: A few simple things.
1-HIGH CONCEPT IDEA: Projects that can't be pitched, or summarized quickly, go nowhere. I currently have that problem with one of my scripts, Red Bicycle. We'll use it as an example.
Logline: Bengie, a talented poker player, makes a movie, only to lose it to his father in a card game. Ten years later, his dreams shattered, he must find a way to get back what he lost.
See how hard a concept that is to sell. In contrast, I have another film, Johnny's Black Flag.
Logline: A young man is released from a mental institution into a halfway house only to fall back into psychosis.
See, the second film looks like a pitchable idea. This is essential for the quick contact, or elevator pitch. guess with idea gets more interest.
2. Make it easy for them to ask for a script
The next step is having a great synopsis or treatment. Ideally, you would be able to skip this step, but nothing is guaranteed so it's best to have them. A producer/agent needs to see that the script is marketable. After hooking the interest, then you have an opportunity to sweeten the pot. The film already has a budget...a line producer attached, as well as a director. In addition, mention the film is a 1.5 million dollar budget, and you have interest. But, the best script will never get read if you can't get someone interested in the plot.
3. Get them to read the script
After you have shown that their job is easy, getting them to read the script should be a piece of cake. This doesn't guarantee anything, but if you have a good concept and a good script, getting someone to read it is the most important step.
Some people are so good they can sell a treatment. Some are better and can sell a concept. But, it's just a sales pitch. Get better at selling, and you'll have a more successful career. When you do, you'll be able to play tennis as part of your job too.
For instance, to piggyback on a previous post, networking events are fun. There are tons of people all talking about film and having drinks. However, its also work. Its my job to meet to most influential people, make them see what an amazing asset I can be, and make contacts that can help both me and my company in the long run.
For those of you who may be reading, first: Thank you. But more importantly, working in film is a different experience every day. Because of the fact that every person in the industry is an independent contractor, and everyone has a project to pitch, it's like working with a hoard of salesmen. Some of them are shysters, some are middle class businesses, and some are legitimate fortune 500 companies, but they are all salesmen. The best of them can sell a terrible idea in a shiny package, proverbial snake oil. The worst of them spend 5 years developing a wonderful concept that goes nowhere.
The difference: A few simple things.
1-HIGH CONCEPT IDEA: Projects that can't be pitched, or summarized quickly, go nowhere. I currently have that problem with one of my scripts, Red Bicycle. We'll use it as an example.
Logline: Bengie, a talented poker player, makes a movie, only to lose it to his father in a card game. Ten years later, his dreams shattered, he must find a way to get back what he lost.
See how hard a concept that is to sell. In contrast, I have another film, Johnny's Black Flag.
Logline: A young man is released from a mental institution into a halfway house only to fall back into psychosis.
See, the second film looks like a pitchable idea. This is essential for the quick contact, or elevator pitch. guess with idea gets more interest.
2. Make it easy for them to ask for a script
The next step is having a great synopsis or treatment. Ideally, you would be able to skip this step, but nothing is guaranteed so it's best to have them. A producer/agent needs to see that the script is marketable. After hooking the interest, then you have an opportunity to sweeten the pot. The film already has a budget...a line producer attached, as well as a director. In addition, mention the film is a 1.5 million dollar budget, and you have interest. But, the best script will never get read if you can't get someone interested in the plot.
3. Get them to read the script
After you have shown that their job is easy, getting them to read the script should be a piece of cake. This doesn't guarantee anything, but if you have a good concept and a good script, getting someone to read it is the most important step.
Some people are so good they can sell a treatment. Some are better and can sell a concept. But, it's just a sales pitch. Get better at selling, and you'll have a more successful career. When you do, you'll be able to play tennis as part of your job too.
Thursday, July 17, 2008
The HOLLYWOOD STANDARD
So, I just read THE HOLLYWOOD STANDARD, basically THE book for hollywood structure and style and BOY, was I doing a couple of things wrong. Not wrong enough to cheat me out of a deal, but definitely some things that are formatively wrong. Now, as a writer they are wrong, but for an AD/UPM they would be very helpful in determining schedule and not having to re-slug scenes.
THINGS like putting FLASHBACK at the beginning instead of the end of a slug make no sense to be in the scheduling of a script, but apparently matter for the story flow. Personally, in order to shoot it I need to know WHERE it is before i need to know WHEN it is. However, I see the point.
Another one is that you should be capitalizing everything BUT props in a script. When I budget/schedule, I need to know WHAT is needed in a scene, not if there are FOOTSTEPS coming. Once again, an illogical move for scheduling, but possibly effective when dealing with a reader.
Also, I have never added a single camera move in any of my scripts, because that is the director's job, not the writer's, but there were some ingenious ways to get around making your direction snappier and more precise.
All in all, since I'm getting writing work, I don't think it's a huge deal, but for the current and future scripts I am writing I will definitely make some adjustments.
BTW, my advise is that when you write, be semi mindful of the people who will be putting on your movie...unless you sell it to a studio, then F it and let them deal with it.
THINGS like putting FLASHBACK at the beginning instead of the end of a slug make no sense to be in the scheduling of a script, but apparently matter for the story flow. Personally, in order to shoot it I need to know WHERE it is before i need to know WHEN it is. However, I see the point.
Another one is that you should be capitalizing everything BUT props in a script. When I budget/schedule, I need to know WHAT is needed in a scene, not if there are FOOTSTEPS coming. Once again, an illogical move for scheduling, but possibly effective when dealing with a reader.
Also, I have never added a single camera move in any of my scripts, because that is the director's job, not the writer's, but there were some ingenious ways to get around making your direction snappier and more precise.
All in all, since I'm getting writing work, I don't think it's a huge deal, but for the current and future scripts I am writing I will definitely make some adjustments.
BTW, my advise is that when you write, be semi mindful of the people who will be putting on your movie...unless you sell it to a studio, then F it and let them deal with it.
Dr. Horrible
Everyone's talking about it, so I'll get in the mix. Don't be a sucker and pay for it. Josh is letting it go for free until the 20th.
P.S. It's pretty good, and it has my favorite Internet Actress and Cinema Darling Felicia Day.
P.S. It's pretty good, and it has my favorite Internet Actress and Cinema Darling Felicia Day.
Networking in La
I've been here for about a month, and I can tell you without a doubt, the most important thing to do in this town to get ahead is to network. Unlike towns like DC, NYC, Chicago, or others, you're credentials only go so far.
Every networking event I go to I meet brand new writers who are trying to break in, college seniors, and produced writers. I've never been to an event in DC that had that range of people. And, it's because the produced writers know that today's bus boys may be tomorrow's studio execs.
Yes, Yes, for the large majority of people in La they either are lacking talent, drive, gumption, or some combination of the three. However, in every rough there is a diamond, and one of those development interns/assistants/busboys is a great writer - about industry events.
-Make at least 3-4 contacts at each event. Yes, it may be tempting to sit down, but remember EVERYONE there wants to network. So get in the game.
-After the event, follow-up with an e-mail stating who you are, give a nice anecdote about what you spoke about, and offer to help them with any projects. Don't just say it though, mean it. These are your colleagues, and potential futures employers.
-Don't fret if you don't get a response from people, they heard you. Just go to the next event, and make new contacts. You will eventually run in the same circles and meet again.
Networking Tips:
-Personally, I don't like crowds so networking is hard for me, so a good tip for you is to take breaks from the action if you are like me. People will come up to you, mill around and start communicating with you.
-Don't eat up someone's time. Remember, everyone is there to network and a large room is not conducive to having a deep, meaningful conversation.
-Make sure you ask about them. Don't talk about yourself the whole time. In fact, always begin with talking about them. When they ask, volunteer information. However, this is about you making contacts, not pitching your latest ideas.
-Don't ask people to help you. It's about developing a mutually beneficial relationship. Over time, when there is a trust built and the potential to get projects as well as a friendship. People don't want to put themselves on the line vouching for someone they hardly know. Begging is in bad taste.
-Don't be all over the place when discussing yourself. You want to be "the guy/girl that..." to leave an impression not "the guy/girl who does this/that/the other" noone remembers that person. They remember the person producing the horror script, or writing the TV pilot.
Eventually, with enough contacts, grit, moxy, and talent, you will break through, just be ready for it when it happens.
Every networking event I go to I meet brand new writers who are trying to break in, college seniors, and produced writers. I've never been to an event in DC that had that range of people. And, it's because the produced writers know that today's bus boys may be tomorrow's studio execs.
Yes, Yes, for the large majority of people in La they either are lacking talent, drive, gumption, or some combination of the three. However, in every rough there is a diamond, and one of those development interns/assistants/busboys is a great writer - about industry events.
-Make at least 3-4 contacts at each event. Yes, it may be tempting to sit down, but remember EVERYONE there wants to network. So get in the game.
-After the event, follow-up with an e-mail stating who you are, give a nice anecdote about what you spoke about, and offer to help them with any projects. Don't just say it though, mean it. These are your colleagues, and potential futures employers.
-Don't fret if you don't get a response from people, they heard you. Just go to the next event, and make new contacts. You will eventually run in the same circles and meet again.
Networking Tips:
-Personally, I don't like crowds so networking is hard for me, so a good tip for you is to take breaks from the action if you are like me. People will come up to you, mill around and start communicating with you.
-Don't eat up someone's time. Remember, everyone is there to network and a large room is not conducive to having a deep, meaningful conversation.
-Make sure you ask about them. Don't talk about yourself the whole time. In fact, always begin with talking about them. When they ask, volunteer information. However, this is about you making contacts, not pitching your latest ideas.
-Don't ask people to help you. It's about developing a mutually beneficial relationship. Over time, when there is a trust built and the potential to get projects as well as a friendship. People don't want to put themselves on the line vouching for someone they hardly know. Begging is in bad taste.
-Don't be all over the place when discussing yourself. You want to be "the guy/girl that..." to leave an impression not "the guy/girl who does this/that/the other" noone remembers that person. They remember the person producing the horror script, or writing the TV pilot.
Eventually, with enough contacts, grit, moxy, and talent, you will break through, just be ready for it when it happens.
Wednesday, July 9, 2008
Learn something new/intercutting
So, don't say you can never learn anything new. I thought I was well versed in the art of screenwriting, but apparently I was not. I always wrote phone conversations like this:
INT. CAR
Person #1 is on the phone.
Person #1:
The world is a vampire.
INT. HOME
Person #2 is on the phone.
Person #2
Sent to drain.
INT. CAR
Person #1 is still on the phone.
Person #1
Secret Destroyer.
INT. HOME
Person #2 is on the phone.
Person #2
Hold you up to the flame.
However, I learned that is appropriate to write.
INT. CAR
Person #1 is on the phone.
Person #1:
The world is a vampire.
INT. HOME
Person #2 is on the phone.
INTERCUT--PERSON #1/PERSON #2
Person #2
Sent to drain.
Person #1
Secret Destroyer.
Person #2
Hold you up to the flame.
Intercutting is the hip new thing, and readers, apparently, hate to see slug lines for each line of dialog.
INT. CAR
Person #1 is on the phone.
Person #1:
The world is a vampire.
INT. HOME
Person #2 is on the phone.
Person #2
Sent to drain.
INT. CAR
Person #1 is still on the phone.
Person #1
Secret Destroyer.
INT. HOME
Person #2 is on the phone.
Person #2
Hold you up to the flame.
However, I learned that is appropriate to write.
INT. CAR
Person #1 is on the phone.
Person #1:
The world is a vampire.
INT. HOME
Person #2 is on the phone.
INTERCUT--PERSON #1/PERSON #2
Person #2
Sent to drain.
Person #1
Secret Destroyer.
Person #2
Hold you up to the flame.
Intercutting is the hip new thing, and readers, apparently, hate to see slug lines for each line of dialog.
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