it's better than destroying.
So, I only wrote my last post about the manager to SET-UP the PAY-OFF of this post.
After meeting with the manager, one thing was clear...people are only interested in new people that have created content. I keep hearing it over and over...get a youtube channel, create some shorts, do a webisode. If don't have any of those things, you are FAR behind the eight-ball.
I have a history in internet television, and I can tell you that the movement to the internet is real. I can also tell you that hollywood has no idea what they are getting themselves into with the internet. They know that youtube is cool, facebook is better, and webisodes are a good way to develop new talent.
They do not care that it costs hundreds, or thousands of dollars to create a webisode that has virtually no chance of turning a profit or even breaking even. They don't understand that writing a webisode has no bearing as to your ability to write for either tv or film. In fact, the more I get to know studio people, the less I think they understand anything about how the real world operates.
That being said, the topic of this post is creation. I got the bug after talking with the manager. I've done a lot of research on various shows, lengths, number of episodes, etc, and have come to the conclusion that a show can gain a rabid following in 4 episodes, be done in 10, and catch the world a flutter. Four Eyed Monsters, The Guild, Buddy Jackson, clark and michael etc. They didn't have huge runs...now prom queen and quarterlife did/do.
However, it's important to distinguish a show you are planning on making money from, i.e. prom queen, with a show you are intending to get a buzz around town. For that, I say you need a ten episode story arch. Each episode needs to be 3-5 minutes in length, with a cliffhanger. This is about 1/2 the length of a normal commercial break, so get into the show, punch it, and get out of it as quickly as possible.
Next, decide on a topic. For the best appeal, pick a topic that lots of people on the internet already know about, World of Warcraft, failing at love, or trying to be a filmmaker are all pretty good ones. Next, make it funny. The only shows that truly succeed on the internet in small runs are hilarious ones. There is some market for highly styled shows as well, but for simplicity, nothing beats hilarity.
Next, write the script. It's best to plan out the entire run of the series in one fell swoop. So, you're going to write a script roughly the size of an hour long pilot, about 50 minutes or 65 pages. Make the act breaks every 3-5 pages, and make sure there is a cliffhanger at the end of each to start a new episode. Now, I would think this goes without saying, but since you are writing a comedy, Do Not, i repeat, DO NOT, go crazy with locations, character, effects, or stunts. Make it simples, and funny.
Now, you need to set up a site dedicated to the show. Make sure it has a blog, somewhere to add video, a message board, and an about page, and somewhere to contact and talk about the cast. Oh, and if you're really smart, put up a donation link so you can try to recoup some of your investment. You will need to upload to at least YOUTUBE, REVVER, MYSPACE, FACEBOOK, along with any others that you can think of. SPROUT helps Four Eyed Monsters get established.
Next, CREATE! finally you get to cast the show, and produce the show...oh yea, and PAY for the show. So, you will most likely need to produce 5-10 pages a day over a 5-10 day window, in order to get the whole run completed. I know a lot of people are only producing 2-3 shows at a time...put YOU are better than that. If you have been watching the strike, then you are aware that the studios hate interruptions in production because it increases their costs exponentially. So, if you are able to produce the entire run in one swoop, you will not have to deal with things like overages, coordinating schedules again, or reestablishing communication with your vendors. It keeps your costs down as well. That way, when you are getting donations, it's all profit, or recoupment.
That's all for now. When I get to this point with my next great idea, I'll be able to talk about marketing and getting people to notice.
Wednesday, July 23, 2008
Manager
So, I met with a manager yesterday, and he's willing to hip-pocket me, woo-hoo. Me and johnny drama have something in common. Of course, the word hippocket never came up, it was verbiage like:
-"Let's let the relationship emerge."
-"No need to put anything on paper."
-"Next time YOU need something, call me."
The difference is, unlike J-D, I'm grateful for it, because at least it means that someone sees that I may be a money-maker at some point in the near or distant future. Now, we'll see how that goes, but it does bring me to the next post.
-"Let's let the relationship emerge."
-"No need to put anything on paper."
-"Next time YOU need something, call me."
The difference is, unlike J-D, I'm grateful for it, because at least it means that someone sees that I may be a money-maker at some point in the near or distant future. Now, we'll see how that goes, but it does bring me to the next post.
Monday, July 21, 2008
No, really, my dialog is good
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.
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.
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.
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