Archive for the ‘Screenwriting’ Category

 

My First TV Spec – 8. June, 2009

For a while now I’ve wanted to try my hand at writing a television spec but I didn’t really watch TV so I never found a show I was comfortable diving into until I caught TERMINATOR: THE SARAH CONNOR CHRONICLES.

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Soon after the series kicked off, I had a kernel of an idea for a script but I couldn’t break the story. Everything I hashed out didn’t fit the tone of the series and speccing TV is all about writing with the show’s voice. It was always “on again, off again” until May 12th. That day I received an email from the Austin Film Festival informing me that they’d extended the deadline for their teleplay contest to June 8. Okay, that gives me a deadline but I still hadn’t figured out the story. Then one morning as I was in the shower, BAM–I cracked the story wide open. That was May 17th. May 18th, Fox cancels the show.

This is the point when I should have thrown in the towel. But I kept hearing Brian Peterson saying that “TV writers get 2 weeks to write a script but sometimes they only get 3 days so if you can’t write fast, you don’t belong in television.”

Suddenly I had something to prove to myself.

By May 26th I had a 5-page outline. By June 1st I finished my first draft of the script. I took 4 days for the first rewrite and just 2 for the second. June 8th I rushed down to the WGA to register the script. 15 minutes later I was in line at my local post office.

For a recap:

  • 9 days to a 5-page outline
  • 6 days to a 60-page script
  • 6 days to pound through two rewrites before sending it off
  • I know that isn’t a world record (you all know the ROCKY story, right?) and writing shouldn’t be a race but sometimes it is and it feels damn good to cross the finish line.

    Now, time to sleep.

    No, wait, time to sync hours of footage.

    No, first some sleep.

    Posted in Screenwriting

    The 2008 Black List – 26. May, 2009

    After my last post on writing for Hollywood, I stumbled across this article about the 2008 Black List.

    What is the black list? It’s a list of “great” scripts that generated some sort of heat throughout the year but for one reason or another never received a green-light. Who votes on the scripts that get in? Big time agents, managers and executives. So is this a big ploy to get traction for projects that have gone cold? Maybe, but is that a bad thing? Does being on the list mean your script is dead? No. Witness JUNO. It actually got turned into a pretty good movie (did I say that?).

    Disclaimer: I’m friends with at least two writers that have been on previous black lists so take with a grain of salt.

    Did you read the loglines of the top ten scripts? Any favorites?

    Posted in Screenwriting

    Hasta La Vista, TSCC – 18. May, 2009

    Today Fox officially cancelled their TERMINATOR television show.

    Cameron-TSCC.jpg

    So this brings me to my TSCC spec teleplay. I’ve been working on it for a while but hadn’t cracked it until I was in the shower this past weekend. Now, well, the question is this: do I still write it? It’s value as a sample is quickly diminishing but I could use it as an exercise. I could see just how quickly I can pump one of these things out. My deadline should be the Austin Film Festival Teleplay competition deadline (June 8).

    Deep breaths… and “fade in”…

    Writing Big Hollywood Pics – 18. May, 2009

    Recently, the Writers Guild of America held a panel on the state of the industry. Here are some bullet points (all culled from John August with my commentary added–look at me being all web 2.0 and remix)

  • Development slates are being cut in half. Forget ever getting an on-the-lot office w/ secretary.
  • While theatrical revenue is up, DVD sales have dropped roughly 30%. Does this mean the end of low-budget, direct-to-DVD sequels? Probably not.
  • The majors need to pump more out of the international markets. That means more big action, star driven movies. Time to dust off that old Stallone action spec and rewrite it for Marky Mark.
  • If your script doesn’t get the greenlight, it’s over. It’s dead. Bury it. Write something new.
  • Pre-branded material is king. Apparently Jonathan Hensleigh (The Punisher) had to option a comic similar to an idea he developed just so the executives could have some pre-branded to look at (…so he’s buying properties to kill them so his own can thrive?).
  • Marketing is getting involved w/ development (for reference, see how the commercial industry works). If the marketing team can’t easily grasp your idea, it’ll never go from script to screen.
  • Concept is king. Write well executed, big ideas. Ditch all that mushy character stuff you’ve been developing since college.
  • You’re better off being the mediocre writer that’s good in a room than the opposite. I suggest you practice by trying to pick people up in bar. If you can master that, and can transfer that skill over to pitch meetings, you’ll be unstoppable
  • Competitions, except the Nicholl, are a waste of time (save your pennies).
  • If the title can pitch the script, you’re a genius. If you can sell it with a logline, great. If you need a paragraph to set it up, you’re in trouble. Actually, this reminds me of one of my earlier posts.
  • Should you do free rewrites? Yes.
  • Are short films a waste of time? Yes.
  • Is YouTube a waste of time? Yes.
  • … Okay, are you as depressed as I am? If it’s any consolation, John pointed out that the panel was made up of studio guys that make big movies, not indie filmmakers.

    Yeah, that doesn’t make me feel better.

    John on Final Draft 8 – 12. May, 2009

    Four days ago I emailed John August asking for his thoughts on Final Draft 8. Today I see he posted this video.

    Thanks John!

    (Yes, I know he was probably working on this long before I emailed but allow me my tiny fantasies.)

    Posted in Screenwriting

    New Goals for 2009 – 1. January, 2009

    While I detest the ideas of new year resolutions I do believe that one should always have a goal. I think these are my professional ones (but I’m reserving the right to revise them at a later date):

    Get Back in the Directing Chair – Although I’m posting my first feature as we speak, I haunted by this advice/warning: don’t start your first feature unless you’re committed to finishing your third. Therefore, I should to get back in the directing chair this year. I’m not sure if that would involve a documentary, some webisodes or another feature. Regardless, I do know that the savviest directors get their next directing gigs before their current film debuts. How else could you explain Frank Miller getting to direct BUCK ROGERS when THE SPIRIT sucks so hard?

    Write Two Features and One Teleplay – I once heard Oliver Stone address Stanford university.  After verbally masturbating all over the audience for 90-minutes he managed to toss out one useful bit of advice. He said, “if you want to direct, write two scripts a year.” Okay, but then I have to face my first obstacle: want do I want to write? I’m not sure if I should write my romantic teen comedy, my horror comedy, my low-budget ensemble thriller or a sequel to the film I just shot.  Besides that, I want to write a TV spec. I’m pretty sure I’m writing something for this…

    TSCC-poster_sm.jpg

    … but there’s a chance I’d write a teleplay for this show:

    fringe-poster.jpg

    (honestly, I’d rather direct for the boob tube than write but I might as well give this a shot… let’s see if fate makes me eat those words).

    I Need to Network More – I’m not sure how to go about this exactly but I need to let people know that I’m a director they can trust to get the job done. Maybe I need to revamp my website and then drive more traffic to it. Maybe I need to get more eyes on this blog. Maybe I need to shoot more short stuff and post it on YouTube. Maybe I need to get more involved with… something. I’d really appreciate some advice here.

    I Need to Work on My Pitching – Ever seen BROADCAST NEWS? Remember Albert Brooks when he has to anchor the news? That’s what I’m like when I pitch. I really need to work on that.

    As for non-film related goals, I’d really like to travel outside the country, do something that scares me, take a class outside of my field, take a road trip, read more fiction, take up the guitar (again), save more, get healthier… you know, all the typical bulls#!t people resolve to do at the start of a new year.

    What about you?

    Update: I forgot to mention this show:

    breaking-bad.jpg

    Easily the most kick ass new show on TV. Once season 2 starts, I’ll see if I can come up with a good idea for a spec episode.

    “Shop Talk: Pitch Perfect” – 23. February, 2008

    Story, story, story. If there was one lesson to be learned from this highly interactive seminar hosted by Film Independent and led by Bob Dickman & Richard Maxwell, that’s it. As humans, we are walking narratives. We respond to them, we seek them out.

    Now anyone can dig up the basic structure of the 5-minute pitch from a book or a blog but what Dickman & Maxwell emphasized was passion and performance. Pitching isn’t intellectual, it’s visceral. Someone can throw out the most interesting facts in the world but if they can’t make you care you’ll never remember what they said. Remember that genius college professor that couldn’t string together more than half a coherent thought? Do you remember his lectures? Yeah, neither do I.

    To that end, these two instructors forced us into small groups. They gave us three basic exercises, the most amazing of which forced us to sing our pitch as an opera (I should note here that as I was on stand-by for this seminar, I didn’t have a pitch prepared; that’s a lesson I should have learned long ago). Scared out of my mind, I picked this one poor girl in the last row and I sang my guts out to her. Embarrassing? Absolutely. Did that person seek me out after the seminar to congratulate me? You bet. I’d even be willing to bet dollars to donuts that she went home and told all her friends about me. If only she were an executive, then I might be sitting on a six-figure sale.

    Maybe next time.

    The Strike Is Over! – 12. February, 2008

    The Writers Guild of America has just ended the three-month strike. Finally, I’ll be able to find a seat at my favorite Peet’s Coffee.

    Are we all glad it’s over? Yes. Has reality television strengthen its strangle hold? Ask NBC. They’ve been crushing the competition with “Deal or No Deal” and “American Gladiators“.

    The next big question: will SAG strike in June? Let’s hope both sides find an amicable agreement before then.

    Trailers, Posters & Loglines – 16. January, 2008

    I once took a class with producer Joe Roth and he gave us the formula for a winning pitch: 1) a trailer, 2) a poster and 3) a log-line. If you could pitch all three, you stood a good chance of selling your project.

    Note: this really only works for high concept pictures; I don’t think you could sell THE SAVAGES this way.

    Mr. Roth believed so much in this formula that he made it our final; we had to pitch him a movie and he wanted us to use these selling points. With that in mind, let’s take a look at two movies opening soon: 27 DRESSES and CLOVERFIELD.

    For this assignment, the perfect log-line would be a TV Guide blurb: 1-3 sentences that let you know what to expect but leave you wanting more. I think this is how I’d pitch these movies (I searched for the actual log-lines but I had to do the job myself).

    27 DRESSES – Jane, a woman who’s been a bridesmaid 27 times, faces her worst nightmare when her sister becomes engaged to the man of her dreams.

    CLOVERFIELD – When an unknown creature attacks New York, a group of party-goers run for their lives while documenting the onslaught with their home video camera; imagine GODZILLA a la THE BLAIR WITCH PROJECT.

    Verdict: While that 27 DRESSES log-line tells you exactly what to expect, the CLOVERFIELD one lets you see the movie in your mind. I know many people will say “don’t cite other movies in your pitch” but I think they’d all change their tune if it was a no-brainer and “GODZILLA meets BLAIR WITCH” allows even the dimmest studio suit to see the movie.

    Let’s look at the posters (note: he didn’t want you bring in actual artwork; he wanted you describe that one-sheet that would get butts in seats):

    27_dresses.jpg

    What does this tell you about the movie? It tells me that it stars the girl from KNOCKED UP and that if I liked THE DEVIL WEARS PRADA then I might be into this, too. As for the tag-line (always a bridesmaid, never a bride), it’s not very motivating.

    cloverfield.jpg

    IMHO, this poster is brilliant. It begs a question that can only be answered by seeing this movie on January 18, 2008. In a later version, they added the tag-line “something has found us” and that only makes me want to see this more.

    The “trailer” would make up the bulk of the pitch. Here, Mr Roth wants to hear all those awesome movie moments you’d cram into a 3-minute trailer. Instead of the low-res Flash of YouTube, take a look at the 27 DRESSES and CLOVERFIELD trailers in Quicktime.

    Again, the 27 DRESSES trailer sells the film to its audience (which isn’t me) but that CLOVERFIELD teaser still raises the hairs on the back of my neck.

    Personally, I think Joe Roth would have given 27 DRESSES an “A” but the CLOVERFIELD pitch earns an “A+” because it keeps begging questions that can only be answered by seeing the movie.

    Oh, in case you were wondering, I pitched an action movie about Elvis. I rambled through my pitch but I earned my “A-” because I had a good idea for the poster but it was my tag-line that made Joe Roth break out into a smile (maybe I’ll share it when I actually sell that pitch).
    :)

    Posted in Screenwriting

    Natural Voice of the Instrument – 7. November, 2007

    My old boss told me a story about a master class at the UCLA School of Music. Bassist Edgar Meyer was watching this student get furious on the upright bass. Apparently this kid was playing crazy arpeggios at the upper most register of the instrument (think Jimi Hendrix bashing out jazz).

    The kid finished and Edgar said, “wow, that was amazing but did you consider the instrument?” The student was confused and Edgar asked “have you considered the natural voice of the instrument?”

    This is my struggle as a filmmaker.

    No artist wants to be labeled and the same goes for filmmakers. I don’t want to be the guy that can only do those “weird, funny films.” I want to be like Steven Soderbergh, jumping from issue movies to star vehicles to experimental features to a hugely successful heist flick. My thesis, for example, is unlike my past work. While most of my previous films have been comic, wistful and magical my thesis is a rich, nuanced drama that’s aiming to break your heart.

    But am I denying the “natural voice of my instrument?”

    A lot of my colleagues give me funny looks when they read my script. They comment on how “it’s so different from my previous work” and a bold individual has said, “I don’t see you in it.”

    Am I shooting myself in the foot? If this short is successful, professionals will want something else exactly like this but the feature scripts I’m currently working on are comic, wistful and magical.

    How do I apply my natural voice to a different framework?

    …if I had the answer, I’d be making millions in the “self-help” category. :)