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So the other day, I was sent a script and along with it the author had sent in a predone coverage on it that was CLEARLY written by themselves. DON'T do this.
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Oct 16, 2010 07:10
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The problem with Creative Screenwriting and On the Page is that they're generally made by readers. Now, don't get me wrong, I think it's important for any writer to read a lot of scripts, especially bad ones, but at the heart of it, these people are not writers. IMDB most anybody at Creative Screenwriting and you'll come up empty. Most of the time they're script consultants who advertise on the side columns of CS, getting midwest housewives to pay $500 for a set of script notes that they don't spend two hours on. Which, is not bad work if you can get it.
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Oct 20, 2010 00:10
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IIRC JCaesar isn't really a TV writer but a guy who was just really delusional and made a lot of stuff up. 'Least that's what his helldump thread lead me to believe. Bonk - Did you go to VFS?
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Oct 21, 2010 00:10
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screenwritersblues posted:I will pitch it right here on the spot. Pitch me.
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Oct 25, 2010 09:40
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screenwritersblues posted:Eventually. Worst possible answer. You'll never get anywhere with that attitude.
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Oct 26, 2010 20:54
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the Bunt posted:Short films are a complete different beast than features. Yeah, every filmmaker I know says that shorts are much harder than features. Sadly I need to do three more shorts before I can make a move towards anything else :/
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Nov 9, 2010 06:53
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One of my favorite short films was made incredibly easy, you just have to be clever about it - http://www.youtube.com/watch?v=HR9q_pWOn-8 The quote thing is fine. Since you're not going the festival route I'd say go for it, if that's what interests you.
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Nov 9, 2010 09:23
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Scooty Puff Jr. posted:I can attest that it's a great program. (but, those looking for advice, don't go to school expecting to get a job, because that's all on you, bro. Out of 30 grads in my class, only two or three of us are working in the industry, and only one of us is a working writer.) I'm not sure that's what I'd call a great program.
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Nov 15, 2010 08:37
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Welcome to Hollywood. You got off light.
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Jan 9, 2011 23:50
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Get your contracts ahead of time and UNDERSTAND them.
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Jan 10, 2011 21:21
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August has a lot of good information and a lot of bad information, but he gives his reasons and at least explains his thought process and encourages other opinions, making him one of the better resources. I mean, he actually *researches* his articles, making him leagues better than scriptlab and others.
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Mar 3, 2011 06:40
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wafflesnsegways posted:Songs are huge for me. I don't actually put the songs in the screenplay, but I definitely set stuff to music in my head, and mark which songs I used in my notes. It's perfect when rewriting time comes around - I can put on that song, and all my hopes and plans for the scene come right back. I do the song association thing, too. But for every project I just pick one song and put it on loop for as long as I'm working on it.
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Mar 23, 2011 07:35
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The_Doctor posted:So I just found out about Pitchfest happening next weekend in LA. I've never heard about this before, and if I had a few months ago, I might have been tempted to fly out there and have a looksee. I had a friend who was taking pitches for it - he couldn't figure out how he got chosen to do it and even if he heard an interesting pitch (he didn't) he couldn't do anything for the person.
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May 30, 2011 20:10
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The_Doctor posted:Does he not deal with pitches regularly? That seems particularly crappy. Why even go? He basically had a CE job (Creative Exec), but it's one of those titles that can mean very different things at different companies, at his, he didn't deal with pitches or getting new projects into gear. He went just to check it out.
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Jun 2, 2011 07:34
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Sporadic posted:Quick question. How do you handle scenes in a parked car? The character's inside? Put it inside. It's not really something to worry TOO much about.
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Jun 9, 2011 18:31
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Sporadic posted:Quick question. How do you handle scenes in a parked car? Came across this today in a script and can't believe I forgot it. I/E - Character's Car - Time. Sets it up perfectly.
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Jun 30, 2011 01:04
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I would move away from it. A big problem is that screenwriters and filmmakers working now looked up to screenwriters and filmmakers in the 90s, those were the ones who brought in the "collage artist" aspect of making movies for the hyperliterate. It's hard to relate to and it's lazy. I'm watching a lot of films from film schools and SO MANY of them are about other movies or what movies meant to them or pull heavily from other movies and all too often it's a substitution for any sort of real meaning. It's "This movie had a message, and now that movie's message is my message". I'd advise you to stay away.
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Sep 12, 2011 18:41
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DivisionPost posted:No worries. I saw an indie movie called Film Geek a few years ago...actually, I saw about two minutes of that movie before I decided that I wanted to turn it off, find the director, rubber band together all the copies of Clerks. that I was sure he owned, and beat the crap out of him with that brick. Never met him. Tried to watch Film Geek on Instant months ago and didn't make it ten minutes.
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Sep 12, 2011 21:05
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Magic Hate Ball posted:I'd love to see a film where all the dialogue goes as quickly as it does in The Social Network's first scene. Seen many noirs lately?
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Sep 20, 2011 04:30
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Griff M. posted:Yeah, that's the killer part for me. If it was a terrible movie, I would just cash my check and move on, but the fact I would forever be BRANDED with that terribleness? That's what's scaring me. Everybody who matters knows how things get turned around, and in arbitration you'd definitely have at least one rewriter added to the credits block. At the end of the day? You got paid. People respect that no matter what.
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Feb 2, 2012 07:00
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The best advice I have is don't make movies about movies.
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Feb 7, 2012 02:01
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Sporadic posted:I was reading ScriptShadow and he made a big (positive) show out of a script he read that had pictures. On his Twitter, he says that it is becoming more acceptable. There's no rules. The big problem with custom titles is that people tend to spend more time on them than the script inside.
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Apr 17, 2012 00:58
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Sporadic posted:The thing that made me Your job as a screenwriter is to convey the tone and imagery of what the movie should be. Honestly, it's more counteractive that it hasn't been allowed generally. Also, the page = a minute thing has never really been that accurate. There's the famous example of "Atlanta Burns", but it's almost completely out the window with FD offering tight spacing and other tricks. It's like Shane Blackisms - everybody says not to do them, but when done correctly they convey your point better than any other method and give your screenplay a voice. It's something I'd advocate to do sparingly, but if it's something you feel can really get the job done, I say go for it. As somebody who's worked as a reader before, at least it'll cheer up their day a little bit (very little).
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Apr 17, 2012 04:40
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about the whole thing is that including pictures in a script is counteractive to the entire point of screenwriting.
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What is the point of that scene?
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Nov 12, 2012 22:50
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pastorrich posted:To get something worth illustrating as a test. Basically I'm asking if you'd want to read more about the two characters. If there's no point to the scene then there's no point in reading it. Something has to happen. Regardless if it was a test.
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Nov 13, 2012 09:15
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Please, please, please throw away your copy of Save The Cat. It will only hurt you. I like "On Filmmaking" by Alexander Mackendrick... It's by a guy who 1. Made Movies 2. Started the CalArts program that's given you every pixar director and several more people you can name. Not a fan of books on screenwriting by people who didn't make movies or made just one.
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Jan 23, 2013 22:56
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http://www.therobotard8000.com/BALLS%20OUT_WEB.pdf Here's an unproduced screenplay. Probably not the best to learn from, though.
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Jan 30, 2013 07:34
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It's generally unwise. It's like when you have too many things on a to-do list, you'll end up accomplishing nothing.
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Feb 2, 2013 11:24
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The long script thing isn't because it's overwritten - it's because everybody in this town hates to read. Even professional readers.
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Feb 15, 2013 01:03
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Zypher posted:I have yet to read a well-written script over 130 pages. You should probably check out The Social Network, Pulp Fiction, North by Northwest, and Magnolia to start.
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Feb 15, 2013 01:49
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Don't let it get in the way. Get your ideas and story out first. A lot of people get tripped up and eventually stop because of worry.
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Apr 26, 2013 01:11
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Fire Safety Doug posted:I just cannot see a scenario where a song is absolutely crucial to the script. Here's a movie full of 'em: http://www.imdb.com/title/tt0274309
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Mar 19, 2014 08:41
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FreudianSlippers posted:http://www.clickhole.com/article/hollywood-screenwriters-share-their-best-writing-t-4456 Tents - INT Cars INT/EXT (since how they'll usually end up getting shot, unless you have some specifics about never seeing the outside of the car)
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Jun 14, 2016 08:02
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Alan_Shore posted:I was just reading on Screencraft that now you should have a TV show script in the bank as well as a movie because a lot of agents won't touch you unless you can prove you can do TV. TV/Netiflix is the bees' balls right now, but do you agree? Guess I'd better think of a poo poo hot TV prospect... *procrastinates, crying wank until unconscious* TV is where you make money these days, that's why agents want TV talents.
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Jun 24, 2016 23:45
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Apocron posted:Is it possible to write scripts anywhere and make a living? I live in Asia but would like to try my hand at screenwriting but I don't particularly want to move to the United States, I just wanted to know if it might be feasible. If you can get involved in your local filmmaking scene it's... theoretically possible. It won't be easy. If you're not fluent in the local language it'll be super difficult.
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Jun 27, 2016 11:50
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Apocron posted:I mean could I live in Asia and sell scripts to America? Or do you have to be part of a team in the country doing things like rewrites? For television you absolutely have to be here. For features... your agents, producers, managers, directors, etc. are going to want to sit down with you, meet you, have lunch, discuss new directions and whatnot. A lot of people banter about the whole "with skype and email you can be anywhere and work", but I can think of very few people who live outside of NY/LA in the US who make it work (and most of them secretly have homes here/spend months at a time out here) Asia? I can't imagine it really working out. It'd be a good time to hide out and write specs if you're eventually planning on coming out to LA/NY, but I couldn't imagine making a consistent living outside the country.
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Jun 28, 2016 03:15
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Race Realists posted:I live in Georgia (US), so yay? Great if you wanna be a grip.
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Jan 10, 2017 19:33
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