The Screenwriting Thread: Without Us You Would Be Staring at A Blank Screen

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Call Me Charlie: Dec 3, 2005; by Smythe

Sataere posted:

I've noticed everyone universally agrees not to start a story with a flashback. What about starting a story in the middle? Just one scene that sets a tone of where the movie is going to end up.

Example: Guy is being chased by terribly bad men, who corner him in an alley. They menacingly approach and he slowly wets his pants. Then cut to the start of the movie.

Is this basically the same thing as a flashback? I have two different openings for the project I am working on. One starts off like that example. Another one is just a page and a half of this guys life sequentially getting worse the older he gets.

That's a flash forward. Alot of TV shows are starting to lean on them since it's easy way to get viewers/readers invested in the story.

The key to that sort of opening is coming up with something compelling.

Breaking Bad is a good example. The show opens up with a pair of pants gliding through the air and an RV wildly driving through the desert. A man, wearing only a gas mask and whitey-tighties, is behind the wheel. Bodies and broken glass slide around in the back.

See how that almost leaps off the page? Now compare that to your example.

# ? Oct 3, 2013 16:00

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# ? May 21, 2024 00:50

Sataere: Jul 20, 2005; Step 1: Start fight
Step 2: Attack straw man
Step 3: REPEAT

Do not engage with me

Call Me Charlie posted:

That's a flash forward. Alot of TV shows are starting to lean on them since it's easy way to get viewers/readers invested in the story.

The key to that sort of opening is coming up with something compelling.

Breaking Bad is a good example. The show opens up with a pair of pants gliding through the air and an RV wildly driving through the desert. A man, wearing only a gas mask and whitey-tighties, is behind the wheel. Bodies and broken glass slide around in the back.

See how that almost leaps off the page? Now compare that to your example.

In my defense, my example was deliberately generic. :v:

Thanks for answering my question. I guess I was wondering if flash forwards were considered in the same vein as flashbacks, which I think you guys have all answered sufficiently.

# ? Oct 4, 2013 05:10

emgeejay: Dec 8, 2007

Just FYI, the proper term for this is in medias res, which is often followed by a lengthy flashback.

# ? Oct 4, 2013 06:18

screenwritersblues: Sep 13, 2010

So I started taking a screenwriting class offered through the local community college. It's a class on how to market your script too, but I'm not there for that, I'm here for the writing part. He's got us writing beat sheets this week for homework. I knew that it wasn't going to be easy, but this is crazy.

# ? Oct 5, 2013 04:03

bushisms.txt: May 26, 2004; Scroll, then. There are other posts than these.

So I met a guy on Craigslist and now it looks like I'm going to be his head writer for a show he wants to do. He wants me to be in charge of almost everything including finding other writers, so my question is, how do I establish a writer's group and decide on what goes in and what doesn't?
I know barely more than he does about the writing process, and I want a healthy relationship with the other writers regardless if the ideas are used or not.

Edit: Also, in my quest to be the next Hollywood Blockbuster scribe, just finished the first draft of my second script. It's a film noir take on Men in Black, with a side of Looper. Please tell me how much time I wasted.

https://drive.google.com/file/d/0B9JHLyj_p0z0RENiNmN6b2RFZms/edit?usp=sharing

bushisms.txt fucked around with this message at 04:02 on Nov 20, 2013

# ? Nov 18, 2013 04:19

gredgie: Dec 9, 2012; Is there any in this rout
with authority to treat with me?

Jon Spaihts linked to this infographic of 300 scripts via Twitter, it's rather intriguing: http://imgur.com/T22gGBO

# ? Nov 22, 2013 04:01

Alan_Shore: Dec 2, 2004

I'm just about to start writing my first feature film that I will direct when I finish my travels (and raise the funds, but let's worry about that later).

I've read over this thread, and there's so great advice. I don't have a screenplay to post, but is it OK if I post my general film idea here for critiquing and what not?

Also are there any good apps for movie planning (like the Save The Cat board) for Android that people use?

gredgie posted:

Jon Spaihts linked to this infographic of 300 scripts via Twitter, it's rather intriguing: http://imgur.com/T22gGBO

This is incredibly helpful!

# ? Nov 22, 2013 13:12

Shoombo: Jan 1, 2013

I'm glad I found this thread. I'm really interested in screenwriting, and have started trying to work some things out. I'm even interested in getting a formal education in screenwriting, but the community college I'm going to right now doesn't have any classes that would help me.

One thing I've gotten stuck on is how much direction should I put into action scenes? Like, do I give a blow-by-blow of hits, or do I give an overview of how the fight is going and let the director piece it out?

Fake Edit: That infographic is really intriguing and helpful. Thanks!

# ? Nov 26, 2013 21:49

Fire Safety Doug: Sep 3, 2006; 99 % caffeine free is 99 % not my kinda thing

I recommend reading books on the subject.

As for your question, leave the details to the director � this applies to all aspects of screenwriting, really. Overtly detailed direction will annoy the readers, which is a good way to end up in the rejection pile, and if your script somehow got made anyway, it's likely none of those details would end up on the screen. Just give an overall description unless there's a truly pressing reason to do so.

# ? Nov 26, 2013 22:02

Call Me Charlie: Dec 3, 2005; by Smythe

Current list of 'For Your Consideration' scripts.

http://www.simplyscripts.com/oscar86.html

Loki_XLII posted:

I'm glad I found this thread. I'm really interested in screenwriting, and have started trying to work some things out. I'm even interested in getting a formal education in screenwriting, but the community college I'm going to right now doesn't have any classes that would help me.

One thing I've gotten stuck on is how much direction should I put into action scenes? Like, do I give a blow-by-blow of hits, or do I give an overview of how the fight is going and let the director piece it out?

Read scripts. Grab as many scripts as you can from Google and read them. Eventually, you'll start piecing together how to construct something. What's works and what doesn't.

One of the most frustrating things about screenwriting is that there's no real set of rules beyond the most basic of formatting. So there's no real set answer for your question.

When writing you need enough detail to clearly get across whatever you're trying to get across and you need to make all that interesting enough to hook a number of people who aren't really interested in reading scripts.

Example: here's something from The Bourne Identity.

code:

        EXT. ZURICH PARK -- NIGHT

        THE MAN trying to get comfortable on a bench.  It's chilly
        but this will have to do until morning.

        Just settling in, when --

                             ZURICH COP #1 (OS)
                        (authority German)
                   (Can't you read the signs?)

        THE MAN turns.  TWO ZURICH COPS coming toward him.

                             ZURICH COP #2 
                   (On your feet.  Let's go.  Right now.)

        THE MAN makes his feet.  They're on top of him now.

                             ZURICH COP #1
                   (The park is closed.  There's no
                   sleeping in the park.)

                             ZURICH COP #2
                   (Let's see some identification.)

        THE MAN not sure what to do.  Eyes moving.  Mouth shut.

                             ZURICH COP #1
                   (Come on.  Your papers.  Let's go.)

                             THE MAN
                   I've lost them.  I've.
                        (German now)
                   (My papers.  They are lost.)

                             ZURICH COP #1
                        (not sympathetic)
                   (Okay.  Let's go.  Put your hands up.)

                             ZURICH COP #2
                        (pulling his nightstick)
                   (-- come on -- hands up -- up --)

        THE MAN raising his hand slowly -- ZURICH COP #1 reaching up
        to pat him down --

                             THE MAN
                   -- look, I'm just trying to sleep
                   okay? --
                        (German again)
                   (-- I just need to sleep --)

        ZURICH COP #2 has heard enough -- giving a sharp poke with
        the nightstick -- into THE MAN's back -- and that's the last
        thing he'll remember because --

        THE MAN is in motion.

        A single turn -- spinning -- catching COP #2 completely off
        guard -- the heel of his hand driving up into the guy's
        throat and --

        COP #1 -- behind him -- trying to reach for his pistol, but
        THE MAN -- still turning -- all his weight moving in a
        single fluid attack -- a sweeping kick and --

        COP #1 -- he's falling -- catching the bench -- trying to
        fight back but -- THE MAN -- like a machine -- just 
        unbelievably fast -- three jackhammer punches -- down-down-
        down and -- COP #1 -- head slammed into the bench -- blood
        spraying from his nose -- he's out cold and --

        COP #2 -- writhing on the ground -- gasping for air -- 
        struggling with his holster -- THE MAN -- his foot -- 
        down -- like a vise -- onto COP #2's arm -- shattering the 
        bone -- COP #2 starting to scream, and then silenced because -- 

        THE MAN -- he's got the pistol -- so loving fast -- he's
        got it right up against COP #2's forehead -- right on the
        edge of pulling the trigger -- he is, he's gonna shoot him --

                             ZURICH COP #2
                        (gasping, pleading)
                   (-- no -- please God no -- please
                   don't -- please no -- my Go--)
                        (stopping as--)

        THE MAN slams the gun against his temple and --

        This fight is over.

        THE MAN standing there.  In the silence.  Two unconscious
        cops at his feet.  Blood on his pants.  What just happened?
        How did he do this?  And there's THE GUN in his hand.  And
        God, it just feels so natural -- checking it -- stripping it
        down -- holding it -- aiming it -- like this is something
        he's done a million times before...

        This is something he definitely knows how to do.

        And then he stops cold.  Throwing down the gun.  Running off
        into the darkness --

Compare that to the actual scene. https://www.youtube.com/watch?v=SHgs3LFLBzY Pretty different, huh?

And here's something from Braveheart (in progress, basically they do a strategic move that makes the English think that they're on the ropes)

code:

               THE FIGHT AT STIRLING BRIDGE - VARIOUS SHOTS

               The Scots follow Wallace on foot, charging into the English.

               The English leaders are stunned by the ferocious attack.

                                     TALMADGE
                         Press reinforcements across!

               The English leaders try to herd more of their footsoldiers 
               onto the bridge, which only hams them up. Meanwhile, on the 
               other side of the bridge, Wallace and his charging men slam 
               into the English infantry with wild fury. The English fall 
               back on each other, further blocking the bridge.

               UP ON THE HILLTOP

               The nobles look back with grudging admiration.

                                     MORNAY
                         He's taking the bloody bridge! The 
                         English can't get across! He's evened 
                         the odds at one stroke!

               With rising desire to join the bandwagon, the nobles spur...

               DOWN ON THE PLAIN, Wallace and the attacking men drive the 
               English back, killing as they go. The Scots reach the bridge 
               itself. The waters below it run red with blood.

               Talmadge has begun to panic.

                                     TALMADGE
                         Use the archers!

                                     GENERAL
                         They're too close, we'll shoot out 
                         own men!

               ON THE BRIDGE

               the Scots are carving their way through the English soldiers; 
               nothing can stop them. Wallace is relentless; each time he 
               swings, a head flies, or an arm. Hamish and Stephen fight 
               beside him, swinging the broadsword with both hands. Old 
               Campbell loses his shield in the grappling; an English 
               swordsman whacks at him and takes off his left hand, but 
               Campbell batters him to the ground with his right, and stabs 
               him. Reaching the English side of the bridge, the Scots begin 
               to build a barrier with the dead bodies.

               The English are not without courage. Cheltham leads a 
               desperate counterattack. The Scots make an impenetrable 
               barrier of slashing blades. Still Cheltham keeps coming; 
               Wallace hits him with a vertical slash that parts his helmet, 
               his hair, and his brain.

               TALMADGE has seen enough; he gallops away. The remaining 
               English General tries to save the army.

                                     GENERAL
                         We are still five thousand! Rally!

               The English try to form up; but the Scottish horsemen, fording 
               the river high upstream, come crashing into the English flank 
               and ride over the surprised English infantry.

               AT THE BRIDGE, WALLACE

               sees the Scottish nobles attacking. The English soldiers are 
               in utter panic, running and being cut down on all sides.

               And the Scottish soldiers taste something Scots have not 
               tasted for a hundred years: victory. Even while finishing 
               off the last of the English soldiers, they begin their highlow 
               chant... Even the noblemen take up the chant!

               Wallace looks around at the aftermath of the battle: bodies 
               on the field; soldiers lying impaled; stacks of bodies on 
               the bridge; the bridge slick with blood.

               Before it can all sink in, William is lifted on the shoulders 
               of his men.

                                     SCOTTISH SOLDIERS
                         Wal-lace! Wal-lace! Wal-lace!

As you can see, it depends on what the scene calls for. With Bourne, we need to know that he's a precise killing machine. That means a detailed, interesting, account to show it. With Braveheart, we need to know what the main characters are doing in massive battlefield. What's going on without getting bogged down in minute details.

Call Me Charlie fucked around with this message at 01:48 on Nov 27, 2013

# ? Nov 27, 2013 01:28

Shoombo: Jan 1, 2013

Thanks for the replies! What are some good places to find scripts? I'm looking through that simply scripts site you linked, are their other good ones? A lot of the links from early in the thread seem dead, or at least have a pretty limited selection.

# ? Dec 15, 2013 06:19

Otcho: May 4, 2012

I probably posted this one before but it's gotten even more awesome now that they uploaded the entire third season of Breaking Bad:

Welcome to TV writing nirvana

# ? Dec 15, 2013 08:36

emgeejay: Dec 8, 2007

Loki_XLII posted:

Thanks for the replies! What are some good places to find scripts? I'm looking through that simply scripts site you linked, are their other good ones? A lot of the links from early in the thread seem dead, or at least have a pretty limited selection.

Daily Script is a good one, and you don't have to sort out which are screenplays and which are (useless) DVD subtitle transcripts.

# ? Dec 15, 2013 12:54

ButtWolf: Dec 30, 2004; by Jeffrey of YOSPOS

Anyone have experience with Amazon Storyteller? Also, is anyone interested in tag teaming something? I really want to collaborate. I'm not any good, but I might bring something to the table.

# ? Dec 18, 2013 22:56

WolfenFilms: Aug 24, 2013; Give me my damn Oscar already you jerks.

jimcunningham posted:

Anyone have experience with Amazon Storyteller? Also, is anyone interested in tag teaming something? I really want to collaborate. I'm not any good, but I might bring something to the table.

I've been playing with it for a minute. It's nothing more than a fancy, online corkboard from what I've seen. But I need to spend a little extra time with it.

# ? Dec 26, 2013 16:44

kicks forts: Feb 19, 2006; cheers

I've written something with flashback scenes containing main story characters in disguise, who shouldn't be initially identifiable by the viewer, being revealed over the course of the story. I'm assuming the reader shouldn't be made to guess their identities, but am not certain on the precedent.

Hopefully that makes sense, I'm a bit frazzled tonight.

# ? Jan 6, 2014 19:42

Twisted Perspective: Sep 15, 2005; I've come to see you...

jimcunningham posted:

Anyone have experience with Amazon Storyteller? Also, is anyone interested in tag teaming something? I really want to collaborate. I'm not any good, but I might bring something to the table.

I'd be interested in something like this.

# ? Jan 6, 2014 23:43

Alan_Shore: Dec 2, 2004

I'm interested too! Might help me out with my current film script!

# ? Jan 8, 2014 12:21

Call Me Charlie: Dec 3, 2005; by Smythe

I got an email that Final Draft 9 launched. Anybody have a trip report? Worth the $80 upgrade?

I've been thinking about moving over to Fade In since it's less hardware intensive.

Call Me Charlie fucked around with this message at 19:29 on Jan 8, 2014

# ? Jan 8, 2014 19:16

bushisms.txt: May 26, 2004; Scroll, then. There are other posts than these.

kicks forts posted:

I've written something with flashback scenes containing main story characters in disguise, who shouldn't be initially identifiable by the viewer, being revealed over the course of the story. I'm assuming the reader shouldn't be made to guess their identities, but am not certain on the precedent.

Hopefully that makes sense, I'm a bit frazzled tonight.

I had to take a class to figure this out, but write the script like the person already knows everything. It's not a novel, it's a map. The script is literally so everyone is on the same page. I had to rewrite my first script after figuring this out. Most people tell you to just look at other scripts, but that teaches dick all, so either get a screenwriting class or a veteran screenwriter who is patient with you.

# ? Jan 8, 2014 19:42

emgeejay: Dec 8, 2007

bushisms.txt posted:

I had to take a class to figure this out, but write the script like the person already knows everything. It's not a novel, it's a map. The script is literally so everyone is on the same page. I had to rewrite my first script after figuring this out. Most people tell you to just look at other scripts, but that teaches dick all, so either get a screenwriting class or a veteran screenwriter who is patient with you.

In a shooting script, maybe. But in a spec script, I think kicks forts should focus on writing what the audience is meant to see and experience. If it's important to the story that the audience not recognize this character until the ending, his identity should be kept "secret" in the script until then.

# ? Jan 8, 2014 21:18

Alan_Shore: Dec 2, 2004

Are there any good script writing or movie making podcasts out there?

Can I pitch the movie I'm currently writing to someone over PM or email if anyone's interested? Looking for some feedback!

# ? Jan 10, 2014 10:18

Sagacity: May 2, 2003; Hopefully my epitaph will be funnier than my custom title.

ScriptNotes is excellent.

# ? Jan 10, 2014 14:25

Twisted Perspective: Sep 15, 2005; I've come to see you...

Alan_Shore posted:

Can I pitch the movie I'm currently writing to someone over PM or email if anyone's interested? Looking for some feedback!

Send me a PM.

# ? Jan 11, 2014 01:34

ButtWolf: Dec 30, 2004; by Jeffrey of YOSPOS

Alan_Shore posted:

Are there any good script writing or movie making podcasts out there?

Can I pitch the movie I'm currently writing to someone over PM or email if anyone's interested? Looking for some feedback!

Send me a pm also, or email at sisyphean.0 at gmail

# ? Jan 17, 2014 19:04

Dauher: Jul 22, 2007; The man from not near.

I wouldn't mind trying to flex my muscles on it too, email me at mike at latestwonder.com

# ? Jan 17, 2014 19:07

emgeejay: Dec 8, 2007

Twisted Perspective posted:

Send me a PM.

Me too.

# ? Jan 17, 2014 20:00

DivisionPost: Jun 28, 2006; Nobody likes you.
Everybody hates you.
You're gonna lose.

Smile, you fuck.

I'll take a PM, sure.

# ? Jan 17, 2014 23:37

LionArcher: Mar 29, 2010

I have Final Draft 8 and instead of paying the 80 bucks I switched over to Fade In. I've been pretty annoyed by Final Draft for awhile, and actually wrote my last two scripts first draft in a third program (Slugline) because at least it gave me full screen mode. I've only had Fade In for three days but so far I'm loving it. It looks cleaner, has full screen mode and from what I've seen is just as robust as FD. There's also a Fade In mobile app that works very well (you need to have dropbox though) syncing up between my iPad and my Macbook Pro.

# ? Jan 18, 2014 23:27

don longjohns: Mar 2, 2012

Okay so I'm not sure where else to post this, but I have a quandary.

Background: My mother's best friend is married to a high-powered Man of Business. Due to the necessity of expanding his company's image/portfolio/some business terms I don't totally comprehend, he's in the position to pitch a script to some investors in the hopes that they will invest ~20,000,000 in making a film.

My mother's friend thought of me. I've been writing since I could talk--constantly telling stories--and I write every single day, without fail, for at least two hours. I'm young and fresh out of college. She calls and asks me to write a pitch, synopsis and screenplay, basically as soon as I can, like within a few months, I guess. Maybe less.

Now, I am physically, mentally, and [I hope] creatively capable of doing this, but I'm really, REALLY reticent to put a lot of time, effort, and energy into a project that will languish in her husband's office as a glorified cat rear end warmer. I trust my mother's friend not to screw me out of time and energy ON PURPOSE, but she might by accident because she got too excited. Now, she's a good business woman herself, making 6 figures a year at basically being the legal equivalent of a pusherman, but I'm still really nervous.

So what I'm asking is: am I being an idiot? Do things like this actually happen? Does anyone else think this could be A Thing? Also, is there some, like, guild law against totally unknown people writing scripts/screenplays? I'm just really nervous and flighty right now because this is a lot of loving work she's asking of me, and I'm not sure she realizes just how much.

Any help, advice, or criticism would be monumentally welcome.

# ? Jan 21, 2014 05:39

emgeejay: Dec 8, 2007

How green are you when it comes to writing screenplays, specifically? Do you know the style and the formatting?

I'm no psychic. I don't know how this will turn out for you. But I'd never try to talk someone out of writing a screenplay, if only because practice makes perfect*...

*_{avoid clich�s like this one in your screenplay}

# ? Jan 21, 2014 06:07

don longjohns: Mar 2, 2012

Max22 posted:

How green are you when it comes to writing screenplays, specifically? Do you know the style and the formatting?

I'm no psychic. I don't know how this will turn out for you. But I'd never try to talk someone out of writing a screenplay, if only because practice makes perfect*...

*_{avoid clich�s like this one in your screenplay}

Haha, yeah I known I'm not about to get a yes/no answer, I was just wondering if anyone had experienced something similar and had any advice.

I'm familiar with writing in general, short stories and poetry more specifically, but I've written a few plays--nothing special or anything, but I know how to do it practically, I'm just not PRACTICED at it. I think I'll do it, but more out of a sense of affection for my mom's friend than any real hope that it will come to something.

# ? Jan 21, 2014 06:48

Call Me Charlie: Dec 3, 2005; by Smythe

I could be talking completely out of my rear end so take this with a grain of salt.

Haymaker_Betty posted:

So what I'm asking is: am I being an idiot? Do things like this actually happen? Does anyone else think this could be A Thing? Also, is there some, like, guild law against totally unknown people writing scripts/screenplays? I'm just really nervous and flighty right now because this is a lot of loving work she's asking of me, and I'm not sure she realizes just how much.

Any help, advice, or criticism would be monumentally welcome.

Seems like a hail mary to me. (From what you posted so far) I doubt investors are going to be lining up around the block to put that amount of money behind some businessman with no experience in movies and nobody attached to the project.

Second, if you go through with this, you need to get an actual sit-down meeting with him and discuss what he's looking for before you write anything. He has to have something in mind and it does you no good to spend months on a script only to find out he really wants the polar opposite of what you've been working on. I'd also bring up the subject of payment because Mr. Man of Business should be able to pay you for your work before he pitches it to any investors.

And no, there's no guild law against unknown writers writing a script or selling it.

# ? Jan 21, 2014 07:00

don longjohns: Mar 2, 2012

Call Me Charlie posted:

I could be talking completely out of my rear end so take this with a grain of salt.

Seems like a hail mary to me. (From what you posted so far) I doubt investors are going to be lining up around the block to put that amount of money behind some businessman with no experience in movies and nobody attached to the project.

Second, if you go through with this, you need to get an actual sit-down meeting with him and discuss what he's looking for before you write anything. He has to have something in mind and it does you no good to spend months on a script only to find out he really wants the polar opposite of what you've been working on. I'd also bring up the subject of payment because Mr. Man of Business should be able to pay you for your work before he pitches it to any investors.

And no, there's no guild law against unknown writers writing a script or selling it.

Thank you, that's really helpful, because it makes me feel a lot better. My mom's friend has insisted that I meet with him before we go any further, so that makes me feel a bit better about the whole thing. I'm not going to work on anything but ideas and pitches and things before I talk to him, then.

I feel really flattered that she's asked me, and I'm just going to look at the whole thing as a learning experience regardless of what happens.

# ? Jan 21, 2014 07:25

Golden Bee: Dec 24, 2009; I came here to chew bubblegum and quote 'They Live', and I'm... at an impasse.

Ask for far more than you think it's worth to write. That way, when you get 2 months down the line and are struggling on page 46, you can hire one us to do a redraft*.

*I don't know how many people are in the WGA as of this post.

Edit: DON'T GET PAID ON FILMING. Get paid 50% commencement, 50% first draft (with additional step payments for redrafts). Assign a budget for rewriters and outside consultants.
This movie will probably not get made, but that doesn't stop you from being a paid writer.

Golden Bee fucked around with this message at 09:10 on Jan 21, 2014

# ? Jan 21, 2014 09:05

Twisted Perspective: Sep 15, 2005; I've come to see you...

Haymaker_Betty posted:

Okay so I'm not sure where else to post this, but I have a quandary.

Background: My mother's best friend is married to a high-powered Man of Business. Due to the necessity of expanding his company's image/portfolio/some business terms I don't totally comprehend, he's in the position to pitch a script to some investors in the hopes that they will invest ~20,000,000 in making a film.

My mother's friend thought of me. I've been writing since I could talk--constantly telling stories--and I write every single day, without fail, for at least two hours. I'm young and fresh out of college. She calls and asks me to write a pitch, synopsis and screenplay, basically as soon as I can, like within a few months, I guess. Maybe less.

Now, I am physically, mentally, and [I hope] creatively capable of doing this, but I'm really, REALLY reticent to put a lot of time, effort, and energy into a project that will languish in her husband's office as a glorified cat rear end warmer. I trust my mother's friend not to screw me out of time and energy ON PURPOSE, but she might by accident because she got too excited. Now, she's a good business woman herself, making 6 figures a year at basically being the legal equivalent of a pusherman, but I'm still really nervous.

So what I'm asking is: am I being an idiot? Do things like this actually happen? Does anyone else think this could be A Thing? Also, is there some, like, guild law against totally unknown people writing scripts/screenplays? I'm just really nervous and flighty right now because this is a lot of loving work she's asking of me, and I'm not sure she realizes just how much.

Any help, advice, or criticism would be monumentally welcome.

This doesn't make sense from a business perspective. Why does he want someone to invest $20m is a movie that hasn't even been written yet? What purpose does it serve? The only logical explanation is that he is an accountant and wants his client to invest the money as a tax write- off. If that is not the explanation I would be suspicious.

What sort of film does he want? Has he even told you? If not, why not?

Never write anything for anyone you are not being paid to write. He could easily go to an agency and option a very good screenplay for a couple of grand up front. Why isn't he doing this?

Also, which country are you in?

# ? Jan 21, 2014 23:21

JakeP: Apr 27, 2003; by Jeffrey of YOSPOS; Lipstick Apathy

I wrote a movie where I play myself, a writer, who wrote a movie about a writer who wrote a movie. Its long and not a lot happens, but its pretty deep. PM me if interested in producing it. :woop:

# ? Jan 22, 2014 02:40

don longjohns: Mar 2, 2012

Twisted Perspective posted:

This doesn't make sense from a business perspective. Why does he want someone to invest $20m is a movie that hasn't even been written yet? What purpose does it serve? The only logical explanation is that he is an accountant and wants his client to invest the money as a tax write- off. If that is not the explanation I would be suspicious.

What sort of film does he want? Has he even told you? If not, why not?

Never write anything for anyone you are not being paid to write. He could easily go to an agency and option a very good screenplay for a couple of grand up front. Why isn't he doing this?

Also, which country are you in?

Excellent questions. I have no idea on the subject other than "professional video gaming." I am supposed to be having a phone conference with him soon. The only reason getting paid for something unwritten makes sense to me is that it happens with books- but usually that happens to established people, I would assume. That is as much as I know right now.

I think he is influenced by his wife to come to me. I think he and his investors have no loving clue what they are doing. Movies are expensive.

She said something about new laws allowing for this kind of thing, which made me bristle a bit- that could mean a lot of things. I know she would never screw me over on purpose though

I would quote Golden Bee, too, but I am on my phone: that is awesome advice. I am going to milk the project if it moves forward. I have wanted to write a movie script for a while, but it was a pipe dream really. It is still a cool and flattering experience even if it's bunk.

# ? Jan 22, 2014 02:52

Call Me Charlie: Dec 3, 2005; by Smythe

Haymaker_Betty posted:

Excellent questions. I have no idea on the subject other than "professional video gaming."

Yeah, don't do it.

# ? Jan 22, 2014 03:02

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# ? May 21, 2024 00:50

don longjohns: Mar 2, 2012

Call Me Charlie posted:

Yeah, don't do it.

Ugh, I know, right? I cringed there, too

he's kind of an old dude, and my mom's friend pretty much only remembers Pong, so they're like, "Oi, those young whippersnappers love the vidya games" and all I kept thinking was, "Yes, but every single video game-related movie has been horrible..."

# ? Jan 22, 2014 07:53

The Something Awful Forums > The Finer Arts > Creative Convention > The Screenwriting Thread: Without Us You Would Be Staring at A Blank Screen

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