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Sure, I'll read it, erickson.alfred [at] gmail dot com Another draft of We're Gonna Be All Right. I'm actually really, really happy with the first few scenes, but totally, completely annoyed with everything after scene five (in the cafe).
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Jan 24, 2011 03:08
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Okay, not so much screenwriting, but still a part of the process in a sense, but does anyone here have any good resources for writing treatments? My treatments lately seem to be impossible to churn out and I've always felt I've been doing them wrong to begin with.
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Jan 28, 2011 21:53
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Unexpected EOF posted:Okay, not so much screenwriting, but still a part of the process in a sense, but does anyone here have any good resources for writing treatments? My treatments lately seem to be impossible to churn out and I've always felt I've been doing them wrong to begin with. Have a friend write it. Seriously. I find it really hard to boil my work down into one or two pages because I am so attached to it. A friend and I trade scripts and write each others. Obviously, you can edit it when they are done, but it does help in getting that framework down on paper.
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Jan 29, 2011 00:36
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Resurrecting this dead thread to link https://www.johnaugust.com. Hugely valuable -- and free -- advice from a working screenwriter.
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Mar 1, 2011 01:45
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nocal posted:Resurrecting this dead thread to link https://www.johnaugust.com. I've said it once and I've said it before, John August is not the best place to go to for advice. He suggested in one of his articles that you have to be a Journalism major in order to be a screenwriter. Ummm.... what about the all the people who were at one time accounting, English, communication, or even business majors? I strongly suggest that you avoid John August and start reading scripts instead.
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Mar 3, 2011 05:45
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screenwritersblues posted:I've said it once and I've said it before, John August is not the best place to go to for advice. He suggested in one of his articles that you have to be a Journalism major in order to be a screenwriter. Ummm.... what about the all the people who were at one time accounting, English, communication, or even business majors? I strongly suggest that you avoid John August and start reading scripts instead. Don't forget strippers.
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Mar 3, 2011 05:55
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I don't like his whole approach. He's posted about how proud he was of his changes to the Willy Wonk character - he added the backstory that Willy Wonka's father was a dentist, and that's why Willy Wonka blah blah blah.
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Mar 3, 2011 06:35
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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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screenwritersblues posted:....avoid John August and start reading scripts instead. On that note, perhaps we could suggest scripts we have read and recommend others read. I have read The Apartment (Billy Wilder) more than a few times, the structure of the script is just amazing.
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Mar 3, 2011 17:24
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I just finished one of my scripts and it's coming up a little short (84 pages). The two or three action scenes may end up pushing it right to 90ish minutes, which leaves very little room. How do you guys add in stuff? Do you add characters, split up scenes or what? I find that this always happens. The outline I was working from (I didn't write it) seemed solid, and I really worked hard to make sure the story stayed at the essence, as there were originally a whole excess of characters and the whole thing felt like a TV series, but now I'm worried that things may be too straight forward, and we'll have an 80 minute movie on our hands. The other problems are more related to overall structure, but the first act kind of blends right into the second act (there's no real shift as usual), and the movie ends a bit abruptly.
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Mar 18, 2011 15:02
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Momonari kun posted:I just finished one of my scripts and it's coming up a little short (84 pages). The two or three action scenes may end up pushing it right to 90ish minutes, which leaves very little room. How do you guys add in stuff? Do you add characters, split up scenes or what? I find that this always happens. You can either insert some character stuff, give the audience a chance to get to know your people a little better. Some little riffs here and there, some down time from your main plot as they live regular lives. Create some tensions, too. Arguments. Or, create a problem for your characters. Some extra obstacle that they have go get around, over, etc, to get to their goal. Set up the problem, let them talk about the problem, solve the problem, move on.
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Mar 18, 2011 17:48
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Have you read it yet? Often, scenes that seemed strong and dramatic in the moment of writing will turn out to be rushed and thin when you look at the actual words on the page. This happens to me most with scenes I was excited to write - it's easy to focus on the brief payoff, and not enough on the setup.
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Mar 18, 2011 17:54
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Just a quick general screenwriting question: What do you usually use to write? Are there any Word templates out there, or do you guys use a special program? I've just done amateur stuff in the past, so 'Left justify direction, centre dialogue' has been enough for that, but it'd be nice to be able to set my sights beyond that. I know this thread is supposed to be more about the art itself than formatting and whatnot, but I'd imagine a bunch of other fledgling scriptwriters would have an easier time being taken seriously if their stuff were perfectly formatted. After all, I know most publishers won't look at a manuscript that isn't formatted properly; I'd imagine the film industry works the same way.
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Mar 18, 2011 18:30
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Pantothenate posted:Just a quick general screenwriting question: What do you usually use to write? Are there any Word templates out there, or do you guys use a special program? I've just done amateur stuff in the past, so 'Left justify direction, centre dialogue' has been enough for that, but it'd be nice to be able to set my sights beyond that. Final Draft seems to be the industry standard. For free and also good, try Celtx.
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Mar 18, 2011 19:32
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Pantothenate posted:I'd imagine a bunch of other fledgling scriptwriters would have an easier time being taken seriously if their stuff were perfectly formatted. After all, I know most publishers won't look at a manuscript that isn't formatted properly; I'd imagine the film industry works the same way. It's one of the first things you're taught in any screenwriting class. "THIS IS HOW FORMATTING WORKS" Also, any decent screenwriting book will give you pointers on how it should look. But yes, we're also told that studios will disregard a script if it isn't industry standard. So, proper headings, proper action/dialogue formatting, proper layout on the page, proper font. And then you look at the screenplay of any major film and see that it doesn't follow a lot of the rules you're taught, and you slightly rage inside. Final Draft is definitely the way to go though. It's almost psychic in what it does with regards to being helpful.
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Mar 18, 2011 20:03
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The_Doctor posted:It's one of the first things you're taught in any screenwriting class. "THIS IS HOW FORMATTING WORKS" Also, any decent screenwriting book will give you pointers on how it should look. But yes, we're also told that studios will disregard a script if it isn't industry standard. So, proper headings, proper action/dialogue formatting, proper layout on the page, proper font. Read the Script for Misery. The screenwriter doesn't use slug lines, just cut to: over and over again. What's scary is that it works. Being that I'm about to graduate in 50 some days from film school, I follow MOST formating rules, but I will break ones for style in order to engage readers.
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Mar 18, 2011 20:16
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Here's a script I've written that we may be shooting pretty soon: Kaleidoscope I don't know why I keep trying to write relationship-dramas, but if this turns out well then maybe I'll move on to something else. The "present" scene probably needs some polishing, admittedly it was written around the flashbacks.
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Mar 19, 2011 00:36
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Magic Hate Ball posted:Here's a script I've written that we may be shooting pretty soon: The ending took me by surprise. I liked it, but I agree that the present scene needs polish. Have Paul be more aggressive about defending himself, or do something as a counter-point to the flashbacks. As it stands it's just Amy listing his indiscretions. He seems pretty calm about the whole thing until the very end, which does help the surprise but doesn't feel very real.
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Mar 19, 2011 03:09
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Here's a rewrite: Kaleidoscope The flashbacks are the same but I think the "now" dialogue is improved, and there's a small, additional flashback. I'm not sure if it's helpful in cementing Amy as the protagonist (I've noticed that in every relationship drama I've made and filmed, at least one person assumes that the male character is the protagonist, when it's always the female) or just a waste of time.
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Mar 20, 2011 02:47
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Notes: Up to page five, things are great. I can picture it. 5--dialogue is a bit on-point for Amy. "Lovers in love and all that" --I think this is you speaking. It doesn't seem pointed enough. Same with "I guess I've always been the conservative one." Read Amy's dialogue out loud in a flat, neutral voice, and see if it comes through as hurt. "She was still wet..." is a glaring entendre. 6--When does this scene change take place? Top of 8: A bit unnatural. Are they going for wordplay or trying to take something out on each other? Top of 9: Talking about dreams is kind of lazy. It's naturalistic, people do it, but can you make this idea come across better? Although Paul's response is quite good. This whole page is kind of a plotbomb. You'll do X, I'll do why, I like you because you Q... 10-: Paul's line should be start "But it's still there". --Wait, he's on a downward spiral? I haven't noticed that from his behavior. (Maybe it's a visual thing but nowhere in the script did it appear that it was happening). "So I like MY drink" is more logically "So I like to drink." The other is more affected and Shakespearean; unlikely during an argument. (There's a scene in the play Blue Window where a character says she "indeed truly" loves her girlfriend, and her girlfriend gets upset over how inflected the words are. "Like you were trying to score points with bystanders.") The rest: I read this all at a sprint, which meant it got me gripped. I'm not sure I like the ending (or even the hate gently caress. It just seems like the path of least resistance to end it the way you did. Also, It's a loving Beatles pun! PAUL IS DEAD! Did you not think 'Miss him miss him miss him' when you wrote that? I think you've got a great seed here, but you need to prune it so it grows in a more interesting direction. What are the characters objectives? What, in each scene, are they trying to get done? Maybe that's why the hate gently caress doesn't make sense. It doesn't fulfill Amy's objectives at all.
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Mar 20, 2011 19:13
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On Page 1, I think Megan fleeing to her car might be the wrong choice. I understand why it's been done - Megan isn't pivotal to Paul and Amy's story, she's merely the vehicle so you want her out of the way - but it's difficult to believe that she managed to just slip away. Did she push wordlessly past Amy? Did she beg for forgiveness? Did she utter the usual phrase of, "Er, you two need to talk." Did she laugh and saunter out? Making Megan a twin sister brings a different dynamic to the table than friend or associate. Megan now isn't just anybody...what's her motivation in this? Why does she want to screw her sister's boyfriend? Does she hate her sister? Has she fallen for the wrong guy? Why has Paul gone with his girlfriend's sister? ...in fact, I think you could get away with scrapping the rest of that page. You could just have Amy finding Paul in bed with Megan because the rest of the scene doesn't really add anything to it. All I get from that is that Amy already knew that Paul was screwing her sister behind her back, and I'm about to find that out on the next page. On page 2, I'm slightly confused by what Megan says: "Aw, come on. We kiss in the play, four times. I count them." Should it be, "I've counted them?" Why is she having to convince him to kiss her? From the next page, I can tell that they're already fooling around (this is 4 months previous but they've been playing about for 5 months) - but that's not obvious in this scene as it's written. Maybe she should bemoaning that he's kissed her previously so what's the big deal now, not that he should kiss her because they kiss in the play script. What are Paul's feelings here? Why doesn't he want to kiss her? Does he know that Amy's coming to pick him up and he's scared of getting caught? Or does he not really want to continue the fling that he's started? Is he starting to find Megan's temperament in comparison to Amy's a bit wearing? I don't really understand the scene on Page 4. On Page 3, Paul and Amy establish that they had been happy and then something happened...and on Page 4, Paul gets a part in the play. So the play made their relationship unhappy? Was he rehearsing too much? Is it because that's how he spent more time with Megan? Page 5 suggests that either Amy and Paul weren't sleeping together (which seems unlikely) or that Amy was repressed in bed, so Paul went looking elsewhere for it. ...so I find Page 12 all the more confusing - why would Amy agree to let Paul sleep with her, particularly when he suggests it in such a cruel manner? The addition of 'staring at the ceiling' light suggests that she's quite passive - it wasn't her idea to have a goodbye gently caress, and she doesn't enjoy it, but she lets him anyway and then feels hurt by it? I do like the juxtaposition of the hate gently caress / making love scenes, and I like the idea of showing a relationship breaking down via flashbacks. What I don't understand is why Paul and Amy were together in the first place, nor what Paul's motivation is for fooling around with Megan. You don't really have to answer these in the script if you don't want to, but I get the feeling that maybe you don't know yourself. I have no idea who to barrack for - is Amy the hard done by girlfriend, or did she do something to warrant this happening? Is Megan an evil sister, or does she have her reasons for trying to steal Paul? Is Paul the heartless jerk he appears to be, or did something drive him away? Are they all as bad as each other, or are they all victims of circumstance? There are lots of nice touches in your dialogue, and I particularly liked the bit about them all going for dinner and Amy wondering if Paul had noticed a change in her. I think you've got the start of something really good here.
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Mar 20, 2011 20:05
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Golden Bee posted:"She was still wet..." is a glaring entendre. Wow, I hadn't even thought of that.  I literally meant that she was still wet from the hot tub. Golden Bee posted:6--When does this scene change take place? Probably five months previous, when Paul meets Megan and begins his affair. Golden Bee posted:Top of 8: A bit unnatural. Are they going for wordplay or trying to take something out on each other? A little of both. This was probably me unconsciously trying to jam more Sondheim into the script. I think if the actress is particularly angry reading those lines it'll feel more natural. Golden Bee posted:This whole page is kind of a plotbomb. You'll do X, I'll do why, I like you because you Q... The "I like you..." bit is supposed to be kind of stab of irony, perhaps if I drop the exposition about them moving in together the scene won't be so clunky. Golden Bee posted:I read this all at a sprint, which meant it got me gripped. I'm not sure I like the ending (or even the hate gently caress. It just seems like the path of least resistance to end it the way you did. I don't think I like it either, it feels fabricated. I do know that I want him to die and I don't think that's too much of a leap, I just need to find a way to get there that isn't forced. Golden Bee posted:Also, It's a loving Beatles pun! PAUL IS DEAD! Did you not think 'Miss him miss him miss him' when you wrote that?  Golden Bee posted:Maybe that's why the hate gently caress doesn't make sense. It doesn't fulfill Amy's objectives at all. This is a really concise way to put it. Testro posted:Making Megan a twin sister brings a different dynamic to the table than friend or associate. Megan now isn't just anybody...what's her motivation in this? Why does she want to screw her sister's boyfriend? Does she hate her sister? Has she fallen for the wrong guy? Why has Paul gone with his girlfriend's sister? A couple choices were made out of interest in saving time in production (this is for a class). Twin sisters would mean we wouldn't have to deal with the schedules of two different people, and it does indicate a lot more. The concept of sleeping with your girlfriend's sister is sort of fascinating to me but I don't think I have the room to properly explore it here. I may change it to friend, altering the speech about virginity ("she told me once she lost her virginity at 13..."). Testro posted:...in fact, I think you could get away with scrapping the rest of that page. This is an excellent idea. Testro posted:On page 2, I'm slightly confused by what Megan says: "Aw, come on. We kiss in the play, four times. I count them." "I count them every night" might be more clear. In whatever play it is, he's the lead and she's the counterpart, and they kiss four times during the show. Testro posted:What are Paul's feelings here? Why doesn't he want to kiss her? Does he know that Amy's coming to pick him up and he's scared of getting caught? Or does he not really want to continue the fling that he's started? Is he starting to find Megan's temperament in comparison to Amy's a bit wearing? Certainly a mix of all of these. Paul's pretty selfish but he's aware that he's in the middle of an empty stage and anyone, including his girlfriend, could walk in and see. Presumably their affair has been on the down-low and he wants to keep it that way. "I know we do, but-" would probably have ended in the gist of "I don't think we should do this here". Testro posted:I don't really understand the scene on Page 4. On Page 3, Paul and Amy establish that they had been happy and then something happened...and on Page 4, Paul gets a part in the play. So the play made their relationship unhappy? Was he rehearsing too much? Is it because that's how he spent more time with Megan? This is me stealing from Merrily We Roll Along; he begins working nightly with Megan, they start to hit it off, and she's a general bad influence. I could insert something from Amy about his "downward spiral" beginning then. Testro posted:Page 5 suggests that either Amy and Paul weren't sleeping together (which seems unlikely) or that Amy was repressed in bed, so Paul went looking elsewhere for it. ...so I find Page 12 all the more confusing - why would Amy agree to let Paul sleep with her, particularly when he suggests it in such a cruel manner? The addition of 'staring at the ceiling' light suggests that she's quite passive - it wasn't her idea to have a goodbye gently caress, and she doesn't enjoy it, but she lets him anyway and then feels hurt by it? Women, am I right? I may, or probably will, scrap the hate-gently caress. I still think it's a splendid idea, particularly when he uses his pulling out to accuse her of being selfish (it's just such a lovely thing to do) but it doesn't fit Amy, unless she suddenly had a tremendous change within her. Testro posted:I do like the juxtaposition of the hate gently caress / making love scenes, and I like the idea of showing a relationship breaking down via flashbacks. I like the juxtaposition too but I don't know if hate-gently caress is the right way to go about it. Perhaps they move right into fighting and there are sudden flashbacks to more tender moments between them as they land punches and pull hair. Slow mo dollies. Testro posted:What I don't understand is why Paul and Amy were together in the first place, nor what Paul's motivation is for fooling around with Megan. You don't really have to answer these in the script if you don't want to, but I get the feeling that maybe you don't know yourself. It's something I need to do more exploring in.
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Mar 20, 2011 23:00
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Quick question for everyone. It is just me or does everyone write long, planned out treatments? I've noticed lately that I've write long treatments that plane out everything that happens in the scene, including the songs that I want to use. Does anyone else do this or is it just me?
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Mar 20, 2011 23:23
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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.
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Mar 20, 2011 23:34
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Hey guys. I just finished the first draft to a short comedic skit and I decided that showing it to you is a better bet than showing it to my friends because you'll give me critiques if need be. If anyone wants to read it, you can download it here. It's only nine pages, so it's not a huge investment of time. Thanks to anyone who reads.
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Mar 23, 2011 04:39
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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 this too. Luckily, I am very lenient on what music is appropriate. I wrote many many pages of a Western while listening to almost nothing but disco music.
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Mar 23, 2011 05:22
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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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I just opened an account on http://www.scriptfrenzy.org/. The point being to write an entire screenplay during the month of April. I need something like this to push me to keep writing. It seems pretty hackneyed, as is most screenwriting sites I find oddly, but it is free. My user name is Signpost, in case anyone wants to be "writing buddies." Which is probably just as gay as it sounds.
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Mar 25, 2011 19:29
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I just read on the BBC website that they accept original, unsolicited pieces for your chosen genre. Definitely intrigued in given it a whirl, as I've had ideas floating around my head for some time. The lack of spec script writing is a plus, because I don't care for much British TV and forcing myself to watch episodes of Doctor Who just to write pages of something I don't care for would just put me off even starting.
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Mar 28, 2011 00:52
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The pHo posted:I don't care for much British TV and forcing myself to watch episodes of Doctor Who just to write pages of something I don't care for would just put me off even starting. This makes you sound like kind of a dick then. If you watched any kind of British TV, and especially the BBC's output, you'd notice there's a very discernible difference between what the Beeb puts out and what US networks put out. To get that 'feel' would probably be in your favour, and watching some good examples wouldn't hurt (and there are some incredibly well-written eps of Doctor Who). What is it you don't particularly like about Brit TV?
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Mar 28, 2011 12:15
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It's OK, I was just exaggerating for my own amusement. If I was to write spec, I'd probably use Peep Show mainly as the scripts are easily purchased and it's definitely got a few 'miss' episodes in its bag. Unfortunately, the majority of UK TV these days just doesn't grab me... I like the odd thing that's on, but we're lacking shows that are comparable to the US cable (whether premium or not) output. I'm not the biggest fan of US Network TV either, a lot of shows are lacking arcs and spreading seasons out over 24 episodes is often detrimental as you get too many filler episodes. The UK works the opposite way, not enough episodes to build up characters or interesting plot lines. To use Peep Show as my example again, it's a show that's taken nearly a decade to tell it's story, which has been fairly basic. It's timeline seems confused because there was a year and a half between them going to the hospital and the baby being born. It's a necessary evil and it won't change, but if you hit a bad episode in a short run of 6 it hurts a lot more than if there's a duff one in a run of 13. Knowing a show like 'Always Sunny' or 'The League' will then be back on 9 months or so also helps. It's all about money, so it's not going to change. Programs I cannot stand more than a few minutes of like 'Come Dine With Me' are ridiculously cheap compared to commissioning scripted programming, it's an obvious choice which to go for especially when you consider the viewing figures. I'm 30 this year, so growing up British comedy was fantastic and the combination of BBC2/Channel4 put out original programming that they simply don't meet these days. As you can probably tell, I'm mainly into my comedy but there's not much on to make me laugh now. Growing up with Black Adder, Red Dwarf, Mary Whitehouse, Lee and Herring, The Fast Show... all fantastic shows that don't have counterparts in 2011. Looking at the BARB Top 30s for the mainstream channels, and there's just not that much that interests me. Too many soap operas, reality shows and other lowest common denominator television. There's a few items to my taste being made, but it's few and far between. I enjoyed Grandma's House last year, The Inbetweeners was amusing albeit with it's fair share of duff episodes then the rest of the comedy output is utter dross like Phone Shop. If I can write an original script and the most I get out of it is one person who knows what they're talking about simply saying "It's not as bad as Phone Shop", then I'll be happy. Hopefully that makes a bit more sense than my throwaway comment about Dr. Who 
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Mar 28, 2011 15:52
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The pHo posted:Hmm.. how about Skins or Misfits?
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Mar 29, 2011 05:35
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There's a 3-day screenwriting marathon going on Friday and the weekend at a cafe in LA (90004). It's free and open to whoever wants to join in. Bricks & Scones Cafe 403 North Larchmont Boulevard LA, CA 90004 Friday 7:30am - 10pm Saturday 8am - 10pm Sunday 8am - 7pm Feel free to drop me a message if you need more details.
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Mar 30, 2011 17:04
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TOMORROWLAND Mediafire pdf link This is a mutation of Kaleidoscope. Altered the main "party" dialogue and a good portion of some of the flashbacks, plus some other little things. Oh, god, we actually have to shoot this.
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Apr 3, 2011 00:47
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Any other good sources out there for scripts other than http://www.mypdfscripts.com?
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Apr 3, 2011 03:14
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Longbaugh01 posted:Any other good sources out there for scripts other than http://www.mypdfscripts.com? In short, no there isn't and PDF isn't as good as it as it used to be. Up until last year, the so called script trading black market was good and everyone would get what they wanted eventually. However it seems now that it's starting to dry up. For those of you who don't know, there's this thing out there called the Hollywood Blacklist. Every year, it would come out with the most talked about scripts by studio heads. I managed to get two years worth and it was good. Fast forward to this year's black list release and to what happened. It seems that it was just about to leak out on to the internet and a few people had gotten them already. Well it appears that Fox wasn't too happy with this and managed to launch a lawsuit against a few websites, including a high ranking screenwriter who had posted all the scripts that she had gained access to over the years. After this happen, site My PDF Screenplays and it's small private community, PDF Screenplays, which I was a member of at one time, got hit with legal threats. So it seems that they had to either shut down or take down certain scripts. PDF Screenplays shut down, while MY PDFs remains opened. These where once great giants who I got the materials from to learn my craft and better myself as a writer. Without PDF Screenplays, I've been having a hard time finding new scripts and seeing what other writers are doing. Granted there's always Daily Script and Simply scripts (which I can't figure out why they are still opened and haven't been hit with a lawsuit yet), but they are terrible and never really get anything new. God, if I knew where to find scripts, I'd be happy again.
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Apr 6, 2011 03:01
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Hey Screenwriting Thread! I'm volunteering here this weekend! http://www.torontoscreenwritingconference.com/ I'm mostly working to see Sheldon Bull, author of Elephant Bucks for free. It's a pretty good comedy writing/business manual, mainly dealing with writing spec scripts and breaking into the business. I like shows with jokes and want to do that! ps, hi jon if you read this haha
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Apr 6, 2011 03:35
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screenwritersblues posted:Mypdfscripts is actually not bad, I found at least 10 produced screenplays I wanted to read right off the bat. Mostly I was asking because of the legal threats you mentioned, because of them Mypdfscripts had to remove every single Warner Brothers screenplay, and that's unfortunate since I really wanted to get my hands on both The Dark Knight and Inception. Though, I can see where not being able to get your hands on this year's Black List entries would be a pain. Useful for a writer to see what is currently hot I assume.
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Apr 6, 2011 18:42
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Do you have some specific titles that are on the blacklist and you can't find? I'm curious if they are actually completely unavailable.
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Apr 6, 2011 18:48
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Longbaugh01 posted:Mypdfscripts is actually not bad, I found at least 10 produced screenplays I wanted to read right off the bat. Mostly I was asking because of the legal threats you mentioned, because of them Mypdfscripts had to remove every single Warner Brothers screenplay, and that's unfortunate since I really wanted to get my hands on both The Dark Knight and Inception. I wanted to get my hands on Inception as well. It's on Amazon, so once I have a bit more money in the bank I'll probably just buy it. It's running about anywhere from $9 to $12 dollars, so I don't feel all that cheated in purchasing it.
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Apr 6, 2011 19:07
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