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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. There was a time when the guy who ran the site would post stuff that was both in the process of being released or unreleased. Now, he mostly posts interviews that are insightful and interesting, but are really of no help with me. Yes, Mypdfscripts isn't bad, but it was better a year ago. Also, go out and purchase the books for the scripts on amazon. They're well worth it. Juanito posted: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. All of them. I have the lists from 2008 and 2009, but would kill to get the complete 2010 list. If I could find a way to get them, then I would be happy. I think I have a couple of titles, but I forget which ones I have. screenwritersblues fucked around with this message at 16:00 on Apr 18, 2011 |
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Apr 6, 2011 21:04
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I asked earlier in the thread about where to get scripts online and was told I could be banned for asking for illegal stuff. Just saying it to remind you that talking about unreleased scripts from studios might walk that fine line and the mods might warn you.
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Apr 6, 2011 22:45
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TheYellowFog posted:I asked earlier in the thread about where to get scripts online and was told I could be banned for asking for illegal stuff. Just saying it to remind you that talking about unreleased scripts from studios might walk that fine line and the mods might warn you. Good to know. Though I read this entire thread and don't remember seeing that. Guess I could have missed it.
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Apr 6, 2011 22:59
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Maybe it was another thread in CD, I can't remember.
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Apr 6, 2011 23:48
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I'm in the beginning stages of writing a screenplay. Is it kosher to mention a specific song for a scene? The script I'm writing is a high school one with a certain type of music being an important part of the character (leading up to a battle of the bands for the finale). I know rights are a big issue but I have also seen Charlie Kaufman call for Bang On A Can performing Brian Eno's Music For Airports in the Eternal Sunshine Of The Spotless Mind screenplay and Aaron Sorkin call for Paul Young's Love Of The Common People in the beginning sequence of The Social Network screenplay. TheYellowFog posted:Maybe it was another thread in CD, I can't remember. Yeah, it is a major rule in CD. quote:Piracy is naughty: Just don't talk about downloading or in any way illegally acquiring copies of films. At all. Ever. I don't care if you do it, just don't talk about it. This includes illegally acquiring and/or distributing screenplays. As of now, this is a bannable offence. http://forums.somethingawful.com/showthread.php?threadid=3280818 Ninja_Orca posted: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. The Kindle version is only $7.79 if you don't mind going the digital route. http://www.amazon.com/Inception-The-Shooting-Script-ebook/dp/B004SBBT0W
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Apr 7, 2011 18:53
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I wouldn't get the Kindle version, if you're a real fan of Inception, since the book has concept art, storyboards, and more.
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Apr 7, 2011 19:05
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Juanito posted:I wouldn't get the Kindle version, if you're a real fan of Inception, since the book has concept art, storyboards, and more. So does the Kindle version. Granted, in not as high quality as the book, some of the early notebook scribbles are hard to read but if you are mainly interested in the screenplay, it is formatted properly.
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Apr 7, 2011 20:05
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Sporadic posted:Aaron Sorkin call for Paul Young's Love Of The Common People in the beginning sequence of The Social Network screenplay. I was going to mention this example to you until you brought it up yourself. I think it's one of those things where if you are just starting out, and hoping to sell your screenplay, then you probably want to stay away from that sort of directorial decision as much as possible. If you're going to direct it yourself, and can secure the rights, then go ahead, why not? The thing is, Aaron Sorkin is Aaron Sorkin. He's a proven commodity, and can break rules (reading the TSN screenplay I noticed more than just the music thing). You'll notice though that his idea was totally left out of the film itself as far as I can tell. Anyway, I guess my point is that if you're not a proven commodity, and are hoping to sell whatever you're writing, or even just use it as portfolio material, then I would try to be as hands-off as possible when it comes to ideas that, once production begins, would usually fall under the purview of the director. Though, If you already have a good track record in the industry, you can insert things such as those more and more, and whether they are used or not, the powers-that-be won't care as much that you have gone beyond your role. I could be wrong, but from what I have heard and read, it seems to boil down to this.
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Apr 7, 2011 22:00
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Longbaugh01 posted:I was going to mention this example to you until you brought it up yourself. I didn't mean calling for a song to be played over a scene like in my two examples. This would be a specific set of vinyl records to be shown in the beginning (to set up why the character is the way he is) along with covers of two to three specific songs from them later on. I don't plan to direct it myself and there is zero chance I could get the rights to use them by myself (but we are putting the cart ahead of the horse) What you mentioned was what I was afraid of. I couldn't find any information on whether it was ok or frowned upon but overlooked due to name value. Call Me Charlie fucked around with this message at 22:34 on Apr 7, 2011 |
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Apr 7, 2011 22:30
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Sporadic posted:I didn't mean calling for a song to be played over a scene like in my two examples. This would be a specific set of vinyl records to be shown in the beginning (to set up why the character is the way he is) along with covers of two to three specific songs. I don't plan to direct it myself and there is zero chance I could get the rights to use them by myself (but we are putting the cart ahead of the horse) If music is somehow integral to the script, than I imagine that is more acceptable in most situations. Like how would you have adapted High Fidelity without all the music that is in the book, since the book revolves around that.
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Apr 7, 2011 22:33
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Sporadic posted:I'm in the beginning stages of writing a screenplay. Pretty much the standard rule is that you do not put music in your screenplay, mainly because of the fact that you might not be able to get the rights to the song that you want to use. However most writers, like Rob Siegal, who wrote The Wrestler, put music that they want to use in the film, in the draft that they are writing. I'm doing it with the current draft that I am writing and really don't care what other people think. Do it if you feel that it is needed, then do it.
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Apr 8, 2011 03:25
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Yeah, I've always heard "don't do it... unless you really, really want to."
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Apr 8, 2011 03:34
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I once put in an amazing use of "Gimme Shelter" for the first scene of a script I was writing having to do with Hurricane Katrina... ...then The Departed came out. Never again. 
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Apr 8, 2011 05:13
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Usually when I'm writing something I'm thinking what songs would work great with the scene so it's really tempting to put it in there, but like everyone has said already it's almost always a good idea not to, unless it's just going to be something like a short film that you are directing or scoring yourself or are close with the director/music guy. If you are writing a spec and it somehow gets to the stage where it might actually get produced, then you can always give music notes to the director/producer and hope to have input that way. The reason a lot of the scripts you read online have music in them is because they are written by people who already established themselves. Charlie Kaufman spent years writing on TV staffs and I bet he didn't put music notes in during that time. edit: This is kind of related, but I wonder if the music in My Name is Earl was written into the scripts or who decided what songs to use. Every episode seems to have at least one song that costs a shitload to get the rights to. TheYellowFog fucked around with this message at 05:39 on Apr 8, 2011 |
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Apr 8, 2011 05:37
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Longbaugh01 posted:I once put in an amazing use of "Gimme Shelter" for the first scene of a script I was writing having to do with Hurricane Katrina... The song is in almost any Scorsese film, so who cares... use it if you have to.
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Apr 9, 2011 00:50
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screenwritersblues posted:The song is in almost any Scorsese film, so who cares... use it if you have to. Oh I know. Nah. It's passe at this point, and I abandoned that script years ago. Are there really times any of you feel, outside of it being a plot point, that you HAVE to use a certain piece of music in a screenplay?
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Apr 9, 2011 01:48
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Longbaugh01 posted:Oh I know. Background noise? I don't know I usually put music in to set the mood of the scene.
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Apr 9, 2011 22:21
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screenwritersblues posted:Background noise? I don't know I usually put music in to set the mood of the scene. Makes sense. I guess I just always thought, and that it was thought of, as presumptuous. The other issue being that unless it's something widely recognized, then a reader might miss the point entirely.
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Apr 10, 2011 09:01
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Think I've got a final-ish draft of Tomorrowland (Mediafire pdf). Lots of changes from before, and certainly from Kaleidoscope. Moved a couple flashbacks around, gave the party dialogue more shape.
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Apr 17, 2011 22:27
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I often have playlists which I listen to while writing a screenplay, but I've yet to actually put one of those pieces in the screenplay itself as a direction: often they're too on the nose in any case. The closest I've ever come is when I wrote about a young girl dying tragically, and the effect it has on those left behind. My mother of all people suggested this piece of music: http://www.youtube.com/watch?v=85ytCrJ_ygI and ever since then I can't imagine the scene without it as background. It helps that the whole sequence is without dialogue, meaning that any music to be played in the scene has to be particularly strong. Pop just wouldn't fit.
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Apr 18, 2011 15:16
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Longbaugh01 posted:Oh I know. Many many times. Often, I will get visual or emotional ideas from specific pieces of music or songs and I write them around that. For me though, it is almost never a lyrical thing. I use music as inspiration for the flow and momentum of things. I have written Western scenes to disco music, contemplative dialogue-free scenes to death metal. I mostly write things that I want to make myself though, so I use certain pieces of music as a guideline for the way I want to shoot and how I want the scene to feel. So, I'm not like "this Western shootout MUST have Ladies Night playing over it", but I can go back and listen to that music and the visuals come to me much clearer.
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Apr 18, 2011 20:54
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the Bunt posted:"this Western shootout MUST have Ladies Night playing over it" Making me laugh just thinking about it. And don't get me wrong, I feel that I came off like some sort of robot that doesn't listen to music. I too make playlists depending on the mood I want while I'm writing.
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Apr 19, 2011 07:32
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What's everyone's logline process? Do you even bother to write one? There's a screenwriting competition in this London magazine, but to enter, they want a logline. One sentence, maximum of 25 words. So far I've got "A man wakes up in a bizarre, anachronistic city with no memory of getting there, but soon finds his long missing father is running things." which is 25 words, but sounds a little dull. Or: "Finding himself in a bizarre anachronistic city, Harry Bishop stumbles across his long missing father and a mystery that could save or destroy everything." which is 24 words.
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Apr 21, 2011 08:04
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Your logline is supposed to have the main character's mission in it too - trying to get home, I'm guessing? I hate writing loglines, and I also think that they are pretty far removed from how viewers think of stories. I think screenwriters tend to focus way too much on plot, and don't step back to think about how the movie as a whole will be seen. Ask a screenwriter to describe a movie, and they'll give you a logline. Ask anyone else, and they'll say "it's a funny action movie with great car chases" or "it really captures that small town vibe."
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Apr 21, 2011 18:23
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I submitted the latter one, to which my friend pointed out not 2 minutes later, that I should have hyphenated 'long missing'. 
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Apr 21, 2011 18:44
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I decided to scrap my last idea, for now, and start on another one. This time I am actually writing and it feels great. One of my characters is looking for a job online. Would it be ok to mention Craigslist or Backpage by name? It will be popping up again later in the story with a different use. ------ Hellwuzzat posted:Also, gonna say that purchasing Complete Screenwriter's Manual : A Comprehensive Reference of Format and Style is a good idea. 200+ pages of formatty goodness that you won't get from the "How to Write a Story/Musical/Porn" books. Thank you for that recommendation. It has answered most of my questions. Call Me Charlie fucked around with this message at 03:06 on May 5, 2011 |
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May 5, 2011 02:53
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Sporadic posted:I decided to scrap my last idea, for now, and start on another one. This time I am actually writing and it feels great. For the most part, you can if it's a spec. I've read plenty of drafts that use name brand things, hell I remember an episode of Two and a Half Men that mentioned J-Date by name, so yes go head and use either one, because if it works then it should be used.
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May 6, 2011 06:05
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screenwritersblues posted:For the most part, you can if it's a spec. I've read plenty of drafts that use name brand things, hell I remember an episode of Two and a Half Men that mentioned J-Date by name, so yes go head and use either one, because if it works then it should be used. I didn't know if it was another thing that will get a nobody's script thrown in the trash but is ignored for established writers. ----- I'm trying to work through a rough spot but I don't know if this scene is panning out the way I am picturing it in my head. A little back story, Katherine (my main character) is having issues finding a job. After talking to her son about her issues, she notices an ad on Craigslist for a housekeeper. This would be the next scene. The idea is that the shot would open on a closeup of Maggie (first time she is introduced) and stay there until it is revealed that Katherine is sitting across from her. code:Call Me Charlie fucked around with this message at 15:35 on May 29, 2011 |
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May 29, 2011 06:52
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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. Has anyone been/heard of this before? Success rate?
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May 29, 2011 08:06
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Sporadic posted:This would be the next scene. The idea is that the shot would open on a closeup of Maggie (first time she is introduced) and stay there until it is revealed that Katherine is sitting across from her. As far as I can tell, what you have written suitably implies what you want without "directing" the scene yourself. I would suggest, however, revising that line to make it active voice; something like "Katherine sits across from her, mortified, in an identical uniform." Sporadic posted:Also, should I remove the (CONT'D) from behind each MAGGIE? Final Draft automatically added them but I don't think it is right (isn't it suppose to be used for when dialog goes from one page to another?) I think it's justified in this case, since it's essentially a monologue broken up by small actions.
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May 29, 2011 12:51
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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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NeuroticErotica posted: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. Does he not deal with pitches regularly? That seems particularly crappy. Why even go?
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Jun 2, 2011 03:07
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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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I'm curious. What is your typical work schedule? When I buckle down, I can pull out about two pages a day over the course of a few hours. It feels like I am crawling. Also do you plot out the entire story before hand? I have a basic plot outline for the beginning mapped out on a dry erase board. CoolZidane posted:As far as I can tell, what you have written suitably implies what you want without "directing" the scene yourself. I would suggest, however, revising that line to make it active voice; something like "Katherine sits across from her, mortified, in an identical uniform." Thank you for the help. I fixed that line and left the (CONT'D) alone.
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Jun 6, 2011 20:41
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Most people would tell you this is the wrong way to do it but I almost never have the majority of a story planned out before writing. I have several finished works that I started with just the opening scene in mind. I discover what I want to really do or explore when I'm writing. I just can't work the other way. It depends on the kind of stuff you're writing, too. I'm a characters person. I love to "meet" a character and see what they do when I just write on a whim. For serious projects, I usually have the opening scene in mind, and I know how I want it to end more or less. I discover the rest along the way.
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Jun 6, 2011 21:19
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Quick question. How do you handle scenes in a parked car? My character is sitting in her car which is parked in her driveway. The first time, the camera would be INT. The second time, the camera would be EXT. I can't find anything on Google or in my book about it.
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Jun 9, 2011 05:05
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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:I'm curious. What is your typical work schedule? Usually I try to writer a least two to three pages a day, if I'm lucky. I normally do a lot of long handed old fashion treatment writing and then put it into a word document afterwards, this way if anything happens I have a "hard copy." Then it dive straight into writing and work on it in final draft.
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Jun 10, 2011 01:44
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I have a question that may be too insider but I've always been curious. Maybe someone has insight. I'll use Ridley Scott's Robin Hood as an example. There were articles about the original screenplay being a total reworking of the Robin Hood story from the perspective of the sheriff. Sort of a CSI type of thing with RObin Hood being the bad guy. Apparently this is how the screenplay was sold. Of course, over the years of development, we got something completely different on the screen. And we know this happens all the time. When a screenplay is changed so much between the original sale and the final filming draft, why can't the original writers take back the original idea and re-use it? It sucks that an original idea that was initially what got it sold, gets completely wasted and thrown out the window forever just because the screenplay has to appease the star, director, producers, etc. I would think that legally there should be a point where the final draft is so different from the original that it should be considered a different piece of work.
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Jun 11, 2011 04:19
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NeuroticErotica posted:The character's inside? Put it inside. It's not really something to worry TOO much about. You're right. When I made that post, I just came off a five page spree and was worried that I had run into another wall along with screwing up an earlier scene. I ended up doing INT. KATHERINE’S CAR - MORNING for the first and EXT. KATHERINE’S HOUSE, DRIVEWAY - AFTERNOON for the second where I described the car parked and Katherine sitting inside. Kung Fu Jesus posted:I have a question that may be too insider but I've always been curious. Maybe someone has insight. I'm not an insider at all but I've actually read about this so I think I can answer your question. This may not be 100% correct. When you sell a script, it becomes the property of the studio. Whether they choose to use it or not is up to them. Not every script purchased is turned into a movie. The studio messing with the script is expected and the screenwriter tries to minimize the damage done during the process. Sometimes it works, sometimes they get replaced by another writer. It's considered the price to write movies. In your example, Ethan Reiff and Cyrus Voris still received a credit so they get additional money on top of what they sold the script for. The book Tales From The Script touched on all of that.
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Jun 11, 2011 05:26
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