Total Control of your Script?

[sspunisher]

Hey everyone,


Thanks again for your time.

[WritingFool]

Go independant. Try hooking up with someone based on 2 things.
First, create something on film, a part of your movie, or perhaps a short story to prove your abilities behind the camera--and they better be good.
Otherwise I doubt that anyones going to want to invest their time or money giving you complete control over your movie.
hope it helps

[WritingFool]

Oh, and the second thing would be...the script itself better be better than good..good enough for anyone to want to give you that much control.
better be superb!

[JustinoXXV]

Punisher, what are you bring to the table to give you this total control?

Do you have the money? Are you a proven talent?

By the way, I had a friend who wanted total control over his script. He had money and produced it himself. He also starred in and it directed it.

So he wanted a distriubtion deal. His movie was rejected by every film festibal in North America and Europe. No one would distribute him. He is out of a lot of money.

And by the way, actors, especially named actors, can have a lot to say if their attaching their name to your project.

"
On to my question, what's the best way a screenwriter can maintain complete creative control over everything from the writing of the script to the camera angles and the way the movie is displayed?"

Realistically, there is no way, and this sounds totally amateurish and unprofessional.

"I have no schooling in regards to film making, and to be honest this is something I'd seriously consider pursuing, both in school and even down to investing thousands of dollars in the script (via whatever it is, buying/renting a studio, paying for some of the production, etc) in hopes of banking on my scripts."

It's realistically going to cost hundreds of thousands of dollars to do a low budget movie? Do you have that kind of money now? If you do hire an indie director and let him do his job (but you might want to make sure you can secure distribution deal first).

Even if you are the writer/director, other people still do have say in what you do.

[sspunisher]

Thanks Writing Fool,
My script is nowhere near completion, and I plan on rewriting it many times, but thats always a good thing to remember, having a superb script.

I assumed going Independent would be the answer, but that also means less exposure. Is it possible to actually make the movie, then sell it while retaining some creative control over it? I'm assuming they'd brush it up a bit then off we go to the magical theaters lol.

I know I sound like an aspiring kid wanting to open a lemonade stand, but I'm just trying to figure out how this process works.

Thanks for reading.

[sspunisher]

Justin,

I guess it would be ridicilous to say I want control over everything. I'd be happy if I got control over the way the story was told, and just that. I guess I assumed that once your screenplay is sold, everything would be reshuffled and I'd hardly recognize my work on screen. I guess I don't understand the point of selling your work if it's going to be dramatically altered. Correct me if I'm misunderstanding this?

[Joe Calabrese]

sspunisher.

I am sorry, but you have no idea how the industry works and you are setting yourself up for a big disappointment.

No writer has ever been completely happy with the finished product. Even if he/she says so in interviews, they are lying for the sake of looking like a team player.

If you go the studio route, your script will be changed no matter how good it is, either by the studio, the director, the producers, or even the actors.

if you go the indy route, you will be forced to make changes mostly based on the budget. The less money you have, the less of the script remains intact.

Also, what works on the page very rarely works on screen. Things get changes during pre, pro and post production for a variety of reasons. Money being the biggest factor. Budgets are based on days shooting. If you get 4 million, you can only shoot perhaps 25-30 days. If you have a hundred plus setups, you will have to make changes to the script in order to get those days down.

Screenwriting is a discipline in rejection and dejection and a practice in accepting change and compromise. You will never see a finished film as good as the script you envisioned in your head or on paper.

[Maryn]

I can only add one more voice saying that the screenwriter never gets complete control unless he also produces, directs, and stars--and like Justino said, that can end up leaving you broke with a product nobody wants, unless you're good at allthose roles.

If control is that important, maybe you should not be writing in a genre that by its very nature is a collaborative venture. Have you considered writing fiction instead of screenplays? Novelists exercise much more control over the end product than screenwriters.

Maryn

[StephieM]

Have you ever watched Project Greenlight? In my opinion, it gives everyone on it a false sense of hope, because the movies eventually bomb. But it is a good learning process. Just from watching that show I learned that there is more to making a movie than what meats the eye. There is so many people invovled that if you wanted to do everything yourself you would literally have to become a hundred people. It's an impossible task. The last season, they couldn't get enough funds to even get the last two days of production in, or create the monster effects they were looking for. For these two things they needed an extra 200,000. That right there should tell you how much money a movie demands. And if your movie flops, that's it.

But I see where your coming from. Not only do you want to write the script you want to add the visual effects. You have this whole vision in your head how you want your script to turn out in the end, and your afraid that someone is going to mess with that vision.

Here's my take. Yes, there is more than likely going to be changes. As a beginner screenwriter, there is absolutely nothing we can do about it. Because once we sell that script, it isn't ours anymore, it's thier's. And they can do whatever they feel nessasary to bring the script up to their standards. But, if your script is written well, with a definite mood and in good discriptive style, the less changes they may make.

My advice to you, is be the screenwriter first, then later when you have established yourself, become the director if that's what you choose. Once you've written your screenplay and your lucky enough to get it sold, the moment it changes hands, forget about it and move on to the next. Otherwise your career will be full of disappointments.

But by all means be passionate about your work, it's what drives us to make great scripts rather than lousy scripts. Yet at the same time, make sure your able to turn that passion off when the moment of truth comes.

Good luck. :)
Steph

[sspunisher]

Thanks for all the feedback. I wouldn't mind writing a novel, though I feel my audience base would be reduced greatly. I guess it's a give and take relationship.

You opened my eyes a bit Joe, I guess I'll have to get in line with you. I suppose I'd rather start writing many more screenplays in order to get my name out there before I try to push my vision down the world's throat lol.

Joe I can tell you've been around quite a bit. Obviously experience is second to nothing, but are there any books out there you'd recommend I read to get a better understanding of the screenplay to movie making process? Particularly the aspects of budgeting as well as all the terminology of marketting your script to someone.

[IWrite]

But, if your script is written well, with a definite mood and in good discriptive style, the less changes they may make.
This view is not only somewhat naive to the realities of how this business operates, but also shows a real lack of perspective of how high the bar is for writers.

Only scripts that are "written well, with a definite mood and in good discriptive style" have a shot in hell of being optioned or repped let alone bought and produced. Those things are a given, they are the very bottom threshhold - those things make someone proficient - not good.

The vast majority of the scripts that are on peer review or critique sites - don't have a shot in hell of getting made. Ever. They just are not good enough. Period.

As for SSpunisher - I agree with whoever said that he should pursue novel writing as opposed to scripts is he wants any control at all over his vision.

[sspunisher]

Well I'm sure Stephanie meant the better it is the LESS they change. Not saying they keep the whole thing intact, but I understand what she meant. But she helped me realize that I have to first write a bunch of screenplays that once (or if) sold, I could move on and forget about. I'm not a big fan of writing about something I'm not 200% passionate about, but if that's what I have to do to break in, then I'll do it.

I guess I'll be writing many scripts with interesting concept ideas, (like Phonebooth). Ehh, I'm a creative one, I'll figure it out I guess.

[Joe Calabrese]

Everything you write must have 200% passion behind it or it will be crap.

You should, however, not be so attached and emotionally vested in a script that if it doesnt go the way you planned, you won't have some major mental breakdown.

Like raising a child, you need to let it find it's own way. We all wan't our babies to grow up and be a succesfull doctor, lawyer, scientist, whatever, but if they end up a mechanic or something less than you envisioned or planned them to be, you should be happy for them for they choose thier own path. The same is true with your screenplays. Be happy they got made and you got paid, but love them nonetheless.

[IWrite]

Undercover - your view is not warped at all.

The fact is that with a novel as long as you have one person read it (even if that person is your mother) the circle is complete - granted it's a much smaller circle than if it's published and sells a million copies.

But screenplays are merely blueprints for a film and unless a film is made - the circle will remain incomplete - even if you sell the thing for a million dollars.

That is one of the reasons I find it so odd that people take up screenwriting as a hobby. Novel writing I can understand - but screenwriting...

[Nicholas S.H.J.M Woodhouse]

I assumed going Independent would be the answer, but that also means less exposure.

It doesn't really mean less exposure. Robert Rodriguez's El Mariachi (1992) is one of the most famous independent films of all time. It inspires hundreds everywhere, every year.
It does so because his career has taken off since then. Whatever you make in independent, is normally what gets you your place at the so called 'big table' (huge generalisation, lots of people go back to independent or even reject the big table completely). My point is that what you make in independent can be your calling card, and as that, its exposure will be limitless, as long as you become a success (like our pal Robert).

[StephieM]

Thanks Punisher, that's exactly what I meant. And I'm glad the person it was intended for understood it correctly.
IWrite: I wasn't suggesting that there are bad scripts and good scripts, and that the good scripts don't get altered as much. I am not as naive as you suggested. I may still be learning myself, but of course I know that a script has to be beyond perfect to have any chance in hell to be sold. What I meant is that if someone wrote a script much like the final draft to "The Day After Tomarrow" vs. a script much like the first draft of "House of the Dead", I'm sure the latter would be prone to more changes. Would you not agree?

Steph

[IWrite]

What I meant is that if someone wrote a script much like the final draft to "The Day After Tomarrow" vs. a script much like the first draft of "House of the Dead", I'm sure the latter would be prone to more changes. Would you not agree?
Actually the short answer is "no"

Those who produce "House of the Dead" have far lower expectations. They are spending far less money and are expecting far less of a return. They are targeting a niche market as opposed to the masses. And they're more interested in having A script and a specific amount of gore - then a quality script. As long as they can afford to shoot it - they'll shoot it as is.

For the most part only really High Concept scripts that are sub-par in quality get bought. And when I say high concept - I mean really, really, unbelievable idea that could sell on the logline alone.

The development process has far less to do with upping the quality than upping the commercial viability, attractiveness to talent and investors and/or appeasing talent and investors.

There is a long list of stellar specs that were 'dumbed down' during the studio rewrite process.

[sspunisher]

It's not so much that we can't write novels. Obviously it takes a lot more time to write a novel than a screenplay, usually...

But it's just a bigger stage. No offense meant to anyone, but if novels are like Theater, then movies are like...well, Hollywood. It's so much harder and improbable to get there. And even if you do make it, most make it seem like your product won't at all be the way you wanted it.

So why go that route? Very good question. I suppose it'd make sense for a control freak like me to just write the novel, so I can make everything my way, but I'd get so much more satisfaction from having the perfect movie than the perfect novel.

Your point is taken, and understood....I guess I'm a stubborn one.

[clara bow]

Joe I can tell you've been around quite a bit. Obviously experience is second to nothing, but are there any books out there you'd recommend I read to get a better understanding of the screenplay to movie making process? Particularly the aspects of budgeting as well as all the terminology of marketting your script to someone.


No, my name is not Joe, but I can not recommend these two books enough:

A Pound of Flesh: Perilous Tales of How to Produce Movies in Hollywood
What Just Happened: Bitter Hollywood Tales from the Front Line

Both by Art Linson. He devotes quite a bit to the writing part, but pokes fun at the whole process as well. Funny, funny stuff, but also a super reality check.

If you want something that really breaks the process down step by step, and also with a dollop or ten of humor, check out Lloyd Kaufman's Make Your Own Damn Movie, now also out as a DVD set. Yes, I know, it's Troma, but for the newbie or wannabe filmmaker, there's a ton of very practical how-to in there.

Happy reading!

[clara bow]

It doesn't really mean less exposure. Robert Rodriguez's El Mariachi (1992) is one of the most famous independent films of all time. It inspires hundreds everywhere, every year.
It does so because his career has taken off since then. Whatever you make in independent, is normally what gets you your place at the so called 'big table' (huge generalisation, lots of people go back to independent or even reject the big table completely). My point is that what you make in independent can be your calling card, and as that, its exposure will be limitless, as long as you become a success (like our pal Robert).

my gawd, have you all seen his home movie lab? Unfrickin' believable. He also has a cooking demo on Once Upon a Time in Mexico that's pretty sweet. The man can do no wrong! that is one filmmaker for whom I have absolutely no writer envy, because he really did start from nothing and seems to be such a hard worker. more power to him (and sorry to hijack the thread!)

[StephieM]

"For the most part only really High Concept scripts that are sub-par in quality get bought. And when I say high concept - I mean really, really, unbelievable idea that could sell on the logline alone."


Maybe I just didn't grasp what you said. I may have totally misinterpreted, if I did ignore me. But the way I took it contradicts everything you previously said. If the only scripts that get sold are really really high concepts that are only sub-par in quality, then we're all wasting our time in more ways then one.


See, I have to disagree with that. Sure a script must be fresh and unique, but really really high concepts only come around once in a blue moon. How many high concept movies have you seen in the last year versus how many scripts were sold?

Steph

[Nicholas S.H.J.M Woodhouse]

Well said on Robert there!

[JustinoXXV]

"Maybe I just didn't grasp what you said. I may have totally misinterpreted, if I did ignore me. But the way I took it contradicts everything you previously said. If the only scripts that get sold are really really high concepts that are only sub-par in quality, then we're all wasting our time in more ways then one. "

There are scripts that are sold on the basis of the concept alone. Usually it's by people with industry connections such as produced screenwriters, directors, actors, etc.

But it is done.

"The development process has far less to do with upping the quality than upping the commercial viability, attractiveness to talent and investors and/or appeasing talent and investors."

Stephanie, what Iwrite is saying here is that rewrites are done in order to appease actors, directors, investors, etc. Not because the script is bad.

In Six Degrees of Seperation, Will Smith played a gay hustler who was supposed to kiss a man. But Smith said he was advised by Denzel Washington not to kiss a man, as it could destroy his career. So the script had to be changed. Actors will worry about their career long term and will want the script tweaked to serve their interests.

The investors will want a return on their investment, so if they think things can be done in order to maximize chances that the movie will make money, they'll demand changes me made.

[WritingFool]

Sometimes you watch a movie, like Once Upon a time in Mexico, and you wonder how in the heck did that movie ever get made. Like el Mariachi Part II, with Banderas and Selma Hayek, just as bad. There are so many bad movies getting produced that Im rooting for the underdog here.

Hey Punisher, Im for you man. you prove everyone here wrong.
If you believe in your concept, do what hasnt been done, in a way it hasnt been done.
Thats your test.
Everytime you see an idiotic big budget, with terrbile acting and a weak storyline, let that consume you and keep you marching forward.
You go after a particular big name -- now granted, youre story is going to have to blow their socks off, but youbecome a pit bull.
you get an agent, maybe someoen trying to make a name for themselves whos as ferocious as youre going to have to be.
You join every screenwriting contest you can. you leave every stone unturned. And you never give any excuses.

You find someway to get that person or persons that are going to make your concept fly, and you become a rhino.
Make it Happen, and the more people say you cant do it this way, you prove them wrong.
If your movie is one of the better ones, then do what it takes!

This is your passion, Go with it!

Rather live a life pursuing that one thing that burns within you, and bask in all its wonder, rather than living a life conforming and doing it like everyone else.
Personally I think theres so many crappy movies out there because the writers/producers/studio people all are thinking theres one way to do it.

Well change that up.
Be a pioneer!
Now thats easier said then done.
And that is assuming your movie is as good as you say it is, and that you can convey that to any reader so that you completely consume them enough to share your passion once they grasp it -- if they grasp it at all.

Be that rhino, that looks straight ahead and travels full speed ahead!!!
Dont stop till you get there!!!!
And good luck.
If you ever do get your movie made, I want opening tickets.

And whenever it gets too tough for you, and you arent believing in yourself, go rent Once uopn a Time in Mexico. Seeing that should motivate you as to why youre movie should be made!!!!

[Boo_Radley]

I'm good friends with a couple home-grown filmmakers, one in Atlanta, one in Boston. Both of them write their own films, produce their own films, shoot their own films and usually star in their own films. One of them has received rave reviews in various film festivals for his films, the other has managed to secure distribution each time he makes a film.

Granted, the films they make are typically SODV (shot on digital video) and are typically gory/nudie/monster/zombie flicks with bad actors and sometimes cheesy, sometimes gruesomly realistic effects, but the fact is they're making movies, they've found their niche and they're having a blast. Isn't that what we all want?

So, though I understand you're hoping for something a little more high-end, this might be an avenue to consider.
:)

[Nicholas S.H.J.M Woodhouse]

Stephanie, what Iwrite is saying here is that rewrites are done in order to appease actors, directors, investors, etc. Not because the script is bad.

Absolutely, couldn't agree more. Its all about ends. An actor wants a good role that will open up doors to other roles for them. Directors want to keep their fan base reasonably happy. Investors want money. To reconcile the points though, it IS because the script is bad. Or rather, that it is bad FOR them and their ends. Screenwriting is for a screen. A screen has to have people before it for it be worth anything. Its a business. Ends are what matters in business. Sadly.

[Chesher Cat]

So why go that route? Very good question. I suppose it'd make sense for a control freak like me to just write the novel, so I can make everything my way, but I'd get so much more satisfaction from having the perfect movie than the perfect novel.

It is easier to get a novel published than sell a screenplay. And when you write a novel you have total control over the content and choice of words. If you find a publisher an editor will work with you to help you make your words the best they can be. (trust me - no matter what you write and how perfect you may think you are - everybody needs another set of eyes to make sure your writing comes across).

A published novel gives you a better shot at a movie deal - and how great is it when you already have the perfect screenplay of your perfect novel?

The most important thing is to get something written. No chance of having any control if anything if it's not written.

[Nicholas S.H.J.M Woodhouse]

And whenever it gets too tough for you, and you arent believing in yourself, go rent Once uopn a Time in Mexico. Seeing that should motivate you as to why youre movie should be made!!!!

Hahaha. I used to do that with 'Cube'. Lol. Good times.

[StephieM]

"Stephanie, what Iwrite is saying here is that rewrites are done in order to appease actors, directors, investors, etc. Not because the script is bad."

Okay, I get that. A script could be the best script ever written and it would still be changed due to the standards of everyone else.

I wasn't implying that high concept movies aren't sold on loglines alone. Sure, I believe that.

But what IWrite wrote in her middle paragraph still boggles my mind.

"For the most part only really High Concept scripts that are sub-par in quality get bought."

I don't know. Maybe I'm seeing it all wrong. But it seems pretty clear to me.

Steph

[WritingFool]

Do IT Punisher...DO IT!!!
Like no one else has.

Remember, Art is the ability to create something from nothing.
You create when you write, create while you live.

Do IT~
DO IT!!!

[sspunisher]

LoL thanks for the Rocky-like pump up charade. Kinda had me ready for Mr. T a second there.

To be honest, it never occurred to me to make the novel first then adapt it to the screen. That might be something I do as a last resort. Dare I say more creative control comes with that?

I vaguely remember hearing a story about how Anne Rice was completely against Tom Cruise playing the part he did in Interview w/ a Vampire. Hmm then again, he played it anyway, though she ended up appologizing after seeing his preformance. Guess you'd have to be a Stephen King type to have that much sway.

[Boo_Radley]

I'm not sure about more control, but I remember reading somewhere you stand to make more money from a novel than you would a screenplay, particularly if the novel is to be made into a movie. You'd make money not only from copies sold, but also money for the film rights and, I believe, you'd get points. Screenplays, however, if they're good enough, you'll only get option or purchase price for them (and sometimes small points). Again, this is just my understanding.

[JustinoXXV]

Sspunisher, MOST books are not made into movies. Many books would never work as movies.

A screenwriter wanting to break into the business by writing a manuscript which first has to be published and then attract the attention of a studio may very well be wasting time. Publishing a book through a legit publisher can be just as difficult as selling a screenplay.

"Dare I say more creative control comes with that?"

No.

"Guess you'd have to be a Stephen King type to have that much sway."

Not even Stephen King has that kind of sway.

Dude, if you want to make a movie that people seen in the theaters or on dvd, you are going to have to stop being a control freak.

Chill.

Or otherwise, spend a fortune on making a movie that no one will put in festivals, and that no one will distribute.

You're going to have to learn to work with people, and that includes realizing that no one has total control over a movie. A movie is a collaborative effort.

Why would an actor want to even star in your movie, if you are going to be this jerk of a director who obsesses over total control?

Why would an investor finance your movie, if you won't give him/her any control?

Why would a distributor distribute your movie, if you've produced garbage that you've refused to edit properly?

Joe and Iwrite are two of the most experienced people on this screenwriting forum, you would do well to listen to them.

I think you're letting your military training affect your thinking. Show business isn't the military. You can't just order people around. It's a whole different world.

[WritingFool]

I want to know what the movie is about.
Got a synopsis yet?

[WritingFool]

Perhpas this is your first challenge
If you can dazzle us all here with your Synopsis, proving it is in fact better than anything we've seen well then youre well on your way to making it big time.
However, if you can't, then at least you'll get something that can only help you make it better.

sometimes you just gotta put up.
so Dazzle our socks off
otherwise youre just like everyother person out there who feels they have the next greatest thing show biz cant do without.

[IWrite]

[I]" I just didn't grasp what you said. I may have totally misinterpreted, if I did ignore me. But the way I took it contradicts everything you previously said. If the only scripts that get sold are really really high concepts that are only sub-par in quality, then we're all wasting our time in more ways then one.

Yes Steph you misunderstood me.

What I was saying was that scripts need to be of a certain quality to even have a chance of being made. There is obviously a certain amount of subjective judgements regarding what quality is. And yes a lot of crap does get made - but a crappy movie can be made out of a well written script and the shooting script can bare little resemblance to the spec that was bought. Scripts that aren't at a professional level will get nowhere.

However there is one very rare exception to that rule. A really high concept, commerical, brilliant idea may get bought even if the script itself sucks - because the producer will just bring in new writers to make a good story out of the concept. There are very few ideas that rise to that level. And most people who believe that they have brilliant original concepts - do not have ideas that are either as brilliant or original as they believe.

The bottom line is when you submit your script your competition is not the other aspiring writers you critique on this site - your competition is David Koepp, Akiva Goldsman, Richard Curtis, Simon Kinberg, et.al. Those are the people you are judged against - that is the quality of screenwriting agents and producers are looking for.

[sspunisher]

Well for starters, you guys misunderstand my being a control freak. It's nothing about hey i'm in the military, do as I say. It's more like I have a vision and, well, let me explain my position a bit....

I'm naturally a very secretive person. I hate talking about my story. Not until it's done. I hate the idea of people knowing more than they have to. That's one of my biggest problems in cinema today.

Take movie trailers for example. So many movie trailers are so revealing. Why in God's Good Name would they put some of the things that I see in trailers? They're PIVOTAL PARTS OF THE MOVIE. I know, you try to attract consumers, why would someone watch a movie they don't know what is about? I get it, I get it.

For you guys, I'll be a bit more open as it's obviously for constructive critiscism. I still won't give out my favorite parts, but I'll try to describe what I'm trying to convey to the reader/viewer by giving examples. I'll even shell out some of the 'less important scenes' in hopes of seeing if you guys identify with it or not, especially the beginning scene, which I just finished but want to polish up thoroughly before I send it out.

It's not so much that my idea is absolutely earth shattering. It's not. In fact, I've been watching the Sci-Fi Channel a lot recently, and I see many shows that do parts of what I'm trying to do. Not to say that it's completely Sci-Fi, but it has its aspects, especially if i decide to go the multiple world route or not. I can tell if looked at wrong, it will definitely be dismissed as just another hopeful movie blockbuster reject. Of course, I'm still in the early stages. I just finished my outline of storyline events about 70% through, and I've started writing my first 3 scenes, so all is going decent at the moment. I expect to rewrite it A LOT.

But back to my niche. In essence, I'm trying to make the reader identify with my main character. But it's not so much my ideas, or my worlds, or the supporting cast that I'm relying on. Sure I'll rely on dialogue to make the viewer want to identify with him. And actions to enhance certain things about him...But I just have this knack for thinking up amazing moments. Something that when I imagine, I say damn, if I saw that in a movie, that would motivate the hell out of me. Or I see a movie and say hey that came out alright but if they did this and this then wow that would have been surreal.

Classic example right here. You guys ever watch Superman 2? You know that part at the end, where he goes into the Chamber, supposedly gets his powers sucked out, kneels down in front of General Zod...then the impossible happens: It was really General Zod and his henchmen's powers that got sucked out. And the way they did it, was so simple. He just kneeled, took General Zod's hand..and then that music came on as you proceeded to hear Superman Crush Zod's hand. If it wasn't for that music, that scene would have been crap. The main part about this scene isn't so much about the Chamber and it being a surprise. It's just how instantaneous you as a viewer change your outlook on whats going on, all sparked by the crushing of the hand and the starting of that musical score. I've watched that single scene literally thousands of times. It's definitely one of my favorites of all time.


In the story I'm writing, many of the scenes that I'm writing, are very dependent on the way they are presented, just like the above mentioned Superman scene. To a director it might be oh ok lets just put a huge fight scene together ok thats that. But to me, you just took something that defined my main character as a badass, or as someone to be feared, loved, cherished, etc... and downscaled it to the point where he went from the company of Darth Vader or Superman, a major villian or superhero, to the company of Triple X and Ice Cube in that stupid *** Mars movie.

I'll leave you guys with those thoughts, hopefully I'll be able to shell out my first scene out to you guys. I'm still trying to figure out what terminology I want to use, some other little decisions that will end up altering the story here and there. I been working on it all night, so I'll probably take a break to recoup, then BACK to the drawing board.

[StephieM]

Alright, now I see it. I admit, I was a little slow there. But with a little sleep and a fresher mind, the line reads a whole lot different. :)

My apologies IWrite.

I totally get what your saying now. A script can be absolutely terrible, but if it's got a really high concept, it still has a chance of getting sold.

Either way, bad script, good script, their both prone to changes due to the expectations of everyone involved.

Got it!

Next time, just tell me to go to bed, get some sleep, then read it again. :Sun:

Steph

[StephieM]

"Take movie trailers for example. So many movie trailers are so revealing. Why in God's Good Name would they put some of the things that I see in trailers? They're PIVOTAL PARTS OF THE MOVIE. I know, you try to attract consumers, why would someone watch a movie they don't know what is about? I get it, I get it."

sspunisher,

I really have to agree with you there. When I see a trailer, I think, WOW, that's really going to be good. But then I get to the theatre and watch the movie, I end up disappointed, because all the good scenes were scenes already shown in the trailer. But on the other hand, better movies have more to offer. Crappy movies use all the good scenes to lure us in, they don't have much more than that to give.

Steph

[Nicholas S.H.J.M Woodhouse]

One of the best trailers of the last year was for Closer. It was simply a one minute exert - no fancy flahes and magical montages - just one pure scene.
Too many people leave the cinema disappointed as you rightly say.

[WritingFool]

Now, lets take a trip from the idelaistic world, where every movie has potential, and to the reality, movie makers only want movies that are going to make them money.

Trailers shown - easily explained.
Whatever it takes to get asses in the seats.
Plain and simple.

you think movie producers and studio execs really care about "art"?
bottom line is that all powerful dollar.

So Punisher, you might have the perfect vision in your head, in a way that you feel is the absolute best way to do it. but heres something to think about, and not trying to burst your bubble. do you not think that if you saw the flaws in superman, otehrs are going to see the flaws in your script?

Its not about the flaws, its back to what everone keeps saying -- the concept!
you dont even have a synopsis, which means you havent been able to write it down in a way thats going to knock someones socks off.
Heck, Joe and a few others here having writing abilities that could dress up any idea.
So youre CONCEPT has to be EXTRA-ORDINARY, and marketable.

So when youre ready to pop back in, try bringing a synopsis, or even a log line thats going to hit us in the head and crave reading the rest of what you got, so that we're checking back here wanting to know what happens toyour characters.
you do it to us, then youll be able to do it to any studio exec.

Still rooting for ya man
Good Luck!
Be the Rhino!!!

[WritingFool]

Forgive the typos..up 30+hours, and on a caffeine high
:)

[Rock]

Hello Punisher - I am working with an independent producer in preproduction of a script and I have asked to be added to the project as a writer. This will help keep some control. I have been invited to the casting call readings and will walk the sets with them. But - I know that they have the final word on any script changes/cuts/etc. So - unless you invest your OWN money and produce the script yourself, control is in the hands of the person who purchases the rights to the work - after they buy the rights, the work/script belongs to them.

[sspunisher]

Well, anyone who wanted to see my logline, I posted it up on the board. Check it out, tell me what you think.