Friday, December 29, 2017

Del Toro Talks Hitchcock.

With SHAPE OF WATER getting great reviews, I thought we'd let Guillermo Del Toro talk about how Hitchcock influenced his films and more... - Bill



Of course, I have my own books on Hitchcock...

HITCHCOCK: MASTERING SUSPENSE


LEARN SUSPENSE FROM THE MASTER!

Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!

Only 125,000 words!

Price: $5.99

Click here for more info!

OTHER COUNTRIES:


UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.






HITCHCOCK: EXPERIMENTS IN TERROR



Click here for more info!

HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.

Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

Bill

Thursday, December 21, 2017

Thriller Thursday: The Grinch

Okay, not an episode of THRILLER, but Boris Karloff as the Grinch Who Stole Christmas. This is one of those Christmas classics that everyone my age grew up watching, and having Karloff be in an animated kid's film filled with songs is just... weird. William Henry Pratt (Karloff) was the host of THRILLER but also a legendary star of horror movies since the 1930s. He played Frankenstein's monster! He played The Mummy! And in some *great* Val Lewton horror movies like BEDLAM and ISLE OF THE DEAD (say that outloud). He was so famous as a horror actor, he starred in ABBOTT AND COSTELLO MEET THE KILLER, BORIS KARLOFF. In the early sixties he starred in AIP's COMEDY OF TERRORS with Peter Lorre and Vincent Price. This guy was SCARY! So to put him in a cartoon aimed at kids was genius.

Here's the big song about his character...



And here's part of the ending...



Jim Carrey is no match for Karloff. You wonder who had the dumb idea to remake this as a live action movie, since nothing could be better than the original. They always seem to remake the great films (so that the remake seems terrible in comparison) instead of remake those films that had potential but didn't quite work (where the remake might be an improvement).

Bill

Karloff as Santa?








Buy the DVD.

Monday, December 18, 2017

Christmas Cash? Amazon Gift Card? Blue Books $1 Off!

BLUE BOOK SALE ENDS SOON!

Got Christmas Cash or Holiday money burning a hole in your pocket? Get an Amazon Gift Card from that Aunt who usually give you the ugly sweater? How about buying some ebooks? Start the year with some information and education to help you get more writing done? Or maybe you forgot someone on your gift list? Amazon even has a "gift button" that sends the book in a "wrapper" that must be clicked to find out what the gift book is! So if you are looking for a late stocking stuffer for people with electronic feet - check out these books! Hey, they don't even need a Kindle - Amazon has a free app for any device (it doesn't work on your Mr. Coffee - I tried). Blue Books are $1 off now... but they won't be forever!

- Bill

bluebook

THE BOOK THAT STARTED IT ALL!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Nook!

Why pay $510 for a used version of the 240 page 2000 version that used to retail for $21.95? (check it out!) when you can get the NEW EXPANDED VERSION - over 500 pages - for just $9.99? New chapters, New examples, New techniques!

"SECRETS OF ACTION SCREENWRITING is the best book on the practical nuts-and-bolts mechanics of writing a screenplay I've ever read." - Ted Elliott, co-writer of MASK OF ZORRO, SHREK, PIRATES OF THE CARIBBEAN and the sequels (with Terry Rossio). (ie; 4 of the top 20 Box Office Hits Of ALL TIME.)

Only $9.99 - and no postage!


HITCHCOCK: EXPERIMENTS IN TERROR


HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

** HITCHCOCK: EXPERIMENTS IN TERROR **

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others. Over 77,000 words, under $5!


HITCHCOCK: MASTERING SUSPENSE


LEARN SUSPENSE FROM THE MASTER!

Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!

Only 125,000 words!

Price: $5.99


STORY IN ACTION SERIES


bourne

Brand New!

*** THE BOURNE MOVIES

All five "Bourne" movies (including "Legacy" and it's potential sequels) - what are the techniques used to keep the characters and scenes exciting and involving? Reinventing the thriller genre... or following the "formula"? Five films - each with an interesting experiment! A detailed analysis of each of the films, the way these thrillers work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

Only $3.99 - and no postage!


bluebook

Over 240 pages!

*** THE TERMINATOR SERIES *** - For Kindle!


He's back! The release of "Terminator: Genisys" was set to begin a new trilogy in the Terminator story... 31 years after the first film was released. Now James Cameron, Schwarzanegger, and Linda Hamilton are returning for a new film! What draws us to these films about a cybernetic organism from the future sent back in time? Why is there a new proposed trilogy every few years? This book looks at all five Terminator movies from a story standpoint - what makes them work (or not)? What are the techniques used to keep the characters and scenes exciting and involving? How about those secret story details you may not have noticed? Containing a detailed analysis of each of the five films so far, this book delves into the way these stories work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

Only $3.99 - and no postage!




bluebook

#1 GOT IDEAS?

*** YOUR IDEA MACHINE *** - For Kindle!

*** YOUR IDEA MACHINE *** - For Nook!

Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!

Only $3.99 - and no postage!


BRAND NEW!

#2 OUTLINES & THE THEMATIC!

bluebook

OUTLINES & THE THEMATIC Blue Book.

ARE YOUR SCENES IN THE RIGHT ORDER?
AND ARE THEY THE RIGHT SCENES?

Your story is like a road trip... but where are you going? What's the best route to get there? What are the best sights to see along the way? Just as you plan a vacation instead of just jump in the car and start driving, it's a good idea to plan your story. An artist does sketches before breaking out the oils, so why shouldn't a writer do the same? This Blue Book looks at various outlining methods used by professional screenwriters like Wesley Strick, Paul Schrader, John August, and others... as well as a guest chapter on novel outlines. Plus a whole section on the Thematic Method of generating scenes and characters and other elements that will be part of your outline. The three stages of writing are: Pre-writing, Writing, and Rewriting... this book looks at that first stage and how to use it to improve your screenplays and novels.



bluebook

#3 STRUCTURING YOUR STORY

*** STRUCTURING YOUR STORY *** - For Kindle!


William Goldman says the most important single element of any screenplay is structure. It’s the skeleton under the flesh and blood of your story. Without it, you have a spineless, formless, mess... a slug! How do you make sure your structure is strong enough to support your story? How do you prevent your story from becoming a slug? This Blue Book explores different types of popular structures from the basic three act structure to more obscure methods like leap-frogging. We also look at structure as a verb as well as a noun, and techniques for structuring your story for maximum emotional impact. Most of the other books just look at *structure* and ignore the art of *structuring* your story. Techniques to make your story a page turner... instead of a slug!

Only $3.99 - and no postage!


bluebook

#4 HOW YOU TELL IT

*** STORY: WELL TOLD *** - For Kindle!


This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story? Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!

Only $3.99 - and no postage!


bluebook

#6 START STRONG!

*** HOOK 'EM IN TEN *** - For Kindle!


Your story doesn't get a second chance to make a great first impression, and this book shows you a bunch of techniques on how to do that. From the 12 Basic Ways To Begin Your Story, to the 3 Stars Of Your First Scene (at least one must be present) to World Building, Title Crawls, Backstory, Starting Late, Teasers and Pre Title Sequences, Establishing Theme & Motifs (using GODFATHER PART 2), Five Critical Elements, Setting Up The Rest Of The Story (with GODFATHER), and much more! With hundreds of examples ranging from Oscar winners to classic films like CASABLANCA to some of my produced films (because I know exactly why I wrote the scripts that way). Biggest Blue Book yet! Print version was 48 pages, Kindle version is over 100,000 words - 312 pages!

Only $3.99 - and no postage!


bluebook

#7 THAT STAR PART!

*** CREATING STRONG PROTAGONISTS *** - For Kindle!

*** CREATING STRONG PROTAGONISTS *** - For Nook!

Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much more. Print version is 48 pages, Kindle version is once again around 208 pages!

Only $3.99 - and no postage!


bluebook

#8 DO YOU WRITE PICTURES?

*** VISUAL STORYTELLING *** - For Kindle! (exclusive)


Show Don't Tell - but *how* do you do that? Here are techniques to tell stories visually! Using Oscar Winning Films and Oscar Nominated Films as our primary examples: from the first Best Picture Winner "Sunrise" (1927) to the Oscar Nominated "The Artist" (which takes place in 1927) with stops along the way Pixar's "Up" and Best Original Screenplay Winner "Breaking Away" (a small indie style drama - told visually) as well as "Witness" and other Oscar Winners as examples... plus RISE OF THE PLANET OF THE APES. Print version is 48 pages, Kindle version is over 200 pages!

Only $3.99 - and no postage!


#9 DESCRIPTION & VOICE Blue Book!

bluebook

DESCRIPTION & VOICE Blue Book.

IS HALF OF YOUR STORY IN TROUBLE?

Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?

Only $3.99 - and no postage!



bluebook

#10 THEY SOUND DIFFERENT!

*** DIALOGUE SECRETS *** - For Kindle!

*** DIALOGUE SECRETS *** - For Nook!

Expanded version with more ways to create great dialogue! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 175 pages!

Only $3.99 - and no postage!


bluebook

#11 WHAT IS A SCENE?

*** SCENE SECRETS *** - For Kindle!

***

What is a scene and how many you will need? The difference between scenes and sluglines. Put your scenes on trial for their lives! Using "Jaws" we'll look at beats within a scene. Scene DNA. Creating set pieces and high concept scenes. A famous director talks about creating memorable scenes. 12 ways to create new scenes. Creating unexpected scenes. Use dramatic tension to supercharge your scenes. Plants and payoffs in scenes. Plus transitions and buttons and the all important "flow"... and more! Over 65,000 words! Print version was 48 pages, Kindle version is around 210 pages!

Only $3.99 - and no postage!


bluebook

#12 GREAT SUPPORTING CHARACTERS!

*** SUPPORTING CHARACTERS & SUBPLOTS *** - For Kindle! (Exclusive)


Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and 40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page. Print version was 48 pages, Kindle version is around 170 pages!

Only $3.99 - and no postage!


bluebook

#13 STUCK IN THE MIDDLE?

*** ACT TWO SECRETS *** - For Kindle!


Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that's well over 200 pages) of tools and techniques to get you through the desert of Act Two alive! Print version was 48 pages, Kindle version is over 208 pages!

Only $3.99 - and no postage!


bluebook

#20 HOW TO SELL!

*** BREAKING IN BLUE BOOK *** - For Kindle!


Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to know for your screenwriting career: from thinking like a producer and learning to speak their language, to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and networking, to the different kinds of meetings you are will have at Studios, to the difference between a producer and a studio, to landing an assignment at that meeting and what is required of you when you are working under contract, to contracts and options and lawyers and... when to run from a deal! Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!

Print version was 48 pages, Kindle version is over 400 pages!

$3.99 - and no postage!


Already got 'em all? Tell a friend!

- Bill

Monday, December 11, 2017

Fishing Expeditions

From 2008...

A while back I posted that I had a bunch of companies reading scripts, so I figured I’d bring you up to date.

I have this page in a legal pad that says CHANCES TO WIN across the top. When I send out a script or have a meeting or some other thing happens that may result in my name of some silly action movie, I write it down. Hey, it this script sells - I can continue to play the screenwriting game! If it doesn’t, I just cross it out. The thing about the legal pad is that it’s pages and pages of crossed out scripts and a couple that became paying gigs. So out of those six companies reading a month ago, I think one is a possible deal and the one is still just floating out there and four are completely dead - crossed out.

One of the companies requested a script that everyone seems to love and has almost been made 3 times. At one point, a director was hired (paid) and did location scouting on the script for my rewrite... and I hadn’t been paid a cent, yet. We were making a movie! Then there was a change in management at the Cable Net, and all of the old regime’s projects were shelved... including mine. I got the script back, and a year later someone else wanted to make it - and something similar happened. So this script is going to land somewhere someday, but I’m just waiting for the stars to align. Instant rejection from this company - after they requested to read it. This is the kind of thing that confuses me - it wasn’t the idea... was it the execution? If it was the execution, how come the other companies almost made it? My guess is that the company was looking for *something* and had no idea what... so they were reading anything that seemed to be close. Just fishing...

There’s this balance required in this biz between not taking rejection personally, and being blind to the faults of a script. So there’s a moment of “Was it the script? Do I need to fix it?” But I don’t think that was the case here. Next!

One producer instantly sent me a contract... Some boilerplate contract, but a strange one. It was designed for producers without money to go fishing with the script as bait - low option money for a long time period, and when it came to purchase it gets fuzzy and impractical, because that’s not important to this “producer”. Now, I’ve signed “shopping agreements” - which are fishing expeditions - but are up front about that. They don’t tie up the script for *years*. This was a contract that was all about the “producer” not getting cut out of any deal if they set it up... not about actually making a movie based on my script. You know, if I’m the guy who owns the bait, what do I need this “producer” for? I did not sign the contract.

I’d looked this “producer” up after they called me - a couple of “co-producer” credits on small films. One of the problems with producer credits is that it’s often hard to tell who was an actual producer and who just had access to the star they needed or had a facilities deal the company took advantage of. On one of my films, a guy got a producer credit because he *introduced me* to the actual producers. He didn’t do anything. It was a script that had been passed around, and he tore off the title page, gave it to the real producers, and told them if they wanted to buy it, he had the writer’s name, address and phone number. He got a credit and a finder’s fee for that title page! The thing is - how do you know what that producer title means if you’ve never worked with them before? I figured it was worth a shot.

Another producer read the script, liked it, and asked me how much I thought it would cost to make. Could I come up with a budget for them? Oh, and do I know any stars? You know, there are things that are really not the screenwriter’s job. I suspect fishing was involved there, too.

The fourth - oh boy! They wanted a list of all of my available scripts to show to their studio connection... and some sort of $1 option on anything the studio connection wanted to read. I explained to them that my $1 option days were pretty much over... and they told me how amazing their studio connection was - but they wouldn’t even tell me what company this guy was at. Come on!

A few years ago I got this call from a producer named “Terry” who had an office on Sunset and had heard really good things about me, and wanted to meet with me about a project. I drive over to his office, we talk about this project he has and this star who is interested in it... but they need a script to take to his studio connection. Okay, so far... but, of course, they aren’t financed, yet, so if I could write it for free... Um, no. “Come on, it will be good for your career. You’ll get a credit!” First meeting, so I had a couple of - well, probably VHS tapes at the time - in my bag. I pull out CRASH DIVE and toss it on the desk. “I already have some credits.” The guy gives the tape to his assistant who puts it in the player on the other side of the office and hits play - and the movie starts. And it has submarines at sunset... and then my credit comes up, and “Terry” looks confused. “You wrote this movie?” “Yes. And several others.” (I probably pulled something else from my bag.) Seems that “Terry” didn’t look me up - pre-IMDB days, but there was Film Writers Guide and some online databases... and he could have just asked me. But he asks me one more time if I’d write his script for free, and I decline. And as far as I know they never made that movie, and now that we have IMDB I’ve looked up “Terry” under his real name and he’s done nothing. Nada. Zilch. I’m kind of surprised, because he either had huge balls or a pea brain - and either could get him places a normal person can not go. Lotta fishing goes on in this town.

You may be wondering where I find these people... but they’re the ones who find me. Usually someone passes them a script, or someone they have worked with in the past recommends me. So they often have already read a script when they call me. I do the best I can to vet them, usually just looking them up on IMDB (unless they mention some movie I’ve heard of) - and I usually ask what they’ve done. But that doesn’t always separate the nuts from the bolts. I figure if they come through with a deal, that’s great - if they just waste a little bit of my time, well... I’ve had *studios* waste my time.

One of the last two looks like it’s going to happen - should know at the end of this month (reffed twice, now) and one is still floating around... waiting to get crossed out.

But meanwhile some other things have taken the place of the crossed out chances. One is a remake of a 1980s movie for a studio (had a meeting on that Tuesday with the producer, two weeks from now with the studio). One is a movie for Spike TV - real producer with real credits. One is a movie for another cable-net (had a meeting with them a week ago - I thought it went terrible, they want me to bring them some scripts - may tell you more about that in a later post). And I have a producer who seems interested in taking a script to a studio’s new D2DVD label - that has an odd limited theatrical possibility. Probably most of those will be crossed off the CHANCES TO WIN list next month...

I guess I’m fishing, too... but at least I own my own bait!

- Bill

Wednesday, December 06, 2017

Great Movie Moments:
Harry's Intro - THE THIRD MAN

When BAFTA - the British version of The Academy Of Motion Picture Arts And Sciences - decided to come up with a list of the 100 Greatest British Films Of All Time, the #1 position did not go to an adaptation of Shakespeare or some other classic novel, nor to any of the gritty realistic films of the 60s and 70s... but to a *thriller* that was a huge financial success - THE THIRD MAN (1949). Based on a novel by Graham Green and directed by Carol Reed, it’s fun and funny and filled with chases and action scenes and other typical genre stuff. Just done right, and about the subject of black market medicine after World War 2.

If you have not seen the film - shame on you, and I’m going to spoil the heck out of it.

The story is about American Holly Martins - a pulp western writer with a silly name - who goes to Vienna when his old pal Harry Lime offers him a job. But when he arrives he discovers that Lime is *dead* - hit by a truck in a mysterious accident. Though only two people (who claim to have been Harry’s friends) were present when Harry died... one witness claims to have seen a third man, who was not questioned by the police. Martins acts like one of his Cowboy Sheriff characters and decides to track down the truth - because maybe Harry was *murdered* and the third man is the killer. This gets Martins into all kinds of trouble, because Harry was involved in the black market and those two “friends” of his are dangerous criminals. Between the criminals and the police (British military police) people are following Martins and maybe trying to kill him. Then, one night, he sees one of the people following him...



Twist - Harry is alive!

- Bill

Monday, December 04, 2017

Loglines For Hit Movies

From May 2009...

Many screenwriters have trouble coming up with loglines for their screenplays. A logline is a one sentence description of their story, like the ones used in TV Guide. The idea behind a logline is to sum up the story in the most interesting and provactive way, which will make readers of the logline wish to read the screenplay. So I have compiled three things to help all of you struggling screenwriters.

1) Often writers want to know what the loglines for hit movies look like, to help them construct their own loglines. Here is a place where you can read actual loglines for popular films: Loglines For Hit Movies!

2) And often writers can be stumped for a high concept story idea, so here is a website that will help you come up with the next seven figure script sale concept: Hit High Concept Movie Ideas!

3) And last... and probably least... here are actual loglines from the listings of my movies from the page for the U.K.'s Movies For Men Channels...

Movies 4 Men:
5/20 - 21:10 - Crash Dive - The crew of a nuclear submarine rescues supposed victims of a boat disaster, but the victims turn out to be terrorists intent on capturing nuclear weapons aboard the sub. 1997.

Movies 4 Men 2:
5/21 - 20:05 - Steel Sharks - When a United States submarine is seized by terrorists, a rescue attempt by Elite Navy Seals goes awry. The submarine crew wages a silent war beneath the waves in this tense undersea thriller.

5/23 - 21:00 - Crash Dive - The crew of a nuclear submarine rescues supposed victims of a boat disaster, but the victims turn out to be terrorists intent on capturing nuclear weapons aboard the sub. 1997.

As usual, the writer gives no refunds...

- Bill
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