Sunday, June 29, 2014

Lancelot Link: World Cup Monkey Business

Lancelot Link Monday! You may have noticed there's some sort of sporting event going on now. Here in the melting pot of Los Angeles we have people from all over the world, and they are all watching futbol. There are celebrations in the streets, illegal fireworks, and parties. So, what is *your* favorite soccer film? While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a baker's dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Transformers 4........ $100,000,000
2 22 Jump Street......... $15,400,000
3 Train Your Dragon 2... $13,100,000
4 Think Like Man 2........ $10,400,000
5 Maleficent.................. $8,237,000
6 Jersey Boys................ $7,610,000
7 Edge Of Tomorrow....... $5,210,000
8 Fault In Stars............. $4,800,000
9 X Men Future Past...... $3,300,000
10 Chef........................ $1,654,000


2) Your Hollywood Leading Man Height Chart... GET SHORTY!

3) Five Lessons From Linklater's BOYHOOD.

4) LEGENDS OF OZ, Family Film Or Sequel To The TV Prison Drama?

5) Shane Black, PREDATOR!

6) PROJECT GREENLIGHT Is Back, Matt & Ben Tell All.

7) MAD MAX: FURY ROAD!

8) Millions Of Great Screengrabs From Movies!

9) Fifty Opening Title Sequences!

10) The Making Of TEXAS CHAINSAW MASSACRE.

11) Interview With My Friend Johnny Sullivan.

12) Is It Plagiarism To Steal A Plot?

13) Last But Never Least: Here Are Your Women Director's Hollywood! Now HIRE THEM!

And the Car Chase Of The Week!



Would you believe, a soccer based action scene? From the *great* movie, SHAOLIN SOCCER directed by the madman Stephen Chow.

Bill

Wednesday, June 25, 2014

The Brad Pitt Guy (part 3).

From 2009...

Okay, so I’m sitting in the empty upstairs section of Jerry’s Deli in Westwood with a guy in a funny hat and too much jewelry who may be a crazed stalker but definitely took a piss next to Brad Pitt in some nightclub and pitched him some script that he had not yet written and Brad Pitt said he wanted to read it and this stalker guy tried to write the script and couldn’t and now he wants me to finish the script for him in exchange for half the money Pitt’s company pays him.

Should I say yes? Hey, it’s 50% of some potential deal the originated at a urinal. Actually, not even a deal - just an offer to read a script. Should I say yes?

The entire time I keep my glass of Coca-Cola in sight and often in hand to prevent him from using some knock out drops or something so that he can kidnap me, take me back to his house in TBDotcoLA and do weird things to me while I am unconscious before serving me up with a nice chianti and some fava beans and then either mounting my head on the wall of his trophy room-basement (do houses in the Brentwood District have basements?) or pickling my brain in a jar and putting it with all of the others on the mantle over his fireplace (do houses in the Brentwood District have fireplaces?). The guy may have really pissed with Pitt but that doesn't mean he's not also a crazed stalker.

PART ONE - if you missed it.
PART TWO - if you missed it.

After our waitperson, Laurence-with-a-Z, sets the endless dishes and bowls on the table in front of my stalker, and my half sandwich in front of me, then goes back to his station on the other side of the room, stalker’s face unfreezes.

“So, can you tell me what this story you pitched while pissing is about?”
“Then you are interested? I knew you would be!”

And he tells me the story between bites of food. He has about a dozen plates in front of him, enough food for a bunch of people, and instead of focusing on one plate he ends up nibbling a little bit from each. A bite here, a bite there, a bit of soup and then a forkful of cake. His story is like every episode of 24 mashed together along with a soap opera story about a guy in love with two women and one of them is an imposter and a plot to assassinate the President and some Iraq War stuff and a conspiracy involving cloning the Vice President and the protagonist dealing with the death of his wife in a car accident and ... Brad Pitt must have been saving up pee for weeks in order for this guy to have pitched this whole story to him at one standing!

Afterwards, with all of his food picked at but not a single plate cleaned, he asked me...
“So, William C. Martell, are you intrigued? Excited? Interested in my proposition?”
“Well, it *is* interesting.”
“Ah, I knew you would find the possibility too delicious to ignore!”
“It sounds like this is your baby, though - I think you should write it.”
“Alas, I have made numerous attempts to complete the screenplay, but I am not a professional writer, as you are. I’m afraid I require your assistance.”
“I think you can do it, you got this far, right?”
“I am willing to offer for your services one half of the impending purchase price from Bradley Pitt’s motion picture production company, which I am sure will be most lucrative. I have already written half of the screenplay and as you have heard, planned each of the remaining scenes in the story. This should be simple for someone of your talents and experience!”

And then I say yes.

No, of course I don’t say yes. That would be crazy. This deal is only slightly better than having him kill me and eat me with some Chianti and fava beans.

“I’m kind of in the middle of one of my own projects right now...”
“Completing my screenplay should be quite simple, and consider the rewards.”
“It’s your baby, you should see it through.”
“No. No. I have attempted that and woefully fell short. You have actually written the book on writing such films, you are the expert, you are the individual with the unique talents required to complete my screenplay. Please give this careful consideration.”

And then he reaches into his bag and pulls out...

Is he going for a gun?
Is he grabbing a can of mace or some knock out drugs or something?
I'm I going to end up on the menu with a nice chianti and some fava beans afterall?

His cell phone.
This was a few years ago, so it wasn’t an iPhone, but was whatever the cutting edge phone was at the time. The funny thing is, it may have been a Razr - which is the phone I got for free when I renewed my deal with Verizon a few years ago... the phone I got for free when I renewed my deal last year has a full keyboard for texting and holds about as much music as my iPod and shows movies and has internet access. But this was one damned fancy phone at the time, and he popped it open and went to his contacts page and scrolled down some numbers...

“I meet many people in the motion picture industry in popular night clubs, and would be happy to introduce you to several of them if you wish...”

And he shows me names on his phone - names of people you have heard of. Movie stars, directors, a famous agent or two, the producer or this summer’s big movie. And I want to steal his phone. I want to sucker punch him, grab the phone, and run out of Jerry’s and around the building to the parking lot, get in my car and speed off. Actually - there’s an upstairs back door and stairway down to the parking lot... that will save me some time. Once I’m back home in Studio City I can write down all of the contact information and start calling these people and...

Who am I fooling? I would choke so badly trying to call some famous stranger - trying to call Brad Pitt, even. What would I say? Hey, I stole your number from this stalker of mine and have a great screenplay - wanna meet in a men’s room so that I can pitch it to you? But I want those connections... and this guy has them. I have no idea how this crazy guy got all of these folks to give him their numbers, but he did. Hell, I’m sitting in Jerry’s having lunch with him - so whatever odd anti-social social skills he has, they work. Maybe it’s the hat?

“Look, I can’t. I really can’t. I’m in the middle of this spec, and it’s *your* script that Brad Pitt wants, not mine. You’re the one who has to write it. You *can* do it.”

The phone is snapped closed and goes back in his bag.

“In that case, would you read the material I have written up to this point and advise me on how to best proceed? If you give me your counsel on this matter, I would be willing to introduce you and your work to Mister Bradley Pitt. Perhaps he would be interested in the screenplay you are currently writing?”

I do not read people’s scripts for money... I do read my friend’s scripts... but this guy is not my friend, he’s some weird stalker in an unusual hat.

“Sure, I’ll read it.”
“Good. Good. I knew you would be interested!”
He whips out the script and hands it over his picked at plates of food. I give a quick flip - half a script, I should be able to read it and scribble down some notes in a couple of hours, right?

That’s when our waitperson, Laurence-with-a-Z comes with the check... and my stalker offers to split it with me, he’ll pay half and I’ll pay half. He figures out what half is on that fancy phone of his... and I leave with his script after paying for half of what he ordered. Once I finish reading the script, we’re supposed to meet again at Jerry’s... he seems sure that once I read his brilliant writing I will want to finish the script for him and get half of that money Brad Pitt is never going to pay and some of those contacts in his phone. Hey, maybe I’ll read the script and it will be brilliant - all of those weird subplots will somehow come together into something that makes sense?

At least I escape without ending up this guy’s entre.

Monday - Part Four... all about that brilliant script of his!

- Bill
IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: We Love Trouble! - how conflict pulls us into character and story... so you need to have lots of it.
Dinner: Popeyes Chicken.
Bicycle: I think I'm almost back... after the holidays and the rain kept me off the bike. Only negative - someone in North Hollywood is using my bike headlight right now... after the stole it!

Monday, June 23, 2014

Lancelot Link: Summertime, Summertime, Sum Sum Summertime

Lancelot Link Monday! It's summer! Finally those summer movies will come out! Like CAPTAIN AMERICA and X MEN and GODZILLA... And all of those movies with the number "2" in the title. Here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are ten links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Think Like A Man 2.... $30,000,000
2 22 Jump Street........ $29,000,000
3 Train Your Dragon 2... $25,300,000
4 Jersey Boys........... $13,515,000
5 Maleficent............ $13,012,000
6 Edge Of Tomorrow...... $10,340,000
7 Fault In Stars......... $8,600,000
8 X Men Future Past...... $6,200,000
9 Chef................... $1,845,000
10 Godzilla............... $1,820,000


2) Robert Altman's Lost Movie... found.

3) Could Your Strong Female Character Be Easily Replaced By A Lamp With A Note Attached?

4) Kubrick's copy of Stephen King's THE SHINING."

5) Nabokov's Script Notes On Kubrick's LOLITA.

6) Novelist Tony Cavanaugh's notes on Kubrick, King, Nabokov... well, on the difference between writing a novel and a screenplay.

7) Netflix's VP Of Development... what are they looking for?

8) BRICK Director Lands STAR WARS 8 & 9!

9) SNOW WHITE & THE HUNTSMAN writer Evan Daugherty interviewed.

10) The Ultimate Typos.

And the car chase of the week...



Bill

Wednesday, June 18, 2014

The Brad Pitt Guy (part 2)

From 2009...

I’m meeting this strange voice on the phone at Jerry’s Deli in Westwood Village to discuss some secret screenwriting project that supposedly involves some A list star, he would tell me who it is, but then he would have to kill me. Actually, this whole thing has been strange enough that I’m afraid this guy is some sort of stalker who may kill me *before* I find out who the A lister is. That would suck, because I’m curious.

PART ONE - if you missed it.

My potential killer wanted me to come to his house in Brentwood, which is really the Brentwood Village District of the city of Los Angeles... because there is actually a city of Brentwood in California up near where I grew up. This caused a great deal of confusion to people who did not live in Los Angeles during the OJ Trail. Some out of town reporters ended up in the city of Brentwood by mistake wondering where the trial was, and there were all kinds of funny (well, to me - probably not to the people of Brentwood) repercussions from Los Angeles based newscasters covering the story *internationally* and referring to the murder location as “Brentwood” instead of “the Brentwood District of the city of Los Angeles”. When this guy wanted to meet me at his house in TBDotcoLA, my first idea was to meet at Mothers Bar... except that was long gone.

Mothers was a UCLA hangout in TBDotcoLA and I watched much of the first Gulf War from the bar there. I had some potential project at Showtime, which is Westwood, and some potential project at Corman’s, which was 2 blocks from Mothers, and I had MARGIN FOR TERROR at MGM which was in Santa Monica. For whatever reason, all of these meetings were afternoons, and let out at rush hour, and I did not want to get stuck in bumper-to-bumper on the 405. So I would go to Mothers and have burgers and fries and a beer and watch the war on their big screen TVs. But Mothers is gone, now... so I’d suggested Jerry’s in Westwood Village.

I hate Westwood Village. All of the big movie theaters are there, that’s where they do many of the fancy premieres. There are some nice restaurants. And it’s where UCLA is, so it is jam packed with cute college girls, many of them film students. But there is no place to park that doesn’t cost you a bundle. All of these reasons to go to Westwood Village, and when you get there you can’t find parking. I used to know a couple of streets on the east side of the village where you might be able to find parking, but they changed those to permit only. Wilshire Blvd across from the Avco Cinemas goes from traffic lane to parking at 7pm, and if you are lucky and quick you can be in front of a space at exactly 7pm and park... of course, there are a hundred cars circling the block waiting for 7pm. The parking lot for Jerry’s Deli has an attendant with his hand out - I think it cost me $5 to park there, but it might have been more. It’s not as bas as Century City, where I’ve had a bunch of meetings with producers that cost me close to $20 to park... and the producers did not validate. Great, I didn’t get the job *and* it cost me $20! But it was only around $5 in Westwood Village... and that was with validation. Los Angeles is all about cars, and that means there are people who have found a way to get rich off cars.

As I lock my car and go to the back entrance to Jerry’s, I realize I have left my pocket knife at home... the only weapon I have is the pen in my pocket. I just hope I won’t have to use it. Jerry’s is close to empty at 3pm and I climb the stairs to the second floor, which is completely empty... except for one table where one man sits with a tall glass of ice tea... and a waiter hovering at a station on the other side of the room.

I knew this was my stalker, because he was wearing an unusual hat. I’d never seen anything like it on a man before or since. I don’t think Elton John would have worn it - and he dresses funny sometimes. He also wore jewelry - I think there was a ring on each of his fingers, but I didn’t want to stare at his hands, who knew how a stalker would take that? If you know me or have seen me at some event, you may have noticed that I wear no jewelry at all - not even a wrist watch. I used to carry a pocket watch - in the same pocket as my cell phone. I realized my pocket was crowded and I couldn’t make calls from the pocket watch, so it’s now permanently in a drawer in my dresser. This guy would have *wanted* redundant jewelry.

“William C. Martell, I would recognize you anywhere. I have the photo from your website taped to my computer for inspiration. You are slightly early.”

He shakes my hand... and his hand is cold and damp. Maybe it’s from the ice tea glass. I take a seat, while he whips out some hand sanitizer and removes any traces of my flesh from him. This actually comforts me. While he’s doing that, I am secretly looking to see if he actually brought a matchbook and a pad and pen. Not on the table, it may be in his bag.

“I must admit that I have only recently become a fan of yours. I do wish I had known of you earlier, so I might have purchased a copy of your book at a reasonable rate. I’m afraid I paid over three hundred dollars on e-bay. Though it was well worth even that exorbitant price. I consumed it in one delicious gulp.”
“I’m glad you liked it.”

I always feel bad when people pay a lot of money for my book, even though I don’t get any of that money. There’s a place on Amazon Marketplace that currently is selling it for over $100, and it’s a book store that bought copies at wholesale (so I made $4 or something) and every time they sell a copy, another copy takes its place. Do they have a leftover *case* of my books they are selling one at a time for over a hundred bucks? But for some reason, I’m not feeling too sorry for this guy.

“I consumed it in one delicious gulp.”
Okay, now I’m back to being creeped out. “Now can you tell me about this proposition of yours with the A list movie star.”
“Good. Good. Right to the point, eh?”
That’s when the Waiter decides to come over, and my stalker instantly shuts up. Almost mid-word. It’s like hitting a pause button or something. His whole face freezes in place. He looks dopey.

“Good afternoon, I’m Laurence with a Z, and I’ll be your waitperson today. Can I get you started with a beverage, sir?”
(Oops - that should be ‘Laurenze’ I guess)
“Sure, I’ll have...”
I would normally order an ice tea, but that’s what stalker’s having.
“...a Coca Cola.”
“Would you like that with lemon or cherry?”
“Um, no. Just ice.”
“Are you ready to order?”

I haven’t even opened the menu. And I don’t know if stalker is paying or what... Do I *want* stalker to pay? What if that means we’re dating? I’m not Gay, and don’t want to give stalker the wrong impression. Heck, this is like a mine field - anything I do might be taken the wrong way and end up with me either in a relationship with a guy in a weird hat or in his basement freezer... or both!

I end up ordering half a sandwich, stalker ends up ordering half the menu. Have you seen the Jerry’s menu? This guy ordered a meal and a dozen sides and some soup and... I sure hope *I’m* not paying.

The good news is that Laurence-the-a-Z stopped hovering over the table, the bad news is that I am now alone on the second floor with stalker.

“This proposal of yours?”
“Yes, of course. I’m sure you are curious about each of the facets of I alluded to in out phone conversation. On a Saturday evening one month ago I was in a popular night club on Sunset Boulevard and after an hour of dancing felt the urge to urinate.”
Too much information... and this guy was clubbing?
“I partook of the facilities in the men’s lavatory, and noted that an A list star was using the urinal next to mine.”
“Can you tell me who or would you like me to start guessing?”
“I shall get to his identity –“
“Morey Amsterdam from the Dick Van Dyke Show?”
“No. No. I believe I said this was an A list celebrity.”
“Jennifer Connolly?”
“I believe I said this was the men’s lavatory. If you must know at this juncture in the tale, it was --”

That’s when Laurence-with-a-Z returned with my Coca-Cola. Stalker did that human freeze frame thing again - his mouth hanging open mid-word and not moving at all. I’ll bet his tongue was frozen in place, but you know I wasn’t going to look into his mouth.

“Here’s your Coca-Cola, sir, no ice. Your food will be coming shortly.”
“Thanks.”
“Will there be anything else?”
“No, I’m fine.”
“And the gentleman?”
He broke the freeze frame, “No. No. I’m quite alright, thank you.”
We both waited for the waiter to stop waiting on us. Took a while for him to figure it out and go back across the room to his station.

“Okay, it wasn’t Morey Amsterdam.”
“Well, I had the very good fortune to be urinating next to Bradley Pitt, the movie star. I loved him in that Interview With A Vampire movie and he was marvelous in The Mexican.”
“Brad Pitt?”
“Yes, of course. As I was standing beside him, draining my rather full bladder, I decided to pitch him an action tale. Something his production company might be interested in as a vehicle for his various screen talents.”
“How long was the pitch?”
“Oh, it was quite detailed.”
“Must have had a full bladder himself.”
Or maybe just been afraid to turn his back on this guy.
“I don’t know, but he did seem mesmerized by my tale...”
(Scared to death)
“...after he had completed the task at hand, as it were, he gave me his card and told me he was much interested in my screenplay and I should send it to his office posthaste.”
“Brad Pitt said ‘posthaste’?”
“Well, he may have said ‘expeditiuosly’, I don’t really remember his exact wording.”
“I don’t think he said either... but he wants to read your script, so what’s the problem? Congratulations. Send it over and see what happens.”
“Well, that is the problem. There was no screenplay. I did attempt to write it, which is why I obtained your fine book, but the process was more difficult than I had originally imagined and I was unable to complete the screenplay.”
“How far did you get?”
“To the midpoint, approximately 53 and a quarter pages.”
I wish he had been more precise.
“So, what do you want me to do?”
“If you were to finish the screenplay for me, I would pay you half of the money Bradley Pitt’s production company pays me.”
“So, um, what’s the name of Brad Pitt’s company?”
Stalker pulls out a business card and reads off it, “Plan B.”
Crap, that’s really Brad Pitt’s company!

That’s when Laurence-with-a-Z came with our food.

Part Three tomorrow.

- Bill
IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Writing Indie Films - but not the kind where the hero wears a fedora and uses a whip.
Dinner: City Wok - tomato beef.
Bicycle: Yes! Some long rides every day of the 3 day weekend - went to some Starbucks way out in the West Valley.
Pages: And burning up the keyboard! Almost 8 pages Saturday, only 4 pages Sunday, and just shy of 5 pages Monday. Plan is to have this one finsihed at the end of the month and move on to the next one... which may actually be the new assignment by then. If that one isn't ready to go, yet, I'm diving in to this bad cop script and working on that until the assignment *is* ready. Oh, and I'm finishing up another article for Script Magazine soon after you read this.

Monday, June 16, 2014

Lancelot Link: Graduation Day!

Lancelot Link Monday! It pains me to say that there was no POLICE ACADEMY movie subtitled Graduation Day... this explains a lot about those films. They never graduated! Some of you reading this may have had kids who graduated last week, and some may have graduated last week. So here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are ten links plus this week's car chase...


1) Weekend Box Office Estimates:
1 22 Jump Street............ $60,000,000
2 Train Dragon 2............. $50,000,000
3 Maleficent..................... $19,008,000
4 Edge Of Tomorrow....... $16,175,000
5 Fault In Our Stars......... $15,725,000
6 X Men Days Of Futbol... $9,500,000
7 Godzilla........................... $3,155,000
8 A Million Ways .............. $3,077,000
9 Neighbors..................... $2,484,000
10 Chef............................. $2,276,000


2) Screenwriter John Logan on the next Bond film.

3) Are Movie Stars And Endangered Specied?

4) 10 Tips For Making Your Microbudget Feature.

5) Speaking Of Micro budgets: And Interview With Roger Corman.

2) ALIEN Concept Art.

7) Is Tarantino Playing With Blocks?

8) Screenwriting Isn't Writing? Say What?

9) Pixar's 22 Rules Of Story... The FREE Book!

10) THE EMPIRE STRIKES BACK is a symmetrical movie.

And the Car Chase Of The Week!



HOT FUZZ!

Bill

Wednesday, June 11, 2014

The Brad Pitt Guy (part 1)

From 2009...

I get three kinds of phone calls - calls from people I know, business calls, and some form of phone sales spam from a computer dialer or some poor guy in a cubicle trying to sell me something on commission and praying that he at least gets the steak knives. So when the phone rings and it’s some stranger, I am both annoyed and feel sorry for the guy because Alec Baldwin is going to fire his ass after I tell him “no”. Around a year ago, it’s some stranger who starts asking strange questions...

“Is this William C. Martell?”
Always a tip off that it’s a stranger - that’s the name my phone is listed under.
“Um, what is this about?”
“Am I speaking to William C. Martell?”
If I say “yes” he’ll just dive into his spiel, time shares or whatever.
“Look, whatever it is, I’m not interested, sorry.”
“William C. Martell, the screenwriter?”
Is this some strange sounding producer or producer’s assistant?
“Yes, it is.”
“Good. Good. I got your phone number from the WGA, at first they didn’t want to give it to me, so I called them back and pretended to be a producer. That’s what did the trick...”
Now he’s starting to talk like a salesman... and that is frightening me.

I have stalkers. That sounds strange, because you expect Brad Pitt to have stalkers but not some crappy B movie writer nobody’s ever heard of. Sure, there are *personal stalkers*, and I’ve had a couple of them - women trying out for the roadshow version of PLAY MISTY FOR ME after a handful of dates that did not work at all for me. But I’ve also have *celebrity stalkers* - which is crazy because I am not a celebrity. People who read my blog or go to my website and then start sending me e-mails that begin with praise and soon degenerate into odd threats. The problem is, I’m accessible - even though the address I use is a post box, um, it’s not a post box on the other side of Los Angeles. It’s within walking distance of where I live. And my phone number has slipped out before, even though I try to hide that. And, of course, everyone has my e-mail address... everyone.

Which is the first thing about this caller that seems wrong - why hasn’t he e-mailed me? If it was a producer interested in a script, a quick Google search gets them to my website and e-mail. And then they e-mail me and say, “I’m interested in this script, can you call me at (phone number). That happens fairly often because I do not have an agent or manager - most of the time someone gets hold of one of my scripts by accident (it gets passed to them by somebody else). But usually the script has my number on the title page, so they call. But often they e-mail first (my e-mail is also on the title page). I can’t remember the last time someone tracked me down through the WGA. That’s... unusual.

“Um, why didn’t you e-mail me?”
“Oh, this isn’t the kind of conversation we could have by e-mail.”

Now I’m wondering what the hell I could have possibly done that someone would be able to blackmail me over. You know, I’m a *writer* - I live a boring life. And I’m mostly honest about my life and career - I’m more than willing to share with you, gentle readers, that time I looked like an idiot or hit on some gal half my age while drunk, or wrote some movie for *Oscar winner* Roger Corman about Robot Hookers From Outer Space. Sure, I have secrets that I am not going to share with you - but, they are *boring* secrets. If this guy is a blackmailer he won’t get much from me.

“Um, what is this about?”
“Good. Good. Right to the point, eh?”
“Yes, I’m working on something and...”
“I have an offer for you. I believe you will like it. It is a most interesting offer.”
“Besides ‘interesting’, what kind of job is it?”
“Writing a screenplay. For a well known A list motion picture star. I can’t tell you who it is, that’s not the kind of information I feel comfortable saying on the telephone. That is why we will have to meet somewhere to discuss the details.”
“So, you are a producer? What company?”
“No, No. I am a writer much like yourself. I have a project with an A list motion picture star attached and would like your council and assistance. I have perused your book on the writing of action screenplays and found it quite helpful, but this will require your unique skills and advice.”
“Who’s this A list star?”
“No. No. Not on the phone. We must meet in person for these details to be discussed.”

I’m more confused than I was before - if this guy is not a producer, what the heck does he need me for? “Council?” He wants my opinion on his script? I don’t do that. There are all kinds of people who do script consulting stuff. After my book came out, I had a bunch of people wanting me to read their scripts, so I put up a page on my website with some rates. Well, here’s what I learned from that: I don’t much like doing consulting, and about 90% of the scripts out there are worse than you can imagine. I honestly think the worse someone’s script is, the more likely they are to pay a consultant... and then all they do is argue about the notes and how I didn’t get it. Well, if they had used coherent sentences I might have gotten it. I kept raising my consulting rates hoping that no one would be able to afford me and I could get back to writing scripts... but those crazy bad writers seem to have lots of money. Maybe they are the lunatic children of wealthy people locked up in an asylum writing scripts all day? Anyway, the % of just awful to “hey, this person knows how to write!” combined with me never really wanting to do it in the first place, meant I took the page down and stopped doing consulting. Now I am happily just writing my own scripts and doing the Script Tips and this Blog.

“You do know that I do not do consulting, right?”
“No. No. This is a screenwriting proposition. Where can we meet to discuss the details? I am in Brentwood, and I understand you are in Studio City, is that correct?”
“Yes.”
“You could come to my house...”


Okay, this is slightly creepy. I don’t really want to go to this guy’s house and end up dead in his basement freezer with my brain on display in his trophy room. There are producers who work out of their homes - when I first met with Ashok Armitraj he had just left the Columbia lot and hadn’t set up offices at a new studio nor found a building to move in to, and was working out of the pool house at his house. He’d had it converted into an office and it was probably larger than any studio office I’ve been to. But this guy is not a producer, he’s a writer offering me a writing job - which makes no sense at all.

“I’d rather meet someplace public, if you don’t mind.”
“This needs to be a private conversation. Some elements we discuss are of a sensitive nature. I do not wish to be overheard.”
“Look, we can be anonymous in a crowd. Find someplace with a patio or back booth or something. Speak quietly and write anything really sensitive on paper and burn it afterwards.”
“Yes, that might work.”
“You want, I’ll bring the matches.”
“No. No. I have some packets I can bring with me. Do you know of the Jerry’s World Famous Deli in Westwood Village?”
“I’ve been there before.”
“They have an upstairs section which is never utilized that should allow us a modicum of privacy. My only fear is the discretion of their waitstaff.”
“Like priests and bartenders, anything you say in front of them is privileged info... same as in a confessional. They take vows.”
“I was not aware of that. What day and time would be convenient for you to meet with me?”

Okay, this is where I should have said that I’m busy and don’t have time, even though this is for an A list motion picture star. But, I am curious. What the heck is this all about? I mean, I can say no at the meeting, right? But what if it is a script for Jennifer Connolly? And she’s divorcing Paul Bettany? And looking for a screenwriter to work closely with? I mean, really closely with? Plus, I wanted to see if the guy really brought matches and burned the papers.

“How about Thursday afternoon some time. I don’t do mornings.”
“Good. Good. Thursday it is. Would three O’clock in the afternoon be convenient for you?”
“Sounds good. Um, how will I know you?”
“Do not worry about that, William C. Martell, I shall know you.”

Great. It is a stalker of some sort and I have just fallen into their trap. He drugs my coffee, hustles me to his place in Brentwood, kills me and eats my liver with Chianti and fava beans and sticks my pickled brain on the trophy shelf in his library along with all the others. Maybe I should just not show? Maybe I shouldn’t drink the coffee? But the problem with being a writer is dead cats - curiosity. You even want to know how psycho killers live their lives.

Part 2 on Monday...

- Bill
IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Dramatic Decisions - and some film directed by Ben Affleck.
Dinner: Carls Junior... food that was bad for me and not worth the price.
Pages: Working on a rewrite for a producer, and hit a tough scene... which I'll do tomorrow.

Monday, June 09, 2014

Lancelot Link: Interview With A Screenwriter

Lancelot Link Monday! For some odd reason, this week's links are almost all advice from working screenwriters. Maybe they're on summer break, or have a deadline they are trying to avoid. In any case, lots of cool stuff! Here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a baker's dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Fault In Our Stars... $48,200,000
2 Maleficent........... $33,523,000
3 Edge Of Tomorrow..... $29,105,000
4 Days Of Future ...... $14,700,000
5 Million Ways To Die... $7,189,000
6 Godzilla.............. $5,950,000
7 Neighbors............. $5,201,000
8 Blended............... $4,050,000
9 Chef.................. $2,600,000
10 Million Dollar Arm.... $1,822,000


2) The AVATAR Sequels Will Be Musicals!

3) Who The Heck Is Directing ANT MAN This Week?

4) Three Amazing Video Essays On Brian DePalma.

5) Leaked STAR WARS Set Photos.

6) Leaked STAR WARS Set Photos From The First Film.

7) Francis Ford Coppola On Writing THE GODFATHER.

8) Michael Arndt On Writing TOY STORY 3.

9) Wesley Strick On Writing.

10) Jeff Nichols On Writing MUD.

11) With Great American Pitchfest in 2 Weeks: How To Pitch.

12) Abandoned Drive Ins...

13) Quentin Tarantino's Favorite Films That Would Have Played At Those Drive Ins.

And The Car Chase Of The Week!



Okay, no cars.

Bill

Monday, May 26, 2014

Lancelot Link: Memorial Day Edition

Lancelot Link Monday! Today is the day in the USA that we honor our fallen soldiers... and BBQ... and go to the movies. It's the kick off of the Summer Blockbuster Season. But let's not forget our fallen soldiers, those who gave their lives for our country. The first Memorial Day was during the Civil War, when *all* the fatalities were Americans. Flowers were laid on the graves of dead soldiers... and there are various different versions of that First Memorial Day, from Savannah to Gettysburg to the first "official" Memorial Day in Charleston to honor almost 270 Black Union Soldiers who were buried in a mass grave. Here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 X Men Future Past.... $90,700,000
2 Godzilla............. $31,427,000
3 Blended.............. $14,245,000
4 Neighbors............ $13,947,000
5 Spiderman 2........... $7,800,000
6 Million Dollar Arm.... $7,093,000
7 Other Woman........... $3,700,000
8 Rio 2................. $2,500,000
9 Chef.................. $2,270,000
10 Heaven Is Real........ $1,940,000


2) Worst Films At The Cannes Market?

3) Rated R For Some Rear Nudity And A Smoking Caterpillar.

4) Netflix App Glitch Creates More Interesting Movies.

5) The Cinematography Of THE INCREDIBLES.

6) Why Are They Called Jedis?

7) Diary Of A Micro Budget Film.

8) Diary Of A Self Released Film.

9) BLUE RUIN, A Successful Micro Budget Film.

10) FRENCH CONNECTION Car Chase Locations Today.

11) Nielsen Ratings: WHY Your Favorite Show Was Cancelled.

12) HEAVEN'S GATE... the Butcher's Cut.

And the Car Chase Of The Week...



Who needs cars? From the original hit movie that was remade as BRICK MANSIONS.

Bill

Monday, May 19, 2014

Lancelot Link: The Summer Squash

Lancelot Link Monday! Last week in Los Angeles it was 113 degrees where I live... Summer films usually start in May, but Summer weather? WINTER SOLDIER is playing in cinemas! Here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Godzilla............. $93,205,000
2 Neighbors............ $25,991,000
3 Spiderman 2.......... $16,800,000
4 Million Dollar Arm... $10,511,000
5 Other Woman........... $6,300,000
6 Heaven Is Real........ $4,400,000
7 Rio 2................. $3,800,000
8 Captain America....... $3,759,000
9 Legend Of Oz.......... $1,952,000
10 Moms Night Out........ $1,900,000


2) Interview with STATION AGENT's Tom McCarthy... who seems to have directed MILLION DOLLAR ARM.

3) The story behind GODZILLA.

4) How *Not* To Begin Your Novel (works for screenplays, too)

5) Graphic Novel Panels vs. Graphic Novel Script.

6) What are the top films of *this* year so far?

7) Worst Advice Given To TV Showrunners?

8) James Gunn on why GUARDIANS OF THE GALAXY are the Rolling Stones to AVENGERS Beatles.

9) HIGH RISE news!

10) Claude LeLouch on film making.

11) Train Station Scene From THE UNTOUCHABLES broken down:

12) Cannes Film Fest Insider.

And the Car Chase Of The Week...



RED 2.

Bill

Monday, May 12, 2014

Lancelot Link: Cancelled Edition

Lancelot Link Monday! They have cancelled your favorite TV show... but *not* this silly blog series that features a kid's show from the 1970s? What is wrong with Hollywood? While you are mourning COMMUNITY, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are ten links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Neighbors............ $51,070,000
2 Spiderman 2.......... $37,020,000
3 The Other Woman....... $9,250,000
4 Heaven Is Real........ $7,000,000
5 Captain America 2..... $5,619,000
6 Rio 2................. $5,125,000
7 Mom's Night Out....... $4,200,000
8 Legends Of Oz......... $3,705,000
9 Divergent............. $1,700,000
10 Brick Mansions........ $1,480,000


2) Your Favorite TV Show Has Been Cancelled!

3) Banned Bond Commentaries!

4) Fresh Out Of Prison: Director John McTiernan.

5) What McMurtry Watches On TV.

6) Film Makers On Style.

7) Orson Welles' Copy Of The CITIZEN KANE Screenplay.

8) The Showrunner Shortage!

9) David Lynch On Creativity.

10) From Respected Literary Figure To Zero!

And the Car Chase Of The Week....



From KYODAN (1982) from Japan.

Bill

Monday, May 05, 2014

Lancelot Link: Cinco De Mayo Madness!

Lancelot Link Monday! Wait, so you're telling me it's *not* the Italian Personal Plumbing holiday today? It's *not* Sinko De Myo? It's the celebration of some battle between the Mexican Army and the French Army? So I washed my hands for *nothing*? Here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a baker's dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Spiderman 2.......... $92,000,000
2 The Other Woman...... $14,200,000
3 Heaven Is Real........ $8,700,000
4 Captain America 2..... $7,762,000
5 Rio 2................. $7,600,000
6 Brick Mansions........ $7,545,000
7 Divergent............. $2,175,000
8 Quiet Ones............ $2,000,000
9 God's Not Dead........ $1,769,000
10 Grand Budapest........ $1,735,000


2) Billy Wilder and IAL Diamond On All Of These Damned Blockbusters!

3) Happy STAR WARS Day from JJ Abrams and Lawrence Kasdan!

4) Screenplays Graded By The Flesch/Kincaid Method.

2) Mad Max, FURY ROAD... Test Screening Reactions.

2) Which version did you see? The fun filled USA version or the dark gritty French version (of the same film)?

7) BLUE RUIN Director On Thrillers & Action.

8) Spec Scripts & Studios (part 1)

9) Spec Scripts & Studios> (part 2)

10) Spec Scrikpts & Studios? (part 3)

11) Famous Film Locations On Google Street View!

12) John Carpenter's THE THING?

13) Police Artist Sketches Of Famous Fictional Killers!

And The Car Chase Of The Week!



(Because the EMPIRE Asteroid Field Chase is not on YouTube!)

Bill

Monday, April 28, 2014

Lancelot Link: Mega Time Waster Edition

Lancelot Link Monday! April is over! The first *third* of 2014 is done! Is it better not to think about that? Or better to realize we need to get off our butts and get to work? While you are deciding, here are some time wasters! Here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are *fifteen* links plus this week's car chase...


1) Weekend Box Office Estimates:
1 The Other Woman...... $24,700,000
2 Captain America 2.... $16,048,000
3 Heaven Is Real....... $13,800,000
4 Rio 2................ $13,650,000
5 Brick Mansions........ $9,600,000
6 Transcendence......... $4,105,000
7 Quiet Ones............ $4,000,000
8 Bears................. $3,606,000
9 Divergent............. $3,600,000
10 Haunted House 2....... $3,265,000


2) Early STAR WARS Storyboards.

3) Screenwriter With An Unusual Day Job.

4) The Twenty Five Most Unreliable Narrators In Film History.

5) Who Is To Blame For TRANSCENDENCE Flopping?

6) A Stack Of Films That Haven't Been Released.

7) 11 Most Important *Political* Science Fiction Films.

8) Andy Warhol Interviews Alfred Hitchcock!

9) Screenwriter Steven Knight on LOCKE! He wrote DIRTY PRETTY THINGS, one of my favorites.

10) Adapting Henry James? Or Airing Dirty Laundry?

11) This Dude's Hobby Has To Do With The Movie SPEED...

12) James Patterson On How To Write A Story You Can't Put Down!

13) Writers Up For The GONE WITH THE WIND Gig?

14) Altman On THE LONG GOODBYE (script included!).

15) The Lost Art Of Lurid VHS Covers!

And The Car Chase Of The Week...



Bill



Wednesday, April 23, 2014

Script Killer Notes!

From 2009...

When I learned how to drive, I was taught to not just pay attention to the car in front of me (and the cars beside me and behind me) but look far enough ahead on the road to be prepared for whatever might come my way. If there’s a big accident ten cars down the road, I need to be prepared for that. If there’s a swerving driver a dozen cars ahead of me, I need to start worrying about *why* that driver swerved - what’s in the road that will soon be in *my* way? I have a rule when I’m driving on the freeway (like I-5 between Los Angeles and the Bay Area) - better to have a reckless driver *behind me* than in front of me.

Of course, many people in Los Angeles seem to be more interested in talking on their iPhones and eating soup and texting their new screenplay idea than keeping their eyes on the traffic in front of them. Many people have no idea what’s happening more than a car in front of them, because they’re not even paying that much attention to the car in front of them. One day, I’m driving down Santa Monica between Westwood and Century City - and see the cars in front of me stopping... so I slow down and stop. But the left lane is empty, and a car speeds past... and hits the old man in the crosswalk. That’s why the other lanes were stopped, but this driver wasn’t looking ahead nor thinking ahead. The pedestrian was alive when the ambulance took him away... the driver told the police he never saw the guy in the crosswalk. Of course he didn’t - he wasn’t looking that far ahead. Many people in Los Angeles live for the moment... and never think about the moments after that.

What the hell does this have to do with screenwriting?

Well, as writers, part of our job is to see the whole story, and be able to see the chain reaction some script change might make. Actually, that should be everybody’s job on the film - especially the people *giving* the notes... but for some reason they don’t kick the short sighted development execs and producers and directors out of Hollywood... or at least prevent them from giving script notes. Because this biz is filled with people who can’t see the effect a note will have ten pages from now, let alone throughout the rest of the script. The problem is, the note that you and I can see just won’t work, they can’t see... and often want you to “just give it a try”. Hey, why not? It’s only work... work that *you* are doing while they play tennis and come up with more notes that we can see have no chance of working.

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Of course, part of our job is to be a good typing monkey and do even the rewrites that we know are pointless. William Goldman tells a story in ADVENTURES IN THE SCREEN TRADE about working with a director who wanted Goldman to give him “all of the riches” - which is director code for write all kinds of stuff that will never end up in the final draft, and the director will pick and choose which scenes he wants to keep. I’ve worked with directors like that - they have you write hundreds of pages of scenes and then whittle it down to 110 pages that they will shoot.

There are two schools of directors, by the way: movies and TV. A movie director has a plan (often storyboards) and shoots the shots they need to make the movie. A TV director shoots a ton of footage and then figures out which shots he (or she) is going to use in the editing room. Live TV and most sitcoms are shot with multiple cameras and they piece it together in the editing room (or on the editing console). Movies tend to be scheduled and planned, and shot over a period of time (rather than a live performance like a sitcom). But many film directors either come from TV or just fly by the seat of their pants and have no idea what they are shooting until they shoot it, and may not even know what the movie will be until they edit it.

I would rather work with someone who knows what they want than work with someone who knows what they want when they see it... which means after you write a dozen different things that weren’t it. But you usually don’t know which kind of director you’re working with until it’s too late. And there are plenty of producers and development people out there who want you to give them “all of the riches” - and you do draft after draft after draft that weren’t it. (Though I don’t believe a writer has only so many scripts in them and then they run out or something, I do only have so much time on this earth and could get hit by a bus tomorrow... and would rather write stuff that has a snowball’s chance of getting on screen (like a new spec) than something that has no chance at all (like that version of the script with the director’s wild idea that you know just will not work). Do you know how many spec scripts I could have written instead of all of the drafts I knew wouldn’t work before I wrote them.

But, like I said, my job is to write. And if I want to keep getting hired to write, I need to be a good employee. One who doesn’t say things like, “That’s the dumbest note I’ve ever heard!” Though I might be able to see far enough down the road to know the note won’t work, my job is to write it anyway and let the producer or director or development person see what I already know.

One of the things that directors and producers and development people often don’t understand is that you have already considered the change they are suggesting - you looked down that road when you were outlining the script and realized it was a dead end or the scenery wasn’t as interesting. You looked down hundreds of different roads - every scene, every line, every action in a script is a fork in the road - and you’ve looked at the different ways your script might go and combinations of ways it might go, and already selected the best possible route. You know where their changes lead and your road is better. But some folks need to see that for themselves... and my job is to write up that version.

You get all kinds of notes, crazy notes, and it’s your job is write them up. You have to pick your battles when it comes to notes, and discuss the notes that you mildly disagree with and when you get a note that will completely ruin your script - strongly disagree with the note and explain *logically* and *calmly* why the note will take the script in the wrong direction. In fact, if you can explain why it will lose the producer money you’ll have a much better chance of winning the battle than if you argue based on art or craft or character or quality. Money talks. But sometimes (well, maybe even usually) you don’t win these debates and end up ruining your own script (or quitting, and some other writer comes in to not only ruin it but completely change it into *their* script). A writer’s job is to write... and sometimes make the changes that break your heart.

When you get a bad note, you might think you should *not* give it your best work and *try* to make that version of the script suck. But I've learned that executing the note poorly always backfires - there is still a sex scene in CRASH DIVE. I thought for sure once they saw how silly that sex scene was (on a submarine where the crew is 110 *men* and no women... except the one in the sex scene) they would want it removed. I went out of my way to carefully write the end of the scene before the sex scene and the beginning if the scene after the sex scene so that they cut together *prefectly*. That way the scene could be removed without harming the script. And when it stayed in the script and they actually filmed it, I thought for sure it would be cut out before the movie aired on HBO. The network wanted the sex scene in the script, but sooner or later they had to realize it was stupid, right? They had to cut it out before they put it on the air, right? Wrong. They want what they want and if you write the crap version, that’s the version they will film.

And if they *do* notice you have done a crappy job of executing their brilliant note? That’s often a good way to get replaced by someone who doesn't care.... and will make enough changes to not only claim a screenwriting credit but completely destroy your script. So I will give a note I don’t agree with my very best shot and really try to make it work... even though I know it can't work. You try to make it work - and that’s your job.

NOTES THAT KILL

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But every once in a while I get a "script killer" note - one that will destroy the screenplay. One that you can not ever make work. One that *no one* can ever make work. Can the hero and villain just be friends and stop fighting? Got that one about three times, now. Can all of the characters talk and act the same? Had that a couple of times. Does there have to be a resolution to the conflict? I’ve got that a couple of times. Does there have to be a conflict? You would think that no one would ever give you that note, but I’ve had it a couple of times. Do the characters have to be motivated - why can't it just be a bunch of coincidences?

I have a friend who had a director order him to change all of the dialogue into cliches because "People understand cliches". He suspected this director *only* understood cliches. You get these notes, and try to find some reason for them - and often there is not. The problem with the notes that remove conflict or motivation or make the script bland and boring or remove the “engine that runs the machine” is that they are script killers. Story is conflict - remove conflict and you permanently damage the script. It will not work. The story dies. These are notes that can never work - and you don’t even have to see that far down the road to figure it out.

You would think that “script killer notes” are rare, but I get them all too often.

A couple of years ago on a project that eventually died, the producer and I had a meeting with a director I was in awe of - one of his films is a classic. I was not worthy. He the usual list of silly notes and notes that I knew would not work... but he also had a couple of script killer notes: Can we remove the emotional conflict? Why does the story conflict need to be resolved at all? Does there have to be an antagonist? Why does one event have to cause another - can’t it all just be a series of coincidence? After the meeting the producer asked how I was going to make those notes work, and I said I did not know - but this was a big director, I wanted him to direct my script, I was going to find the way to make the notes work. I struggled, could not find a way to make the notes work. You can’t remove the conflict and have a story, or make the story a series of coincidence and have it still work. I called the producer and explained my problems trying to make the notes work - and (for once) the producer understood. He thought the notes wouldn’t work when the director came up with them. I asked if he might call the director and ask what the reason behind the notes might be (because I could not figure it out). Sometimes a note is about the symptom, not the disease - and that throws you off. Well, the producer called director and asked him what his reasons were for the (script killer) notes. And the director answered, "Because I'm the director and that's what I want." Producer, bless him, said: No, you are not the director. And the project died.

Usually they don't die, they get turned into crap then filmed.

I have this script called STEEL CHAMELEONS about a Westworld-ish theme park with androids that have "liquid skin technology". Say you want to sleep with Angelina Jolie - if she's in the android's program it becomes Angelina Jolie. Or if you're interested in Russell Crowe, it turns into an anatomically correct Russell Crowe. No chance of diseases, they hose them down afterwards.

Well, with a minor upgrade, these things can change into people not on the program - they touch you, they can look just like you. And some bad guys come up with a scheme.

nbynw DVD

The script is kind of like Carpenter's THE THING or INVASION OF THE BODYSNATCHERS - you don't know who is real and who is one of them. There's a scene where one replicates a Senator, and our hero (and agent with Alcohol Tobacco Firearms & Androids) doesn't know which one is real - and both insist they are the real one. There's a scene where he's chasing one with a distinctive look... into a crowd, and the android disappears - none of the people in the crowd have that look. And there's an infiltration of the hero's team. And a character who seems to die... but it's really an android that looks like them, and they are still alive. Basically, anything that has to do with duplicate people is used in the script. When it was written (ages ago) the idea was to use a handful of morphs, and the rest is just actors playing androids. Cheap!

So a couple of years ago it gets read by a production company who claim to love it, and they have a meeting with me, and the big cheese has this note: Just a minor change, he wants all of the androids to look like the androids from I ROBOT.

Because I'm oddly practical, I ask if they can afford to do all of that CGI, and he says they'll have to cross that bridge when they come to it, but there have to be all kinds of unemployed CGI people who will work for pennies...

And I asked if he was talking about the androids looking like robots just in the factory scenes (where they didn't have to replicate anyone as part of the story) and he said, No - in every single scene. All of them. The androids throughout the film will look just like the androids in I ROBOT... and the whole liquid skin thing would be dropped.

Now, I suspect the note under the note here is that this guy really liked the androids in I ROBOT. If it was about the trailer or production value, the factory androids would have solved that. But it was something else...

And that note would ruin the entire script - it *could not work* with that note. The *concept* was androids who could replicate specific people and take over their lives to infiltrate places and do very bad things. If the androids couldn’t replicate specific important people and do very bad things, there is no story. And the "cool stuff" was all of the scenes where the hero couldn't tell who was real and who was an android. So I turned down the sale and walked... but wondered what would have happened if they had bought the script, *then* given me this note. How could I have ever made it work? The “engine that runs the machine” is that these androids can look like anyone, can infiltrate even the most heavily guarded location... they could replicate the President of the United States! How would you know he was an android if he looked and sounded and acted just like the President? And had his fingerprints.

When you get a note like this *after* they’ve bought your script you wonder why they bought it in the first place - isn’t there some other android script out there where the androids look like the ones from I ROBOT? Why don’t they buy that one and ruin it? And why can’t they see that they are taking a reasonably cool idea and making it either something bland and something that just can not work. Because once I change the androids into obvious robots, the whole infiltration thing doesn’t work, so we’ll need a new plot... and we have these machine looking androids, so it’s probably going to end up some story where the androids battle the humans and... well, isn’t that I ROBOT? It’s my experience that many bad notes are there to turn a silk purse into a sow’s ear - they sand off all of the creative and interesting parts and then take the mess that’s left and turn it into something they’ve already seen. They kill the script... and either film the corpse or try to Frankenstein some sort of script from the dead parts... and that usually doesn’t work either.

When I get one of these notes, I want to ask if they are out of their fucking minds. But, you can’t really ask that... because they probably are. Many in Hollywood are, you know. You want to fight the note to the death... but that’s a good way to get fired off your own script. You want to grab the producer or director or development person and shake them... but I suspect that would land me in jail. You want to ask how they could be so stupid, but that’s not going to earn you any points, either. And the big problem is, even if you make your case and lose it and then do the very best job you can trying to write a script where the serial killer and FBI profiler don’t fight each other and are friends who pal around and there is no conflict at all in the screenplay... that script will suck big time and you’ll get fired and some other writer will be hired because you just weren’t creative enough to make it work. And then that writer will be fired and the next writer will be fired and the whole project will crash and burn and never get made... and after all of that pain and work and heart-ache... you won’t get your production bonus.

I don't know the answer to this question of how to deal with Script Killer notes. Suspect I never will.

- Bill

Tuesday, April 22, 2014

Scenes Blue Book is new!

Buy The DVD!



12 New Ways To Create New Scenes... Transitions... and much, much more!

Great screenplays are made of great scenes, memorable scenes. Who can forget Cary Grant being chased through the cornfield by that crop duster? Or Gene Kelly singing in the rain? Or Indiana Jones facing that huge swordsman in the marketplace... and shooting him? Director Howard Hawks (“The Big Sleep”, “Bringing Up Baby”, “Rio Bravo”) famously said, “A film needs three great scenes and no bad ones”. But how do you create those great scenes?

This Blue Book will help you tune up those tired scenes! We’ll look at what a scene is and how many you will need. The difference between scenes and sluglines. How long should your scenes be, and what is *too long*? We will put your scenes on trial for their lives! Using examples like “Jaws” we’ll look at beats within a scene. Scene DNA. What is driving your scene? Creating set pieces and high concept scenes. We will even talk to a famous director about creating memorable scenes.

But that’s not all! There are 12 ways to create new scenes. How to create unexpected scenes. Use dramatic tension to supercharge your scenes with excitement. Using plants and payoffs in scenes. Taking your scenes to the limit. Plus transitions and buttons and the all important “flow”... and more! Over 65,000 words!

Click Here For More Info!

THE TABLE OF CONTENTS...

  • SCENES WE’D LIKE TO SEE

  • WHAT IS A SCENE?

  • MAKING A SCENE

  • SET PIECES

  • HIGH CONCEPT SCENES

  • ROBERT RODRIGUEZ ON MEMORABLE SCENES

  • A DOZEN WAYS TO CREATE NEW SCENES

  • UNEXPECTED!

  • SCENES THAT DO IT ALL

  • DRAMATIC TENSION

  • WHAT GOES AROUND

  • TAKE IT TO THE LIMIT

  • POINT OF VIEW IN SCENES

  • TRANSITIONS

  • CONCLUSIONS

    Bill
  • Monday, April 21, 2014

    Lancelot Link: 4/21 Edition

    Lancelot Link Monday! So, when Easter is on 4/20, what is the day after Easter like? Did you plow through everything in your Easter basket already? Here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




    Here are a dozen links plus this week's car chase...


    1) Weekend Box Office Estimates:
    1 Captain America 2.... $26,612,000
    2 Rio 2................ $22,500,000
    3 Heaven Is Real....... $21,500,000
    4 Transcendence........ $11,150,000
    5 Haunted House 2....... $9,100,000
    6 Draft Day............. $5,900,000
    7 Divergent............. $5,750,000
    8 Occulus............... $5,202,000
    9 Noah.................. $5,000,000
    10 God's Not Dead........ $4,801,000


    2) Luc Besson on Strong Female Leads.

    3) Gareth Edwards on working with REALLY big stars.

    4) Bill Paxton on all of those AVATAR sequels.

    2) Orson Welles' New Film!

    2) A Stack Of MOvies That *Still* Haven't Been Released.

    7) HIDEEN DRAGON CROUCHING TIGER FILMING SEQUEL.

    8) Joss Whedon on How To Get Things Done.

    9) Free Film Contracts And Forms!

    10) 85,000 *Free* Historical Films from British Pathe.

    11) How Do WGA Credits Work?

    12) Donald Duck Did It First! Movies that ripped off Donald Duck comic books.

    And the Car Chase Of The Week!



    NOTE: The SCENES BLUE BOOK is out today!

    Buy The DVD!



    12 New Ways To Create New Scenes... Transitions... and much, much more!

    Great screenplays are made of great scenes, memorable scenes. Who can forget Cary Grant being chased through the cornfield by that crop duster? Or Gene Kelly singing in the rain? Or Indiana Jones facing that huge swordsman in the marketplace... and shooting him? Director Howard Hawks (“The Big Sleep”, “Bringing Up Baby”, “Rio Bravo”) famously said, “A film needs three great scenes and no bad ones”. But how do you create those great scenes?

    This Blue Book will help you tune up those tired scenes! We’ll look at what a scene is and how many you will need. The difference between scenes and sluglines. How long should your scenes be, and what is *too long*? We will put your scenes on trial for their lives! Using examples like “Jaws” we’ll look at beats within a scene. Scene DNA. What is driving your scene? Creating set pieces and high concept scenes. We will even talk to a famous director about creating memorable scenes.

    But that’s not all! There are 12 ways to create new scenes. How to create unexpected scenes. Use dramatic tension to supercharge your scenes with excitement. Using plants and payoffs in scenes. Taking your scenes to the limit. Plus transitions and buttons and the all important “flow”... and more! Over 65,000 words!

    Bill

    Monday, April 14, 2014

    Lancelot Link: Road To Rio

    Lancelot Link Monday! When Captain America throws his mighty shield, All those who choose to oppose his shield must yield! Yes, birds, too. Here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




    Here are a baker's dozen links plus this week's car chase...


    1) Weekend Box Office Estimates:
    1 Captain America 2.... $41,398,000
    2 Rio 2................ $39,000,000
    3 Occulus.............. $12,000,000
    4 Draft Day............. $9,750,000
    5 Divergent............. $7,500,000
    6 Noah.................. $7,450,000
    7 God Is Not Dead....... $5,485,000
    8 Grand Budapest........ $4,050,000
    9 Muppets Most Wanted... $2,193,000
    10 Peabody And Sherman... $1,825,000


    2) KILL BILL in chronological order.

    3) 10 Upcoming Screenwriting Contest Deadlines!

    4) Writing Dialogue For 1960s Takes Research.

    5) Fun TERMINATOR Facts!

    6) Movie Poster Rejects For Famous Films.

    7) Carol Leifer On Women In The Biz.

    8) The 10 WORST Films Made From Blacklist Scripts.

    9) David Goyer on The DC Universe and upcoming films.

    10) Coming To Cinemas *Before* The Next SPIDER MAN...

    11) The Screenwriters of WINTER SOLDIER interviewed.

    12) Scorsese on Risk Takers In Cinema (five videos).

    13) Why Hollywood Is Broken.

    14) And the MTV Music Award Winners! Who won Best Kiss?

    And the car chase of the week:



    From RAID 2 (in cinemas now).

    Bill
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