Monday, May 25, 2015

Lancelot Link: YesterdayLand

Lancelot Link Tuesday! TOMORROWLAND only did about half of what they expected it to do at the box office, and review after reviews points at the screenplay. You know, the one by the guy who rewrote a good script and turned it into PROMETHEUS. Here's the deal: on a big budget film, the writer often ends up a typing monkey for the director... but as a typing monkey part of your job is to make the notes work and find ways to sneak in some great material. Though Ridley Scott may have gone off the rails (look at his recent stuff), Brad Bird seems to be at the top of his game. He single handedly rescued the MISSION IMPOSSIBLE series and you can probably see my "movie boner" from space after the announcement of THE INCREDIBLES 2. So it's hard for me to believe that Bird gave crazy notes that turned TOMORROWLAND into crap. But maybe I'm wrong. The studio's crazy theory is that the audience doesn't want to see original movies, they only want to see sequels... hence, TOMORROWLAND "underperformed". Maybe that's true: maybe people only want to see movies with numbers in the title? 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 dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Tomorrowland.................... $32,972,000
2 Pitch Perfect 2................. $30,830,000
3 MM: FURY ROAD................... $24,815,000
4 Poltergeist..................... $22,600,000
5 Age Of Ultron................... $21,691,000
6 Age Of Adeline.................. $15,000,000
7 Hot Pursuit...................... $3,610,000
8 Furious 7........................ $2,232,000
9 That Other Tom Hardy Movie....... $2,200,000
10 You Only Blart Twice............. $1,875,000


Notice how many film had double digits this weekend! That has to be a record!

2) Daily Word Count Of 39 Famous Novelists. Just add yours to make it 40.

3) Cannes Winners.

4) Scorsese Talks Hitchcock... Best Scenes In PSYCHO.

5) How Many Hits Can We Have This Summer?

6) MAD MAX: FURY ROAD... The Stunts, And How Every Chase Is Different!

7) Furiosa's Stunt Woman's FURY ROAD Set Pictures!

8) MAD MAX: FURY ROAD Concept Art.

9) Next Film Is MAD MAX: THE WASTELAND (George Miller Interview).

10) Shane Black On Action Screenplays.

11) Legal Advice For Screenwriters.

12) Overcoming (Fury) Roadblocks To Creativity!

And the Car Chase Of The Week:



From the first MAD MAX movie... the one *before* ROAD WARRIOR.

Bill

Buy The DVDs

IMPORTANT UPDATE:

-
Dinner:
Pages:
Bicycle:

Movie:

Monday, May 18, 2015

Lancelot Link: Cannes Cannes

Lancelot Link Monday! Everyone in in Cannes this week. Most people think Cannes is a film festival, and it is... but mostly it's a film market. A place where people buy and sell movies. The stars show up to walk the red carpet for the festival, then go pimp their films to buyers at the market. If there was no festival, there would still be a market. We don't really need festivals and awards, but we need markets. Replace movies with food and you'll see how this makes sense. Some foods win awards, and that's great... but we can do without food awards but can't do without the market where we buy food. The Film Market is more important than that Film Festival... 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 dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Pitch Perfect 2................. $70,300,000
2 Fury Road....................... $44,440,000
3 Age Of Ultron................... $38,837,000
4 Hot Pursuit...................... $5,780,000
5 Blart!........................... $3,600,000
6 Furious 7........................ $3,600,000
7 Adeline.......................... $3,200,000
8 Home............................. $2,700,000
9 Ex Machiua....................... $2,103,000
10 Far From......................... $1,300,000


It might seem strange that PERFECT PITCH beat FURY ROAD this weekend, but PITCH was tracking really well and FURY ROAD seemed to be appealing mostly to older males who are fans of the previous MAD MAX movies. You also have to take into account the other films playing: AVENGERS 2 is still new and FURIOUS 7 is still selling lots of tickets... and those are both probably more appealing to males (as is FURY ROAD). But what's out there for females? ADELINE and FAR FROM THE MADDING CROWD both appeal to females, but are also more serious films... and girls just want to have fun! So a female directed comedy about a group of women singers was the perfect film! Elizabeth Banks proves that women directors can make hit films (and also proves that smart women can find a way to get that directing gig... Banks is a comedy actress (40 YEAR OLD VIRGIN) who started a production company to help her find better roles... and then directed some small things for experience which would lead to her directing PITCH PERFECT 2 which her company produced (along with the first film). She took small steps leading to a big goal).

That big goal along with FURY ROAD and AGE OF ULTRON continued to push this year's box office to record numbers. We are now 5.7% ahead of ;last year and a full 12.7% ahead of 2013... and summer hasn't even started! Hollywood is making the films America (and the rest of the world) wants to see! Sequels.

2) MAD MAX and the strangest series of films ever!

3) Natalie Portman Interview.

4) First Pictures From Upcomming Films.

5) Return Of Ealing Studios...

6) Paul Schrader, Nic Cage, Eddie Bunker, DOG EAT DOG.

7) New Trailer For MINIONS.

8) Cannes Deals.

9) Legal Tools For TV Content Creators/

10) Collin Farrell Talks About THE LOBSTER.

11) More Of Those PLANET OF THE APES Movies.

12) Interview With Woody Allen.

And the Car Chase Of The Week:



From one of my favorite movies about the film biz AN ALMOST PERFECT AFFAIR, about a film maker trying to sell their movie at Cannes.

Bill

Buy The DVDs

IMPORTANT UPDATE:

It's Not About Time - Structure has nothing to do with chronology.
Dinner: Pork chops & brown rice & broccoli.
Pages: Working on the FURIOUS WRITING class.
Bicycle: Short ride.

Movie: A GIRL WALKS HOME ALONE AT NIGHT on DVD. Beautifully shot, but I'm not sure the intended story made it to the screen.

Wednesday, May 13, 2015

Sorry, I Don't Have One Of Those!

From this time five years ago (2010)...

I have a big stack of completed scripts, but when I read the ads on Ink Tip’s free newsletter looking for specific types of scripts - I don’t have any scripts like that. And some of the requests are even for normal types of scripts. Sure, there are lots that are looking for a musical western with two roles for little people and one for a 70 year old blond haired blue eyed ex-movie star which can be filmed in Romania and feature some nudity... but there are also some for Family Holiday Scripts - and I don’t have one of those. When I read those ads I think I should just spend a year writing one of everything, so that when someone asks for a disaster script, I have one.

I have an old horror-western about the ghosts of Native Americans that get revenge that needs a serious rewrite. Plus a Western outlined, and it’s a cool story called THREE DEADLY GUNS about a town that is a haven for retired gunslingers - and how two old men and the daughter of a famous desperado have to fight the three current top gunslingers to protect a convicted man from the town’s lynch squad... so he can he legally hanged in Yuma Prison. I had this idea 20 years ago and never wrote it - and I’m glad... because now that I’m an “old man” I think I can write it better than I ever could have 20 years ago. I know what it’s like to think you have the reflexes of a 20 year old... but don’t. I know what it’s like to understand your limitations. One of my old notes says “Lethal Weapon as a western - nonstop action”, and what is funny about that is how leisurely paced LETHAL WEAPON looks these days. That is scheduled to be written and the horror-western will someday be rewritten.

I also have an unusual holiday story I want to write from a thing that happened to my sister. The fictional version is about a band whose van breaks down in a small town on their way home for Christmas, and they have to earn enough money to get it fixed... by playing a different kind of music every night. Jazz, country, classical, punk, metal, folk, etc. At first they just want to *use* the town to make enough money to spit, but they end up becoming involved with the people through playing music at these events.

Because people always seem to be looking for disaster movies for TV, I made a list of different types of natural disasters and was surprised to see a few that have *never* been put on film - probably because they are kind of weird. But weird is a great thing - and I may generate a couple of treatments for those in my spare time... if I ever find any.

I have an old comedy script that is perfect for Jonah Hill or any of those other new comedy guys - but the script doesn’t work. I've figured out what is wrong with it - it’s not very funny, but that is due to a weak plot - and it’s on the big board for a rewrite. I have realized that comedy - which most people think doesn’t really need strong plotting - really does need a solid plot to build jokes on. Otherwise, the jokes can seem forced and contrived. I learned this from PINEAPPLE EXPRESS which often seemed to have the story reach for the jokes, instead of finding the jokes within the story. The stronger the story, the easier to find the jokes within it. So I’m going back to the drawing board on that story to make sure it’s solid. I hope that I can write it funny enough for someone to see the potential in it if an actual funny person does a rewrite.

That is my only comedy script, though I do have a couple of outlined comedies that are ready to write - except they are more comedy-dramas... and those do not sell at all. One is about my years working the midnight to 9am stocking shift at Safeway Grocery called THE NIGHT STALKERS - that one has had act 1 written for a couple of decades.

I do not have a rom-com, nor do I have any good ideas for one. I should come up with *something* for that, right?

I also have a handful of outlines & synopsis for “stunt” contained thrillers like PHONE BOOTH or PANIC ROOM or BURIED. The one of those I like best is called BREAKING NEWS and it’s on the To Write List - about an overly ambitious female news reporter who ends up a hostage in her news van as it is part of a high speed chase.

But every time I think about all of those outlined scripts I have, and all of the one page synopsis for potential scripts, and all of those treatments I’ve written, and... well, where would I find time to write them all? I mean, the stuff I have now will probably never get written, let alone one of every popular genre I don’t have a script for. Some of these things I will write, because they are great ideas and I have them on the big to do list - um, at the bottom. Others are thing that I can pull out a treatment for if someone wants a female lead jungle action flick or a horror movie about people who wake up in a maze of booby traps handcuffed to the person they most want to kill... who is now their partner, or a cool horror movie version of ONE FLEW OVER THE CUCKOO’S NEST. Hey, I got that!

Maybe I should just be happy with what I have and not try to have everything. I’m never going to have a rom-com, anyway, and that’s what makes the most sense to write to sell. And I already plan on rewriting my old unfunny comedy script.

You can’t have everything. You can’t play every position on a baseball team. You have to look at your strengths and focus on those. Sure, part of selling a script is having the exact script that someone wants to buy - and then having them read your script (that’s the luck part of this business) but if one company is looking for those rom-coms I’m not interested in writing, all I have to do is wait for the next company or the company after that or after that and eventually we get to the producer who is looking for a thriller or action script or something else in my “wheelhouse”. That’s what they call your specialty genre(s), your skill set, the genre(s) where your talents lie. Your “wheelhouse”. Nobody does everything well - we all have strengths and weaknesses. If you could never see yourself writing a horror screenplay - don’t write one. Find the kind of screenplay that studios buy and millions of people want to pay to see that you *do* see yourself writing... then don’t just “see yourself” writing those scripts - actually do it. (Writing while looking in a mirror might qualify as “seeing yourself writing that kind of screenplay” but it’s also kinda weird.) Figure out what you do best, then do that.

Even if the Ink Tip script requests are for weird things, eventually there are requests for a great script in a popular genre... and there’s your open door.

- Bill

IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Chapters & Split Screens - SISTERS and CITY OF GOD.
Dinner: Taco salad.
Bicycle: Saturday rode a little farther north than usual to a BBQ at Bamboo Killers Emily's new house. I had brought a sweatshirt in one of my light backpacks, but it was nice at 10pm when I rode home. Shirt sleeve weather.
Pages: Not much done.
Movies: POPATOPOLIS and RETURN OF SWAMP THING.

Monday, May 11, 2015

Lancelot Link: TV or Not TV?

Lancelot Link Monday! TV shows cancelled by the dozens! New shows announced! All of this while movies are breaking box office records! 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 dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Age Of Ultron................... $77,203,000
2 Hot Pursuit..................... $13,300,000
3 Age Of Adeline................... $5,600,000
4 Furious 7........................ $5,272,000
5 Blart!........................... $5,190,000
6 Ex Machina....................... $3,470,000
7 Home............................. $3,000,000
8 Woman Gold....................... $1,652,000
9 Cinderella....................... $1,574,000
10 Unfriended....................... $1,412,000




2) Tom Hardy On Filling Mel Gibson's Shoes.

3) HATEFUL EIGHT Photos.

4) VACATION reboot Red Band Trailer.

5) AVENGERS: Age Of CGI Overkill?

6) The Science Of GAME OF THRONES!

7) Orson Welles Mercury Theater Archive.

8) The Real World Of Indie Film Distribution.

9) Professor X Is Bald In New X MEN movie...

10) How To Get Elijah Wood To Produce Your Film.

11) Trailers For NBC's New Shows.

12) A Sequel To The THREE STOOGES FILM flop? Elevated Genre Screenplays Meet Descended Genre Screenplays!

And the Car Chase Of The Week:



Yesterday was Mother's Day.

Bill

Buy The DVDs

IMPORTANT UPDATE:

-
Dinner:
Pages:
Bicycle:

Movie:

Wednesday, May 06, 2015

Movies Are Ancillaries Of Toys!

From 2009...

And Soylent Green tastes a little weird...

A week ago I did a Doom & Gloom blog entry about the state of the biz after from a dead American Film Market and realizing that indie films and indie genre films are in big trouble these days... and studio movies? Well, it seems like movies today are now an ancillary of toy companies - Hasbro is a film producer now! For real. And Marvel comics is a film producer, they have a deal with Disney. And this just sucks for screenwriters who don't want to write GI JOE 2 or SLINKY: THE MOTION PICTURE...

The biggest mistake of my career is that I am a writer who really wants to tell his own stories and seems to have a bunch of stories to tell. I would much rather write an original script than adapt someone else’s material - and have turned down jobs I should have taken. I always joke about ANGELS & DEMONS, but had I said yes instead of no my name would probably be on a big Ron Howard / Tom Hanks movie right now instead of on some cool spec script I wrote instead that still has not sold. Hey, and that was *before* movies had become just an ancillary right of Hasbro and Marvel and Sony Playstation.

They are making MONOPOLY THE MOTION PICTURE and Ridley Scott is directing.

They are turning a guy’s *Twitter account*, SHIT MY DAD SAYS, into a TV series.

I have a Script Tip called Writing For Toys that gets me a dozen angry e-mails whenever I run it, because it says we should consider the ancillary rights when we write our original screenplays, because that is an elements that the producers are considering. If they have two specs on their desks and one is a perfect for games and toys and Happy Meal tie ins and a Saturday morning cartoon spin off, and the other can only be a movie; guess which one will make them the most money? Hey, you may think this is art, but the guys buying our scripts are businessmen and are making an investment in our screenplays with the hope of making a good return on that investment. They are going to pick the screenplay that will make them the best return. That Script Tip is now out of date because movies are the ancillaries now. They aren’t looking at our spec scripts any more, they are looking at what board game hasn’t been filmed yet, what toy line can be a summer tentpole, what comic book might be the next IRON MAN. It’s long past thinking about the ancillary rights when you write a spec...

Depressing, huh?

As I said in the Doom & Gloom blog entry - Uwe Boll is a genius! He was the one who figured this out before anyone else, before any of the studios, and began making the movies of video games while studios were still thinking the business was all about making movies and then making the videogames of movies.

Terry Rossio (and Ted Elliott) have a column on their site called Mental Real Estate that foresaw all of this a decade ago. This column used to be one that I understood but disagreed with - my theory was that popular movies required original ideas, not some idea so worn out that everyone on the globe knew about it. Of course, that little PIRATES OF THE CARIBBEAN movie and its sequels proved me wrong. The Mental Real Estate model is the one Hollywood loves right now. “Hey, everybody knows Solitaire! We play it on our computers when we’re supposed to be working! And old people play it with actual cards! That makes SOLITAIRE: THE MOVIE ‘four quadrant’! We get the young *and* old audience! And SOLITAIRE has built in sequels that are also part of our Mental Real Estate - I can’t wait for the scary excitement of SPIDER SOLITAIRE, can you?” If you have an idea on how to turn solitaire into a movie, you can sell that to Hollywood. The business is more interested in the Universal than the Unique right now.

Depressing, huh?

Everything runs in cycles, so this trend will eventually burn out... but it may takes years, probably a decade. Now, the way we land a job like SLINKY: THE MOTION PICTURE is to write a great original spec with an amazing original idea... and that leads to writing a movie that is just an ancillary for a toy or game or comic book. So we still need to be writing original material... unless you can crack that SOLITAIRE movie (because that games is public domain). But this doesn’t satisfy someone like me, whose motivation is to see *my* scripts on screen. Though I have realized the error of my ways and would now probably take the ANGELS & DEMONS assignment or any of the others I turned down, because for some mixed up reason the biz respects the guy who adapts a popular novel more than the guy who can actually create their own story and characters... and more than the writer of that popular novel. I have learned that I need to play well with others rather than go to my own little corner in my own little room where I can be whatever I want to be. But am I going to write stuff like ETCH-A-SKETCH: THE MOTION PICTURE for the next decade until this trend dies out?

Depressing, huh?

So, Bill from Pulp 2.0 and I were talking about this... and instead of looking at this as The Death Of Cinema, we've decided to use this as an opportunity. To make lemonade out of the lemons. Basically, I’m taking my own advice and looking at projects with strong ancillary possibilities. I have a script called ANDROID ARMY that is often a bridesmaid, but so far has not been a bride. People keep *almost* making this script. The great thing about it is that it’s affordable sci-fi, and has some really strange characters. It is the only thing I've ever written that screams: "Action Figures!" It also screams video game and comic book and game cards and all of that other stuff. The stuff that used to be ancillary rights but now seems to be driving the market. So, we are going to try to set it up as a video game and a comic book and maybe even a toy line *before* we try to set it up as a movie. Instead of looking at the movie first and the ancillary stuff second, the plan is to reverse that - and look at video games and all of those things that used to be “after markets” as equals to cinema. To play this ancillary game Hollywood seems to be playing.

Hey, the economy sucks - games and comic books and all of those things that used to be ancillaries are hurting. We understand that. This is not a case of thinking that setting this up as a comic book is going to be easy, this is trying to break down some other door - find some other way in with this project. If we do all of this and nothing happens, how is that any different than trying to set up the script with a bunch of producers?

I did not start writing screenplays to sell dolls, but many of my favorite films have action figures... no, not CASABLANCA, but ALIENS does. So, for a while, if I have a choice between the story idea that can sell to multiple markets or a story idea that can only be a movie, I'm going to pick the additional markets one. I'm not writing anything I don't like, just selecting from ideas I do like or twisting an idea a little to give it additional chances to be bought and made. I’m kicking down different doors.

And that’s kind of exciting.

Instead of looking at something like SHIT MY DAD SAYS and complaining that some guy sold his *tweets* to Hollywood and they are making it into a TV series... I’m looking at things like tweets as a possible market that can lead to a script deal. Instead of looking at Diablo Cody breaking into the biz because she wrote an amusing blog about working as a stripper, I’m looking for a job as a stripper! Okay, I tried applying for a job at Bob’s Classy Lady in Van Nuys and they wouldn’t hire me to strip, even though my boobs are larger than many of the women on the pole. So I’ll have to blog about something else.

But the thing about Diablo Cody and the SHIT MY DAD SAYS twitter guy is that they are *writers* who are *writing something*, just in a different medium than screenplays. If you think about his tweets, it's not just a basic twitter account - it's very specific and all about one character (or maybe two) and it's funny. I can easily see this as a TV series. Yeah - you have to adapt it, but how is that any different than adapting Ray Romano's stand up routine into a series? This guy is writing 140 character scenes about a character! He has found a way to show off his comedy talents. Of all of the twitter accounts in all of the world, his is the one that will be turned into a TV series. Not mine... not even Roger Avary’s tweets from prison (though, he’s funny as hell, too).

The thing with tweets and blogs is that it's a writer getting attention with *no money* because they found a unique character or world to write about. One of my "FB friends" has a blog with all kinds of attitude and a very distinct voice and "world" - she writes hardboiled kick ass action stuff. Carole Parker, it’s over there –> She's damned smart, and FB spams the hell out of her stuff (usually with a smokin' hot picture of some babe with a gun to get your attention). I know her blog is going to land a screenplay deal because it’s unique and she’s working her butt off to get it in front of people. She has kicked in some other door that may lead to Hollywood. That’s one of those inexpensive things you can do to get Hollywood’s attention. I'm looking at something like that myself - a fictional blog that is really a novel in disguise. Costs me nothing to get that out into the world.

I think the challenge for us now is to find stories that have some sort of additional market. Something that makes this script a "web natural" or a comic book or game or action figure or whatever else *in addition* to being a great screenplay. This ancillary thing isn’t a problem, it’s a solution. Before we only had the one door that we could try to get through - the movie door. Now we have dozens of doors, dozens of possible ways in. We can write a blog or tweet or make webisodes or write a novel or write a comic book or create a game or toy or... well, don’t let me make a list that *limits* the possible doors. Find the door that nobody has thought of, yet. Be like Uwe Boll!

Okay, maybe not that last part.

But find where the door is and see if you can kick it open. The blog thing and the tweets and toys and comic books and videogames and whatever the hell else you can think of are doors. Kick 'em open if you can.

- Bill
IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Research - Who Needs It? - and many of my awful films.
Yesterday's Dinner: Fuddruckers bacon cheddar burger.
Bicycle: Rode *West* to a Starbucks with a bad layout.

Monday, May 04, 2015

Lancelot Link: May The 4th Be With You!

Lancelot Link Monday! It's STAR WARS Day! So we're going to look at STAR WARS news and MAD MAX news, because the two are closely tied to each other: ROAD WARRIOR and EMPIRE STRIKES BACK are often compared to each other, and they were released right after each other (1980 and 1981) and I remember having ROAD WARRIOR quench some of my awesome movie thirst while waiting for REVENGE OF THE JEDI... and now we get a new Mad Max movie and a new STAR WARS movie in the same year! Cool! What would the cross over film be? Max ends up on Tatooine? 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 dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Age of Ultron.................. $187,656,000
2 Age Of Adeline................... $6,250,000
3 Age Of Furious................... $6,114,000
4 Age Of Blart..................... $5,550,000
5 Age Of Home...................... $3,300,000
6 Age Of Cinderella................ $2,357,000
7 Age Of Machina................... $2,231,000
8 Age Of Unfriended................ $1,988,000
9 Age Of Longest Ride.............. $1,700,000
10 Age Of Woman..................... $1,681,000




2) THE FORCE AWAKENS on Vanity Fair.

3) FORCE AWAKENS Toys!

4) SUICIDE SQUAD news.

5) Home Entertainment Makes A Comeback?

6) Kris Kristofferson Was Han Solo?

7) Is FURY ROAD A Feminist Triumph?

8) George Lucas On THE FORCE AWAKENS.

9) Full Cast List From THE FORCE AWAKENS?

10) Jar Jar Binks in THE FORCE AWAKENS?

11) Guillermo Del Toro Interview.

12) Behind The Scenes on FURY ROAD.

And the Car Chase Of The Week:



Hang Onto Your Asteroids!

Bill

Buy The DVDs

IMPORTANT UPDATE:

-
Dinner:
Pages:
Bicycle:

Movie:

Monday, April 27, 2015

Lancelot Link: European Edition.

Lancelot Link Monday! Wait... half the world gets AVENGERS: AGE OF ULTRON 2 weeks before we do??? And they get STAR WARS 2 days before we do? What's going on here? 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 dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Furious 7....................... $18,259,000
2 Blart 2......................... $15,500,000
3 Adeline......................... $13,375,000
4 Home............................. $8,300,000
5 Unfriended....................... $6,244,000
6 Ex Machina....................... $5,441,000
7 Longest Ride..................... $4,365,000
8 Get Hard......................... $3,905,000
9 Monkey Kingdom................... $3,551,000
10 Woman In Gold.................... $3,501,000


LITTLE BOY opened wide but the best it could do was #13... which is pretty close to it's Rotten Tomatoes review rating.

2) AVENGERS: AGE OF ULTRON has already opened in about half of the overseas markets, and made over $200m.

3) Alex Garland On EX MACHINA.

4) DEEP BLUE GOODBYE Postponed.

5) Kevin Spacey On The Importance Of Storytelling.

6) Guillermo Del Toro on CRIMSON PEAK.

7) The Golden God Becomes The Joker.

8) GOODFELLAS Anniversary... Are You Calling Me A Clown?

9) John Boyega On That Movie He's In...

10) Why Is Everyone Writing A Screenplay?

11) Release Date Shuffling For PACIFIC RIM 2, more.

12) Nickelodeon Wants You To Write For Them!

And the Car Chase Of The Week:



From the uncut version of MONKEY KINGDOM...

Bill

Buy The DVDs

IMPORTANT UPDATE:

WATERING YOUR PLANTS - and HANCOCK.
Dinner: Chicken dinner (winner winner)
Pages: 8 pages on a chapter for one of the Blue Books.
Bicycle: Short ride (feeling crappy today).

Movie: Finally saw FURIOUS 7, and the fun thing is that I'm using it in a class for Writer's Store next month!

Monday, April 20, 2015

Lancelot Link: Trailer Edition

Lancelot Link Monday! You may still be watching new movie trailers. There were a handful just released, from QT's HATEFUL EIGHT to BATMAN VS. SUPERMAN to FANTASTIC FOUR to STAR WARS to... Did you miss the HATEFUL EIGHT trailer? It was released on the same day at the same time as the new STAR WARS trailer and seemed to get buried. No mention of it on *any* of the entertainment TV shows (which are really just celeb TV shows now... could we have them arrested for false advertising?) and I wonder why they picked that time to release (or dump) the trailer? Could all of those terrbile things people said about the leaked screenplay fro HATEFUL EIGHT be true of the film? Or did QT take the notes and fix things? Why dump the trailer? 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 dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Furious 7....................... $29,056,000
2 Paul Blart 2.................... $24,000,000
3 Unfriended...................... $16,023,000
4 Home............................ $10,300,000
5 Longest Ride..................... $6,850,000
6 Get Hard......................... $4,830,000
7 Monkey Kingdom................... $4,715,000
8 Woman Gold....................... $4,587,000
9 Divergent........................ $4,150,000
10 Cinderella....................... $3,871,000


Box Office still surging: Summer hasn't even begun, and this is a summer filled with huge movies that everyone wants to see, and we are 4.9% ahead of last year and 14.8% ahead of 2013. FURIOUS 7 has only made $1.15 BILLION so far (worldwide). Give the audience what they want.

2) Indie Box Office Winners.

3) Okay, We Got The New STAR WARS Trailer And The New HATEFUL EIGHT Trailer And The New BATMAN Vs. SUPERMAN Trailer And The New FANTASTIC FOUR Trailer.... but what about the NEW NEW STAR WARS Trailer?

4) Banned TV episodes from your favorite shows!

5) Female Screenwriter Over 40? Streep Wants To Help!

6) Film Editing For Improv.

7) Film For Adults Keep Flopping... But Has "For Adults" Become Code For Boring And Downbeat?

8) This Year's Cannes Line Up.

9) Word Counts For Novels, Novelettes, Novellas, Towelettes.

10) Audio interview with Derek Kolstad, writer of JOHN WICK.

11) A novelist looks at the fight scenes in JOHN WICK.

12) Princess Leia Talks New STAR WARS.

And the Car Chase Of The Week:



The best motorcycle chase ever filmed?

Bill

Buy The DVDs

IMPORTANT UPDATE:

A LATE START - Start when the story starts.
Dinner: All You Can Eat @ Hometown.
Pages: Just a couple
Bicycle: Short rides.

Movie: EX MACHINA. Cool, stylish, 4 cast members and a handful of rooms... but what is the test and who is being tested? Young computer genius is hired to go to a remote location to test a sexy A.I. Robot for a rich and possibly crazy version of himself. The great part about this film is it turns *you* into the "tester", you have to figure out who is telling the truth, who is plotting, who is lying, and what are they lying about? There's a line in the film where they talk about a test where someone lives in a black and white world and then is introduced to color... and the inside of the facility is monochrome, and when characters go outside it's so colorful it blinds us... maybe confuses us. This is a film you think about for a week after seeing it.

Wednesday, April 15, 2015

No Middle Man!

From the beginning of 2011.

Before the holidays I had a meeting with a company about an assignment - they were looking for something in a specific sub-genre for a network they have a deal with that could be made on the network’s budget. One of the problems is that this network is one of the few left that make original movies and they have a target demo... and they want something they haven’t seen before. Imagine pitching someone like Sy Fy Channel and having to come up with two original giant monsters to battle - and a scenario for that we haven’t seen. Though I didn’t have to come up with any giant monsters, this network’s movies do tend to blur after a while - and they want something that stands out but still fits. So I worked to come up with a half dozen pitches that I didn’t think they had heard before. At least, in looking over their recent movies I hadn’t seen anything like these.

As with any bunch-o-pitches there’s always at least one that I love, a couple that are okay, and usually one that I hope they don’t pick because it’s the least thought out and least interesting to me. This time around there are two that I really like because they have ironic twist ends that I don’t think people will see coming, and both also have interesting characters and locations that I don’t think we’ve seen before... at least not in films on this network. As a test, I pitched them to a couple of writer friends... and the two I really liked got the best response.

Now, one of the problems is that you can’t have every story beat thought out for each pitch, so you decide which ones to give some extra thought to - and in this case it was the two I really liked and my friends had liked. So, I anticipated questions they might ask based on the kinds of questions I’d been asked in the past. I also went online and looked into the unusual locations - hey, could they be found in a state with film incentives?

Now, the way these things work is that the network is not at this meeting. The network doesn’t actually produce the movies, they have a few production companies that make movies for their network. The production company takes projects to the network for approval, and the network gives the production company the money to make the movie.

So the production company comes between me and the network guy (or gal), and I pitch it to them and they pitch it to the network - and sometimes things can get lost in translation, But also you are dealing with the production company’s taste rather than the network’s taste. Though the production company is a surrogate for the network, and much of the time they know what the network wants - sometimes they don’t. Everything is based on their past experiences, and that isn’t the same as all experiences. So one production company’s experience may be that all women in jeopardy movies must take place in the suburbs, but another company has had success with that sub-genre in a big city setting or a rural setting. So the network may *want* more rural women in jeopardy movies, but they aren’t getting them due to this filter of the production company’s experiences. If I’m pitching something like this, I like to do a little homework so that I can point out some other things the network has done, etc.

But you are still dealing with a middle man.

And I hate middle men.

I decide to start and end with my best ideas, and if something happens in the middle where I need to gain control I’ll just use that last great pitch early. These are short pitches, just the concepts and a few details - kind of an “elevator pitch”. Might be a page or two if it was on paper. So I go in, pitch that first great pitch... and before I can get to sentence #2, it gets shot down due to some strange thing. “Wait, the character wears a hat? No way is that gonna fly!” (The actual problem was that the conflict was a side effect of another conflict that they had seen before - like a woman running from an abusive husband who swaps identities with someone else... and they shot it down after “Woman running from abusive husband”.)

The problem is, you can’t argue and win. In this case, I mentioned that the real twist came next, but they had already decided they didn’t want it - so I pitched the next thing... and they didn’t like it at all. I was losing it!

So I pulled out that last great pitch and gave it all of my energy... and once again they shot it down after a few words. What? Okay, now my problem is that they are rejecting it before they even hear it! Can I have a full minute, please? Once again I try to explain that there’s more to the idea - that I’m taking a common situation that the core audience can identify with, and using that as the foundation for a completely original and different story. Could I please just get to that different part? No. They’ve heard enough. What else do I have?

So I pitch the last ideas... and they really latch on to the one that is the least developed and that I think is the dumbest. The larger problem is that this is what I call an “underhanded pitch” - something that sounds like a good idea, but when you start writing it you see that it is filled with problems. There are lots of ideas like this, that seem okay in short form but are one problem after another when you flesh it out - and many of them hit a brick wall about halfway in. I can see that brick wall from where I’m standing, but the D-Guy could not.

To me, the big problem is that the two great ones they shot down without listening to the whole things were something the network would really like. And I fear the one they like the network may not like - and that kills this deal. Now, I still own those two great pitches, and there are other producers who make movies for this network (plus I always try to come up with an idea that stands alone and can just be a movie), but it is frustrating to have a middle man get in the way of a deal.

Much of my career is due to middle men - they pass the script to their best contact - but that also means a bunch of deals that never were is due to middle men screwing things up. Sometimes you get a Devo with kind of a “tin ear” and they completely fumble the pitch to their boss. Sometimes you get a person why knows someone looking for an action script, and they want to take submit your women in jeopardy script (WTF?). Sometimes it’s the middle man who is the problem - though I don’t think that Brad Pitt Guy actually had a good connection with Brad Pitt, it still might have been nice if he’d tried giving him one of my scripts. I also know of a “producer” who is just bad news, so when he hands a real producer a script and says he has to be attached, that script gets rejected even if it’s CASABLANCA. Sometimes there’s a different kind of “tin ear” at work - where someone has a connection to an ultra conservative producer and hands them your ultra liberal script... when you have scripts that would match that producer’s politics available. This is when someone doesn’t do their homework. On one of my projects that never was, the producer could not get this money guy’s name right whenever he talked to me. I kept correcting him, but he just kept getting the name wrong. Guess what? The project did not get funding from that source, even though the producer had access to the guy (it was a distrib that picked up his last film). I knew this was going to happen, dreaded it every time the producer talked to me, wished I could be at the meeting to get the guy's name right ("Mr. Lantos" not "Mr. Santos") and maybe save the deal... but no. This becomes frustrating after a while, and you just wish you could get rid of all of these middle men and just do it yourself.

But part of this business, or any business, is that you not only have the connections that you have, you have the connections that your connections have. I don’t have time to know everybody, I’m writing screenplays. I know a small handful of people, and my scripts sometimes travel to people I do not know. But each person knows someone who knows someone else - it’s networking. The thing about networking is that it’s one of those chains that is only as strong as its weakest link - so you should always expect a bunch of links and chains to break. There is no sure thing, it’s all a numbers game. There will always be people between you and the decision maker, and some of those people may screw things up for you. But others may champion your work and open doors for you. I often have people who read something long ago and remembered it, and maybe submit it at their new company. So it’s not really middle men I have a problem with, it’s just the ones that screw up somehow - usually in some way that seems obvious to me, but probably doesn’t to them.

So, I got an e-mail from the producer about that pitch of mine - they want to meet with me sometime to discuss it. In my reply, I included the paragraphs for *all* of my pitches, with the best two first. Maybe he'll read them all the way through, maybe not. I may end up having to write the worst idea of the bunch because the middle man likes it most.

- Bill
IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Be Indispensable YOU want to be the one they ask for.
Dinner: Ham & cheese.
Pages: 4 pages on the side projects, still working on the main project as I type this.
Bicycle: Short ride to a Starbucks.

Monday, April 13, 2015

Lancelot Link: TV Safe Edition!

Lancelot Link Monday! They are making a TV movie version of ROCKY HORROR PICTURE SHOW. So, either we have progressed to the point where that film seems tame, or they are going to remove anything that might be slightly controversial about it and make it dull. Either way, we lose. So what is the point? 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 dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Furious 7....................... $60,591,000
2 Home............................ $19,000,000
3 Longest Ride.................... $13,500,000
4 Get Hard......................... $8,635,000
5 Cinderella....................... $7,225,000
6 Detergent........................ $6,850,000
7 Woman Gold....................... $5,852,000
8 It Follows....................... $2,027,000
9 Danny Collins.................... $1,600,000
10 While Young...................... $1,377,000


Box Office is still breaking records, even though summer is still months away! Hollywood is making the kind of films people want to see! This week's box office is ahead of 2014 by 7.2% and ahead of 2013 by only 15.6%. Um, we have an AVENGERS movie opening later this year!

2) Indie Box Office Numbers.

3) INterview with directors of cutting edge horror movie SPRING.

4) The Most Dangerous Film Ever Made... and I own it on DVD.

5) SUICIDE SQUAD casting.

6) Why You Should Write Strong Female Characters.

7) MTV Movie Awards Winers!

8) Willem Defoe Must Learn Subtext.

9) DAWSON'S SCREAM?

10) Children's Books You Should Give To Your Kids!

11) Complications Ensue on JUSTIFIED.

12) Behind the scenes shots of REAR WINDOW.

And the Bicycle Chase Of The Week:



One of my all time favorite scenes!

Bill

Buy The DVDs

IMPORTANT UPDATE:

GOAL ORIENTED - And The Not So Incredible HULK.
Dinner: Hamburger Habit, double cheese with bacon and CPR on the side.
Pages: I had a day last week where I wrote 19 pages... and then made up for it.
Bicycle: Short rides this week.

Movie: WHILE WE'RE YOUNG, about a guy whose life has become stagnant due to his own laziness who meets someone way more ambitious than he ever was and...

Wednesday, April 08, 2015

Angelina Jolie Eats Live Human Babies!

Because Angie has been in the news lately, from 2011...

You know how movie stars keep looking young even when they get old? They eat live human babies. Tom Cruise is 50 years old and still looks like a teenager – how does he do that? He eats live human babies. Madonna is 50 but doesn't look anything like it – she eats live human babies. She even adopts them from different countries, maybe some kind of a balanced died thing. Angelina Jolie is approaching 40 but looks like she's in her 20s – she also eats live human babies, and also adopts them from different countries. Bridget Bardot was eating live human babies every single day, then she stopped – and look at her now! She just got ancient and ugly fast! See – it works! It's gotta be true that they eat live human babies because they look so young. What else could it be? Plus, I read this on a website that was all about Hollywood, so I know it's true. Movie stars all eat live human babies! Why would the website lie about something like that?

It was on the internet, so it has to be true, right?

BRIDGET BARDOT - BEFORE AND AFTER:


(She should never have stopped eating the babies!)

Back when I was a kid I had a paper route, and delivered the “Green Sheet” - the Contra Costa Times. It was printed on green paper. Every morning I would get up, ride my bike to the newspaper shack, pick up my papers, take them home to roll them and band them, then deliver them before school. Once a month I would go door-to-door to collect. Ah, the joys of childhood! Back then major cities usually had two competing newspapers – one that backed the Democratic Candidates and one that backed the Republican Candidates – independents were out of luck. Newspapers had big staffs and editors and fact checkers and reporters out in the field and in other countries. They reported the facts, and had opinions on the editorial pages, Sure, they may have been a slight spin – if there was a fire the Republican paper would report how much money was lost in structure damage and the Democrat paper would report how many people were left homeless – but 99% of the story was exactly the same. Facts came first, opinion came last. What was important was the fire.

Then cable hit, and all of those news shows, and talk radio, and opinion shows, and two things happened to newspapers: Due to the competition, fewer people read the papers so they had to cut staffs down to the bare bones – fact checkers and editors and field reporters and everyone else was “let go” and they began using “pool reporters” and wire services... and to compete with the crazy TV shows the papers became more like tabloids – filled with gossip and rumor and unsubstantiated facts and opinion. So now the % of facts vs. opinion has changed big time – but newspapers still print retractions when they get something wrong and make an attempt to report the news.

Of course, now everybody gets their news online and the print journalism business is in the crapper. But even online there are legitimate news sources and... the other places: bloggers, 98% opinion news sites, and the rest. Places that are more rumor than fact, where Angelina Jolie eats live babies to keep that hot bod.

She is hot, right? So that proves it!

WANTING TO BELIEVE



Recently there was a wonderful article about the Truth Behind Hollywood that was filled with all kinds of crazy things – some relating to screenwriters. This was not an article in The Hollywood Reporter or Variety or any legit news source – it was some website that generated excitement through incitement. One of those places that is full of scandal and finger pointing and end of the world scenarios – and this was the *Hollywood* end of entertainment scenario. Just reading the article, you could see that it was light on facts and full of opinion. Yet, like wildfire, that article was linked on Twitter and Facebook and messageboards and every place that screenwriters might congregate. And everyone believed it! Well, everyone who didn't know better. But what surprised me was how many people that was. The people who work in the business knew that it was mostly fabricated crap, but many writers who haven't broken in yet believed it without checking out the facts – even though it was not from a source known for facts. They *wanted* to believe it. The didn't want to check the facts – that would take time away from posting on those various messageboards how awful this all way and how Hollywood has actually gone to Hell in a handcart. Why do we want to believe the worst? Why do we believe stuff from suspicious sources?

I can not understand *wanting* to believe that Angelina Jolie eats live babies.

This stuff happens at least once a week – and sometimes it's *amazing* how the same bad info keeps getting passed around. You know that woman who claims that THE MATRIX and every other movie ever made ripped off her idea? You know that story that she took Warner Bros to court and won millions? And, of course, all of that is completely false – her case was thrown out of court for lack of basic evidence. And there are plenty of actual newspaper stories that reported the actual outcome, and if you go to Snopes.com it is listed as complete BS – the woman was interviewed in a *college newspaper* and said she won the case, and then worked her butt off to get that college newspaper story linked all over the place so that it seemed like a fact. But one minute on Google and you can easily find a bunch of legit news sources that dispute her story and have the facts that she lost. It's not hard to find the truth about that one...

Yet, sometime this month someone will post that story on a screenwriting messageboard as proof that Hollywood rips off writers. See, she won in court against Warner Bros. This weird screenwriting blog from someone in Peru proves it!

(Nothing against screenwriters in Peru – just using that as an extreme outside the Hollywood loop example.)

EXPERTS VS. DRIPS UNDER PRESSURE

A while back on one of the messageboards I frequent someone asked a very good question: why would people believe some new writer who has no idea what they are talking about and can't even support their argument with a couple of facts over a working pro (not me, by the way)? And people were arguing *against* the working pro – and arguing *against* his experience! Huh? Though everyone has different experiences (ask a panel of pro writers how they broke in and you will get as many different ways as there are people on the panel), the experience of someone who does this for a living trumps the opinion of someone who does not. Hey, facts may still come into play here and show that the *average* experience is different than that guy who does it for a living... and that's cool. But those are facts from some reliable source, not some rumor mill website. The stuff on the rumor mill website? Not facts. Not a good source for information. Instead of reading stuff there, why not go to Variety or Hollywood Reporter or some other legit source?

Is it because the scandal element is what is exciting? The negative aspects of the “news” are more attractive than the truth? What amazes me are those people on messageboards who will *fight* against the truth. Who will argue against the real facts. Who will argue against someone with experience and do everything they can to tear them down rather than just listen and consider what they say. And, like I said, if you can find the facts that dispute what I say – I want to hear them! My experience may be a fluke! (Though, I take the time to Google stuff so that I don't make a complete ass of myself in print... though sometimes I still screw up. Sorry.)

If someone gives me real information that conflicts with my experience, I'm going to use that real info. Things like that give me a larger picture and help *me*. You know, I'm trying to sell scripts just like everyone else. If I'm doing something stupid, I want to know. I'm not going to *fight* facts – that seems stupid.

But still some people seem to prefer the rumors to the facts and seek them out... when they could just as easily find the facts (and check to see if those rumors are true or not). Why do they *want* to believe that Angelina Jolie eats live babies? Why do they want to spread the rumor that she eats live babies? Why, when faced with the facts, would they fight those facts in order to continue to believe obvious lies? What's up with that?

Here's the thing – the internet is filled with crap. Messageboards are filled with crap. The whole danged world is filled with crap. Instead of just blindly believing something, do a minute of research before you spread that nonsense. Hey, you may learn things!

There are no producer's “staff writers” who script all of those ideas that producers steal from new writers. The WGA is not some evil cabal designed to keep out new writers so that their members can make more money (actually, the WGA makes a pile on initiation fees from new members – and that means they *want* new writers to get work). There are no secret handshakes or odd conspiracies – Hollywood mostly just wants to make money. They want to buy one script instead of another because they believe one will make more money than the other. They hire one writer to do an assignment over another writer because they believe that writer is a better writer (and/or has a better work ethic). Maybe the problem with the truth is that it's mostly pretty boring, but rumors are usually weird and amazing?

But, what else explains why Angelina Jolie is still so hot after all of these years?

- Bill

Tuesday, April 07, 2015

Lancelot Link: LANCELOTUS 7

Lancelot Link Tuesday! FURIOUS 7 is on track to make at least a *billion* dollars by the end of its run. Death of the star and a new director (the great James Wan who is a *horror movie guy*) haven't put a dent in this franchise. It is Universal's superhero franchise. Don't you wonder how Dick Wolf feels about now? Buy The DVDs Yeah, Wolf is "Mr. NBC TV" now, with the LAW & ORDER franchise and now the CHICAGO FIRE/PD/MEDICAL franchise... but in the 80s he wrote a film called NO MAN'S LAND about a rookie cop who is sent undercover to join a car theft ring run by a charismatic criminal who loves driving fast, and thinks of his team as his family. Speaking of family, he has a hot sister that the young blond cop falls in love with, further complicating his undercover work. This script (and the film that was made from it) were filled with car chases and all kinds of cool car stunts. But, alas, it did just okay business... and is mostly forgotten now. D.B. Sweeny (Larry on TWO AND A HALF MEN) could have had a huge career... and the guy who played the charismatic gang leader who loved driving fast could have become a huge movie star... instead of *starring* in TWO AND A HALF MEN for a few seasons. What could have been! 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 fourteen links plus this week's car chase...


1) Weekend Box Office Actuals:
1 Furious 7...................... $147,187,040
2 Home............................ $27,011,303
3 Get Hard........................ $13,128,219
4 Cinderella...................... $10,178,750
5 Detergent....................... $10,126,715
6 It Follows....................... $2,513,459
7 Woman In Gold.................... $2,091,551
8 Kingsman......................... $1,808,652
9 Do You Believe................... $1,544,423
10 Second Best...................... $1,079,747


FURIOUS 7 only made $392 million worldwide over the weekend. That ranks it #9 in opening weekends of all time. And it had the misfortune of opening in April on Easter weekend. It broke all records for April, by the way. So, there will probably be an 8th movie, and I predict, like the second SHARKNADO movie, it will take place in New York City. You heard it here first! Box Office is ahead of last year, but only 14.2% ahead of 2013. So everything must be wrong with the Hollywood business model and the whole industry is obviously doomed. You picked the wrong year to be a screenwriter.

2) Your *BUT* Can Improve Your Story!

3) UK Action Writers? Here are a couple of UK action films, one written by friends of mine in the UK. (Congrats Bobby & Nathan!)

4) Unless Paul Giammatti plays Pooh and is *pantsless* for the entire movie, I will boycott this film!

5) SUPER TROOPERS 2... crowdfunded. Why?

6) JURASSIC WORLD Arbitration Saga Continues.

7) NBC Tries To Settle Unpaid Intern Lawsuit... for **much** less than minimum wage.

8) JURASSIC Credit Controversy.

9) Will Sir Isaac Newton's *nipples* be part of his costume?

10) Interview with Matthew Weiner on creating MAD MEN.

11) Interview with FAST & FURIOUS writer Chris Morgan.

12) Big Foot on Film (to celebrate Jamie Nash's EXISTS hitting Bluray!)

13) And EXISTS director talks about the film. 14) Storyboards from your favorite films.

And the Car Chase Of The Week:



Frrom NO MAN'S LAND.

Bill

Buy The DVDs

IMPORTANT UPDATE:

Always Be Prepared - If you met Spielberg in the grocery store, would you be prepared?
Dinner: People always eat Ham on Easter, which makes no sense... Jesus couldn't eat ham! So I had chicken.
Pages: 7 pages.
Bicycle: Nope. A short ride, but stuck around home and watched...

Movie: BEN HUR on DVD, which is two freakin' disks!

Sunday, April 05, 2015

Lancelot Link Will Be Tuesday.

Because my face and fingers are covered with Cadbury egg, Lancelot Links will run on Tuesday this week.

Monday, March 30, 2015

Lancelot Link: BEN HUR edition.

Lancelot Link Monday! Okay, for those of you read Vintage Screenwriting #1 you know that the first two versions of BEN HUR were written by women. But not the Heston version, which I'll be watching at the end of the week. Imagine if Ben Hur were remade as a wacky comedy where Ben Hur was a woman masquerading as a Gladiator? Who would play the lead? What is the rest of the story? Imagine the chariot race... 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 dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Home............................ $54,000,000
2 Get Hard........................ $34,610,000
3 Insurgent....................... $22,075,000
4 Cinderella...................... $17,515,000
5 It Follows....................... $4,021,000
6 Kingsmen......................... $3,050,000
7 Run All Night.................... $2,205,000
8 Second Best...................... $2,185,000
9 Do You Believe................... $2,150,000
10 Gunmen........................... $2,045,000


Box Office still surging: 4.0% over last year and 12.1% over 2013.

That number five movie IT FOLLOWS is a low budget independent horror flick... that is beating a bunch of big budget Hollywood films because people say that it's, you know, good.

2) Star Salaries: Your romcom where Sandra Bullock has to choose between Denzel and Damon?

3) NOIR CITY Los Angeles... including Woolrich!

4) TRANSFORMERS *spin offs*?????

5) The Terminator Can't Be Stopped... But Can He Play The Drums?

6) Dog Days Of Summer... and WHITE GOD director.

7) Quicksilver? Scarlet Witch?

8) In Case You Missed The SPECTRE Trailer.

9) PRETTY WOMAN didn't start out all that pretty...

10) Raymond Chandler (THE BIG SLEEP) chats with Ian Fleming (GOLDFINGER).

11) Season One HANNIBAL Scripts?

12) Indiewire reports on HITCH 20... My name pops up.

And the Car Chase Of The Week:



Okay, chariots.

Bill

IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: PULP FRICTION - Characters at war with themselves.
Dinner: Hot dogs at the movies.
Pages: Five pages before the movies.
Bicycle: Rode to the movies.

Movie: HOT TUB TIME MACHINE 2... which sucked. Saw it at the dollar cinema, though.

Monday, March 23, 2015

Lancelot Link: Spring Surprise

Lancelot Link Monday! Spring is here! You know what that means? No... not the flowers and stuff, the big summer blockbuster are about to be released! Because summer comes earlier every year when it comes to movies. Oddly, summer used to be the dead season in movies and holidays where when all the huge blockbusters came out. Then... air conditioning in cinemas changed all of that. 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 dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Insurgent....................... $54,025,000
2 Cinderella...................... $34,492,000
3 Run All Night.................... $5,115,000
4 Gunman........................... $5,009,000
5 Kingsmen......................... $4,600,000
6 Do You Believe................... $4,000,000
7 Second Best...................... $3,450,000
8 Focus............................ $3,300,000
9 Chappie.......................... $2,650,000
10 Sponge Bob 2..................... $2,350,000


So far this year we are 4.3% ahead of last year's box office and 15.1% ahead of 2013 box office. People are going to the movioes!

2) New MISSION IMPOSSIBLE *full* trailer.

3) 13 Breakout Movies From SXSW Fest.

4) The Remake Of The Remake Of The Remake Of SCARFACE Hires A Writer.

5) Hope You Didn't Buy Advance Tickets To THE MOON AND THE SUN...

6) I Now Pronounce You Hollywood & China. You May Kiss Each Other.

7) TRANSPORTER reboot is Statham Free... But Is That A Good Thing?

8) Un Film By Credit.

9) IMMITATION GAME writer on writing characters who are smarter than you are.

10) Go Into The Story's 12 Part Writer's Round Table.

11) 13 Keys To A Scary Horror Movie.

12) The Beginning Is The End: First And Last Frames Of Movies.

And the Car Chase Of The Week:





Bill

IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: -
Dinner:
Pages:
Bicycle:

Movie:

Wednesday, March 18, 2015

Just Do It... NOW!

From 2011... don't ask about the film project I talk about.

Don't wait for someone else to give you permission.

That's a trap.

You either want to so something, or you do not want to do something.

If you want to do something, you will find any way to do it – you will be relentless in finding ways to do it.

If you do not want to do something, you will find ways not to do it – and be just as relentless in finding ways to avoid doing it.

I used to work with a guy named Owen who did not want to work – and would do twice as much work to *avoid* working as he would have had to do if he'd just done the job. He would take pallets at the warehouse and reorganize them so that it looked like he'd done the assigned work. If he'd just done the work assigned to him, he'd probably have worked *less* - but if you don't want to do something you will find a million excuses and side tasks to do instead of what you are supposed to be doing.

I know this first hand because there are times when I need to write an article, but instead I work on a script... and times I need to work on a script, but instead I write an article. You have to want to do something, or you will never get it done.

Don't create your own obstacles – if you want ti do something, just do it.

There's a guy on a message board who hasn't written his first screenplay yet, because he's waiting until he has the right connections to sell it. That really doesn't make much sense. Let's say he makes some great connections and they ask to read his script – do you really think they will wait for him to write it and rewrite it and get it good enough for that big connection to read?

Don't wait for things that you can't control – do the things you can control.

I'm on vacation in my hometown, and Sunday night I hung out with a couple of guys I used to make short films with way back when we were in community college. All of us are blue collar guys - no money, but we had a love for film. We spent every spare cent that didn't go to rent and food on films – and sometimes the food money got spent. Lots of the night's conversation was about the old days...

When I was in community college (Diablo Valley College – home of the sex for grades scandal!) I had a full schedule of classes, and two part time jobs that added up to over 40 hours. I have lived on my own since turning 18, and before that I was responsible for paying bills at home... and had a full time job at a movie theater while I was in High School. Before that, I had a variety of jobs going all the way back to moving a half dozen lawns in my neighborhood. My buddies had similar lives – they had jobs and took a full load of classes, and we decided to sleep when we died. Um, wish I'd banked some sleep when I was a kid!

So, Sunday night we talked about how we could not afford film, so we would make flip book animation with note pads. Van would storyboard scenes for films he planned to shoot. John got into acting and stage direction because you didn't have to buy film (he was also the DP for a lot of film students – so that he could make films that someone else paid for).

My first little film starred my roommate (another guy who worked at KMart) and was made in an hour or two before we went to work... while we were doing laundry at the laundromat. Between my jobs and my classes and seeing movies, *making* movies was hard to find time for. So I planned ahead. I had my story boarded and a shot list and all of the props were in an old paint bucket by the front door of the apartment. When both of us were free during the same time period – doing laundry - all of the stuff was ready. We went to the Laundramat, and while Dave and I did our actual laundry, I also shot a short film called LAUNDRA-MATT about a guy named Matt doing his laundry. I mean, what else do you do while waiting for your clothes to dry? Oh, yeah – homework. Well, this was *my* homework, sort of.

I ticked off the shots on the shot list, I had the boards so that I knew the angles, and made a 3.5 minute short film in about an hour - we both got our laundry done and got to work on time. Now here's the kicker: this was film and I had no editing equipment at the time, so it had to be shot *in order* in the camera and every single take had to work. A mistake would ruin the whole film. Not only were there no mistakes, at the end my crazy roommate did a stunt that was *suggested* in the script - but he went ahead and did it! He crawled into the big dryer, put in some quarters, and hit the start button... and did a revolution or two! Guy could have been killed. Instead - absolutely the most amazing ending ever!

And my two pals had similar stories of their first films - one worked a construction crew and the other installed carpet full time. They had also carefully planned their films so that when they had the time, none of it went to waste. We all found the time to make our films, instead of waiting for the perfect conditions or waiting for someone to give us permission. We just did it. Van mad a documentary that won some festivals and *sold* to the government for about a dollar fifty. He may have bought the pitcher that week.

You don't need to wait for Hollywood to hire you, you can just do it yourself. Write your scripts, make your films, write your novel, do whatever the heck you want to do (within the law... okay, if you shoot a film without a permit don't tell me). Don't wait for permission. Make a plan on how to get it done, and then just do it.

OUR FILM PROJECT

So, the reason for our meeting was our movie. Because I'm not as smart as I look, after everybody I know made their own film... I decided it was time for me to make my own. What was I waiting for? Permission? DON'T WAIT FOR PERMISSION! (this means me!) So a couple of years ago I decided to make my own movie with my two oldest friends and started writing a script and then got sidetracked by a paid gig – I think the 80s horror movie remake – and kept putting off writing the script because it seemed like a crazy longshot to me...

And it probably *is* a crazy longshot – but what the heck?

Part of the reason for making the film is so that I have some real-world experience making a no-budget film so that I can write some new articles to go with the thirteen articles I wrote for the Independent Film Channel Magazine many years ago on low budget screenwriting... and end up with a book on how to write and make your own film. That's why I'm not taking this project to some producer or distrib connection for funding – the person who buys the book won't have that ability. But we did talk about crowd-funding, since everyone I know is using that method to fund their little films. Originally I was going to credit card the film, but that seems so 90s now (wait a minute – HOLLYWOOD SHUFFLE was made in the *80s*!), so we'll probably put together some Kickstarter page to fund the film. We aren't waiting for someone's permission – we're just making the movie.

My dad asked me about distribution, and that's a very good question. A couple of years ago I “test pitched” my story idea to low end distribs to see if they might be interested. Because this is *not* a horror movie, I was worried that it might not have a market. But the distribs all seemed very interested in the story and genre and a couple offered to help me find funding for it...only problem with that is that they would then own the film and if it was a hit *they* would make all of the money. Um, even though this is to get experience for a book and work with my buddies, I'd still like to make some money – since I'll be calling in favors and working my butt off for free to make it. But here's the thing – if every distrib says no to the finished film, it's not over! We can self distrib and do streaming online and all kinds of other ways to get the film to the audience. I'll just do that.

Part of our meeting was on making a poster and a trailer and looking at casting possibilities. Our biggest issue right now is that John is working a construction job that will take him to the end of the year, so we've postponed production until early next year. Instead of *waiting* for John to be finished with his job, we're going to do all of our prep work and pre-production and build props and maybe set elements. By the time John is available we will have everything planned out and be ready to make the film. We aren't going to let this stop us – or even slow us down. When there is some hurdle, you jump over it. When one element isn't ready, you work on another element. You don't wait for someone to give you permission and you don't allow small problems to be big problems. Life is full of hurdles – you have to jump over them.

As a screenriter who always had a full time job (until breaking in) I realized that if you only write one page a day, that is 3 feature length screenplays by the end of the year. So I wrote 3 scripts a year while working full time and having a life. A page a day? Possible – even if you are busy. If you end up too busy to write your page today, *think* about the next two pages and have them planned out in your mind so that you can write two pages the next day.

If you don't have time to do the whole thing, do it a piece at a time.

Will you be faced with a million problems and a thousand hurdles and all kinds of great reasons *not* to do something? Of course! But if you want to do it, you will find the way to get it done. If you aren't motivated to get it done, you need to spend some time on introspection to figure out why – maybe you really don't want to write scripts or make movies. Maybe what you want to do is... sing!

- Bill
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