FRIDAY'S SCRIPT TIP:
You can't judge a script by its movie.
Brilliant scripts get shredded every day,
it's just the way the biz works. You think most of what you see
on the big screen is junk? You wonder why they bought that
crappy script? Heck, it was probably a GREAT script when they
bought it. So how does a good script go bad... and why? If the
producer liked the script enough to buy it for $3 million in the
first place, why change it? Why ruin it?
Let's take it step by step.
1) Joe Producer reads this new script by Will Shakespeare
called ROMEO & JULIET and loves it. There's romance, action,
family drama, and that amazing double twist ending! He buys
Will's script for $250,000 against $750,000 - that's 3/4 of a
million bucks! He takes it to the studio to get
financing. The studio says: "We love this script! We want to
'fast track' it... But downer endings don't test well. We can't
give you the production budget unless Romeo and Juliet live
happily ever after at the end." Now the producer has a choice
between shelving Will's script and taking a loss, or having Will
rewrite the end and having the studio put the film on the release
schedule for next year and start casting the leads.
When Will sold the script for $250k against $750k, that deal
included two rewrites and a polish. So included in Will's first
set of rewrite notes is "happy ending"... and Will is expected to
make those changes. It's part of that contract Will signed, and
getting the full $250k (plus the $500k production bonus) depends
on Will doing the required rewrites. Will makes a tough choice,
and Romeo and Juliet live happily ever after.
2) The studio tries to find a bankable star to play Romeo.
Though Will's dream may be to find a great unknown actor who
really fits the role, the studio realizes the audience pays their
$10 before they've seen the movie... and a big incentive to pay
for that ticket is a star in the lead. If you have a choice
seeing a movie starring some unknown, or your favorite actor,
which would YOU see? The studio needs a name in the lead - any
name - or the whole project is dead on arrival.
So the script goes out to potential Romeos. Leo's agent gets a
copy, and Brad's agent gets a copy, and Ryan Phillipe gets a
copy, that kid from FAST & FURIOUS: TOKYO DRIFT gets a copy, and so does anybody else in Hollywood who "can open a
movie" (get a bunch of people to pay for tickets just based on
their name)... Hey, even Chris Tucker gets a copy! One problem
with this Romeo character is that he's young, and there are very
few young movie stars. Sean William Scott was in DUDE, WHERE'S MY
CAR and both of the AMERICAN PIE movies... but can you see him as
Romeo? Plus, he's, like, thirty! Who are the 20 year old male stars who can open a movie?
Well, Brad and Leo and Ryan and even Sean are booked, but
there's a big name star who is interested in changing his image,
and thinks playing Romeo might help. Ah-nuld is interested.
VERY interested - he's not a Governor anymore. And Ah-nuld is still on the studio's list of approved
stars - he may cost $25 million, but his films are almost always
hits. Ah-nuld is money in the bank... even if he is a little old
for the part. So they hire Ah-nuld as Romeo, and Will's next
rewrite changes Romeo and Juliet from teens to "star age" (mid-
thirties to mid-forties, even though Ah-nuld is mid-sixties).
But Ah-nuld wants more action, less love. The story is about
two families at war, right? Why can't he kick ass? Why can't he
fire machine guns and jump out of helicopters? Instead of the
conflict between families being mostly off screen, why not make
it mostly on screen? Wouldn't that be more exciting, not to
mention: more what the fans expect from an Ah-nuld movie?
An-nuld wants the producer to hire Walon Green to add action
stuff. Will Shakespeare is fired (he'll never get all of his
$250k - unless he had a great agent that had him paid full amount no matter what) and Walon (WILD BUNCH) Green is hired.
Romeo is now more like Rambo.
3) Next they need to find a director that both the studio,
Ah-nuld, and Joe Producer can agree upon. After dozens of
meetings, they decide on Chuck Russell (THE MASK, ERASER).
Now Chuck likes FX movies - he began working on horror and
sci-fi movies like DREAMSCAPE and the remake of THE BLOB and is known for his
use of special effects. So he wants a rewrite of ROMEO & JULIET
that features a handful of fantastic cutting edge FX scenes.
"What if we re-thought the whole thing? What if Juliet was an
alien? What if this was like INDEPENDENCE DAY... but a love
Chuck has Walon write a new sci-fi version of the script, but
isn't completely satisfied with they way it turns out. He lets
Walon go and writes his own version of the script...
The studio isn't sure of this new draft. They like the alien
thing, but they want to make sure the script is REALLY great.
They want an "A list writer" to do a draft, so that they're sure
the script is of high quality. Now, you and I might just be able
to read a script to tell if it's any good, but producers may
never actually read the script - they might just read coverage.
Even if they did read the script, they may not know the
difference between a good script and a bad script... even though
you might think that's a basic part of their job. So a producer
will hire a brand name writer, known for quality, to make sure
the script is good. Everyone talks it over, and they agree to
hire Frank Darabont (Chuck's buddy) to do a rewrite.
4) The studio loves the new Darabont draft (even though nobody
has actually read it) but Ah-nuld is worried about his dialogue.
All actors are worried about their dialogue, but stars are really
worried. Romeo in the Darabont draft doesn't sound like Ah-nuld,
he sounds like someone who wears frilly shirts. You'd never catch
Ah-nuld in a frilly shirt - his audience would never come to see
him if he was in a frilly shirt movie! So Ah-nuld gets the studio
to hire Steven DeSouza to punch up the dialogue - give Ah-nuld
those one-liners he's famous for like "Stick around" after he
stabs a Capulet or a Montague or whatever. The Darabont script
with the new DeSouza dialogue revisions is approved by everyone
(basically, if Ah-nuld's happy, everyone else is happy).
5) Now they look for an alien Juliet... and get Sharon Stone.
She's trying to restart her career after BASIC INSTINCT 2 flopped, and she worked with Ah-nuld
in TOTAL RECALL. Everybody thinks Sharon + Ah-nuld = Big Hit. But
Sharon thinks Juliet's dialogue isn't realistic or edgy enough -
so she brings in Barbara Benedek to work on her dialogue. Juliet
becomes a "no make up role" for Stone - a chance to show that she
can act. Barbara rewrites the role to be raw, dangerous, edgy.
This is an alien woman that sleeps with a the wrong man - a man
her family hates - and she falls for him. Even though she knows
that loving this guy may cause a war of the worlds, she still
falls for him. Falls hard. The new draft of Shakespeare's script,
rewritten by Walon Green and Chuck Russell and Frank Darabont and
Steven DeSouza and Barbara Benedict and maybe a handful of other
writers is ready to shoot, except for one little problem...
6) The film has been delayed so long, they lose Chuck Russell
to THE MASK 3 (Eric Stoltz AND Jim Carrey!). They scramble to
find another director and end up with veteran Bill Friedkin (THE EXORCIST, THE HUNTED). Friedkin DEMANDS Robert DeNiro play
one of those Montagues-from-outer-space. The studio doesn't argue
with him because they are going to end up with a movie that stars
Ah-nuld and Sharon Stone and Robert DeNiro (TOTAL RECALL meets
7) You know how actors are concerned about their dialogue?
DeNiro brings in David Mamet to rewrite his dialogue, but Mamet
rewrites ALL of the dialogue... Aliens are using the F-word like
it's going out of style and speaking in two word sentences.
8) On and on into the night. Each person hired brings in a
screenwriter who completely changes the character, story, and
plot of the script. When the film finally gets made, it has been
'improved' so much that it no longer resemble the script that
Shakespeare guy wrote that everybody loved. It might even suck...
but they've spent so much money on the project, and the film is
ready to shoot - so they film a script that everyone might agree
is crappy before the money floats away.
Then we pay $10 to see it and wonder why Hollywood makes crap
Now here's OUR problem as screenwriters: We can't write the
crappy script that ROMEO & JULIET ends up as... we have to write
the brilliant script that it started out as. You can't judge a
script by the movie they make of it. Our scripts have to be good
enough so that even when they run them through the big sausage
machine of Hollywood what comes out is something people might
want to eat - something they'd pay $10 to see and think was okay.
That's the hard part!
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Over 240 pages!
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OUTLINES & THE THEMATIC!
OUTLINES & THE THEMATIC Blue Book.
ARE YOUR SCENES IN THE RIGHT ORDER?
AND ARE THEY THE RIGHT SCENES?
Your story is like a road trip... but where are you going? What's the best route to get there? What are the best sights to see along the way? Just as you plan a vacation instead of just jump in the car and start driving, it's a good idea to plan your story. An artist does sketches before breaking out the oils, so why shouldn't a writer do the same? This Blue Book looks at various outlining methods used by professional screenwriters like Wesley Strick, Paul Schrader, John August, and others... as well as a guest chapter on novel outlines. Plus a whole section on the Thematic Method of generating scenes and characters and other elements that will be part of your outline. The three stages of writing are: Pre-writing, Writing, and Rewriting... this book looks at that first stage and how to use it to improve your screenplays and novels.
DESCRIPTION & VOICE Blue Book!
DESCRIPTION & VOICE Blue Book.
IS HALF OF YOUR STORY IN TROUBLE?
Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?
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William Goldman says the most important single element of any screenplay is structure. It’s the skeleton under the flesh and blood of your story. Without it, you have a spineless, formless, mess... a slug! How do you make sure your structure is strong enough to support your story? How do you prevent your story from becoming a slug? This Blue Book explores different types of popular structures from the basic three act structure to more obscure methods like leap-frogging. We also look at structure as a verb as well as a noun, and techniques for structuring your story for maximum emotional impact. Most of the other books just look at *structure* and ignore the art of *structuring* your story. Techniques to make your story a page turner... instead of a slug!
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*** HITCHCOCK: MASTERING SUSPENSE *** - For Kindle!
Alfred Hitchcock, who directed 52 movies, was known as the *Master Of Suspense*; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?
This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!
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WRITING HORROR - The essentials of a horror screenplay - what do ROSEMARY'S BABY, NIGHT OF THE LIVING DEAD, THE EXORCIST, BRIDE OF FRANKENSTEIN, THE OTHERS and OPEN WATER have in common? This class will tell you! All of the critical elements necessary to write a script that scares the pants off the audience. Writing Horror is $10.00 (plus $5 S&H).
Click here for more information on CLASS MP3s!
THE BOOK THAT STARTED IT ALL!
*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!
*** THE SECRETS OF ACTION SCREENWRITING *** - For Nook!
Why pay $510 for a used version of the 240 page 2000 version that used to retail for $21.95? (check it out!) when
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READY TO BREAK IN?
*** BREAKING IN BLUE BOOK *** - For Kindle!
Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to
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networking, to the different kinds of meetings you are will have at Studios, to the difference between
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Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!
Print version was 48 pages, Kindle version is over 400 pages!
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STORY: WELL TOLD!
*** STORY: WELL TOLD *** - For Kindle!
This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story?
Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!
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MOVIES ARE CHARACTERS!
*** CREATING STRONG PROTAGONISTS *** - For Kindle!
*** CREATING STRONG PROTAGONISTS *** - For Nook!
Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much more. Print version is 48 pages, Kindle version is once again around 205 pages!
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ACT TWO SOLUTIONS!
*** ACT TWO SECRETS *** - For Kindle!
Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that’s well over 200 pages) of tools and techniques to get you through the desert of Act Two alive!
Print version was 48 pages, Kindle version is well over 200 pages!
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Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and
40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page.
Print version was 48 pages, Kindle version is around 170 pages!
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ADVICE FROM 1920!
*** VINTAGE #1: HOW TO WRITE PHOTOPLAYS *** - For Kindle!
Screenwriting books have been around as long as films have. This series reprints vintage screenwriting books with a new introduction and history, plus new articles which look at how these lessons from almost 100 years ago apply to today’s screenplays. Anita Loos book is filled with information which still applies.
In addition to the full text of the original book, you get the full screenplay to Miss Loos' hit THE LOVE EXPERT, plus several new articles on the time period and women in Hollywood.
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I WRITE PICTURES!
*** VISUAL STORYTELLING *** - For Kindle! (exclusive)
Show Don't Tell - but *how* do you do that? Here are techniques to tell stories visually! Using Oscar Winning Films and Oscar Nominated Films as our primary examples: from the first Best Picture Winner "Sunrise" (1927) to the Oscar Nominated "The Artist" (which takes place in 1927) with stops along the way Pixar's "Up" and Best Original Screenplay Winner "Breaking Away" (a small indie style drama - told visually) as well as "Witness" and other Oscar Winners as examples... plus RISE OF THE PLANET OF THE APES. Print version is 48 pages, Kindle version is over 200 pages!
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*** YOUR IDEA MACHINE *** - For Kindle!
*** YOUR IDEA MACHINE *** - For Nook!
Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!
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PRO DIALOGUE TECHNIQUES!
*** DIALOGUE SECRETS *** - For Kindle!
*** DIALOGUE SECRETS *** - For Nook!
Expanded version with more ways to create interesting dialogue! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 175 pages!
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E BOOKS PAGE
E BOOKS: New Blue Books and Novelettes!
I am expanding all of the Blue Books from around 44 pages of
text to around 200 pages! Some are over 250 pages! See what is availabale and what is coming soon!Also, I've been writing Novelletes and there
will soon be novels.
E BOOKS: BLUE BOOKS & NOVELLETES
MY OTHER SITES
B MOVIE WORLD
Cult Films, Exploitation, Bikers & Women In Prison, Monster Movies.
FIRST STRIKE PRODUCTIONS
Producing my own scripts, investment possibilities, pipe dreams.
NAKED SCREENWRITING MP3s
The NAKED SCREENWRITING CLASS ON MP3!
The 2001 London Class on 8 MP3s! Recorded *live* the morning after the Raindance Film Festival
wrapped. The two day class on 8MP3s, plus a workbook, plus a bonus MP3 with PDFs.
The 2 Day Class on MP3!
Every screenwriting book in the world!
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From the latest screenwriting book to
guides for finding agents and producers... all with at the
BOOKLETS & PRODUCTS
FIRST STRIKE BLUE BOOKS
Each Blue Book is 48
pages and focuses on a different aspect of screenwriting. Dialogue. Visual Storytelling. Your First Ten Pages. Act 2 Booster. Protagonists. Great Endings.
Seventeen Blue Books now available!
THE SECRETS OF ACTION SCREENWRITING The Best Nuts & Bolts Screenwriting Book On The
nineteen produced films, interviews with me in magazines,
several sample scripts, my available scripts list... And MORE!
CLASSES ON MP3
CLASSES ON MP3! Take a class on MP3! GUERRILLA MARKETING - NO AGENT? NO PROBLEM! and WRITING THRILLERS (2 Full length classes on MP3). Now Available: IDEAS & CREATIVITY, WRITING HORROR, WRITING INDIE FILMS, more!
Take classes on MP3!