Any Screenwriters On The Board??
- Thread starter LeftyLuchini
- Start date
My grammar joke was completely ignored
Damm.
Damm.
Yup. September of 2022, someone secured "NaughtyNurseChronicles.com" probably hoping to ransom it.
Fuck that.
Since there's going to be multiple books in the series, I changed it to TheNaughtyNurseChronicles.com so whomever you are, to quote Young Quick from Harlem Nights, "I ain't giving you shit."
Let's just say...
bgol consultants may soon look into this matter on your behalf pro Bono.
We DO NOT DO THAT HERE.
It happens.
I read a large part of Stephen King's On Writing. He contradicted himself a couple times in there. While he said that don't worry about a backstory everybody has one, he also said fuck the rules
And my opinion, the backstory helps the reader understand the motivations of the protagonist or the antagonist. While I won't go flashback crazy, I will add it
By the way, have you ever read Thinning the Predators (also published as simply Predators) by Daina Graziunas and Jim Starlin? It's about serial killers
Jim Starlin is a comic book writer/artist.
Yeah mentioned the King thing earlier
Great advice great advice but not definitive by any means
Backstory is difficult to discuss without more context on the type of story your trying to tell. Your leads forward motion, decisions, and agency can at times serve as a backstory in a weird way.
Never read it. But I will now.
Here Are Some Basic Facts About the Vagina That Every Person With One Should Know
For starters, vagina and vulva aren't synonymous.
@PsiBorg @godofwine
the first time I read this book it was given to my ship in a donated box of books.
I've since gone to used bookstores and used books online and purchased it, so I've read it multiple times.
Every time I tell somebody about it, I just give them my copy. I just gave away my paperback copy to my contractor two weeks ago. I'm reading the hardback copy at night before bed
Sounds very Dexter
If someone on BGOL took that name, that is some "Buster Ass Shit!"
I'd like to think that there's honor among thieves; but you never really know.
No one reads anymore. There's no money in writing. Furthermore, talented writers are no longer respected for their craft. This is evident in the fact that Hollywood is full of hacks.
I was recently rewatching Silence of the Lambs, one of my favorite films, and thought to myself, "who in Hollywood could write such a screenplay today?" The answer is likely no one who is currently favored in Hollywood. And I'm not just referring to the plot of the film but the dialogue. Nothing being written these days even comes close.
End diatribe.
I was recently rewatching Silence of the Lambs, one of my favorite films, and thought to myself, "who in Hollywood could write such a screenplay today?" The answer is likely no one who is currently favored in Hollywood. And I'm not just referring to the plot of the film but the dialogue. Nothing being written these days even comes close.
End diatribe.
Hollywood has a formula that they like to promote. This formula can be boring because it's causing everyone to think and write the same way.
There are plenty of people who can write great stories, but they aren't traditional, so Hollywood never promotes them.
That's why I say, we need our own mechanisms for getting stories out. Hollywood doesn't work for Black folks as a whole.
You not write about this part.
Its HARD as f*ck to get into the field yes. But folk are writing all this content
TRUST me folk are writing
And its HARD AS F*CK
don't be fooled by some of these showrunners putting their name on all these scripts.
There are VERY few James Gunn doing that for REAL
Original Scripts are out there we SEEN it especially in horror.
Smile or Barbarian?
Watchmen on HBO? Lovecraft Country?
Yellowjackets?
But the BUSINESS MODEL is IP
And we have seen some brilliant flips
some lazy as f*ck
but doesn't the AUDIENCE play a part?
Cause if you don't like it? Don't watch it. Don't tweet it. Don't download it legally OR illegally.
Way ahead of you here. There's no show that gets free publicity from me especially shows I don't like.
Any show or film you've watched in the last five years where the writing really impressed you? Now I'm just talking about a show that was entertaining or had great acting. I'm only referring to the writing.
true but we ALSO have to push creative content especially after George Floyd all these companies were scrambling for anything black to put out to save face. (and promptly forgot to follow through on many of those promised funds)
And we saw the results
some good some bad
some were in development WELL BEFORE the protests
We have to be careful not to continue to make the same sh*t
there is a lot of black torture porn for a minute with a lot of slave, painful blood soaked imagery mingled in.
AND THERE IS A PLACE for that
but not EVERYTHING
But I like that we were now in different arenas
Peele did Twilight Zone and then there is Swarm, Watchmen, Lovecraft, and like it or not shows like Harlem and Them
I think when we get these rare opportunities we have to try to tell different stories
but also WE as an audience NEED to support the projects.
We SHOULD have a BLACK VERSION of Jason Bourne, John Wick, Iron Man, Danny Ocean, Tony Soprano, Don Draper, Walter White, Seinfeld and Vic Makey.
WE CAN TELL THOSE STORIES too
and @PsiBorg is right we NEED to do so outside the system
but INSIDE too
and again the AUDIENCE has to support it.
The book predates Dexter by more than a decade. There is a cool twist.
The character I created was compared to Dexter, but I hadn't watched Dexter when I came up with it
Watchmen was brilliantly WRITTEN
Last of Us (as someone who did not play the game)
Atlanta (woo boy!)
The Americans, Fargo (movie and tv series)
I gotta think for a minute just the SCRIPT was tight?
Get Out, Parasite, Knives Out, Judas Black Messiah, Inside out, Zootopia, Black Panther
I saw that...
but the synopsis that was the first thing I thought of
sidebar: I really enjoyed those books and the Dark Passenger was a great way to tell backstory like you were asking earlier.
and bro no idea is original and we all should steal from the best
Watchmen was great but I'm torn about what they did to it from the perspective of a creator.
I don't believe Alan Moore wanted any additions to his work and there's a part of me that believes that should've been respected at least while he's still alive.
In the movie Black panther, the character of Everett Ross was utilized as a teaching moment for the audience. When he asked questions it was questions that the audience needed to know so they told us information by telling him. It was a very smooth way of pushing the story forward without having to jump into too much backstory
I'm utilizing a similar technique in my black witch story. I can't say too much because I'm only 20,000 words into it
I like it.
Now we can have the effectiveness of Ross as a storytelling tool later on.
I hear you but that aint how Hollywood works. He don't own it. And I aint saying its fair either.
and as creator? I agree he should have say over his work.
but what they did to that work was masterful
and honestly as much as I love Moore?
He is a cranky nutcase.
I don't know if he would cosigned it either way.
Hollywood ain't shit. Honestly, I'm watching fewer and fewer programs every year. Most of the stuff you mentioned I haven't even watched and have no desire to do so. I'm pretty fed up with it all.
As for Moore being cranky, I agree. That said, considering how his work has been taken and warped into various films without his permission, I'd be cranky too.
As for being a "nutcase," let's just say there's a thin line between crazy and genius.
bro?
he BEEN crazy.
And I wouldn't have it any other way
but that don't mean he aint crazy.
I can understand. But then you can't make that complaint.
There has been bad writing since the printing press was invented.
Try some of the stuff I mentioned and see before you completely bale.
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It's not bad writing that irritates me necessarily. I watch corny B-rated films all of the time and enjoy them. I can enjoy the shit they riff on MST3K no problem and have.
It's clichéd, hackneyed trash passed off as something original, groundbreaking, and profound that really makes me not want to explore most mainstream American stuff anymore.
It's gotten to the point that I only check out the Academy Awards for the documentaries. And they really try to make you feel like you have to watch this stuff if you have any taste.
Too much capitalism not enough creativity.
Just to give one example, and it pains to to say this because I respect the brother's work, but Get Out was basically M. Night Shamalamadingdong tier to me.
Now Us I enjoyed more. That was pretty original.
OK you BUGGING
there was MUCH MORE layering from from 1 to the end.
I could NOT disagree more.
M. night aint INVENT the twist (not implying YOU are saying that) and really after the FIRST big twist was he EVER able to do that again?
And Get Out was actually ABOUT something. and the ride was just as good as the destination.
It was NOT all about the twist.
There are WAY too many iconic moments in that film to dismiss it offhand like that
especially form a first time writer director.
a BLACK horror at that.
you lucky I gotta bounce cause normally I would go IN but try to watch the stuff I mentioned earlier.
And Us is under appreciated. But I think it was the overall story that got a little muddled and it was difficult to STICK that landing. But for ORIGINALITY it was incredible
this will either piss yall off or inspire yall
@PsiBorg @largebillsonlyplease @godofwine
Air Exists Because One Underemployed Guy in His 20s Saw The Last Dance
By Chris Lee, a Vulture senior reporter who covers Hollywood
www.vulture.com
As the Air Jordan creation-myth biopic Air makes its way to the multiplex Wednesday, the movie’s screenwriter, Alex Convery, can’t avoid observing certain ironies. Although Air is nominally a sports movie plotted around Nike’s least-likely-to-succeed 1984 endorsement-deal signing of Michael Jordan, its watchability is predicated on “people in rooms talking”; there is but one scene of actual basketball in the whole thing. Convery wrote the script “out of desperation” without really expecting to ever see it translated to the big screen — he attributes its adaptation by director and co-star Ben Affleck (with lead actor Matt Damon also producing) to luck more than his own writing excellence. And though Convery, now 30, conceived Air while a less-than-gainfully-employed 20-something with zero movie or TV credits during the dull days of pandemic lockdown, he shrugs at the Hollywood narrative around his “written by” allocation on the film: after years of false starts, a drawerful of unmade scripts, and years of low-level showbiz drudge work, that he could somehow be viewed as an “overnight” success. “It’s been funny to hear, ‘Oh, my gosh, this is your first screenplay. Congratulations!’” he tells Vulture via video link. “I have a graveyard of unproduced screenplays too. Since graduating film school, it’s been nine years of grinding away, chipping away, trying to write The One. And why this one instead of the other ones? I don’t know. Most of it is just the right people reading the right script at the right time.”
Before the Jordan brand became a multibillion-dollar cash cow for Nike, before Jordan exploded the business model for pro-model profit participation by becoming the first athlete to earn a cut on the sale of every shoe bearing his name and Jumpman likeness, it’s easy to forget that his signing with the granola-crunchy, Oregon-based shoe manufacturer was hardly a no-brainer. Heading into his rookie year with the Chicago Bulls, the NCAA All-American First Team recruit and National Player of the Year was intent on endorsing Adidas, then the 800-pound gorilla and all-around coolest company in the sports-shoe world. Nike, for its part, was a running-shoe powerhouse but basketball also-ran, ranking third in market share behind Converse and arguably dead last in terms of street cred. As is detailed in broad strokes in Air, Nike marketing exec Sonny Vaccaro (played by Damon) spotted Jordan’s GOAT potential and reluctantly persuaded company co-founder Phil Knight (Affleck) to divert Nike’s entire basketball budget toward signing the player. From there, Vaccaro reverse-engineered the brand as an extension of the athlete — instead of the other way around, an industry first — and performed an end run around Jordan’s hard-charging agent, David Falk (Chris Messina), by personally cajoling Jordan’s shrewd and influential mother, Deloris (Viola Davis), to bet on Nike, ultimately sealing the deal.
It’s obviously scary. There’s a million examples of when A-list talent comes in, F-list talent disappears and you never hear from them again.
Moreover, before there existed even the kernel of an idea for an Air screenplay, there was The Last Dance: the culture-saturating 2020 ESPN-Netflix docuseries that charts Jordan’s rise as basketball’s preeminent superstar and embattled leader of the Bulls over the team’s 1990s multi-championship run. “I was locked up in those early months of quarantine, like everyone, watching The Last Dance,” Convery says. “And there’s that three-minute clip in episode 5 about the Nike story. It’s very macro. It kind of breezes through it quickly. But for whatever reason, the machinations of that clicked. I thought, Man, this is a movie.”
It didn’t hurt that Convery, a lifelong basketball fan and native of the Chicago suburbs who moved to L.A. for USC film school in 2010, had played a tangential role in the production of a 2015 episode of ESPN’s Emmy-winning documentary series 30 for 30 titled “Sole Man.” That episode also follows Vaccaro’s career arc as the executive who revolutionized new revenue streams around student athletics; he basically rewrote the rules of sports-apparel pitchmen, vaulting Nike to the top of the business heap with his relentless pursuit of Jordan. Although Convery was only a low-level assistant to one of the show’s producers at the time, he had up-close access to its source material and oversight of its editorial process. “I was tapped in on all the phone calls and saw lots of cuts of the episode with raw footage. Sonny is truly a one-of-a-kind character. But I wasn’t sitting there in 2015 thinking, Maybe there’s a story here to tell one day,” he recalls.
Over the intervening years while working a series of dues-paying jobs including Hollywood management-firm assistant and sales rep for a tutoring company, Convery kept churning out spec scripts to modest acclaim. (Spec scripts are screenplays written “on speculation” with no contractual agreement by a studio or financier to ever be put into production.) Several of them landed on the Black List, the ballyhooed annual survey of studio and production company executives ranking their favorite unproduced movie scripts. There was Bag Man (2018), which Convery describes as “Heat but set in the world of college football,” and Excelsior! (2020), a biographical drama plotted around “the meteoric rise (and subsequent fall)” of Marvel Comics’s creative titans Stan Lee and Jack Kirby. For a period of 48 hours, Sony considered developing Excelsior! into a motion picture before dropping the project, leaving Convery demoralized. “Heartbreaking,” he says. “I vowed never to write a spec again.”
That all changed in 2020 with an epiphany born of Last Dance binge-watching and pandemic sheltering in place. “I just thought, Someone must have tried this as a movie already. And I started poking around and no one had,” Convery says. He specced out a boardroom procedural originally titled Air Jordan based on his extensive Googling of Vaccaro and the background materials he’d reviewed during the “Sole Man” production. His goal: “At best, a strong sample that would get my work and my name back out there, maybe make the Black List again.” He figured, “Maybe it can get me a different job. But my reps believed in it and sent it around. And for whatever reason, there was a lot of interest. It was kind of competitive, and I was trying to decide between a couple of different production companies.”
Alex Convery (no longer in his 20s, nor underemployed).
Convery signed a deal with Mandalay Entertainment, the production company behind The Last Dance. Mandalay in turn entered into partnership with Skydance Sports — a company headed by none other than Jon Weinbach, one of the co-directors of 30 for 30’s “Sole Man,” who helped secure Vaccaro’s life rights for the project. Convery regained access to hours of archival footage and reams of interview transcripts and met with Vaccaro in Palm Springs to pore over the script, mapping out “what we got right, what we got wrong.”
Affleck and Damon announced their attachment to the then-untitled “sports marketing drama” last April, which became its own blessing and potential curse. Affleck met with Jordan, seeking further screenplay verisimilitude, resulting in a new centrality for the Deloris Jordan character (as well as the direct suggestion to cast Academy Award winner Davis in the role). But given the stars’ writing background — Damon and Affleck won the 1998 Oscar for Best Original Screenplay for Good Will Hunting — Convery fully anticipated being marginalized. “Ben was very open about it. ‘We want to do a pass on the screenplay. It’s always the best idea wins. There’s stuff we’re going to add,’” he says. “It’s obviously scary. I was an unproduced screenwriter. And there’s a million examples of when A-list talent comes in, F-list talent disappears and you never hear from them again.”
On set, Convery had a front-row seat to more on-the-fly alterations to his work courtesy of Air’s ensemble cast. “Chris Tucker’s stuff is almost all him. Jason Bateman is an Emmy-winning director for Ozark. He was doing a ton of invention,” says Convery. “There was just a kind of permission to do what you want and if it doesn’t work, it doesn’t work. To me, the best line in the movie is something Viola just improv’d on the day: ‘A shoe is just a shoe until my son steps into it.’”
Then, on the last day of principal photography, Affleck took the writer aside. “He said, ‘We’re not going to arbitrate, we’re going to give you sole credit.’ He said, ‘Look, it was a spec script. It was your story. When we were coming up as writers, so many people gave us the benefit of the doubt and gave us a chance. They paid it forward for us and we’re going to pay it back,’” recalls Convery.
Originally set to skip theaters and stream on Amazon Prime Video, Air’s sky-high test-screening scores persuaded the platform to initially give it an exclusive global theatrical push — the first time the Seattle-based streaming giant has bypassed digital primacy since 2019. Buoyed by the film’s buzz, Convery already has another sports-related project teed up at Skydance. But he remains clear-eyed about the confluence of X factors that put him in such a privileged position and the hard work it’ll take for him to find himself there again. “My biggest lesson over the last 13 years is there’s just no finish lines,” the writer says. “So the job is still the same as when I was a freshman in film school. You’re sitting at a computer writing. That part never changes.”
“After that, it’s really, which way is the wind blowing?” he continues. “And who is going to read the script? And is it the right time? As exciting as Air is, so much of it is luck. Look, I like the script and I’m proud. But if Matt and Ben hadn’t read it when they did, if they weren’t looking to start this new production company that’s trying to make movies like this, who knows? It’s just right script, right place, right people, right time. You only get to control one part of that, which is right script. So focus on that. And hope for the best.”
@PsiBorg @largebillsonlyplease @godofwine
Air Exists Because One Underemployed Guy in His 20s Saw The Last Dance
By Chris Lee, a Vulture senior reporter who covers Hollywood
Air Exists Because One Underemployed Guy in His 20s Saw The Last Dance
Alex Convery had zero TV or movie credits when he saw three key minutes of the 2020 Michael Jordan docuseries and thought, Man, this is a movie.
www.vulture.com
As the Air Jordan creation-myth biopic Air makes its way to the multiplex Wednesday, the movie’s screenwriter, Alex Convery, can’t avoid observing certain ironies. Although Air is nominally a sports movie plotted around Nike’s least-likely-to-succeed 1984 endorsement-deal signing of Michael Jordan, its watchability is predicated on “people in rooms talking”; there is but one scene of actual basketball in the whole thing. Convery wrote the script “out of desperation” without really expecting to ever see it translated to the big screen — he attributes its adaptation by director and co-star Ben Affleck (with lead actor Matt Damon also producing) to luck more than his own writing excellence. And though Convery, now 30, conceived Air while a less-than-gainfully-employed 20-something with zero movie or TV credits during the dull days of pandemic lockdown, he shrugs at the Hollywood narrative around his “written by” allocation on the film: after years of false starts, a drawerful of unmade scripts, and years of low-level showbiz drudge work, that he could somehow be viewed as an “overnight” success. “It’s been funny to hear, ‘Oh, my gosh, this is your first screenplay. Congratulations!’” he tells Vulture via video link. “I have a graveyard of unproduced screenplays too. Since graduating film school, it’s been nine years of grinding away, chipping away, trying to write The One. And why this one instead of the other ones? I don’t know. Most of it is just the right people reading the right script at the right time.”
Before the Jordan brand became a multibillion-dollar cash cow for Nike, before Jordan exploded the business model for pro-model profit participation by becoming the first athlete to earn a cut on the sale of every shoe bearing his name and Jumpman likeness, it’s easy to forget that his signing with the granola-crunchy, Oregon-based shoe manufacturer was hardly a no-brainer. Heading into his rookie year with the Chicago Bulls, the NCAA All-American First Team recruit and National Player of the Year was intent on endorsing Adidas, then the 800-pound gorilla and all-around coolest company in the sports-shoe world. Nike, for its part, was a running-shoe powerhouse but basketball also-ran, ranking third in market share behind Converse and arguably dead last in terms of street cred. As is detailed in broad strokes in Air, Nike marketing exec Sonny Vaccaro (played by Damon) spotted Jordan’s GOAT potential and reluctantly persuaded company co-founder Phil Knight (Affleck) to divert Nike’s entire basketball budget toward signing the player. From there, Vaccaro reverse-engineered the brand as an extension of the athlete — instead of the other way around, an industry first — and performed an end run around Jordan’s hard-charging agent, David Falk (Chris Messina), by personally cajoling Jordan’s shrewd and influential mother, Deloris (Viola Davis), to bet on Nike, ultimately sealing the deal.
It’s obviously scary. There’s a million examples of when A-list talent comes in, F-list talent disappears and you never hear from them again.
Moreover, before there existed even the kernel of an idea for an Air screenplay, there was The Last Dance: the culture-saturating 2020 ESPN-Netflix docuseries that charts Jordan’s rise as basketball’s preeminent superstar and embattled leader of the Bulls over the team’s 1990s multi-championship run. “I was locked up in those early months of quarantine, like everyone, watching The Last Dance,” Convery says. “And there’s that three-minute clip in episode 5 about the Nike story. It’s very macro. It kind of breezes through it quickly. But for whatever reason, the machinations of that clicked. I thought, Man, this is a movie.”
It didn’t hurt that Convery, a lifelong basketball fan and native of the Chicago suburbs who moved to L.A. for USC film school in 2010, had played a tangential role in the production of a 2015 episode of ESPN’s Emmy-winning documentary series 30 for 30 titled “Sole Man.” That episode also follows Vaccaro’s career arc as the executive who revolutionized new revenue streams around student athletics; he basically rewrote the rules of sports-apparel pitchmen, vaulting Nike to the top of the business heap with his relentless pursuit of Jordan. Although Convery was only a low-level assistant to one of the show’s producers at the time, he had up-close access to its source material and oversight of its editorial process. “I was tapped in on all the phone calls and saw lots of cuts of the episode with raw footage. Sonny is truly a one-of-a-kind character. But I wasn’t sitting there in 2015 thinking, Maybe there’s a story here to tell one day,” he recalls.
Over the intervening years while working a series of dues-paying jobs including Hollywood management-firm assistant and sales rep for a tutoring company, Convery kept churning out spec scripts to modest acclaim. (Spec scripts are screenplays written “on speculation” with no contractual agreement by a studio or financier to ever be put into production.) Several of them landed on the Black List, the ballyhooed annual survey of studio and production company executives ranking their favorite unproduced movie scripts. There was Bag Man (2018), which Convery describes as “Heat but set in the world of college football,” and Excelsior! (2020), a biographical drama plotted around “the meteoric rise (and subsequent fall)” of Marvel Comics’s creative titans Stan Lee and Jack Kirby. For a period of 48 hours, Sony considered developing Excelsior! into a motion picture before dropping the project, leaving Convery demoralized. “Heartbreaking,” he says. “I vowed never to write a spec again.”
That all changed in 2020 with an epiphany born of Last Dance binge-watching and pandemic sheltering in place. “I just thought, Someone must have tried this as a movie already. And I started poking around and no one had,” Convery says. He specced out a boardroom procedural originally titled Air Jordan based on his extensive Googling of Vaccaro and the background materials he’d reviewed during the “Sole Man” production. His goal: “At best, a strong sample that would get my work and my name back out there, maybe make the Black List again.” He figured, “Maybe it can get me a different job. But my reps believed in it and sent it around. And for whatever reason, there was a lot of interest. It was kind of competitive, and I was trying to decide between a couple of different production companies.”
Alex Convery (no longer in his 20s, nor underemployed).
Convery signed a deal with Mandalay Entertainment, the production company behind The Last Dance. Mandalay in turn entered into partnership with Skydance Sports — a company headed by none other than Jon Weinbach, one of the co-directors of 30 for 30’s “Sole Man,” who helped secure Vaccaro’s life rights for the project. Convery regained access to hours of archival footage and reams of interview transcripts and met with Vaccaro in Palm Springs to pore over the script, mapping out “what we got right, what we got wrong.”
Affleck and Damon announced their attachment to the then-untitled “sports marketing drama” last April, which became its own blessing and potential curse. Affleck met with Jordan, seeking further screenplay verisimilitude, resulting in a new centrality for the Deloris Jordan character (as well as the direct suggestion to cast Academy Award winner Davis in the role). But given the stars’ writing background — Damon and Affleck won the 1998 Oscar for Best Original Screenplay for Good Will Hunting — Convery fully anticipated being marginalized. “Ben was very open about it. ‘We want to do a pass on the screenplay. It’s always the best idea wins. There’s stuff we’re going to add,’” he says. “It’s obviously scary. I was an unproduced screenwriter. And there’s a million examples of when A-list talent comes in, F-list talent disappears and you never hear from them again.”
On set, Convery had a front-row seat to more on-the-fly alterations to his work courtesy of Air’s ensemble cast. “Chris Tucker’s stuff is almost all him. Jason Bateman is an Emmy-winning director for Ozark. He was doing a ton of invention,” says Convery. “There was just a kind of permission to do what you want and if it doesn’t work, it doesn’t work. To me, the best line in the movie is something Viola just improv’d on the day: ‘A shoe is just a shoe until my son steps into it.’”
Then, on the last day of principal photography, Affleck took the writer aside. “He said, ‘We’re not going to arbitrate, we’re going to give you sole credit.’ He said, ‘Look, it was a spec script. It was your story. When we were coming up as writers, so many people gave us the benefit of the doubt and gave us a chance. They paid it forward for us and we’re going to pay it back,’” recalls Convery.
Originally set to skip theaters and stream on Amazon Prime Video, Air’s sky-high test-screening scores persuaded the platform to initially give it an exclusive global theatrical push — the first time the Seattle-based streaming giant has bypassed digital primacy since 2019. Buoyed by the film’s buzz, Convery already has another sports-related project teed up at Skydance. But he remains clear-eyed about the confluence of X factors that put him in such a privileged position and the hard work it’ll take for him to find himself there again. “My biggest lesson over the last 13 years is there’s just no finish lines,” the writer says. “So the job is still the same as when I was a freshman in film school. You’re sitting at a computer writing. That part never changes.”
“After that, it’s really, which way is the wind blowing?” he continues. “And who is going to read the script? And is it the right time? As exciting as Air is, so much of it is luck. Look, I like the script and I’m proud. But if Matt and Ben hadn’t read it when they did, if they weren’t looking to start this new production company that’s trying to make movies like this, who knows? It’s just right script, right place, right people, right time. You only get to control one part of that, which is right script. So focus on that. And hope for the best.”
I have to say I'm weary of things like this. Not that $45 is a lot of money, but what I fear the most is my ideas and premises being stolen.
I'm not a baller, but I do play one on these BGOL streets.
Last week I wrote the first verse and chorus of the title track of the movie that will be based on my novel, End of A Nightmare.
I want an EGOT (Emmy, Grammy, Oscar, Tony). End of A Nightmare is a story that regardless of the color of the cast, the story can be felt by everyone. I can't say more about it, but when I get closer to it coming to fruition I will say more.
45,000 words into it and I haven't gotten to the first act climax.
I've got a Direction, but I haven't gotten it all down. I know of every major event I want to tackle, each of the four kills, but there's a lot that needs to be said in between that I haven't gotten there yet.
I've even added the helpful white boy, very similar to the magical negro. The story and premise are fucking solid.
I don't know if I'm willing to give that all up, to let someone in on what I know is a winning lottery ticket just so they can give me a seat at the table and go cash my winning lottery ticket
Of course, Night didn't invent the twist ending -- he just used the fuck out of it. I would say he hasn't been good sense Unbreakable.OK you BUGGING
there was MUCH MORE layering from from 1 to the end.
I could NOT disagree more.
M. night aint INVENT the twist (not implying YOU are saying that) and really after the FIRST big twist was he EVER able to do that again?
And Get Out was actually ABOUT something. and the ride was just as good as the destination.
It was NOT all about the twist.
There are WAY too many iconic moments in that film to dismiss it offhand like that
especially form a first time writer director.
a BLACK horror at that.
you lucky I gotta bounce cause normally I would go IN but try to watch the stuff I mentioned earlier.
And Us is under appreciated. But I think it was the overall story that got a little muddled and it was difficult to STICK that landing. But for ORIGINALITY it was incredible
As for Get Out, it's not bad by any means. It's certainly impressive for a debut. I just think it's a bit overrated. Obviously, it has greatly influenced pop culture (particularly the concept of the "sunken place") but it's just a run-of-the-mill horror to me.
It's not my intent to shit on it but I just don't see it as anything special beyond it being a horror film that takes race into account. Hell, the Candy Man remake I thought a better film than Get Out. It was clearly about Black men being accused of crimes they didn't commit and how depicted the body horror and descent into evil was entertaining.