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I saw on YouTube that companies like "A24" are producing great movies. I'm hoping that I can get with a company like them, because my screenplay is going to be out of the ordinary.I disagree with this one bro.
People will NEVER tire of that. You could argue THAT is what sustains and has sustained the industry day to day.
Soap operas Sit coms procedurals sequels franchises game shows reality shows for better or worse provided thousands on all levels in the industry with VERY steady work for decades.
We gotta find a happy medium
because we are getting dangerous close to EVERYTHING being EXACTLY the cookie cutter sh*t factory you are talking about.
But like I always say if the AUDIENCE continues to SUPPORT it?
WTF are artists like YOU supposed to do?
I saw on YouTube that companies like "A24" are producing great movies. I'm hoping that I can get with a company like them, because my screenplay is going to be out of the ordinary.
It won't fit into a cookie cutter mold.
That goes without saying, Bruh...When your done reach out to the brothers on here.
Good luck
I think MORE black writers need to attack this lane
Its VERY profitable
and the audience is THERE
and they are actively trying to tap into it more.
There is ABSOLUTLEY no reason there is not a Black version of Goonies or Stand By Me or Skeleton Crew or Harry Potter etc as a franchise.
We could DEFINETLY team up to do THAT.
we need more good black kid friendly family friendly entertainment (especially hip hop influenced)
2025 BLACK FAMILY ENTERTAINMENT
bookmarked
I'm not so sure about this part anymore. The audience is there potentially. We don't support everything. Even Black audiences can be fickle.and the audience is THERE
You're not wrong about more Black family entertainment. There are many Black authors, comic book creators and screenwriters currently creating it. However, it's not uncommon to see projects from white authors leapfrog to theaters and streaming while similar Black projects get stuck in development hell.
Maybe this guy will break through
I'm not so sure about this part anymore. The audience is there potentially. We don't support everything. Even Black audiences can be fickle.
This new generation is different. They don't want stories about slavery (any kind of period piece), "struggle love" or any kind of trauma (conflict) in Black movies. A lot of millennials can't stand Love & Basketball. Quincy and Monica's relationship was too toxic. They're disgusted that she challenged him to a game of one-on-one for his heart.
They'll correctly point out colorism dark-skinned women face in the entertainment industry but pay them dust when their albums, movies and TV shows drop. Marsai Martin produced a coming-of-age show for Disney, The Saturdays. Exactly the kind of wholesome entertainment folks claim they want. Lasted one season. The Moon Girl and Devil Dinosaur cartoon won five Children and Family Emmy awards. Two seasons.
I mentioned The Fire Inside a few days ago. It has a 95% rotten tomatoes score, written by an Oscar-winning screenwriter, the true story about Claressa Sheilds, the first woman to win gold in Boxing at the Olympics. She also happened to be 17 at the time. Even the recent drama between Remy Ma, Papoose, and Claressa wasn't enough to get folks interested. Opened in tenth place.
Not saying all of this to shame or blame folks, just that it's not always about writing a great story or giving the audience what they (claim to) want. Sometimes it all comes down to the right story at the right time. In other words, luck.
You're not wrong about more Black family entertainment. There are many Black authors, comic book creators and screenwriters currently creating it. However, it's not uncommon to see projects from white authors leapfrog to theaters and streaming while similar Black projects get stuck in development hell.
Maybe this guy will break through
I'm not so sure about this part anymore. The audience is there potentially. We don't support everything. Even Black audiences can be fickle.
This new generation is different. They don't want stories about slavery (any kind of period piece), "struggle love" or any kind of trauma (conflict) in Black movies. A lot of millennials can't stand Love & Basketball. Quincy and Monica's relationship was too toxic. They're disgusted that she challenged him to a game of one-on-one for his heart.
They'll correctly point out colorism dark-skinned women face in the entertainment industry but pay them dust when their albums, movies and TV shows drop. Marsai Martin produced a coming-of-age show for Disney, The Saturdays. Exactly the kind of wholesome entertainment folks claim they want. Lasted one season. The Moon Girl and Devil Dinosaur cartoon won five Children and Family Emmy awards. Two seasons.
I mentioned The Fire Inside a few days ago. It has a 95% rotten tomatoes score, written by an Oscar-winning screenwriter, the true story about Claressa Sheilds, the first woman to win gold in Boxing at the Olympics. She also happened to be 17 at the time. Even the recent drama between Remy Ma, Papoose, and Claressa wasn't enough to get folks interested. Opened in tenth place.
Not saying all of this to shame or blame folks, just that it's not always about writing a great story or giving the audience what they (claim to) want. Sometimes it all comes down to the right story at the right time. In other words, luck.
Greetings BGOL FAM...
I finished the first draft of my screenplay this morning. It's a Supernatural Thriller. I sent it off to the Copyright Office about an hour ago.
I've written stories before, but this is my first formal attempt at creating a screenplay. I'm going wait a few days to get some information back from the Copyright Office, then I'll share it here, for critiquing.
The logline will likely change (I'm still kicking ideas around), but this is where it stands as of today:
"After accepting an apparently benign gift, a poised real
estate broker unknowingly triggers a series of mystical
events which lead to a lethal confrontation between himself
and a murderous nihilist."
Thanks, but I'm only repeating what's been said many times before. People don't know what they want until they want it.Raze not here for the bullsh*t in 2025.
Not one single solitary lie told
All facts with multiple receipts
Even made sure to throw my own lines back because I have been saying similar things before and conveniently forgot my own points.
Bro I like this a whole lot and it should be submitted as a think piece for the major trades or maybe just a social media post.
This is a good discussion
Thanks, but I'm only repeating what's been said many times before. People don't know what they want until they want it.
Found this looking up Blake Snyder's name
this looks interesting
http://writingforstagescreen.suite101.com/article.cfm/save_the_cat_screenwriting_book
Blake Snyder discusses what makes a great story using his 15 Point Beat Sheet.
Suite101: After 20 successful years of selling spec screenplays to Hollywood, what storytelling elements have you found that have helped you sell your stories?
Blake Snyder: I talk about a lot about primal, what draws me to most stories is what’s primal about it. You know, mothers and daughters, fathers and sons, brothers and sisters, things we recognize and have recognized forever.
Juno was a big hit because it satisfies every on of the log line & poster requirements that I talk about in my book. I mean teenage pregnancy is extremely primal. It follows the 15 Point Beat Sheet model exactly. I don’t know if the Diablo Cody, the screenwriter set out to do it, but regardless, she satisfied a storytelling template that works. So it’s a template we can learn. So between the two things, “What is it?” and executing that is a concern. That’s what writers should be concerned with.
Suite101: Can you please elaborate about your 15 Point Beat Sheet found in your book?
Blake Snyder: Save the Cat! has 15 points in every story. I came up with this because early on I was very bad at plotting and story. I’d go into meetings with producers with great ideas and then pitch out a few lousy little set pieces and they’d say, “And what else?” So I began searching for a story that I could count on, so if a Producer responded to an idea of mine, within a very short time, I could go into their office and tell them that great story. That’s what I found in these 15 points.
All stories are about transformation. At point 1 the hero is one way, and at point 15, the finale, he is completely the opposite. Well, what happened? And act 2 traditionally is what I call the transformation machine. They walk in one way and they don’t come out the same. They’ve been transformed in a way that we won’t even recognize them by the end.
Suite101: What kind of feedback have you received from your book?
Blake Snyder: I had someone tell me after they read my book “You’ve cracked Act 2. You’re the guy who’s demystified Act 2.” The Beat Sheet is a little pachinko machine that hits all the little nodes in order to transformation. This isn’t a formula, but a devise that frees you to be more creative. If you look at this Beat Sheet and use it, you’ll find that it’s the most freeing thing you’ll ever find. It doesn’t confine you at all.
Blake Snyder's 15 Point Beat Sheet with page locations in ( ) as found in Save the Cat!:
1. Opening Image (1) - The first impression of a movie - its tone, mood, and scope.
2. Theme Stated (5) - Thematic premise.
3. Set-Up (1-10) - Introduce the hero, the stakes, and the goal.
4. Catalyst (12) - A life changing event for the hero.
5. Debate (12-25) - The hero must decide how to proceed in life
6. Break Into Two (25) - Entering the new world of Act Two.
7. B Story (30) - Second plot that gives a breather to the main story.
8. Fun and Games (30-55) - Having fun in the new world.
9. Midpoint (55) - Stakes raised with a false victory or false collapse.
10. Bad Guys Close In (55-75) - Villains regroup against the hero.
11. All Is Lost (75) - Opposite of the Midpoint that signifies transition from hero's old ways.
12. Dark Night of the Soul (75-85) - Worse moment for the hero.
13. Break Into Three (85) - Main Story & B Story converge for hero to find a solution.
14. Finale (85-110) - Hero triumphs over villains to create a new society.
15. Final Image (110) - Opposite from Opening Image to show a change occurred.
Read Part 2 of Blake's interview: Tips from a Spec Screenwriter
In his 20-year career as a screenwriter and producer, Blake Snyder has sold dozens of scripts, including co-writing Blank Check, which became a hit for Disney, and Nuclear Family for Steven Spielberg — both million-dollar sales. He is the author of "Save the Cat! The Last Book on Screenwriting You'll Ever Need"
How did things work out for you in the writing world, I'm curious. Looking at this thread from 15 years ago I was wondering how you progressedYeah, Syd Fields works just fine for me. I just finished my first two months ago and starting on my 2nd now.
What I tried to do was write a movie that I would like to see on the Big Screen myself. I didn't dumb any characters down. There's no, "Hey, you jive time turkey!" lines.^^^^
I been saying this for a decade on here no one accepts it
People blame studios
Go check the box office numbers AFTER the Wayans left
They were ALL complete UTTER TRASH
and all massively profitable.
What that say?
Yeah 50 keeps producing drug operas and Tyler making chitlin circuit TV and movies
But the people LOVE it.
And I can't be MAD
and don't forget hate watching.
I don't even understand wtf is going with this audience they SAY they want one thing but support the opposite
We ARE hypocrites
Moon girl is EXACTLY what we claim we want companies like Marvel to produce.
Latinos should have supported Blue Beetle
We don't support
But Super cell worked I wonder if Netflix would be willing to reveal the racial breakdown of viewership in this lifetime?
I don't know the answer.
It's not bad writing or even cheap production. It's not bad marketing.
I gotta think on this more
^^^^
I been saying this for a decade on here no one accepts it
People blame studios
Go check the box office numbers AFTER the Wayans left
They were ALL complete UTTER TRASH
and all massively profitable.
What that say?
Yeah 50 keeps producing drug operas and Tyler making chitlin circuit TV and movies
But the people LOVE it.
And I can't be MAD
and don't forget hate watching.
I don't even understand wtf is going with this audience they SAY they want one thing but support the opposite
What I tried to do was write a movie that I would like to see on the Big Screen myself. I didn't dumb any characters down. There's no, "Hey, you jive time turkey!" lines.
When it's all said and done, "if we want to see better movies, then it's up to us to write better movies."
It has to start somewhere, it might as well start with me. That's my philosophy on the subject. I wrote this for me. I'm hoping that others can/will appreciate the work I put in when they read/see it... then follow suit.
Marvel completely rewrote Namor's origin for Wakanda Forever, changed Atlantis to Talocan, cast a brown-skinned Mexican man as the antagonist (not villain), ran everything through consultants so the film would be respectful to Mesoamerican culture, had the same Oscar-winning production designer creating Talocan, even included Spanish-only songs on the soundtrack. What was the result? It made an extra 7 million in Mexico compared to Black Panther but overall grossed less across Latin America.
I could make the same case for Andor.
Maybe Latinos will show up in droves for Pedro Pascal as Reed Richards but who knows?
I think it comes down to the fact that social media is not real life. A lot of the passionate voices we see online represent a tiny but vocal minority. The silent majority calls the shots.
I sold one screenplay qne I'm trying to sell sit com.How did things work out for you in the writing world, I'm curious. Looking at this thread from 15 years ago I was wondering how you progressed
There are bad movies being made all the time. Just like there are small "art house" type movies that are up for awards comes golden globes/oscar season. These types of moves will not get nominations for BET awards but I do think that with more of this content put out there, it will get shine at a few of these award shows^^^^
I been saying this for a decade on here no one accepts it
People blame studios
Go check the box office numbers AFTER the Wayans left
They were ALL complete UTTER TRASH
and all massively profitable.
What that say?
Yeah 50 keeps producing drug operas and Tyler making chitlin circuit TV and movies
But the people LOVE it.
And I can't be MAD
and don't forget hate watching.
I don't even understand wtf is going with this audience they SAY they want one thing but support the opposite
I think Black Panther is a bad example because it was still black panther. If it was mexican panther or something, maybe it would have done better. Also I think people underestimated Chadwick being gone and the fact that Shuri was taking over. As we saw during the election, Latinos aren't going to cheer for a black woman beating a "mexican" man.Marvel completely rewrote Namor's origin for Wakanda Forever, changed Atlantis to Talocan, cast a brown-skinned Mexican man as the antagonist (not villain), ran everything through consultants so the film would be respectful to Mesoamerican culture, had the same Oscar-winning production designer creating Talocan, even included Spanish-only songs on the soundtrack. What was the result? It made an extra 7 million in Mexico compared to Black Panther but overall grossed less across Latin America.
I could make the same case for Andor.
Maybe Latinos will show up in droves for Pedro Pascal as Reed Richards but who knows?
I think it comes down to the fact that social media is not real life. A lot of the passionate voices we see online represent a tiny but vocal minority. The silent majority calls the shots.
I think Black Panther is a bad example because it was still black panther. If it was mexican panther or something, maybe it would have done better. Also I think people underestimated Chadwick being gone and the fact that Shuri was taking over. As we saw during the election, Latinos aren't going to cheer for a black woman beating a "mexican" man.
I agree with this. Unfortunately watching YouTube vids on comics, vids get recommended of disney/marvel and the "woke" culture failingI'm not saying that Wakanda Forever should have made $100M in Mexico alone or that it was a flop because it didn't. My point was that even when you give audiences what they claim to want: no stereotypes and being respectful to the culture, it doesn't always pay off.
I mentioned Andor as well. It's the same situation. They built an entire show around a Chilean actor, explained away his Spanish accent, cast a Puerto Rican actress as his ex, aired some episodes across Hulu, ABC, Freeform, and FX. 96% rating on Rotten Tomatoes. Andor received 8 Emmy nominations: Outstanding Writing in a Drama, Outstanding Directing, Acting (Diego Luna), etc.
All that to be the second least-watched live-action show on Disney+ after Ms. Marvel.
In the first Aquaman movie, Jason Momoa's tattoos and his brown Dad were the extent of his Polynesian heritage. They had time for a drumming octopus in Atlantis, though. The movie made a billion dollars.
It is what it is.
I think that's a good way to go, because somethings will just seem to want to go together.I tell you what, it feels so good to be back riding again. I came up with a chilling and to the second novel, though I am nowhere near 50% done with it.
This ending here would scare the shit out of anyone. I paid homage to Pulp Fiction, "You lost your LA privileges" But I tell you if someone said to you what my character said to the antagonist you would definitely be terrified.
I think I'm going to approach my novel and other works differently from now on. Instead of trying to write it all from start to finish, I'm going to break it up into sections, right the sections and put them together like a puzzle later on. That way it doesn't seem so daunting
The naughty nurse Chronicles is going to be the shit