something for the writer to think about.
[FLASH]http://www.youtube.com/v/mj5IV23g-fE&hl=en&fs=1[/FLASH]
[FLASH]http://www.youtube.com/v/mj5IV23g-fE&hl=en&fs=1[/FLASH]
Any Screenwriters On The Board??
- Thread starter LeftyLuchini
- Start date
But meaningful.something for the writer to think about.
[FLASH]http://www.youtube.com/v/mj5IV23g-fE&hl=en&fs=1[/FLASH]
I truly appreciate this. I speak to "stars" on a regular basis who ask for free shit. The richest motherfuckers on earth.
Congrats man!
What was your process in getting that done? I'm here in Hollywood trying to get my grind on.
Congrats man!
What was your process in getting that done? I'm here in Hollywood trying to get my grind on.
PM me. But I can say it was mostly luck and having my shit done by a done by a friend in a prestigious film program.
One of the programs I find to be most useful is called writers cafe. Several of the screen play books speak about using index cards and this program takes the whole index card thing to a new level, far beyond where the Final Draft cards are. You can develop your story using these cards, have them laid out and sorted according to the story line, and move them anywhere you like. You can write descriptions, or write the actual scenes onto the cards, which, when you are done writing you can easily dump into final draft. In terms of help with the creative process, I have not found a better program. I use this program for virtual any large writing assignment because of the way it helps you to organize thoughts.
http://rapidshare.com/files/163584576/Final_Draft_7.zip
This is final draft 7 and Writers cafe everything you need to run it is there. Take the tour in Writers cafe, and see what I was talking about.
the reup
http://rapidshare.com/files/197495002/Writers_Cafe_V2.21.rar
damn i'm not interested in becoming a screenwriter, but this is some info i can't pass up I try to soak up as much random knowledge as possible 
I try to soak up as much random knowledge as possible 
Exactly, man. There is talent on BGOL. Hidden behind the shield of anonymity there are movers, shakers, investors, execs, famous folks you know and rich folks you don't.
This is why I love this place.
I am a writer, more of poetry than screenwriting. I have always enjoyed writing ever since I was a young kid. Much of my writing is done "through the eyes of others". I love telling the story of others that do not have a voice. Numerous times I have let people read my poems and they tell me that I told their story without even knowing it. I know there is money in such work but I don't know how to get started.
ONe of the problems is that the immaturity and overall stupidity that coexists with us on this board makes more meaningful discussion/development difficult if not impossible. Is there a forum for Black screenwriters anywhere?
I can't post a project I've written when it has my gov't name in the credits. Under normal circumstances, its not something i'd think twice about, but with the level of maturity here its just not a possibility.
couple of screenwriting websites that helps...
scriptsecrets.net
scriptologist.com
storylink.com/articles
storymind.com/articles
geocities.com/cdeemer/format.htm#slug
ebonsun.com/screenplay.htm (I've been study this one everyday)
and of course...
blackscreenplays.com/
scriptsecrets.net
scriptologist.com
storylink.com/articles
storymind.com/articles
geocities.com/cdeemer/format.htm#slug
ebonsun.com/screenplay.htm (I've been study this one everyday)
and of course...
blackscreenplays.com/
Check out weekly interviews with folks in the movie industry like Bill Duke and Antwone Fisher. Good stuff.
http://www.blogtalkradio.com/insideurbanhollywood
http://www.blogtalkradio.com/insideurbanhollywood
They're accepting submissions (May 1 – July 1, 2009):
2010 Disney/ABC Television Writing Fellowship
Created in 1990 in partnership with the Writers Guild of America West (WGAW), the Disney|ABC Television Writing Fellowship is based in Los Angeles and is widely recognized as one of the entertainment industry’s most coveted writing programs.
About the Television Writing Fellowship
Fellows become employees of Disney | ABC Television Group and will be paid a weekly salary of $961.54 ($50,000.00 annualized) plus any applicable benefits for which they are eligible in accordance with the then-current Company benefits plans. The program is designed to expose aspiring writers to key executives, producers and literary representatives – all essential in the pursuit of a writing career. Additionally, while in the program, fellows have the opportunity to work one-on-one with a current programming or development executive to create spec scripts of series from the current broadcast season. The ultimate goal is to prepare and nurture the fellows for a writing career.
Requirements
Television Fellowship applicants will need to submit a completed application, the required notarized legal documentation and a spec script of a broadcast or cable network series that is in production for broadcast during the current television season. Among the extensive criteria for spec scripts are: accuracy in character voice; story structure; effectiveness in capturing the series’ tone; and innovation. No materials will be returned after the judging process.
No previous professional writing experience is necessary, but strong spec script writing samples are required. Individuals selected as finalists might be asked to provide an additional writing sample. Applicants must be able to legally work in the United States. All incomplete applications received will be returned.
http://www.disneyabctalentdevelopment.com/programs/programs_writings_fellowship.html
2010 Disney/ABC Television Writing Fellowship
Created in 1990 in partnership with the Writers Guild of America West (WGAW), the Disney|ABC Television Writing Fellowship is based in Los Angeles and is widely recognized as one of the entertainment industry’s most coveted writing programs.
About the Television Writing Fellowship
Fellows become employees of Disney | ABC Television Group and will be paid a weekly salary of $961.54 ($50,000.00 annualized) plus any applicable benefits for which they are eligible in accordance with the then-current Company benefits plans. The program is designed to expose aspiring writers to key executives, producers and literary representatives – all essential in the pursuit of a writing career. Additionally, while in the program, fellows have the opportunity to work one-on-one with a current programming or development executive to create spec scripts of series from the current broadcast season. The ultimate goal is to prepare and nurture the fellows for a writing career.
Requirements
Television Fellowship applicants will need to submit a completed application, the required notarized legal documentation and a spec script of a broadcast or cable network series that is in production for broadcast during the current television season. Among the extensive criteria for spec scripts are: accuracy in character voice; story structure; effectiveness in capturing the series’ tone; and innovation. No materials will be returned after the judging process.
No previous professional writing experience is necessary, but strong spec script writing samples are required. Individuals selected as finalists might be asked to provide an additional writing sample. Applicants must be able to legally work in the United States. All incomplete applications received will be returned.
http://www.disneyabctalentdevelopment.com/programs/programs_writings_fellowship.html
i dont mean naggas makin up movie plots while smoking blunts with the homies,
but cats pursuing screenwriting as a career/aspiration.
im looking for a book called Save The Cat.
ive heard alot about the book,
and wanted to see id anyone has the ebook of it they can post.
thanks in advance....
The movie that's being refered to watch in the book Save The Cat...
Blank Check (1994)
cool little movie with..Tone-Loc
starring:
Brian Bonsall
Karen Duffy
James Rebhorn
Jayne Atkinson
Michael Faustino
http://rapidshare.de/files/47464424/Blank_Check__..Disney.part1.rar.html
http://rapidshare.de/files/47466879/Blank_Check__..Disney.part2.rar.html
http://rapidshare.de/files/47468008/Blank_Check__..Disney.part3.rar.html
i don't know how i missed this thread.....but it's write on time since i'm preparing to write my first screenplay. props on all the insight. this thread is now bookmarked and will be checked daily.
[FLASH]http://www.youtube.com/v/SJpRcI_82gk&hl=en&fs=1[/FLASH]
I've been working on some books but I've been dabbling in screenwriting as well. I hear it's much easier than publishing. I've got crazy stories.
Anyone hair familiar with how to get into a signatory or know how to get into a Writers Guild?
Anyone hair familiar with how to get into a signatory or know how to get into a Writers Guild?
watching reruns of entourage and just saw the ep with the writers selling the script to ed norton. he offered them $1 million against $2 million for the script, the first they EVER wrote. does shit like that ever really happen for new writers? might motivate me to finally get started.
That's the way I understand it. I hear its much easier to sell a script than it is to write a book and get published.
Even if they buy your script and never turn it into an actual picture you still get paid. That's why I want to get into a writers guild I hear this is common it's almost gauranteed youre script will be purchased.
Bump
The game done changed, fam. The days of first-time writers getting million dollar spec deals are virtually gone since the 90's. Hollywood is in full CYA mode. They mostly want established properties from pro writers. That's why you see so many remakes, sequels and adaptations. It's gotten so bad, they're developing movies based on kid's games like "Candyland" and "Where's Waldo"
Things are worse these days because of the economy. Less people willing to invest. It's even tougher for black films.Tyrese has a comic book called "Mayhem" coming out. He probably has a script already, but first needs to prove that it's a viable product. You're almost expected to have some kind of graphic novel, video game, film rights, webisodes, etc. showing some level of success for them to even consider your screenplay. Tyler Perry had an established fan base from his plays before taking on Hollywood.
It doesn't take a lot of imagination to write a 100 million budget superhero movie. Try doing it for one million or $250,000. Most black films have budgets that barely crack 10-15 million. Some considerably less. Don't price yourself out the market. Understand the business. Latinos are heavy moviegoers. More than Blacks, Whites and Asians. Hollywood is desperately trying to cater to the Latino audience. Prominent roles for Latino actors makes your script more attractive. It's not just about a good story anymore. Gotta hustle. Good luck!
Wrong. Right now the market is flooded with producers who are buying up rights to novels to adapt them to movies.
Yes you MAY get paid even if the movie doesn't get paid, but the odds are still big. Also, the $1 million dollar deals are mostly reserved for the more established screenwriters- shane black, akiva goldsman, etc. For the new writers, expect $5,000 against $45,000.
You have to amass a certain amount of credits in order to join the Guild. If you want more information, go to wga.org or if you're east of the Mississippi river, wgaeast.org. You also have to pay yearly dues (about $2,500).
The game done changed, fam. The days of first-time writers getting million dollar spec deals are virtually gone since the 90's. Hollywood is in full CYA mode. They mostly want established properties from pro writers. That's why you see so many remakes, sequels and adaptations. It's gotten so bad, they're developing movies based on kid's games like "Candyland" and "Where's Waldo"
Tyrese has a comic book called "Mayhem" coming out. He probably has a script already, but first needs to prove that it's a viable product. You're almost expected to have some kind of graphic novel, video game, film rights, webisodes, etc. showing some level of success for them to even consider your screenplay. Tyler Perry had an established fan base from his plays before taking on Hollywood.
It doesn't take a lot of imagination to write a 100 million budget superhero movie. Try doing it for one million or $250,000. Most black films have budgets that barely crack 10-15 million. Some considerably less. Don't price yourself out the market. Understand the business. Latinos are heavy moviegoers. More than Blacks, Whites and Asians. Hollywood is desperately trying to cater to the Latino audience. Prominent roles for Latino actors makes your script more attractive. It's not just about a good story anymore. Gotta hustle. Good luck!
You right but I disagree to a certain extent. Yes, I think hollywood wants a ready made pre packaged franchise to turn into a movie that is sure to sell. But, somebody still gotta write a script for the movie even if it's a new adaptation. If they got money to invest in these crappy ass movies they've been putting out lately even still in this bad economy there are big possibilities upon the horizon for plenty other movies.
Yeah Black films can get some pretty decent budgets. I was listening to someone recently talk about it. They said you can spend a bunch of money on a black movie but it's only expected to barely break even. Tyler Perry's working the chitlin circuit approach seems like a good idea for black writers and film makers looking to go big. I've considered that.
I'll have to look into Latino movie goers because I really haven't noticed hollywood catering to them. Been seeing a lot of movies focusing on female heroiens and female warriors though.
Are you latino? You got anymore info on this? I've wrote something for Asian characters another group who is highly underrepresented in film but nothing significant for latino characters.
Also let me state that I don't care about going hollywood. I will be happy if I could just do movies on the indie circuit.
I don't expect a million dollar script right out the bat after joining a guild. But it is a lot easier to sell a script than it is to be a published author. Producers are buying novels great, but you sitll have to get a novel published in the first place then it has to be good enough for someone to pick it up and turn it into a movie. Doing that is long and lengthy process. It can be good money in literary writing but there are more opportunities for success in screenwriting.
Thanks for the links. I've spoken with someone who is a part of a guild and he is the reason why I've considered screen writing over publishing a book I had began to write. He recommend I get into a signatory and gaining credits that way. If you have any info on signatories please drop some.
Also, the guild doesn't control who gets what jobs but it tells you about various writing gigs available. Look up Justin Marks on IMDB. He did the New Street Fighter film, I think that's his only credit but makes a out a good living writing scripts that never get produced.
By signatory I assume you mean production company. Get the playwright and screenwriters market book and query the wga-signatory companies with your ideas.
Yeah I'm going to check that out. Any other info? Have you done any scripts yourself?
Chances are slim to none that a rookie writer will get a crack at those big projects. Could happen, but I wouldn't bet on it.
And with the web, there are even more options. Ever heard of Lonelygirl15?
A lot of them are based on existing video games (Resident Evil, Tomb Raider, Street Fighter: Chun Li), anime (Blood: The Last Vampire) and comic books (Wanted). Even established characters like Catwoman, Electra and Aeon Flux had a hard time at the box office. They're afraid to make a "Wonder Woman" movie because they don't think it will make money. Women aren't big into comic books and men mostly want to see men kick ass on screen. The "Underworld" franchise is one of the few successful female driven action movies based on an original idea (the first one only cost 22 million to make
). Kill Bill is another one. If you're gonna that route, write something doesn't require a huge budget.I'm Black, but I try to follow what's going on in the business. Peep this:
fast-furious-taps-into-hispanic-audiences.html
In places like Los Angeles and New York, they can make up over 50% of the opening weekend audience. Can't ignore numbers like that. Even though Will Smith is currently the biggest box office draw and hip-hop is a global phenomenon, Hollywood is still like
when it comes to black projects. A little diversity in your script can go a long way.That's always an option.
A lot of them are based on existing video games (Resident Evil, Tomb Raider, Street Fighter: Chun Li), anime (Blood: The Last Vampire) and comic books (Wanted). Even established characters like Catwoman, Electra and Aeon Flux had a hard time at the box office. They're afraid to make a "Wonder Woman" movie because they don't think it will make money. Women aren't big into comic books and men mostly want to see men kick ass on screen. The "Underworld" franchise is one of the few successful female driven action movies based on an original idea (the first one only cost 22 million to make
I'm Black, but I try to follow what's going on in the business. Peep this:
fast-furious-taps-into-hispanic-audiences.html
In places like Los Angeles and New York, they can make up over 50% of the opening weekend audience. Can't ignore numbers like that. Even though Will Smith is currently the biggest box office draw and hip-hop is a global phenomenon, Hollywood is still like
I've heard of the lonelygirl15 did you have anything to do with that? I never watched it though. I wanna try with some small maybe 5-10 minute movies first see what I can pack into a small scene or series.
Most of those female heroine movies were trash save Kill Bill. The stories were trash and predictable and the action was lame. They were just too PG and hollywood is pushing all these PG movies to get as many people to the movie as possible. I don't think men mind seeing women kick ass (I know I dont) as long as the fighting is done right.
I'll look into that. Latino audience is an overlooked audience but that was fast & furious it already had a big franchise following and with the return of Vin Diesle and Paul Walker it was sure fire. Calderon played very little part in the movie. I can't think of any movies off top with Latino led cast or protagonist that do well in the box office. Haven't notice many latino project like that. Do white people watch many latino movies in theatres?
But that's a demograph to tap into.
Lord Vicious
Rising Star
The Elements of Screenwriting: A Guide for Film and Television Writers
MacMillan Publishing Company | December 1996 | ISBN : 002861450X | 142 pages | PDF | 1 MB
In the tradition of Strunk and White's The Elements of Style, this essential reference offers welcome help for the thousands of screenwriters who have discovered that putting together a successful screenplay is much harder than it seems.
http://www.megaupload.com/?d=64OUU2M3
Linda M. James, "How to Write Great Screenplays: And Get Them into Production"
How To Books Ltd | 2009 | ISBN: 1845283074 | 190 pages | PDF | 1,3 MB
Have you got a great idea for a screenplay, but don't know how to write it visually? Then this book is for you. It will give you the vital information you need to know before you write your script; the vital techniques you need to learn when you're writing your script. But, more importantly, it will show you how to market your script after it's written. These three vitally important stages will make your script STAND OUT from the crowd. Your will learn about:- - Preparing outlines and synopses and treatments. - The Three Act Structure - Writing powerful opening scenes, and compelling scenes to follow - Techniques to make your script stand out - Writing effective dialogue - Writing a logline to use as a powerful marketing tool to interest an agent or producer. - Professional script formatting - Organisations that help screenwriters - How to copyright your work - How to market your script - The Twenty important things to check before you send out your script
http://www.megaupload.com/?d=74U2BA0B
Tom Pope, "Good Scripts, Bad Scripts: Learning the Craft of Screenwriting Through 25 of the Best and Worst Films in History"
Three Rivers Press | ISBN: 0609801198 | April 7, 1998 | 256 pages | PDF | 3.3MB
In this unique volume, respected screenwriter Thomas Pope offers an innovative and practical approach to teaching the craft of screenplay writing, in the process providing an engaging, behind-the-scenes look at the way the film industry really works. Each chapter deals with a different component of the art of screenwriting, from character development, to the nurturing of subplots, to the fundamentals of good dialogue, illustrating everything through the virtues or mistakes of a particular film. The book encompasses the best and worst of films throughout the years, including Citizen Kane, Pulp Fiction, Chinatown, Singing in the Rain, Bonfire of the Vanities, and many others. With its trenchant analysis and keen insight into the reasons films succeed or fail, Good Scripts, Bad Scripts is not only an invaluable guide for potential screenwriters, but a rich resource for any student interested in film and film history.
http://www.uploading.com/files/U1H4AZ6Y/pope__thomas_-_good_scripts__bad_scripts...pdf.html
Rocco Simonelli, Roy Frumkes, "Shoot Me: Independent Filmmaking from Creative Concept to Rousing Release"
Allworth Press | ISBN 1581152477 | November 1, 2002 | 240 Pages | PDF | 7.8MB
When the script says "shoot me" and Hollywood says no, your only alternative is to raise the money and do it yourself. Here’s how screenwriters Roy Frumkes and Rocco Simonelli used digital video to do just that.
Witty, original, and ruthlessly on the mark, this unvarnished look at independent filmmaking chronicles both the creative intricacies of collaboration and the tricks of staying in budget and out of court. The authors compare notes as they describe the entire filmmaking process, with coverage including:
* Targeting the audience for the script—and tailoring the script for the audience
* Raising money—your friends, your family, and the millionaire next door
* Casting—names, no-names, and personality nightmares
* Locations—finding them, securing them, and sometimes even stealing them
* Producing—creating a budget, scheduling the shoot, and dealing with unions
* Directing—working with actors and protecting your vision
* Editing—or dropping that scene you thought was a gem
* Celebrating, publicizing, and distributing the finished product
http://depositfiles.com/en/files/1312635
Hope someone can use these.
Peace.