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Finalists, October/November, 2014

Wed, 10 Dec 2014 14:37:49 -0700

#TLLjournal || #october #november || #finalists || #loglines ———- Genre:...

#screenwriting #satire Ideas Are Bad by Conor O'Hagan ...

Mon, 15 Sep 2014 13:48:47 -0600

#screenwriting #satire

Ideas Are Bad

by Conor O'Hagan

First of all, you really shouldn’t be reading this article. It contains some little pieces of insight, some tips that have worked well for this screenwriter. Maybe a little kernel of truth that you can take with you and mention to a similarly striving friend. A humorous quip that you can share on twitter, in the hopes that it might propel you into Rob Delaney-esque grandeur. But really, you should just go back to work.

No? Still with me? Alright.

You’ll notice the upcoming irony, and it’s a tough thing to navigate. How does one strike a balance between arguing against ‘Writing Tips’ articles in a 'Writing Tips’ article? Well, may this one be your last. Somehow, Steven Pressfield didn’t seem to have any issue with this irony when advising you against the myriad of forms of 'resistance’ in his famous The War of Art. In it, he convinces you against any sort of distraction from completing your major work of art, a distraction like his very book. To my credit, this article is significantly shorter.

Worse than well-thought and well-written books dedicated to a subject, we can be sure that we are right when we feel guilty about reading those SEO-heavy “listicles” that we are endlessly bombarded with. 99.99% of the time, reading that article on “Ten Character Arcs You Can Identify With”, or “Seventeen Plot Twists You Just Did Not See Coming” is not going to help you or your writing. It is pure procrastination, or if you like, resistance. It’s succumbing to the fear.

In that same vein, I stoutly maintain; ideas are bad. It’s not just a catchy title.

Admittedly, if you find yourself in that elevator pitch scenario, ideas are invaluable. Almost as invaluable of that next, better idea, when the exec shoots down your first through fourth.

But for you, screenwriter, and for your masterwork that somehow isn’t as perfect on the page as it is in your head, ideas do nothing for you.

I think of working on my first feature -

INT. COLLEGE BUILDING – DAY

CONOR – handsome, intelligent, writer-type – strolls through campus. He waves at his fellow students who greet him –

CONOR: Jason, my man! (beat) Hey, Killer, see you tonight? Alright!

Conor stops. An idea has come to him. He removes a large hardbook notebook from his bag. He sits and leafs through it – various notes on characters, plot, theme… He jots down his new idea.

No, you’re right, it wasn’t very good. But what of it?

I lived that screenplay. All year, all the time, I had that notebook. I was constantly reworking characters mentally, I was questioning motives, I was playing devil’s advocate, finding faults.

Compare that to now.

I see a man with a limp;“Oh, that could be a character.”

I spot an article on the structure of The Bride of Chuckie; “Oh, I’ll have a read of that.”

I remember that it’s been all day since I was on twitter; “Oh, I wonder what @Glinner is up to.”

I hear a charming anecdote; “Oh, I could really use that.”

It’s true that many of the best ideas come from little seeds, but these seeds do not help you when you have your project. The project. Which, at this stage, we should. We must. Take that one gem, the one that deep down you know really has something true in it, and embrace it fully.

Leave the 'New Ideas’ notebook at home. Stop convincing yourself to try a new genre, move into stand-up, or do anything instead. Turn off your goddamn wireless – no, you will not need it for “research”.

These ideas are the goblins in your head that stop you from doing what you want to do.

Get back to loving the work, loving the words, the scenes, the characters. Do what you’re supposed to do.

Write, writer, write.

———–

Conor O'Hagan is an Irish writer who, when not aspiring to win the Oscar for Best Original Screenplay, likes to get lost in a good book, film or whiskey. Find him at www.ConorOHagan.com.

———–

Finalists, June/July, 2014

Mon, 11 Aug 2014 16:38:09 -0600

#TLLjournal || #june #july || #finalists || #loglines ————— The prize-winning, top six loglines are...

Woody Allen Esquire Magazine Interview Source:...

Wed, 30 Jul 2014 19:26:22 -0600

Woody Allen Esquire Magazine Interview

Source: @Esquiremag

#screenwriting #director #film #story

A rare interview with Stanley...

Sun, 27 Jul 2014 11:54:13 -0600

A rare interview with Stanley Kubrick

Source:@brainpicker

#screenwritig #film #directing

Wes Anderson on The Grand Budapest Hotel, Bill Murray’s...

Thu, 24 Jul 2014 18:14:08 -0600

Wes Anderson on The Grand Budapest Hotel, Bill Murray’s facial hair + messing with history.

Source: @tripelj

#film #directing #screenwriting #story

Terry Gilliam: A Life in Pictures Source: @BAFTA #screenwriting...

Tue, 22 Jul 2014 21:31:34 -0600

Terry Gilliam: A Life in Pictures

Source: @BAFTA

#screenwriting #directing #film #story

How To Write An Awesome Movie, According To Some Of Hollywood’s...

Mon, 21 Jul 2014 17:41:21 -0600

How To Write An Awesome Movie, According To Some Of Hollywood’s Best Writers

Source: @jordanzakarin @buzzfeed

#screenwriting #film #story

“All aspiring writers have experienced the conception of a story, that little atom of an idea that explodes into a vision of a journey in a big bang “aha!” that rattles the brain. But the difference between the daydreamers and actual filmmakers starts right after that revelatory moment, when the disparate strands of an idea either begin to take shape — and, at some point, migrate over to Final Draft — or just fade away.

BuzzFeed spoke with some of the industry’s top writers and directors to learn how they develop a tiny germ of an idea into award-winning screenplay. They discussed everything from how they get started, to how to sit down and write, and how to balance dialogue and structure.

Here’s the roster of advisers: Richard Linklater (Before Sunrise trilogy, Dazed and Confused); Paul Feig (Freaks and Geeks, Bridesmaids, The Heat); Diablo Cody (Juno, Young Adult); Richard Curtis (Love Actually, About Time, Four Weddings and a Funeral); Nicole Holofcener (Enough Said, Please Give); Michael Weber and Scott Neustadter (500 Days of Summer, The Spectacular Now); David Wain (Wet Hot American Summer, Role Models); Rian Johnson (Looper, Brick); Jeff Nichols (Mud, Take Shelter); Lake Bell (In A World); David Gordon Green (Prince Avalanche, Pineapple Express); Greta Gerwig (Frances Ha); Mark and Jay Duplass (Jeff Who Lives At Home, Cyrus); Nat Faxon and Jim Rash (The Descendants, The Way, Way Back); and Brian Koppelman (Rounders, Oceans Thirteen).

How Ideas Are Born…and Then Stashed Away in Drawers

Richard Linklater: There are a million ideas in a world of stories. Humans are storytelling animals. Everything’s a story, everyone’s got stories, we’re perceiving stories, we’re interested in stories. So to me, the big nut to crack is to how to tell a story, what’s the right way to tell a particular story. So I’m much more interested in narrative construction.

I have a lot of subjects I’m spinning around on that I like and I take notes and read books and have files of things that interest me, but it’s like, What is the movie? How do you crack it? So I like that search.

I think you have to be forever intrigued with the subject matter, the character, or something you’re digging into, you’re rummaging around, something that fascinates you. That process can’t really ever end. If that ends, the movie is over.

Jeff Nichols: I started thinking about Mud in college. [Nichols is now 34.] I’m a very slow writer, and the typing, which most people consider writing, that’s a very last step for me. I heavily outline things. Even before I write anything down, I think about things for a really long time. It’s like a tape ball that you just add detail to, and that’s what happened in this case.

If you’re a friend of mine in Austin, I’ll grab you and take you to lunch and I’ll just vomit this story at you. It’s a really good way to start working the story out. You start talking to people about it, and in the moment, you start to figure out things that connect and make things work, because you have to, because you have to keep telling your story.

Paul Feig: I’m big into notes. I always try to keep a small pad of paper in my pocket and write down any idea that seems interesting. I also type notes into my phone and computer. I basically have ideas written down everywhere. I’ve spent my life reminding myself that, even though I always tell myself I’ll never forget an idea when I think of it, I always forget it, sometimes a minute or two after I’ve thought of it. So, I always force myself to write any idea down. The downside is I have little notebooks scattered around the house and in storage boxes that I never think to look through. Not that any of the ideas in them are gold; most of them are pretty lame. But occasionally, I’ll find a few that link up and create the basis for something worth thinking about.

Diablo Cody: I envy writers who have their shit together! You should see my computer desktop. It’s like 9 million Final Draft documents, pictures of my kids, and photos of haircuts…”

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Balls of Steel: Pursuing a Writing Career When You Feel...

Mon, 19 May 2014 10:22:55 -0600

Balls of Steel: Pursuing a Writing Career When You Feel Lost

Source: @scriptmag @jeannevb

#screenwriting #film #story

“The other day I lost my way. The Balls of Steel writer got lost.

Having balls of steel is my brand. How the hell can I, of all people, have a hiccup of faith in my writing career? And how could I possibly admit that to my readers?

I slammed down a shot of Wild Turkey and walked out of my house. I walked and walked. Two hours. Just walking. Crying. A lot. I’m confident my neighbors thought I was having a breakdown. Guess what? I was.

A breakdown of faith. I don’t just mean blind faith in this business and the people controlling it, I mean faith in myself not to lose my mind while trying to get champions for my projects.

I pride myself in never quitting. I never even think about quitting. I know I can write. I know I can deliver. I know I can work tirelessly to achieve my dreams, but what do you do when your faith in your ability isn’t enough? Let’s face it, succeeding in this industry isn’t entirely in your control. It takes a village to make a film. What do you do when you’re facing a stone wall and, instead of reaching their hand back to help you, people are piling more stones on top of that wall?

Did I really have what it takes to scale the wall without trusting the people around me not to let me fall… or worse, push me off into the depths below?

I finally crawled my way back up my 1100-foot driveway for one reason. My kids. They’ve been watching me for the past 10 years trying to break in. I needed to set an example for them of fortitude and courage. But did I have the strength?

After commenting on how freakishly blue my eyes get when I cry, my daughter spit my own words back at me, “Giving up is not an option. You will get this made, Mom.”

My son asked if I felt like I was being held hostage.

Ding. Hostage. That’s exactly what I felt like.

From the mouths of babes, who are no longer babes but teenagers. Even though I was struggling with being a writer, my children were not. Their faith in me is a constant. Unwavering. My rocks.

I am a writer. Writers write. I can’t quit being a writer anymore than I could quit being a mother. Writing is as much a part of me as my children are.

During my breakdown walk, I thought about what being a writer means. It’s much more than writing every day. It’s a mindset. A decision.

Or is it a decision? Are you born being an artist or is it something you learn along the way? Is it something you choose or is it something……”

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Mon, 28 Apr 2014 18:42:00 -0600

2014 Screenwriting & TV Writing Competitions DEADLINE: Thursday, May 1st Less than a week left...

Sat, 26 Apr 2014 13:09:00 -0600

2014 Screenwriting & TV Writing Competitions DEADLINE: Thursday, May 1st Less than a week left...

Finalists, February/March, 2014

Sat, 12 Apr 2014 19:34:00 -0600

#TLLjournal || #february #march || #finalists || #loglines ————— The prize-winning, top six loglines...

Ten Top Tips For Writing A Micro Budget Script Source:...

Thu, 27 Mar 2014 14:02:02 -0600

Ten Top Tips For Writing A Micro Budget Script

Source: @ozzywood

“Writing low budget and Micro budget scripts is a waste of time!”
Over eleven years of screenwriting I have lost count of the number of times I have heard, and indeed said, that phrase. It’s the mantra of many an arrogant writer, myself included, thinking I am god’s gift to screenwriting because I have read countless books, have attended numerous courses to develop my craft, and have had two of my 6 full feature screenplays optioned by producers. But I was wrong.

Of course we all want our scripts to be picked up by the greats of Hollywood and want to have our vision turned into $250m movies where our work is launched into the stratosphere, lauded by our peers and appreciated by millions of acne ridden popcorn junkies – and that’s just the critics! Meanwhile back in the real world… we actually want to get one of our movies made and to do so we need to understand the concept of risk within a business that is one of the toughest and most competitive in the world.

The film business thrives on Darwinian economics – where money talks and the landscape is littered with burnout victims dying in the graveyard of ambition. The business, however, is not rocket science – the more expensive a movie is to make, the more bums on seats are required to make it viable. Of course the reverse is also true – if it is easier it is to recoup costs, the risks are lowered. The lower the risk, the more chances that a producer or an investor will step up to the plate. The lower the investment, the less the producer or investor has to lose and the more chances you will have to get your movie made.

So how do we specifically write a micro budget script that’s worthwhile?

Here are my Ten Top Tips for writing micro budget scripts:

1) High Concept. Micro budget filmmaking absolutely depends on great story – a concept that has a great hook that will draw people in. But keep it simple. For example, our micro budget movie 54 Days is about 5 people trapped in a nuclear shelter surrounded by nuclear and biological contamination without enough food and water to go round. Either one dies or all five die. It’s simple – but primal.

2) Think like a producer. Before you start writing the first FADE IN, try to carry out a financial audit in your mind of your concept. Focus on the big print – how can you squeeze out every cost in your story without compromising the heart. If you have already written your script, give it a “financial edit”. Take the time to read the big print by itself with a cold, hard eye on cash; on how much things cost and how can you reduce those costs. If it means re-writing scenes – so be it. So often you will be surprised to discover new aspects of your story, and new dimensions to your character. Remember there is never a problem – only an opportunity for improvement!

3) Locations – eradicate them. Each time you have a new location, you have to move an entire crew. That takes time. Reducing the locations to an absolute minimum reduces the time taken……”

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Tarantino Continues War With Gawker Source:...

Thu, 27 Mar 2014 12:01:16 -0600

Tarantino Continues War With Gawker

Source: @CourthouseNews

#screenwriting #film #story

“Quentin Tarantino is fighting Gawker Media’s attempt to dismiss his lawsuit against what he calls a "predatory” news service.
     Tarantino filed an opposition to Gawker’s motion to dismiss his January complaint against the entertainment gossip news site.
     Tarantino claimed in his federal lawsuit that Gawker encouraged its millions of readers to track down and leak “The Hateful Eight” screenplay after it had found its way into the hands of a few Hollywood insiders.
     Tarantino says there was no journalistic reason for the website to link to the script.
     Tarantino told Deadline.com in January that someone had leaked “The Hateful Eight” screenplay after he shared it with a small group of actors, including nonparties Michael Madsen, Bruce Dern and Tim Roth. Revealing that he planned to nix the project and seek a publisher for the screenplay, Tarantino said he suspected that either Madsen’s or Dern’s agents were behind the leak.
     "One of the others let their agent read it, and that agent has now passed it on to everyone in Hollywood. I don’t know how these fucking agents work, but I’m not making this next,“ Tarantino told Deadline at the time. "I’m going to publish it, and that’s it for now. I give it out to six people, and if I can’t trust them to that degree, then I have no desire to make it. I’ll publish it. I’m done. I’ll move on to the next thing. I’ve got 10 more where that came from.”
     Days later, in an article headlined, “Here Is the Leaked Quentin Tarantino Hateful Eight Script,” Gawker posted a link to an anonymous download of a pdf copy of the screenplay at a site called AnonFiles.com.
     On Jan. 27, Tarantino sued Gawker and its affiliates for contributory copyright infringement and the unidentified leaker, or leakers, for copyright infringement. The filmmaker wants at least $1 million in damages.
     Reacting to the lawsuit, Gawker said it had not leaked the script, had only reported that the script was online, and linked to it after receiving a tip from a reader. The site claimed that it was Tarantino who had made the story newsworthy by talking to Deadline about the initial leak in the first place.
     The site denied Tarantino’s claim that it had access to the script before AnonFiles made it available for download.
     "No one at Gawker transmitted it - or anything else, at all - to AnonFiles. No one at Gawker encouraged anyone to do so. No one at Gawker has any earthly idea how AnonFiles obtained a copy,“ Gawker said.
     Tarantino claims, however, that Gawker "contrived the very ‘news story’ that it now seeks to hide behind” and “solicited” readers to provide it with a copy of his copyrighted…….“

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Kubrick || One-Point Perspective Source: @kogonada #film

Thu, 27 Mar 2014 10:31:01 -0600

Kubrick || One-Point Perspective

Source: @kogonada

#film

INNER DRIVES: What’s My Character Motivation? Driving the...

Mon, 24 Mar 2014 18:43:33 -0600

INNER DRIVES: What’s My Character Motivation? Driving the Character Arcs

Source: @scriptmag and Pamela Jaye Smith

#screenwriting #film #story

“The INNER DRIVES offer an excellent paradigm for moving your character through various states of mind, emotions, and actions.

There are basically three approaches to character arcs: up, down, or static. Each approach has its own particular Opposition and Assistance.

Your heroine’s Inner Drive and Goal will be one of these:

1. Static Aspiration – to hold or perfect the current Center
2. Upward Aspiration – to attain a higher Center
3. Fall & Redemption – to regain a Center from which she was tempted or displaced

Both the Assistance and the Opposition can come from their current Inner Drive Center, a higher one, or a lower one.

STATIC ASPIRATION

These stories will often be about sports, skills, or relationships. Your character’s goals and desires will be variations on the same Inner Drive. They could be in competition with someone else on the same Center or, seeking to master some aspect of the Center which has eluded them.
Most martial arts films are about holding one’s own against all comers, which is not to say they aren’t fun and exciting.

Romantic comedies are about achieving goals and satisfaction on the romantic Centers, Sacral and/or Aspirational Solar Plexus.

UPWARD ASPIRATION

Many stories are about someone desperately wanting something they do not have, be it a person, a position, or possessions. It makes for good storytelling to watch them yearn and strive against the challenges and obstacles.

Evita Peron was a streetwalker (Sacral) who marries a dictator (Lower Solar Plexus) but then works to help the ordinary people (Aspirational Solar Plexus).

Indiana Jones is also forced up from self-centered Lower Solar to self-sacrificing Aspirational Solar by outside circumstances as Raiders of the Lost Ark propels him to battle the Nazis for possession of the Ark.

FALL AND (sometimes) REDEMPTION

Your heroine is either tempted down or forced down into a lower Center by her own weaknesses (addictions, foibles, etc.), by other people (temptation, abduction, war, etc.), or by events (floods, hurricanes, depressions, comets, etc.).

WEAKNESS – The character falls, explores the new Center, but then rises even higher than where they were before, even though they had not had that in mind in the…..”

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Classic Beats from Five Disney Animated Films Source:...

Mon, 17 Mar 2014 10:57:10 -0600

Classic Beats from Five Disney Animated Films

Source: @savethecat

#screenwriting #film #story

“Our thanks to Master Cat! Cory Milles for this perceptive blog:

From the early days of hand-drawn cells to its recent offerings of CGI, Disney animated films have always connected with audiences in a powerful way, and with good reason: they never fail to hit the beats. Here is a sampling of some great examples (all artwork ©Disney):

Wreck-It Ralph (2012) — As video game bad guy Ralph sits in a support group, Bad-Anon, he proclaims that he wants to break more than buildings; he wants to smash the stereotype of the role he seems to be stuck in. One of the characters declares that Ralph can’t change the program, implying that we can’t change who we are predestined to be. This is the Theme Stated, and it is what Ralph will debate and discover on his journey.

After bonding with his companion Vanellope and overcoming his badness, he learns that all is not as it seems, and to protect Vanellope, he must act in a way that will destroy their friendship. As he demolishes the car they built together, All Is Lost for Ralph as Vanellope yells at him, telling him that he really is a bad guy deep down. The death of their friendship and the death of Ralph’s character growth is at hand. Later, to save Vanellope, he must sacrifice himself. As he plummets to the ground below, he Digs Down Deep and recites the Bad Guy Affirmation: “I’m bad, and that’s good. I will never be good, and that’s not bad. There’s no one I’d rather be than me.” Ralph has realized that it doesn’t matter who others think he is; he knows deep down.

UP (2009) — The Set-Up is masterfully done in only a few minutes of scenes set to emotional music, introducing the audience to Carl Fredricksen and his wife Ellie. During those brief minutes, we watch as their relationship develops from a childhood friendship to a devoted marriage, sharing in their joys and hardships. As his wife passes, Carl’s motivation is completely clear, helping us understand his actions, making us sympathize with him. We know what he wants, but we also know what he needs. And all in under six minutes.

Carl finally realizes what he needs during his All Is Lost moment. After ridding himself of Russell, the boy who accompanied him on his journey, Carl sits alone in isolation, flipping through the scrapbook his wife left for him. He has what he wants, but only recognizes what he needs as he reads one final note scrawled by Ellie. In his Dark Night of the Soul, Carl understands that he needs to live on, ridding himself of the past that has weighed…..”

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Jeanne’s Tuesday Screenwriting Tips: Outlining a Script Source:...

Sat, 22 Feb 2014 15:23:07 -0700

Jeanne’s Tuesday Screenwriting Tips: Outlining a Script

Source: @scriptmag @jeannevb

#screenwriting #film #story

“To outline or not to outline a script? That is the eternal question for writers. At least it is for some, but not for me. (Well, maybe the real eternal question is how do I get paid to write, but we’ll leave that for another day.) Because I am the kind of chick who needs a plan, outlines are always the foundations of my projects, especially when working with a writing partner.

You can find plot development tips in many places, but implementing them is another story. The first step is to breathe. You are not alone. Many writers struggle with starting projects, myself included. So let’s explore some options in hopes you’ll find one that works best for you.

First off, there’s no one way to outline. Some writers jot notes on bar napkins or use index cards while others prefer a more techy approach of using software, like Truby’s Blockbuster 6.0 or Save the Cat! It all depends on what gets you excited. As you already know, you will not sit in that seat and write unless you’re having fun doing it.

I’ve tried many ways of outlining, finally formulating a spreadsheet by merging several techniques together in what I call my Structure Grid of Character and Plot Development (I’ve shared this with our readers as one of our many free screenwriting downloads). But spreadsheets aren’t always “fun” for writers.

One of my screenwriting friends uses the first chapter of Pilar Alessandra’s The Coffee Break Screenwriter: Writing Your Script Ten Minutes at a Time to help her outline her scripts. For all of us who have day jobs, writing in 10-minute chucks sounds amazing! I’m definitely going to try…..”

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Finalists, December/January, 2014

Tue, 11 Feb 2014 18:49:00 -0700

#TLLjournal || #december #january || #finalists || #loglines ————— The prize-winning, top six...

Six Second Screenwriting Advice and Why All Screenwriting Books...

Thu, 02 Jan 2014 16:35:31 -0700

Six Second Screenwriting Advice and Why All Screenwriting Books are a Con

Source: @indiewire @briankoppelman

#screenwriting #film #story

“A few months back, I started making Vines. I called them Six Second Screenwriting Lessons. The name meant to be ironic, of course, a statement on the absurdity of anyone teaching anyone else to write a screenplay, a way of calling out the screenwriting gurus who make money by sharing the ‘secrets’ of the trade with anyone willing to pony up a few (or a ton) of bucks. The way I felt then is the way I feel now: all anyone in a creative field can do for anyone else is to be an example, to encourage, to be honest about the challenges and rewards of attempting the same path.

I’m glad that some of you have gotten something of value out of these messages. To those who have gotten in touch with me to say that they are writing again after a long hiatus or finally finishing that screenplay, I want you to know that I’m thrilled for you. And I hope 2014 brings you even more accomplishment…

Now that 2013 has come to a close, I want to revisit two of the most controversial Vines.

On the first Six Second Screenwriting Lesson, I said, "All screenwriting books are bullshit. All. Watch movies. Read screenplays. Let them be your guide. And then on the fourth one, I said, "The so-called screenwriting guru is really the so-called screenwriting con man. Don’t listen to them, if you don’t know their movies.”

Since then, I have been asked many times, “Do you really mean all screenwriting books? Aren’t there any of any value?” And, “Are you including Robert McKee in those statements?”

There’s a safe way to answer those questions, and it’s an answer I’ve given, “I haven’t read every book. There are parts of McKee’s book that are interesting. Some screenwriters I respect, including Billy Ray and Akiva Goldsman have told me that they’ve gotten a lot out of McKee’s course…”

But if I am being honest, my real answer is that I fully believe what I said in the Vines.

Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars.

But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is……“

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