Thu, 15 May 2008 That's a good time for things to happen in a screenplay. In real life, though, it's a good time to do a podcast. While we're waiting for, well, anything to happen, we do a quick career check-in and answer MORE listener mail. Comments[17] |
Thanks for another great podcast.
I have a question for you guys, you were hitting on dialogue and I was reading in "Save the Cat" that he believes you need to be able to qoute movie lines. I do not know about you, but memorizing thousands of lines from hundred of movies is not something I can do. Personally, I think great writers can write a great line without knowing a single line from the movies. What do you guys think?
One additional question, this podcast was just a month after the last one. Do I dare hope that there will be a podcast each month? I'm just kidding. You guys are dealing with many things that are more important then doing unpaid podcasts and I appreciate you both taking the time to do this.
Looking forward to the day when your podcasts will bonus commentary for a show you are running like Ron Moore's podcasts.
I have a question for you guys, you were hitting on dialogue and I was reading in "Save the Cat" that he believes you need to be able to qoute movie lines. I do not know about you, but memorizing thousands of lines from hundred of movies is not something I can do. Personally, I think great writers can write a great line without knowing a single line from the movies. What do you guys think?
One additional question, this podcast was just a month after the last one. Do I dare hope that there will be a podcast each month? I'm just kidding. You guys are dealing with many things that are more important then doing unpaid podcasts and I appreciate you both taking the time to do this.
Looking forward to the day when your podcasts will bonus commentary for a show you are running like Ron Moore's podcasts.
Love the podcasts... please keep them coming.
I do have a question relating to feature screenwriting in general, reading scripts in particular.
My question concerns formatting which might affect style. Please feel free to answer on your blog or by e-mail. The question is this:
Is the time of day always necessary in the slug line of a READING script? For example:
EXT. JUDEAN DESERT - DAY
... the scene plays out and the next scene takes place during the same time of day.
EXT. JUDEAN DESERT - CAVE
... scene plays out, then...
EXT. KHIRBET QUMRAN - SERVICE ROAD
... scene plays out, then,
INT. RECTORY - NOTRE DAME - KITCHEN - NIGHT
I would only do this in a reading script -- I realize a shooting script would require the time of day for planning/logistic purposes.
As always, thanks for your time.
I do have a question relating to feature screenwriting in general, reading scripts in particular.
My question concerns formatting which might affect style. Please feel free to answer on your blog or by e-mail. The question is this:
Is the time of day always necessary in the slug line of a READING script? For example:
EXT. JUDEAN DESERT - DAY
... the scene plays out and the next scene takes place during the same time of day.
EXT. JUDEAN DESERT - CAVE
... scene plays out, then...
EXT. KHIRBET QUMRAN - SERVICE ROAD
... scene plays out, then,
INT. RECTORY - NOTRE DAME - KITCHEN - NIGHT
I would only do this in a reading script -- I realize a shooting script would require the time of day for planning/logistic purposes.
As always, thanks for your time.
posted by: Mike on Sat, 5/17 02:36 PM EDT
Hi Sam & Jim,
Actually, I'd like to try to answer the question about 'time of day', and I have a question of my own.
In terms of a spec script, you don't need to keep specifying the time of day if nothing has changed. For example, let's say we have a scene where the action takes place at a poolside, and then another scene where the action takes place on a patio. Both are external, both are at 'the house/mansion/whatever', but a location has slightly changed. However, if I don't change the day/night declaration, the reader must assume these scenes happen pretty much at the same time, or certainly around the same time of day.
Here's an example:
EXT. POOLSIDE - DAY
Jim walks up to Sam, who is chatting with two beautiful models.
SAM
Hey, Jim. Glad you finally made it.
etc.
EXT. PATIO
Sam and Jim approach the PRODUCER, who waits impatiently for them.
PRODUCER
Time is money, guys.
Obviously, some time has passed between scenes, since characters from the first scene appear in the second scene, but, unless I say it's night, it's still day.
On to my question...
I am considering starting a spec script that is very loosely based on real life events. It's focused on one character and an amazing thing he accomplishes in his life. I won't bore you with the details, which don't really matter for the purposes of this discussion. My question is - am I properly shielded by the 'Inspired by a True Story' thing, or should I go get the option rights to this person's story, even though I don't feel I am using a whole lot of this person's real life. I should point out I don't even know how to go about acquiring rights for this sort of thing, how much it would cost, etc.
Actually, I'd like to try to answer the question about 'time of day', and I have a question of my own.
In terms of a spec script, you don't need to keep specifying the time of day if nothing has changed. For example, let's say we have a scene where the action takes place at a poolside, and then another scene where the action takes place on a patio. Both are external, both are at 'the house/mansion/whatever', but a location has slightly changed. However, if I don't change the day/night declaration, the reader must assume these scenes happen pretty much at the same time, or certainly around the same time of day.
Here's an example:
EXT. POOLSIDE - DAY
Jim walks up to Sam, who is chatting with two beautiful models.
SAM
Hey, Jim. Glad you finally made it.
etc.
EXT. PATIO
Sam and Jim approach the PRODUCER, who waits impatiently for them.
PRODUCER
Time is money, guys.
Obviously, some time has passed between scenes, since characters from the first scene appear in the second scene, but, unless I say it's night, it's still day.
On to my question...
I am considering starting a spec script that is very loosely based on real life events. It's focused on one character and an amazing thing he accomplishes in his life. I won't bore you with the details, which don't really matter for the purposes of this discussion. My question is - am I properly shielded by the 'Inspired by a True Story' thing, or should I go get the option rights to this person's story, even though I don't feel I am using a whole lot of this person's real life. I should point out I don't even know how to go about acquiring rights for this sort of thing, how much it would cost, etc.
Kev-
If your question is really “do you need to be literate in film to write a film?” then my answer is absolutely yes. You don’t need to be a film geek in every genre, and although I might be outing my own ignorant self, I can’t think of a damn reason to watch Truffaut’s “400 Blows” or anything by Goddard unless you just like the stuff, or your wife drags you (like mine did) or you want to write something that references the French New Wave.
But yeah, if you want to write a romantic comedy then you need to have seen a lot of them. If you can’t quote a single line from “Die Hard” then maybe an action movie isn’t what you should be writing. While quoting lines is an irrelevant talent, I suppose it could be argued that fans can’t help but remember lines that have affected them. And to write a feature well, it helps to be a fan of the genre. I know most of the lines from the original “Willy Wonka and the Chocolate Factory.” And whadya know, Jim and I are working on something for kids....
Mike –
Rory is correct, though I would add that most of the information delivered by the scene heading should also be in the ACTION line. I suspect most readers skim past the scene headings, so I like action lines to set the place and tone as quickly and elegantly as possible. You shouldn’t repeat the Scene heading, but it would wouldn’t hurt to characterize it, as in: “The pier was damp and dark. Jim felt alone and exposed as he searched the shoreline for company....”
Rory –
You absolutely need this person’s “life rights.” You probably can’t sell the script without them. If the story is already in the public domain, there may be a grey area (no one needs Bill Clinton’s permission to make a film about him), but that would require a lawyer to sort out.
I suspect a phone call or email directly to the person explaining that you don’t have any money and would they give you permission to write it... Maybe add a clause that if you sell it, they get some cash then. Everybody likes attention, seems like there’s something there to negotiate.
If your question is really “do you need to be literate in film to write a film?” then my answer is absolutely yes. You don’t need to be a film geek in every genre, and although I might be outing my own ignorant self, I can’t think of a damn reason to watch Truffaut’s “400 Blows” or anything by Goddard unless you just like the stuff, or your wife drags you (like mine did) or you want to write something that references the French New Wave.
But yeah, if you want to write a romantic comedy then you need to have seen a lot of them. If you can’t quote a single line from “Die Hard” then maybe an action movie isn’t what you should be writing. While quoting lines is an irrelevant talent, I suppose it could be argued that fans can’t help but remember lines that have affected them. And to write a feature well, it helps to be a fan of the genre. I know most of the lines from the original “Willy Wonka and the Chocolate Factory.” And whadya know, Jim and I are working on something for kids....
Mike –
Rory is correct, though I would add that most of the information delivered by the scene heading should also be in the ACTION line. I suspect most readers skim past the scene headings, so I like action lines to set the place and tone as quickly and elegantly as possible. You shouldn’t repeat the Scene heading, but it would wouldn’t hurt to characterize it, as in: “The pier was damp and dark. Jim felt alone and exposed as he searched the shoreline for company....”
Rory –
You absolutely need this person’s “life rights.” You probably can’t sell the script without them. If the story is already in the public domain, there may be a grey area (no one needs Bill Clinton’s permission to make a film about him), but that would require a lawyer to sort out.
I suspect a phone call or email directly to the person explaining that you don’t have any money and would they give you permission to write it... Maybe add a clause that if you sell it, they get some cash then. Everybody likes attention, seems like there’s something there to negotiate.
Yeah, second Sam on that Rory. But add double-emphasis to the lawyer thing. Sure, if you have some basic clearance with the person and (God forbid) a studio wants to buy in, they'll sic lawyers on everything. But as we've said about lawyers out here, the great thing is that you know they have YOUR interests in mind. Having that kind armor on makes you feel a whole helluva lot safer.
A follow up question based on Sam & Jim's responses...
What if my script is only loosely based on someone's life? Here's an example that's not what I'm doing, but fairly similar.
Let's say a blind guy tries to become a fireman, and it becomes a lukewarm story in the media for a few weeks. I like the idea for a movie, but I'd want to juice it up, and change a few things about the story to make it a viable screenplay. So, I write a script about a blind guy becoming a fireman, but I change his name and everything else about the story. Do I still have to obtain the guy's rights?
What if my script is only loosely based on someone's life? Here's an example that's not what I'm doing, but fairly similar.
Let's say a blind guy tries to become a fireman, and it becomes a lukewarm story in the media for a few weeks. I like the idea for a movie, but I'd want to juice it up, and change a few things about the story to make it a viable screenplay. So, I write a script about a blind guy becoming a fireman, but I change his name and everything else about the story. Do I still have to obtain the guy's rights?
Rory –
Yeah, Jim’s right (it happens!). You really need a lawyer for this, BUT, using your blind firefighter hypothetical, it seems to me that you’ve stripped out everything that’s specific to this person. If that’s true, then you may have a shot at not needing his rights. Again, ultimately this will have to be decided by a lawyer, and the risk in writing a spec script without the rights in hand is that the script may prove worthless in the end (after months of work).
Yeah, Jim’s right (it happens!). You really need a lawyer for this, BUT, using your blind firefighter hypothetical, it seems to me that you’ve stripped out everything that’s specific to this person. If that’s true, then you may have a shot at not needing his rights. Again, ultimately this will have to be decided by a lawyer, and the risk in writing a spec script without the rights in hand is that the script may prove worthless in the end (after months of work).
Rory -
A fair question. We call our agent. But we've only asked about rights to a book, and they just call the publisher. Seriously, just call the dude directly. It will solve so much - and he may have more info on the story itself that you can use... (And as far as I know, there is no such clearinghouse).
A fair question. We call our agent. But we've only asked about rights to a book, and they just call the publisher. Seriously, just call the dude directly. It will solve so much - and he may have more info on the story itself that you can use... (And as far as I know, there is no such clearinghouse).
Or if you really want to wing it, just write it in your own way. Just like you can't copyright a title, it's hard to stake sole claim on being a blind firefighter (I'd argue even if there WERE only one so far). It's just a pairing of attributes to make a character. It takes congruence at a series of point to make a serious case that you've stolen someone's story.
Bottom line, no one's gonna sue you over a spec script because very few people will ever know it exists. And, like I said, if a studio wants it, they'll vet your provenance for the story if you still think it's a concern (or more likely, at that point, your agent and lawyer -- which you'll rapidly acquire if you're about to sell a spec -- will put your mind at ease).
Bottom line, no one's gonna sue you over a spec script because very few people will ever know it exists. And, like I said, if a studio wants it, they'll vet your provenance for the story if you still think it's a concern (or more likely, at that point, your agent and lawyer -- which you'll rapidly acquire if you're about to sell a spec -- will put your mind at ease).
Hey guys, thanks for answering my question in regards to my love/hate of writing. I think there's that assumption out there that writers just LOVE to write and that's how they want to spend every waking moment. It's easy for me to start doubting myself because I'm not like them. I'm all about outlines and spew drafts so I'll continue chugging along.
I felt like I was on Price is Right or something when you mentioned my name in the podcast. "That's me they're talking about!". Now I'll have to record it and send it to my grandma.
I anxiously await your next podcast. Over and out.
I felt like I was on Price is Right or something when you mentioned my name in the podcast. "That's me they're talking about!". Now I'll have to record it and send it to my grandma.
I anxiously await your next podcast. Over and out.
Hey, guys!
New listener here. I just randomly came across your podcast on iTunes a couple of weeks ago and I'm right now listening to Show #37 (and, yes, I listened to ALL of them in order at work and in the car). I love your show! You have a great rapport with each other, you really know what you're talking about, you're very candid about everything, and Sam has a very sexy voice...oh, wait, did I write that out loud?
I'm a writer and a graphic designer. I heard your shout out for website design help. Obviously, I'm several months late and you seem to have it all basically under control (I have no idea what it looked like before), but if you need any help with graphics (Photoshop, illustration, web, Flash, etc.), let me know.
- Angel
New listener here. I just randomly came across your podcast on iTunes a couple of weeks ago and I'm right now listening to Show #37 (and, yes, I listened to ALL of them in order at work and in the car). I love your show! You have a great rapport with each other, you really know what you're talking about, you're very candid about everything, and Sam has a very sexy voice...oh, wait, did I write that out loud?
I'm a writer and a graphic designer. I heard your shout out for website design help. Obviously, I'm several months late and you seem to have it all basically under control (I have no idea what it looked like before), but if you need any help with graphics (Photoshop, illustration, web, Flash, etc.), let me know.
- Angel
Angel -
Thanks for the offer. Moving past the sexy voice thing (though you KNOW I'm showing it to my wife first chance I get), we're still working very hard on the internet project. We'll give a shout out when we're ready to ask folks to help us out if they're willing.
Cheers,
Thanks for the offer. Moving past the sexy voice thing (though you KNOW I'm showing it to my wife first chance I get), we're still working very hard on the internet project. We'll give a shout out when we're ready to ask folks to help us out if they're willing.
Cheers,
Hi Sam and Jim,
I just finished a marathon session of listening to your podcasts from the beginning. Thanks for the laughs, the insights and the honesty.
I have a question for you. I'm a soon-to-be 43 year-old woman. My first attempt at writing screenplays happened back about 16 years ago. For a variety of reasons I stopped but I'm now back in a writer's group.
What's your take on the subject of "ageism" in Hollywood? Is it a valid concern for someone like me and if so, is television worse than features? Does it help that I look like I'm in my 30s? ;)
Thanks in advance for any thoughts.
I just finished a marathon session of listening to your podcasts from the beginning. Thanks for the laughs, the insights and the honesty.
I have a question for you. I'm a soon-to-be 43 year-old woman. My first attempt at writing screenplays happened back about 16 years ago. For a variety of reasons I stopped but I'm now back in a writer's group.
What's your take on the subject of "ageism" in Hollywood? Is it a valid concern for someone like me and if so, is television worse than features? Does it help that I look like I'm in my 30s? ;)
Thanks in advance for any thoughts.
Thanks for the answer on the knowing lines from movies.
Another question I have is what do you think of people who write the dialogue with odd spelling to try to give the impression a character is speaks "street style" or the character has a super thick accent.
I heard on a podcast that if you do write phonetically versus correct spelling for those kinds of characters, it can really through a reader off and hurt your script. Others seem to think if a feature of that character is their style of speech is odd, that odd spelling and grammar is just fine.
I read a comedy script on TriggerStreet.com and it did get painful to read at times because the odd spelling to deliver that sense of the guy being a wanna-be street thug. At least I assume that is what the writer of the script was shooting for.
If you do not write phonetically, how else would you get across the character speaks street or something odd? It would look kind of silly to me to write "(saying this in street slang)I will be at 7-11 getting a slurpee" versus "Yo, I be at dah sevin oh levin get sum suripay flavish ice."
Just wanted to see what your take on that is on the topic.
Thanks again for the podcasts and sharing your time and knowledge.
Another question I have is what do you think of people who write the dialogue with odd spelling to try to give the impression a character is speaks "street style" or the character has a super thick accent.
I heard on a podcast that if you do write phonetically versus correct spelling for those kinds of characters, it can really through a reader off and hurt your script. Others seem to think if a feature of that character is their style of speech is odd, that odd spelling and grammar is just fine.
I read a comedy script on TriggerStreet.com and it did get painful to read at times because the odd spelling to deliver that sense of the guy being a wanna-be street thug. At least I assume that is what the writer of the script was shooting for.
If you do not write phonetically, how else would you get across the character speaks street or something odd? It would look kind of silly to me to write "(saying this in street slang)I will be at 7-11 getting a slurpee" versus "Yo, I be at dah sevin oh levin get sum suripay flavish ice."
Just wanted to see what your take on that is on the topic.
Thanks again for the podcasts and sharing your time and knowledge.
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