The Writing Week (Vol. 2) part 98 - Took the Offer

After about a week and a half of time to think it over and digest the notes, my manager, producer, and I have decided to take an offer we were given. A producer at a rather prominent Production Company (known simply as "Production Company" for the time being) read my post-Apocalyptic spec and really liked it. She thought it was exciting, moving, and (sometimes odd for its genre) smart - i.e. it was about something more than just a body count. However, she did have notes on it, and was not prepared to offer any money for it in its current state.

On Tuesday of last week, I had a conference call with her and Gretchen, the original producer. The call went really well, and I got two major notes from the Production Company. These were big notes, both focused on rebuilding Act Two. As the representative for this Production Company put it, Act One is really strong and sets up a lot, but Act Two derails. (I'll admit that it's not a perfect second act, but we were hoping that it was strong enough to not ward off potential buyers. Guess it wasn't.) The representative had two ideas for the script, one that would make it more active throughout Act Two, and the other that would lighten the tone a little bit. In its current state, the script is very dark. Part of the rewrites would involve taking the audience to a time before so much hope was lost, to a point where people were still trying to go about their daily lives and carry on as best they can. The goal is to not only make the film less depressing, but also to involve the audience more by allowing them to play along with the "what would I do in this scenario?" game while watching.

This offer I got came at a particularly interesting time. The morning of the call, I read two articles in the most recent draft of Creative Screenwriting Magazine, which seemed extremely relevant to my situation. The first was a short piece about an NYC based writer who recently sold his first spec and continues to work from NYC. It's more about how to go about getting recognized while being on the East Coast - query letters, competitions, etc. While it was interesting, it wasn't really anything new. (Read the archival Writing Weeks, and you'll see that I cover the exact same things as I live them.)

The second article was much more intriguing. It was all about the state of the spec sale market and the greater Hollywood industry in general. In short, what it said was that it's next to impossible for new writers to break in nowadays. Established writers are having trouble getting work, and when they do, they're frequently having to work for below their normal going rate. With studios freezing development, things aren't looking good. Agents and managers are having trouble, because no one is buying. And production companies are getting away with spending a lot less on material - or, in cases like mine, spending nothing up front in transactions that used to cost them money. Basically, this article (I read between the lines) said that if a writer has a large and respected producer or production company backing their work and has the ability to get to a studio, they should take the deal, as there aren't many other options these days. (Granted, there are always exceptions to the rule, so no need for added concern if you're trying to make a sale. Just be aware of the situation.)

With that info, and with this Production Company behind me if I nail the rewrites, I decided that there was no way I could pass up the opportunity. Sure, some of the rewrites will be a challenge, but even if the Production Company decides not to pursue the material, I'll have a stronger script (hopefully) and more contacts in the industry that could lead to further work. Plus, with no one else biting at the moment, I didn't have a ton of other options. So... back to writing.

Top 10 Films of the Aughts (Part I)

The period between 1990 and 1999 was great for movies. Pulp Fiction, Shawshank, Hoop Dreams – that's 1994 alone. There are times when I think the quality of films (especially domestic films) has degenerated as I’ve grown more familiar with writing and filmmaking. But then I thought about it, and, man, some really great movies came out this decade.

So here are #'s 10 - 6... (#'s 5 - 1 coming soon...)

10. Eternal Sunshine of the Spotless Mind

Charlie Kaufman won a much-deserved Oscar for the most original concept in recent memory. Break-ups hurt because of loss – the loss of a comfort zone, the loss of someone else, the loss of someone else’s feelings. To prevent this feeling of loss, what if a medical procedure could erase that person from your memory?

The premise is ingenious, but the film stands out for depicting a universal relationship between Joel and Clementine (Jim Carrey and Kate Winslet), told from beginning to end. The break up scene is most relatable, as Joel and Clemantine each say hurtful things that can't be unsaid. Whereas most movies capture romance with sparkling jewelry and huge set pieces, the most romantic scenes involve throwing leaves at each other, falling on the ice, or lying on the couch. And of course, the film does a commendable job in showing that pleasure from the good times ultimately outweigh the eventual pain.

Joel wants to procedure to stop, but is powerless as his body is knocked out. In Joel’s final memory, he and Clementine sit on the beach, completely aware that the incident is going to be erased: “This is it, Joel. It’s going to be gone soon.” “I know.” “What do we do?” “Enjoy it.”

9. Inglourious Basterds

Quentin Tarantino might be gimmicky. He might be completely full of himself. He might be a narcissist, a sexist, a thief.

He can be all of those things, but he can still be an expert craftsman.

A farmer stands on his front yard filling buckets of water. In a car in the distance, two guards approach with a Nazi colonel (Christoph Waltz). The farmer looks to his house, to his three teenage daughters. He pours some water over his face.

In the house, the colonel takes off his hat and smiles. “Do you know who I am?” The farmer nods. The colonel motions for his guards – equipped with machine guns – to step outside, but they remain visible through the window. The colonel acknowledges the daughters and their beauty. He asks if they would mind stepping outside. They look to their father, who nods, nervously. They step outside.

In the hands of a lesser writer/director, the subsequent scene between the colonel and farmer would be rushed and expositional; with Tarantino, the talky scene plays secondary to the tension of the guards in the window and the mere fact that we don’t know anything.

To arouse the curiosity of an audience without making it question the logic - that is tough. And, man, he makes it look easy...

8. Brokeback Mountain

It took a while for this film to set in. I think that’s a testament to Heath Ledger, the screenwriters, and Ang Lee, who collectively take a subtle story/protagonist and make it fly.

The premise by nature leads to a reactive story, one that studies a cowboy Ennis (Ledger) who lacks the ability to love. Whether it’s his wife, daughters, or Jack (Jake Gyllenhaal), the one person with whom he connects, he never allows more than five consecutive words to escape his tight-lipped demeanor. When someone notices a hint of transparency, he responds aggressively, like when he attacks Jack and ends up with a bloodied lip. He pushes himself into seclusion.

Jack is killed, and though the cause of death is ambiguous, the film sets up that he was possibly murdered for being homosexual. Through Jack’s ex-wife (Anne Hathaway), Ennis learns that Jack wanted him to scatter his ashes. When going to Jack’s parents for the ashes, he finds intertwined with one of Jack’s shirts is his blood-stained shirt from their fight years earlier. He holds them up to his face.

It’s subtle and fantastic.

7. Match Point

Though elements are borrowed from his Crimes and Misdemeanors and Hannah and Her Sisters, this is the most unique of Woody Allen’s canon. For starters, there is no Woody Allen, meaning neither himself as an actor nor a neurotic character in the cast. Secondly, this was the first of his films to take place outside of New York.

For a writer, the film is an education on economy and precision. Allen equips the hero of the story, an Irishman from a poor family Chris Wilton (Jonathon Rhys Meyers), with two gifts: skill with a tennis racket and good looks. Though he never climbed the ranks in professional tennis, his skill enables him to become an instructor at a country club. There, he befriends club member Tom Hewitt (Matthew Goode) and is able to use his other gift to catch the eye of his sister Chloe (Emily Mortimer). He charms his way into her heart and into the good graces of her wealthy parents, virtually guaranteeing him a fruitful life. But there is one problem: Tom is engaged to an American, Nola Rice (Scarlett Johannson), a failed actress pulling the same stunt as Chris.

Though the outsiders are experts in their roles, their obvious similarities and sexual attraction complicates their didactic plots. An affair is unfeasible, but proves unavoidable. And that’s the first act of a film that manages to explore themes of luck, hard work, and love without seeming implausible and still deliver a twist ending that hits just the right note.

6. Love Actually

How can you think of this film without smiling? Whether it’s the cheery score, that “Christmas is all around me!”, or that even a Hugh Grant or Colin Firth can act like a complete spazz when face-to-face with that flashy-eyed girl, this is one of those movies that will always put you in a good mood.

But how is it that Love Actually avoids being cheesy? It’s because the brilliant writer/director Richard Curtis explores the flip side of the coin. A workaholic (Laura Linney) finally has the chance to romance her crush, but a call from her hospitalized brother prevents it from happening. Daniel (Liam Neeson) is in constant grief after losing his wife to cancer. And, of course, the most heartfelt scene in which Karen (Emma Thompson) realizes her marriage is over after opening a Christmas gift.

The lows also accentuate some wonderful “movie moments”. There’s the porn star “rehearsing” with his female costar while having trouble asking her on a date. There’s Jamie (Colin Firth) and his Portuguese servant in the water saying the same things in different languages. There’s the controversial Billy Mack (Bill Nighy) on television: “Kids: don’t buy drugs. [a sigh of relief from the hosts] Become a pop star and they give ‘em to you for free!” And, my personal favorite, Mark spilling his heart out to Juliet (Keira Knightley) via poster cards though he has nothing to gain.

How did this film not get a screenplay nod?

* * *

(Hm. Noticing a theme, my revised #1 of the decade is now Terminator Salvation.)

Logline Central - Source Code

Logline Central is an irregular segment that takes a deeper look at loglines of scripts or projects that have just been purchased, as listed on DoneDealPro.

Ok, this week's Logline Central was picked in part for its familiarity.

Title: Source Code

Logline: A soldier wakes up in the body of an unknown commuter and is forced to live and relive a harrowing train bombing until he can determine who is responsible for it.

Writer: Billy Ray

More: Rewrite of spec script by Ben Ripley. Mark Gordon and Vendome's Philippe Rousselet & Jordan Wynn will produce. Duncan Jones will direct. Jake Gyllenhaal will star. Firs set up in January 2007.

Back in 2007, I was being what can best be described as "passively courted" by a manager at a respectable LA based company. He'd read my comic book style spec, and was interested in what else I had or could do. Mildly interested, since none of the few phone calls we set up ever happened. It was a lesson in frustration at the time, but in hindsight, a pretty good (though disappointing) introduction to the industry and trying to get a foot in the door as a young writer.

Anyway, he was looking for tent-pole action writers at the time (people who could churn out Will Smith's big summer blockbusters as quickly as he could star in them), and was cultivating me to be one of those writers. So, he sent me a few scripts as samples of what was getting recognition around the industry in that genre.

I read the first writer's draft back in the summer of 2007, and I have to admit that I loved it. I had no idea how that script could ever become a major summer blockbuster. It was too intimate (very few character... maybe 4) and too convoluted for mainstream audiences. The entire script took place either in the military's tech room where this soldier is hooked into the computer or on the ill-fated train. It was much more akin to the wonderful PRIMER and SLEEP DEALER (both worth watching for examples of small-scale sci-fi) than to MINORITY REPORT or other big-budget, sci-fi mind-benders. Of the three scripts that manager sent me, this was hands down my favorite.

The plot revolved around a soldier who realizes that he's forced to relive a terrorist train bombing time and time again until he can figure out who was responsible. Of course, there's a woman on the train who piques his interest, as well as a man he becomes convinced is the bomber. I forget the specifics, but there might have been an element of the soldier having been on the train, with his brain kept alive just long enough to get the info from it, before the military lets him succumb to injuries he received in the explosion. Whatever the exact plot and setup, I really dug the script. I'll be keeping an eye on this one. I wonder if this is going through development again to extend its mass appeal.

(Quick ending note: newly appointed writer Billy Ray has the credits under his belt to make me think this could be doable. I caught his FLIGHTPLAN on TV the other night and got his SUSPECT ZERO through Netflix a while back. Both were OK. I really enjoyed SHATTERED GLASS, though, which he has a "written by" credit on. And, he's doing the new WESTWORLD, so we'll see.)

The Writing Week (Vol. 2) part 97 - Prepping for the Phone Meeting

Tomorrow's going to be an interesting day - and the next biggest step for me as I try to break into the film industry as a screenwriter. Mid-last week, Gretchen - the independent producer who optioned my script back in June - informed me that one of the top producers in Hollywood was interested in my script. His Production Company (to be referred to as that until we make a deal) has some big ideas for what they want to do with the script, but there's some development work they want done first. So, we set up a call with the Production Company, more specifically with the producer there who read the script and wants to work on it.

The point of tomorrow's call is two-fold. First, though Gretchen already told me a bit what to expect in terms of notes from the Production Company, tomorrow is about the specifics. We haven't made any concrete deals yet, and tomorrow's call is an opportunity for all parties to get on the same page about what exactly this company thinks the script needs. It's also an opportunity for me to ask any and all questions I have about their notes and to emphasize any points I think are crucial to consider when re-working the material.

The second part of tomorrow's dialogue is just as important. The call is also about introductions, and more specifically, me introducing myself to a major player in the industry as an up and coming writer. Yes, hopefully everyone will want to work together on this project. But, if all goes well, I'll have planted the seed in this producer's mind that I'm a writer that she can work with down the line, as well. That means, of course, being open to notes, listening to everything she says, and not being afraid to chime in with my impressions. I'll have to be on my toes - asking insightful questions, processing what she's saying at a mile a minute, taking notes - but that shouldn't be a problem. It's been going on almost two years that I've been working on this script now, and I know that this could be a major break both for me and for it.

I'm excited about tomorrow's call, for sure. The impersonality of the phone means I can focus exclusively on what's being said, rather than obsessing about every gesture and mannerism. It'll be a big day, one I'm eagerly waiting for (can't you tell?).

Museum of the Moving Image - Variety screenings announced in NYC

The Museum of the Moving Image has a new batch of Variety screenings, featuring key crew or cast members in attendance. Here's the current lineup:

Variety New York Screening Series
Through December 31, 2009

For all Variety screenings, tickets are $20, $15 for Museum members. Members at the Sponsor-level and above receive free tickets. Call 718.784.4520 for more information or to order tickets.

Under Our Skin Under Our Skin with director Andy Abrahams Wilson in person
Wednesday, November 4, 7:30 p.m.
Landmark Sunshine Cinema, 143 East Houston Street

2009, 104 mins. Open Eye Pictures. Directed by Andy Abrahams Wilson. A gripping tale of microbes, medicine and money, Under Our Skin exposes the hidden story of Lyme disease, one of the most controversial and fastest growing epidemics of our time. Each year thousands go undiagnosed or misdiagnosed, told that their symptoms are "all in their head." Following the stories of patients and physicians fighting for their lives and livelihoods, the film brings into focus a haunting picture of the healthcare system and a medical establishment all too willing to put profits ahead of patients.

The Hurt Locker The Hurt Locker with director Kathryn Bigelow and writer Mark Boal in person
Wednesday, November 11, 7:30 p.m.
Landmark Sunshine Cinema, 143 East Houston Street

2009, 131 mins. Summit Entertainment. Directed by Kathryn Bigelow. With Jeremy Renner, Anthony Mackie, Brian Geraghty. From visionary filmmaker Kathryn Bigelow, The Hurt Locker is based on first-hand observation by journalist and screenwriter Mark Boal who was stationed on assignment with a special bomb unit. Starring Jeremy Renner (The Assassination of Jesse James), Anthony Mackie (Half Nelson) and Brian Geraghty (Jarhead), the film couples grippingly realistic action with intimate human drama to portray soldier psychology in a high-risk profession where men volunteer to face deadly odds.

The Road The Road with Viggo Mortensen in person
SOLD OUT
Wednesday, November 18, 7:30 p.m.
Landmark Sunshine Cinema, 143 East Houston Street

2009. The Weinstein Company. Directed by John Hillcoat. With Viggo Mortensen, Charlize Theron, Robert Duvall. Based on Cormac McCarthy's beloved, best-selling and Pulitzer Prize winning novel, Academy Award nominee Viggo Mortensen leads an all-star cast in the big screen adaptation of The Road. This epic post-apocalyptic tale traces the journey taken by a father (Mortensen) and his young son (newcomer Kodi Smit-McPhee) across a barren landscape that was blasted by an unnamed cataclysm that destroyed civilization and most life on earth. This event is sold out.

Check out their website for details.

The Writing Week (Vol. 2) part 96 – An Offer on the Table

Last Wednesday was one hell of an interesting day. It involved a bit of daily life in NYC – an unfortunate man was having a seizure on the sidewalk outside my office building right as I had to go to an appointment – and ended with some news on my script. At about 9:30pm, my producer called me with an update. One of the bigger Hollywood producers was interested in my script.

It’s annoying that I have to be vague about the specifics, but my manager, producer, and I have not yet made any agreements, so I can’t mention names. Anyway, this Producer and his Production Company are apparently very interested in my post-Apocalyptic spec. However, they think that the second half needs some work. Unfortunately, this isn’t the first time we’ve gotten this note, so they might be onto something. Their proposition is an exclusive developmental deal, whereby they come on as co-producers with Gretchen (who initially optioned the material) and work with me on developing the second act further. Once that work is done, they take it out through their first look deal with one of the major studios, and try to make a quality action picture.

The obvious pros to doing this are many. For one, the Producer is a bit of a power player, Oscar Nominated hyphenate who has also written and directed. Not only would working with him help ensure a larger sale (though that’s never a certainty) with an impressive name attached, but doing so my first time out of the gate would be impressive for me as a new writer. My current producer was very excited about the prospects that such a partnership could provide for a rookie scribe, and I can’t deny it, either. He’s done some quality pictures – every one of them a recognizable success – and I’d love to get the opportunity to work with him. Beyond that, the woman who works for his Production Company who would head up the project is pretty confident in her ability to do something with it – provided I do a good job with the rewrites – and to make a quality film we could all be proud of. It all sounds good.

The downside of the deal? Right now, there’s no money involved in the offer. Of course, this isn’t an immediate deal-breaker. However, since the agreement would be exclusive in nature, we wouldn’t really be able to capitalize on any other offers. Taking the offer – we’d have a phone call first to make sure everyone’s on the same page – would mean potentially another few months of unpaid development work, but the payoff after could be quite worth it. If we go out too many more places with the script as is, we risk overexposing it. The offer takes it off the market for a while, but since there’s no money, I have as much or as little time as I need to make the necessary changes and get it ready to go out again. My hope would be to have it ready before the holidays, though the end of December can be a bad time to try to make a sale.

I have a call with my producer and manager tonight to discuss the offer. I don’t know how common these no money development offers are, and that’s one thing I intend to find out. I don’t doubt that the Production Company can do something with the script if it’s stronger, but I’m not inking anything yet.

The Writing Week (Vol. 2) part 95 - Stop Waiting Idly

It's been about two weeks since we went out to a former employer of mine who works at an NYC based production company and a few agents with my script. Two weeks might be a bit long (though I'm not completely sure) on the production company end, but is far from worry-territory with agents. Regardless of what traditional wait times might be, I'm trying to be patiently optimistic. Hard as that might be (and these past two weeks, the compounded stress of work and other things have made it quite difficult), I know the perfect distraction: more writing.

One of the greatest things about writing is that it is the solution to its own problems. Hiccups in the script and other walls we hit are only fixed by writing. The same goes for a writing slump. I spent the past few weeks allowing myself to be discouraged (unnecessarily, probably) for the first time in a while. I go back periodically and re-read old blog posts. As much as they make me cringe, they paint the picture of a young writer as unsure in his future as he is in his ability. Since December, I've had people in the industry encouraging and promoting my work. It's now October, and the fairy tale of the overnight hot-shot screenwriter has died, taking with it some of the confidence I had gained.

I'm not sure why I allowed myself to become so disgruntled. A few tough days here and a rejection from an agent there, a failed attempt at a screenplay competition, and I was ready to feel bad for myself. I wouldn't say I was ready to quit - I wouldn't be cut out for this who career path if I was - but I was facing some of the same futility that I felt more than a year and a half ago. This weekend, I did what all writers have to at some point. I started writing again.

It's amazing how quickly actually putting words to the page can completely redirect all emotions. That discouragement went away as the creative juices started flowing again. I was able to divert my energy from thinking about the script that's currently out of my hands to one that is one hundred percent in my control now. There's a new script to focus on now, and it's a fun one. I managed four solid pages of notes, questions, and ideas this weekend. They are four glorious pages.