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The first two were rock solid, popcorn matinee movies. They each stood alone, were visually stunning and fun to watch. The third one was a bit patronizing and did not stand alone. Personally, I'm excited to see Bob Odenkirk as the next John Wick-type character, in "Nobody". Variety all but...

Heard it. What else you got?

This is how Hollywood works. 90% of paid Screenwriting is writing what you're told to write. and doing it to someone else's satisfaction. It's also why you need a contract that spells out your obligation and compensation as clearly and concisely as possible.

Scene 1 is perfecto, but it falls apart at Scene 2 when you take me inside Loraine’s house and I go blind. I wonder what her house looks like inside? Respect your script. That awesome description you wrote to start off Scene 1, you have to do that every single time you write a slugline. I see...

That's exactly how it works and what I did. That's why I work even though I've never earned screen credit. I'm know screenwriting inside-out, but my imagination has never lined up with the times closely enough to have original material produced, until now. To a Producer unsolicited screenplays...

My personal philosophy is to do what I have to do to get the project made IF it's something I want my name on. If I don't believe in the filmmaker, I soak him for what I can, and I throw in an NDA agreeing to give up screen credit in exchange. I don't want my name on anything that's sub-par.,

Send anything you wrote that you fell represents you abilities unless you signed an NDA or sold the rights to credit.

ADMIN: I put this here, but it really needs to be widely disseminated as in applies to other things than Screenwriting. This showed up on my Facebook feed today. Jana Sue Memel https://www.imdb.com/name/nm0578604/ is Dean of the TV & Film School at the San Francisco School of the Arts and an...

I looked this over. I want to make sure you understand the only reason I can comment on it without a signed release is because you assumed all liability when you posted it. I didn’t pull any punches. Referring to the scene numbers: 1) First, this is an ESTABLISHING SHOT and should be so...

I'd like to suggest Joseph Campbell's The Power of Myth. It's not about screenwriting, it's about story. This book is pretty much the source of Modern Story Theory. Truby and Jarvis are both students of Campbell.

Even one of the Cohen brothers had a project he felt he need to work alone. If I understand you, this is his next project that he wants to work alone? If that's so, don't take it personally. It might not have anything to do with you. Look at it as an opportunity.

Assuming it's ultra low budget since it's a short, for the average writer 5% of the budget is the low end. (1% on a big budget). HOWEVER, since it's not your original story, give up a point if you have to. In return, you give them the script, one rewrite to notes, and a polish. Small things will...

You don't appear to know what a High Concept is. Further, this stuff you post is just the same stuff on every Screenwriting Website. I used to write this kind of copy as a side gig a decade ago. It's for the fringe market and has little to do with the reality of the situation today. I live and...

FYI: If you call the WGAw or SAG, with a little schmoozing, they're surprisingly helpful with things such a list of approved managers and such.

Chasing a Manager is just like chasing a shadow. Good luck, you're going to need it. But if you check the websites of various Boutique Agencies and Management Firms regularly, once in a while you'll see one opens up to accepting queries. They don't stay open long because they get so many, so...

That's correct. If you want someone to help your career, you need a Manager, not an Agent. To reiterate, Agents do not shop scripts for unknown writers, and rarely for working writers. Agents negotiate contracts once you find a buyer. If you're good, your Agent might catch a writing assignment...

That's how it's done-- send it out on request. Sure there are better possibilities, but they ain't gonna happen. Screenwriters have zero chance if they don't put thier workout there. And the fact is that you can make all the friends in the Industry you want, but you'll find they're not so quick...

No. I occasionally mentor writers and play with them. A simpler version is I name a film my students know and they have to come up with a log in two minutes.

It's impossible to say without seeing the script. Such things are dependent upon execution. Think about a film like Ordinary People. Sounds incredibly boring, but the execution got an Oscar. An earthquake and the act of finding an old photo can be equally emotionally inciting. As for loglines...

"In a small Italian town, Andrea is forced to patch up a relationship with his grumpy dying father, while his brother Rosario struggles to confess to their hyper-catholic mother his homosexuality." You're summarizing when you should be tantalizing. Who or what is forcing Andrea to do this? Is...