Have finished a full length screenplay

[Jijenji]

Hey everyone, new member here. I have just finished a screenplay for a full length feature film, my first. I would love to hear input from you as for where I should go from here.

Currently, I am drafting up letters and grant applications in the hopes of receiving funding for the project. The film is designed as a social impact film, so I have a good idea of which types of organizations to target with my requests.

As I'm sure all filmmakers are, I believe very much in this project. I am just getting my feet wet with learning about filmmaking, doing research, etc. I have some tv production experience with ESPN back in the early part of this decade, but that feels like a long time ago and still doesn't equal filming experience.

I've finished the screenplay and have a total vision of the project and want to direct it and bring it to life. I am just looking for some friends on here who can help me learn a little more about the process. Please no jokes about me being a newb, I'm quite aware of that.

Anyways, would love to hear back from any of you!

 

[Joe999]

I started out registering with WGAw (short screenplays), but how I am just sticking with the US Lib of Congress Copyright Office. For $15 at WGA it is only good for 5 years then you have to remember to pay again or lose your registration there. $35 (electronic) registration at US Lib Congress Copyright is for life, one time fee, and I think better legal remedies in case of infringment. So my vote is for copyright.gov over wga.org

Oh, man, if you haven't registered it yet, do it now. You should always do this before sending it to anyone. Technically, you own the copyright the moment you write it, but if it isn't registered you will have a difficult time proving a case should it ever go to court. I even registered my seven page short script with the WGAW. I wrote my first feature 20 years ago and actually walked it in the front door of the WGAW to register it, but with today's online registration it takes 5 minutes.

http://www.wga.org/subpage_register.aspx?id=1183

http://www.copyright.gov/register/index.html

 

[Beeblebrox]

Check out the film "Catch and Release" with Jennifer Garner. The special features. I just watched it last night. The writer also directed the film. It was the writer's first time directing, she is a woman in her 30s, she got funded. So some similarity to your case. Inspirational to see a first time writer/director do a feature with a big name star.

Susannah Grant was a well-established working writer who was nominated for an Oscar for one of her previous projects. Not that there aren't examples of first-time writer/directors, but she's not one of them.

Jijendi, the first thing you need to do, IMO, is let a trusted colleague/mentor/professor read your script and give you feedback. Not your mother and not your friends. Someone who has a solid working knowledge of story and screenwriting/film. The fact is that you don't know what you've got yet. And it would be a good idea to find out before you spend the better part of your 20's trying to get it made.

 

[Joe999]

OK my bad on that one. Maybe I was thinking more of the combo writer+director, but I should have checked imdb.com for her bg. Still, it was inspirational to see her do a major feature with a big star as her first feature directorial debut.

Susannah Grant was a well-established working writer who was nominated for an Oscar for one of her previous projects. Not that there aren't examples of first-time writer/directors, but she's not one of them.

 

[barnaclelapse]

If you decide to go with automated formatting, celtx is free (open source). I recently tried Movie Magic ($$$) but I have switched back to Sophocles PM. Sophocles PM is in beta testing and is worth perhaps $300-500 but the download now is completely free and not crippled in any way, and I have not had any bugs crop up, it works fantastic; full production software for screenplay writing / formatting (intelligent import, etc), character relationships, dialog analysis, shooting and actor scheduling, props, location scheduling, lots more.
http://www.sophocles.net/beta/
Sophocles is my mentor-consultant's software of choice and she has tried Movie Magic, Final Draft, etc.
Ok just a thought.

Oh, rock.

Thanks for that link, man.

I've been looking for something like this.

 

[Joe999]

No problem. Give sopholes PM a try, report back what you like or do not like. I am amazed it is fully functional. It has some pretty cool graphics-- chart analysis of dialog, paragraphs, cool neural net analysis of character relationships, etc. not sure how useful that is but very cool.

Oh, rock.
Thanks for that link, man.
I've been looking for something like this.

 

[Jijenji]

I've been editing and touching up my script a bit. I've even taken a somewhat new approach to the story and rewritten parts. I've got a few questions going right now, some with formatting, some with more macro things:

I haven't come across any information with regards to how I should handle a situation in which more than one person is speaking at the same time. For instance, a group of people singing at a party. Writing out all the names doesn't seem logical, and writing ALL created a new character on my software and that bothered me, lol. I guess I could just write it in an action line, but how is something like that normally handled?

For the bigger stuff, I plan on directing the film but want to solicit investors. I will not sell the script without being able to direct it. For trying to gain investors, should I stylize the script closer to a final draft for production or should I keep it closer to a spec? I know a spec is needed for optioning and many indies do the opposite and write everything because they know they will direct it anyways. Not sure which to choose or if there is a middle ground.

I don't have a mentor so to speak, the best I could do so far are newspaper editors I know, but at least there is some writing knowledge there although admittedly in a vastly different sense. Should I get an agent or what should I do to get my work out there so that I might get some interest without putting it all out there to be stolen? I'm really concerned about that since I'm an unknown, I think if I had a track record I'd be a little safer in that regard.

Finally, is it more feasible to raise money and stay independent with, not a really low budget, but I guess still low compared to say other films....or is it possible, if the script is good enough, to actually get with a studio even if it's a smaller independent films oriented thing? I've heard of a few cases of newcomers holding their script hostage. This isn't a big action blockbuster, but it does have some graphic action sequences and 30something to 40something percent of it does take place in wartime context (although no war-like battles, but the presence of soldiers, a few mortar explosions in the surrounding area, and the murder of civilians does take place). Sidenote: It's not in Iraq either. With filming likely needed in 2-3 different geographical locales and a moderate cast number, the film would be ideal for a high independent budget to low hollywood budget kind of thing.

Just wondering if I should keep dreaming, change it up a little to tailor it to a lower microbudget deal, or should really keep pursuing this. Stupid, I know...but I've really blown off this semester of school working on this story, as it's really important that it gets told.

Thanks for the help everyone.

Edit: By the way Joe, thanks a bunch for that Sophocles link. I was determined to use Word at first because, even though it would have been more work, it was free to go that method rather than paying for Final Draft. Sophocles was a big help and I haven't really had any problems with it at all. I'd highly recommend it.

 

[directorik]

I haven't come across any information with regards to how I should handle a situation in which more than one person is speaking at the same time. For instance, a group of people singing at a party. Writing out all the names doesn't seem logical, and writing ALL created a new character on my software and that bothered me, lol. I guess I could just write it in an action line, but how is something like that normally handled?

If everyone of the characters says exactly the same thing at the same time
then "ALL" is standard. If they are all speaking at the same time but saying
different lines you need to write out each line each character is saying.

For trying to gain investors, should I stylize the script closer to a final draft for production or should I keep it closer to a spec?

You should write the script as if you are not directing it.

Should I get an agent or what should I do to get my work out there so that I might get some interest without putting it all out there to be stolen? I'm really concerned about that since I'm an unknown, I think if I had a track record I'd be a little safer in that regard.

The reality is no one steals script. Even from unknowns. That doesn't mean you
should take precautions and register the copyright. - but there is no need to worry.

There is no answer to "should I get an agent?" Many prodCo's won't look at a script
without an agent so they can be very helpful. But getting one is just as difficult as
finding financing. It isn't an "or" situation. If you can get an agent, get one.

Finally, is it more feasible to raise money and stay independent with, not a really low budget, but I guess still low compared to say other films....or is it possible, if the script is good enough, to actually get with a studio even if it's a smaller independent films oriented thing?

Every possibility is feasible. Keep dreaming and write the script exactly as you see it.
Cross the budget bridge when you come to it. If a producers says they will make it
exactly as written but you can't direct - move on. If a producer says you can direct
but you need to be able to make it for under $200,000 then decide what you want
to do. Until then, relax and writer the script YOU want to write.

 

[Jijenji]

If everyone of the characters says exactly the same thing at the same time
then "ALL" is standard. If they are all speaking at the same time but saying
different lines you need to write out each line each character is saying.


You should write the script as if you are not directing it.


The reality is no one steals script. Even from unknowns. That doesn't mean you
should take precautions and register the copyright. - but there is no need to worry.

There is no answer to "should I get an agent?" Many prodCo's won't look at a script
without an agent so they can be very helpful. But getting one is just as difficult as
finding financing. It isn't an "or" situation. If you can get an agent, get one.


Every possibility is feasible. Keep dreaming and write the script exactly as you see it.
Cross the budget bridge when you come to it. If a producers says they will make it
exactly as written but you can't direct - move on. If a producer says you can direct
but you need to be able to make it for under $200,000 then decide what you want
to do. Until then, relax and writer the script YOU want to write.

Thanks Rik, I really appreciate the advice.

 

[2001 Productions]

Great feedback being given here.

I'll second what Rik says about script theft. There's a gazillion spec screenplays floating around out there, all looking for buyers. It's much easier for a producer to just buy a script s/he likes than to deal with the potential legal expenses of a plagiarism claim. Unless the producer is a WGA signator, they can pretty much pay whatever the writer is willing to accept.

I signed with a manager several years ago, which was the best decision I ever made. He's an ex-studio development exec. so he knows exactly what the market is looking for -- and, unlike most agents, works directly with me through multiple drafts to hone the script to its most marketable state. If you can interest a manager in your work, I highly recommend this route.

 

[Jijenji]

There is no answer to "should I get an agent?" Many prodCo's won't look at a script without an agent so they can be very helpful. But getting one is just as difficult as finding financing. It isn't an "or" situation. If you can get an agent, get one.

I signed with a manager several years ago, which was the best decision I ever made. He's an ex-studio development exec. so he knows exactly what the market is looking for -- and, unlike most agents, works directly with me through multiple drafts to hone the script to its most marketable state. If you can interest a manager in your work, I highly recommend this route.

Thanks guys...I really know nothing about managers. I just did a simple google search and really only found people trying to sell their books. I'll have to look into it a bit more I guess.

How do most of you go about finding representation? And for those who have signed, how did you decide which one was right for you. Basically, knowing where to look is my first question. I'm guessing there are a lot of representatives in L.A. or NY, but I don't know about out here in flyover country.

 

[Jijenji]

I was also thinking about directing the prologue of this film as a short....good idea or will that complicate making the full film in any way?

 

[2001 Productions]

Directing a short to sell the project is an excellent idea, in my opinion. A picture's worth a thousand words, as the saying goes -- so a moving picture's worth millions.

As far as finding an agent or manager, it can be tricky. There are many routes, not just one. I live way out in the sticks myself, so I know how tough it can be, but the advent of the Internet leveled the playing field a bit. My manager is in LA, but saw my work on the 'net. We didn't actually meet face-to-face until we'd been working together for six months.

 

[directorik]

Managers are much harder. Finding a good one is difficult. A manager has a much
more personal relationship with the client so they are just as choosey - maybe more.
If an agent doesn't see the client as a friend but the client makes money - everything
is fine. But a manager/client relationship is much closer. A manager with connections
doesn't take many clients.

I found my agent the old fashioned way. I made a sale to a TV series. Suddenly finding
someone to negotiate the deal and take 10% wasn't an issue. In my case I didn't
have a decision to make regarding which one - I was in a hurry to finalize the deal and
my mentor suggested his agent.

BTW: his agent didn't take me, but referred me to the one who did.

I was also thinking about directing the prologue of this film as a short....good idea or will that complicate making the full film in any way?

An excellent idea.

I have made three short film. Two of them were specifically to showcase my talents as
a director when shopping the scripts. One of them - "Horror Brunch" - was the last five
minutes of my script and worked. I got money to make the feature. The second -"Closet
Case" - was the first five minutes and even though the film was in several festivals and
won some awards I never got financing for the feature.

 

[AvsB]

so ur saying it would be good to do a short film and then show that to the investors??? as i too just finished my first feature which started as a short and is now a feature or should i shoot the short and then call the feature the updated version or something like that??

 

[Joker B]

THis has been a successful strategy. It's not the only one, but it has worked at least as far back as "THX1138" (was that the first short to be expanded into a feature?) (btw, to get that short done, Lucas had to assigned the rights for it to USC)

I've noticed recently that almost all shared copies of the short "Similo" have vanished from the web except through the "official" web site. Maybe another success is in the wings? Similarly, there are rumours that the web series "Mr Deity" may be moving from YouTube to HBO.

This is a great time to get your ideas in front of people and to let them grow!

 

[benj09]

Just keep reading through some of the threads and take notes, but the best way to learn is to just get stuck into it. in the words of thomas edison "I have not failed. I've just found 10,000 ways that won't work." keep trying you might get it wrong but humans learn from mistakes.

 

[barnaclelapse]

THis has been a successful strategy. It's not the only one, but it has worked at least as far back as "THX1138" (was that the first short to be expanded into a feature?) (btw, to get that short done, Lucas had to assigned the rights for it to USC)

I've noticed recently that almost all shared copies of the short "Similo" have vanished from the web except through the "official" web site. Maybe another success is in the wings? Similarly, there are rumours that the web series "Mr Deity" may be moving from YouTube to HBO.

This is a great time to get your ideas in front of people and to let them grow!

This is certainly an ideal time to try to build an audience. It's competitive as hell and then some, but the crowd is definitely very much there and very much ready for something else to come along and blow their hair back.

I really wish I was in a position to take advantage of stuff like YouTube. I've written numerous short and full-length feature scripts, along with comedy skits and the like. I just can't put the damn thing together on my own.

 

[hollywood323]

Amazing advice. This thread has been more helpful in five minutes than any of the screenwriting forums have been in 3 months. Cheers to all!

 

[Dreadylocks]

Oh, man, if you haven't registered it yet, do it now. You should always do this before sending it to anyone. Technically, you own the copyright the moment you write it, but if it isn't registered you will have a difficult time proving a case should it ever go to court. I even registered my seven page short script with the WGAW. I wrote my first feature 20 years ago and actually walked it in the front door of the WGAW to register it, but with today's online registration it takes 5 minutes.

http://www.wga.org/subpage_register.aspx?id=1183

http://www.copyright.gov/register/index.html

Also you can do a 'poor-man's copyright' where you simply mail a copy of it to yourself and just don't ever open it unless you need to defend the copyright. It'll have a postmark so the date is verifiable, not quite as legally solid as a notary or the actual copyright, but it might be all you need.

 

[Jijenji]

Also you can do a 'poor-man's copyright' where you simply mail a copy of it to yourself and just don't ever open it unless you need to defend the copyright. It'll have a postmark so the date is verifiable, not quite as legally solid as a notary or the actual copyright, but it might be all you need.

No, I think this is inadvisable. I am fairly certain that this is a myth and that those do not stand up in court.

It's a good idea to register anything you write. But, be honest with yourself. If it is something that is going to wind up in a drawer, or you will film it over the weekend with your buddies, just register it with the WGA east or west. If it is something seriously good, you should both copyright it and register it.

That's my position, anyway.