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Million Dollar Movie
- Thread starter QualityHD
- Start date
Of course it is.
Many screenwriters sell a script written on speculation. And more
and more 100 million dollars is becoming the average budget so
that budget level isn’t unusual anymore. All screenwriters working
today were at one time were unsold, unproduced struggling writers.
Many screenwriters sell a script written on speculation. And more
and more 100 million dollars is becoming the average budget so
that budget level isn’t unusual anymore. All screenwriters working
today were at one time were unsold, unproduced struggling writers.
I'm not sure I fully understand the question... How do you define "indie screenwriter"?
Most screenwriters write screenplays of various genres and potential budgets. You might write a simple love story that can be done for under a million, or you might write a superhero film that requires 100 million, but either way it only becomes a non-indie film once a studio decides to buy it and make it.
I think it's extremely rare that a first-time screenwriter gets his/her script turned into a 100 million dollar film, but the best recent example I can think of that comes remotely close is first-time writer Max Landis for his Chronicle screenplay, which was turned into a 12,000,000 budget film. Chronicle ended up grossing over 125,000,000.
Most screenwriters write screenplays of various genres and potential budgets. You might write a simple love story that can be done for under a million, or you might write a superhero film that requires 100 million, but either way it only becomes a non-indie film once a studio decides to buy it and make it.
I think it's extremely rare that a first-time screenwriter gets his/her script turned into a 100 million dollar film, but the best recent example I can think of that comes remotely close is first-time writer Max Landis for his Chronicle screenplay, which was turned into a 12,000,000 budget film. Chronicle ended up grossing over 125,000,000.
Wasn't a first-time writer when Chronicle came about, and has a family connection to the inside biz. Definitely had to stand on his own two feet to prove his writing ability, but not really comparable to an unconnected nobody trying to break into Hollywood. (Which is how I read the op as meaning)
I can't think of any examples off the top of my head, but I'm sure there are some though.
Well I wasn't counting the short films he wrote before Chronicle, but now I see he wrote a TV episode of Masters of Horror (lol)
I think all of us who grew up in the LA area have family/friend connections in the industry in one way or another, it's just the nature of the town. But you're right, and I can't think of any other good examples.
True. However when your family connection is a famous, successful
director that does make things easier.
Examples as specific as the one QualityHD poses are exceedingly rare.
I can't find any that specific. Spec screenplay, unproduced writer, one
hundred million production budget. However, there are examples of
unproduced writers selling spec screenplays to Hollywood studios.
When you start talking about projects that have budgets with seven or eight zeroes at the end it is exceedingly unlikely that an unconnected, unproven screenwriter will get a shot; the stakes are just too high. At that budget level it's all about business, and business people want to do their business with people who have a proven positive track record.
As everyone has said, of course it is possible, but it is exceedingly unlikely.
As everyone has said, of course it is possible, but it is exceedingly unlikely.
Writing a big budget spec script is one thing, but writing one for a copyrighted superhero is completely different.
I can pretty much guarantee you there are at least a dozen Catwoman scripts already written, some by well-established writers, some of which are already circling the desks of studios waiting to get greenlit.
If it's something you're really passionate about, do it for the writing practice, but if you're looking for your ticket into Hollywood, this is not the way to go.
I can pretty much guarantee you there are at least a dozen Catwoman scripts already written, some by well-established writers, some of which are already circling the desks of studios waiting to get greenlit.
If it's something you're really passionate about, do it for the writing practice, but if you're looking for your ticket into Hollywood, this is not the way to go.
Come up with a truly original and intriguing idea that's never been done before. Write a screenplay that will make any producer/director say "I just HAVE to make this movie!"
or
Read a screenwriting book (I recommend "Save the Cat") and write a commercially accessible screenplay in a familiar genre (comedy, thriller, adventure) and follow the beat breakdowns to the exact page. Do not stray from the tried and true Hollywood story structure even for a second. Your story idea should still be original, but your structure should be so familiar that the producers won't feel like they're taking any risks by making your film.
No.
You should definitely write it (unless it's the Catwoman script) because directors and producers are often looking for the thought process or approach a writer has regarding a story's construct.
Your spec script opus is very unlikely to be produced as is.
It would be rewritten to accomadate budget, talent, locations, and director/producer visions of the story.
Even with the "locked" studio version the finance guys agree to the cast will have five different ways to deliver the lines, actual secured locations will force some changes, the editor will franken-film the shots, the distributor will want changes, director's cut vs. theatrical release cut, then there's the MPAA changes and what pre-release focus groups will change.
Ever watch those DVD extras of out-takes and deleted scenes?
Those were all scripted, paid for to be acted and shot, then edited, then deleted for "pacing" or whatever.
That could be hundreds of thousands of dollars per screen minute just wasted on the editing room floor.
So... no.
No one's screenplay is some holy writ that cannot be blemished.
Go ahead and write your story.
Show directors and producers how you think.
Often what happens is that you may be asked to rewrite someone else's near-hit, almost there story.
That's where script doctoring comes into play.
Don't even waste your time.
Outline it and shelve it.
Move on to something original and uncomplicated by rights and legal mumbo-jumbo.