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Need a trickle of advice...

Okey dokey, so I am planning to start production on my second short film next month, and I've been putting a lot of time into getting the script just "write" (motherfucker...). Anyway, what I am asking you fine people to do is to pick through it and tear it to shit, basically.

First thing's first, though: It is not very descriptive of characters or locations or really a lot of other things, due to the fact that I am 17 and filming it myself with the help of friends. I also am funding it with some of my graduation money, which was very hard to part with... So, I guess what I mean is, pretty please don't nitpick about it not being in industry format and what-not (I know industry format, and I write my features in it, but in cases like this, I find it easier to just not really give a shit, which probably makes me look bad).

Secondly, in order to make a superfluous scene that I wrote because I liked the idea at the time, um, more meaningful and actually deservant to exist, I changed some stuff around (which you will not notice, having never read the other drafts) and added a new character (although I suppose they are all new to you) who is inexplicably British. And by that I mean, all the other characters are American, and this one is British out of nowhere. He is British because that is the only way I could imagine the scene, and it's never explained in the script. So, um, I'd appreciate it if you'd tell me if that is too out of place.

Erm, thirdly, I've become increasingly concerned that the script is, like, incredibly misogynistic, so I'd enjoy it if you'd weigh in on that. Also, when I imagined the ending I was thinking that I wanted the film to be a super dark, like, pitch black comedy but I don't know if it's particularly funny unless you're just about as depressed and cynical as I am. And even then I'm thinking it's less funny as of late. Thought I'd put that out there. I'm actually pretty sure I accidentally wrote a story that is symbolic of how I deal with good(ish) things in my life (such as women who enjoy me for what ever reason), in that I often push them away, ignore them, or just completely ruin the situation. ...

Uhh, if you've made it this far, you must really enjoy rambling idiots. Sorry about that. Here's my screenplay, Comfort.
 
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I thought it was pretty well done, didn't suck to read (REALLY a big deal)... dialog wasn't bad... action was well described, I'd like to see a little less "he did, she did" action descriptions, but it didn't detract from the clarity of it.

Story was good, world well described with a nice twist at the end. I'd watch it.
 
Thank you, knightly. I know the "he does this, she does this" stuff is one of the things I need to work on in my writing. I don't know, I guess because it's something I've done since I started it's just hard to stop. I suppose it's going to take a bit of training lol.

And you may just be able to watch it ;). If all goes according to plan, that is. And also finding an actress for this has been the most difficult task of my entire life. Most of the people I have asked have said no before even reading the script.
 
It's not my taste, but it's not the MOST misogynistic thing I've read.

How are you pitching it to actresses, if they're turning it down without reading it?

It's one thing if they read it and say no, but you might want to work on your presentation to at least get them to read it. Honestly, I expected worse from the way you set it up.
 
Well, really I think that my problem is I have no female friends who like acting particularly much. The ones that are experienced actresses are... How do I put this? Prudish, I guess, so I haven't bothered asking most of them. I'm pretty sure I pitch it well enough, but perhaps I put too much emphesis on why they might say no (explain that it's got loads of language, violence, implied sex, etc.) So I'll probably have to change that. Actually, I'm making sort of my next-to-last ditch effort to get an actress later today, so, you know, fingers crossed.
 
Script review

This …

A SCAVENGER walks down an empty forest trail.

EXT. TOLLBOOTH – DAY

A TOLLMASTER sits at a table and three heavily armed THUGS
stand around a ragtag building next to a trail.

Since Scavenger and Toll Master are the character’s names, you do not need A before them. You don’t say A MARY or A ROBERT, so no need to say A TOLL MASTER.

And this …

The scavenger walks down the trail and approaches the
tollmaster. He stops walking. The tollmaster looks at him
for a moment.


Should read …

Scavenger walks down the trail and approaches
Toll Master. He stops walking. Toll Master looks at him
for a moment.

This …

After a moment, the thug tackles him from the left.

Where did he come from to attack from the left? I though he was following behind.

This …

He takes out his canteen and drinks. She puts the lid on her canteen.

This whole Exchange where Scavenger meets Woman, actually, is rife with pronouns and a little slow to follow. Typos often occur in he/she actions. I had to read much of this twice. I think there is a smoother way to do this.

This …

The scavenger and the woman sit around and abandoned
campsite and eat lunch.


Typo on AND

This on page 5 ..

The scavenger draws his pistol and fires both bullets into
the gun bandit, killing him. The scavenger drops the pistol.


The whole fight scene is way too blow by blow. You can chop 90% of all that and just show us who has the upper hand. You don't want your lighting and sound dudes and dudettes mired in what shoulld be between the actors/s and a choreographer - usually the director in these smaller projects.

Also, where did Scavenger get the hatchet? Too convenient. Make him really work for this. Pretty much a cake walk for him so far. I think you should read some fight scenes in produced screenplays where you will recognize the scenes as you read, like Kill Bill for example.

And the whole 'a woman just happens to be sitting right where I need to find one' bit is off-the-charts convenient. I just don't buy any of it. Wouldn't the thugs know she was there?

And this …

wrench bandit

… should be Wrench Bandit

This …

The sharpshooter flips the scavenger on his back

Scavenger was already on his back per this, a few lines earlier …

The scavenger rolls over on his back and flashes a knife.

Lots of details like that need a clean up. It seems like you write as you think and see it in your mind, and not in cinematic sequences. the whole 'and then he does this and she does that, then he counters, causing that and she looks at him and he smiles and she smiles back' is NOT cinematic writing.


Okay so interesting vignette about betrayal, but very linear and predictable. Pay-off is okay, but I think you could really play it up better. Your Scavenger has it pretty easy, if not too easy. Automatically has every weapon he needs hanging on his belt, gunshot to the stomach no problem, a girl in the middle of nowhere just because. He wasn't the least bit suspicious the girl wasn't there to lure him back to the thugs? Or is he that fearless?

I think you need to chop out all the blow by blow, and revisit the believablilty factor here, and maybe turn that twist right back on Scavenger somehow.

alex
 
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Wow, thanks a lot Alex. I really appreciate the in-depthness of that. Your comments have been really helpful and I appreciate it a lot. I was conscious of the whole "the scavenger as opposed to Scavenger" thing, but that's just how I prefer to write unnamed characters who are important. Usually. And I guess in this case I did it with every character. Anyway, you inspired me to change the ending considerably, as well as the larger fight scene.

I noticed your comment about the blow-by-blow way I write the fight scenes. Since I am filming this myself, I also wrote it for myself. That's how I'd like to read a fight scene: concise and explanatory. I know it may seem a bit too wordy and such, but I really find it helpful. More of a personal choice, I know, but I just thought I'd explain.

Thanks again, you've been incredibly helpful.
 
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