PS: This line from the script Everything has a touch of evil. has a specific purpose - to cause the director to do this whole thing as one long tracking shot, because they suddenly thought about that shot from TOUCH OF EVIL. It was all the director's idea!
Of course, it also gives you the mood of this particular version of Tijuana.
- Bill
Yeah enjoyed when I read that and loved that you did it.
I am about to write a high concept/high budget script. Tons of extras, special outer space effects, etc.
My thinking is that even if the chances are slim that a high budget script from an unproduced writer like myself would be picked up - may be I could still impress people with it (I'm being optimistic here I realize).
But it sounds like from this thread that the probability is a lot lower than I thought, or hoped.
So for a spec script for someone like myself and probably for a lot of people here... write a high concept/low budget script?
My thinking is that even if the chances are slim that a high budget script from an unproduced writer like myself would be picked up - may be I could still impress people with it (I'm being optimistic here I realize).
But it sounds like from this thread that the probability is a lot lower than I thought, or hoped.
So for a spec script for someone like myself and probably for a lot of people here... write a high concept/low budget script?
I don't think that is what's being suggested.
Jon Spaihts has a couple of sci-fi specs floating around that may never reach production but they did land him gigs on The Darkest Hour, a little 'ol film called Prometheus and the upcoming Mummy reboot. He probably has some uncredited work as well.
He wrote something great, got noticed, and is now a working writer enjoying a life of hookers n' blow in the Hollywood Hills. Life is good.
Just write something great. Worry about that other crap later.
All these, do this, don't do that rules are dumb.
I wouldn't make that where I was aiming.
I'm aiming for porn parodies. It's a growing niche market.
Looks like I picked the wrong week to quit sniffing glue
The low budget, non guild world is a tough world. Low pay, no union protections, no residuals (except small foreign)...
I wouldn't make that where I was aiming.
I don't think anybody aims for the low budget world, but if it's the only opportunity available...
I'm finishing up a horror script now and then we're looking to do all the preproduction stuff and shoot next summer. I'd rather be working on a soulless CGI crapfest/franchise reboot or paint-by-numbers parody making 300,000 bucks to write a draft that never sees the light of day, but that isn't in the cards, so I'll take writer/grip/catering* gig while working a day job. It's going to be great, it's going to be funny, it's going to have a point, and if we're lucky it'll be seen in Bulgaria at 3am.
*I show up with cold cuts and store brand soda for the craft services cooler when I get in in the morning.
[But it sounds like from this thread that the probability is a lot lower than I thought, or hoped.
So for a spec script for someone like myself and probably for a lot of people here... write a high concept/low budget script?
Yesterday 01:14 AM
No. write the story in your heart that you know...
I know I keep repeating this, but, trying to recreate frankenstien's monster is not going to get you there... So, maybe, I didn't explain clear enough what I meant by that statement.
Write what you know, and feel, and lived with for the past 2 years or 6 months.
The monster lived, breathed air, and walked around like the rest of us...
but he had no soul..
your story won't have a soul.... if you don't create it from the heart.
After all these years of writing what I want to write, I'm just trying to balance that now with the realism in the marketplace ala what Bill said ("So the screenwriter's job is to find the high concept low cost idea, ...").
Unless he was talking about strictly made for cable movies but I don't think so. But I could be wrong.
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