Iâ€TMm still learning and relearning. If thereâ€TMs an axiom Iâ€TMd
post on my computer itâ€TMd be this:
BIG IDEA, small movie.
Actually, an exec at Revolution Studios tipped me on
this. When considering ideas for a spec, think of a
high concept that can be made for as little money
as possible. The small budget will help prevent you
from making the concept too high (e.g. LORD OF THE
RINGS parodies), yet thinking of a big idea, the
concept will seem fresh and will hopefully detour
around the â€too soft†ding that execs dish out like
Halloween candy on small kitchen sink dramas.
BIG IDEA, small movie.
Itâ€TMs one reason comedies dominate the spec marketplace
but not exclusively. Iâ€TMm remember when David Koeppâ€TMs
PANIC ROOM was making the rounds. Some people
complained it read like a USA Network TV movie.
Exactly! Thatâ€TMs why it sold for four million dollars
(believe me when I tell you, not all prosâ€TM specs sell).
Taotropics310â€TMs script PRIME GIG broke down doors
partly because he wrote it as a movie he could make for
sixty thousands dollars. Soderbergh and Tarantino
played the same card on their first films. Keeping the
movie down to earth but unique in its take on life pays dividends.
One of the intangibles Iâ€TMve noticed in sold specs is
during the read they feel like TV movies in that they
have limited locations (eighty percent takes place at a
centralized location), they have no major (if any)
special effects, and the story takes place over a couple
of days. These scripts almost read as if youâ€TMd could film
it yourself around your town during a long weekend.
These are what the powers that be want from specs.
Simple, realistic stories with universal themes presented
with a fresh element we havenâ€TMt seen too recently. Of
course the fresh element is the hard part and that's why
they pay top dollar for those clever scribes who find them.
BIG IDEA, small movie.
Your spec will do better if you are realistic about its
budget. Beware, you must be honest with yourself (I
havenâ€-t been). The spec should read like it could be
done for TV movie prices, three million dollars tops.
Yes, I said, three million dollars, $3 million (I may post
that on my computer or better yet, stamp it on my
head). Execs reading ANY script will factor in ten to
twenty million buckaroos for the potential name star so
you can consider yourself already in the hole after
typing your name on the title page. Gene Roddenberry
once scolded Harlan Ellison for writing â€big ideas, big
budget.†Ellison would write lavish scenes for the
original â€Star Trek†without considering the cost of
special effects. Wrong. In J. Michael Stracynskiâ€TMs book
on screenwriting he notes the evaluation TV executive
producers use when evaluating scripts, one for the
quality of the story, one for the ease of the budget:
Good/Producible, No Good/Producible, Good/Not
Producible and No Good/Not Producible. The â€no
good/producibles†got made while the â€good/not
producibles†got trashed.
Not all production companies and studios ask readers
to evaluate the budget of a spec script but believe me,
the junior execs will weigh potential production costs
and it could be a make or break point when considering
whether or not to send your script â€upstairs.†Make it
easy on â€-em. Make it cheap and obvious.
Go 'head and finish whatever you're working on but
when brainstorming your next idea for a spec, remember:
BIG IDEA, small movie.
Itâ€TMs the easiest way in.
Rx
post on my computer itâ€TMd be this:
BIG IDEA, small movie.
Actually, an exec at Revolution Studios tipped me on
this. When considering ideas for a spec, think of a
high concept that can be made for as little money
as possible. The small budget will help prevent you
from making the concept too high (e.g. LORD OF THE
RINGS parodies), yet thinking of a big idea, the
concept will seem fresh and will hopefully detour
around the â€too soft†ding that execs dish out like
Halloween candy on small kitchen sink dramas.
BIG IDEA, small movie.
Itâ€TMs one reason comedies dominate the spec marketplace
but not exclusively. Iâ€TMm remember when David Koeppâ€TMs
PANIC ROOM was making the rounds. Some people
complained it read like a USA Network TV movie.
Exactly! Thatâ€TMs why it sold for four million dollars
(believe me when I tell you, not all prosâ€TM specs sell).
Taotropics310â€TMs script PRIME GIG broke down doors
partly because he wrote it as a movie he could make for
sixty thousands dollars. Soderbergh and Tarantino
played the same card on their first films. Keeping the
movie down to earth but unique in its take on life pays dividends.
One of the intangibles Iâ€TMve noticed in sold specs is
during the read they feel like TV movies in that they
have limited locations (eighty percent takes place at a
centralized location), they have no major (if any)
special effects, and the story takes place over a couple
of days. These scripts almost read as if youâ€TMd could film
it yourself around your town during a long weekend.
These are what the powers that be want from specs.
Simple, realistic stories with universal themes presented
with a fresh element we havenâ€TMt seen too recently. Of
course the fresh element is the hard part and that's why
they pay top dollar for those clever scribes who find them.
BIG IDEA, small movie.
Your spec will do better if you are realistic about its
budget. Beware, you must be honest with yourself (I
havenâ€-t been). The spec should read like it could be
done for TV movie prices, three million dollars tops.
Yes, I said, three million dollars, $3 million (I may post
that on my computer or better yet, stamp it on my
head). Execs reading ANY script will factor in ten to
twenty million buckaroos for the potential name star so
you can consider yourself already in the hole after
typing your name on the title page. Gene Roddenberry
once scolded Harlan Ellison for writing â€big ideas, big
budget.†Ellison would write lavish scenes for the
original â€Star Trek†without considering the cost of
special effects. Wrong. In J. Michael Stracynskiâ€TMs book
on screenwriting he notes the evaluation TV executive
producers use when evaluating scripts, one for the
quality of the story, one for the ease of the budget:
Good/Producible, No Good/Producible, Good/Not
Producible and No Good/Not Producible. The â€no
good/producibles†got made while the â€good/not
producibles†got trashed.
Not all production companies and studios ask readers
to evaluate the budget of a spec script but believe me,
the junior execs will weigh potential production costs
and it could be a make or break point when considering
whether or not to send your script â€upstairs.†Make it
easy on â€-em. Make it cheap and obvious.
Go 'head and finish whatever you're working on but
when brainstorming your next idea for a spec, remember:
BIG IDEA, small movie.
Itâ€TMs the easiest way in.
Rx
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