Black List founder Franklin Leonard answers your questions about the Black List

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  • Re: Q for Franklin Leonard

    Originally posted by SundownInRetreat View Post
    Hello,

    Question for Franklin,

    I know your site is all about looking for the best scripts (and I don't believe there's any flaw in the scoring) but does that mean, as I suspect, cutting edge, brand new stuff like THE WRESTLER, LOOPER, MATRIX, TERMINATOR, PULP FICTION, SIN CITY, NIGHTMARE ON ELM STREET, THE KING'S SPEECH, SLUMDOG MILLIONAIRE......

    Or does it just mean quality scripts - even if they're treading-familiar-path such as another zombie apocalypse or maverick cop saves the day film?

    On one hand I'd say the latter is not for your site and should be pitched at low budget genre specialists but on the other, these tropes are regularly regurgitated for cinematic release: Abduction, Possession, Taken, The House at the End of the Street, Dawn of the Dead (2004) etc. And even if they should be targeted at genre specialists, are there any in your ranks of industry pros to make putting a script on your site worthwhile?

    Thanks.
    I did, in fact, miss this question in the thread, however.

    Short answer, we're looking for best in class scripts. Writing well is not enough. A script must also be the sort of thing that people are likely to respond to in the marketplace today.

    Our readers are instructed to issue their 1-10 rating based on how likely they are to recommend a script to a peer or superior in the industry. Since readers are assigned based on their genre preferences, a brilliant horror script will be hailed in the same way a brilliant drama script will.

    In short, write something brilliant, regardless of genre, and the rest will take care of itself.

    Comment


    • Re: Q for Franklin Leonard

      Originally posted by FranklinLeonard View Post
      I did, in fact, miss this question in the thread, however.

      Short answer, we're looking for best in class scripts. Writing well is not enough. A script must also be the sort of thing that people are likely to respond to in the marketplace today........In short, write something brilliant, regardless of genre, and the rest will take care of itself.
      Thanks for replying to my post. Apologies if you answered my question but I can't see it myself so allow me to restate it.

      Familiar territory scripts vs new and cutting edge.
      The former is still produced by studios but it's the latter that's paramount for new writers trying to break in. So, usually, no matter how good your zombie apocalypse script is, not many will request to read it based on your logline query because it's old hat. They want something unique and novel.

      My question isn't about genre but stories & settings. So I'm trying to find out whether the general rule above holds true for your readers (and industry professionals) or whether familiar (even cliche) material - such as the teens-in-the-woods slasher or maverick-tough-guy-loner-cop-saves-the-day is welcome.

      (By the way, I haven't written either of these types of scripts).

      Eg: The slasher is timeless and has been with us in various guises from Black Christmas in the 70s to Scream 4 just a couple of years ago. So could you envisage a reader recommending such a script (because, as you said, it's entertaining, brilliant and ripe for the marketplace) or would you envisage them saying "whilst entertaining and fun, the script offers nothing that we haven't seen in countless other slasher films over the decades".

      And are your industry professionals all major studios or are some from the smaller prodcos? Many lower budget companies target the familiar and chase trends (such as the spate of cash-in found footage films) they may be very open to such fare and so I assume it would be useful to know if they form part of the industry pros who scour the BL.

      I hope this makes my position - and query - clearer
      M.A.G.A.

      Comment


      • Re: Q for Franklin Leonard

        Originally posted by SundownInRetreat View Post
        Thanks for replying to my post. Apologies if you answered my question but I can't see it myself so allow me to restate it.

        Familiar territory scripts vs new and cutting edge.
        The former is still produced by studios but it's the latter that's paramount for new writers trying to break in. So, usually, no matter how good your zombie apocalypse script is, not many will request to read it based on your logline query because it's old hat. They want something unique and novel.

        My question isn't about genre but stories & settings. So I'm trying to find out whether the general rule above holds true for your readers (and industry professionals) or whether familiar (even cliche) material - such as the teens-in-the-woods slasher or maverick-tough-guy-loner-cop-saves-the-day is welcome.

        (By the way, I haven't written either of these types of scripts).

        Eg: The slasher is timeless and has been with us in various guises from Black Christmas in the 70s to Scream 4 just a couple of years ago. So could you envisage a reader recommending such a script (because, as you said, it's entertaining, brilliant and ripe for the marketplace) or would you envisage them saying "whilst entertaining and fun, the script offers nothing that we haven't seen in countless other slasher films over the decades".

        And are your industry professionals all major studios or are some from the smaller prodcos? Many lower budget companies target the familiar and chase trends (such as the spate of cash-in found footage films) they may be very open to such fare and so I assume it would be useful to know if they form part of the industry pros who scour the BL.

        I hope this makes my position - and query - clearer
        You're way over analyzing what should be a simple answer.

        Great writing wins.

        And in terms of your last question, that was already answered previously in the thread. People from all parts, reps, producers, development execs, etc, are members of the site.

        Best,

        Michael
        twitter.com/mbotti

        Comment


        • Re: Q for Franklin Leonard

          Originally posted by michaelb View Post
          You're way over analyzing what should be a simple answer.

          Great writing wins.

          And in terms of your last question, that was already answered previously in the thread. People from all parts, reps, producers, development execs, etc, are members of the site.

          Best,

          Michael

          But would you be compelled to read a script about a masked killer in the woods stalking a bunch of teenagers? I would guess not. And you'd never know how good the writing was or how the writer put his stamp on the trope. That's why we're always hearing about writing something unique to stand out from the crowd rather than yet another burnt out cop haunted by the death of his wife at the hands of a killer he was chasing.

          Also, not that I'm trying to aim low but a lot of direct-to-video/genre fare isn't the sharpest so whilst the majors may pass on a 6/10 by-the-numbers script, a smaller company may not, no?
          M.A.G.A.

          Comment


          • Re: Q for Franklin Leonard

            Originally posted by SundownInRetreat View Post
            But would you be compelled to read a script about a masked killer in the woods stalking a bunch of teenagers? I would guess not. And you'd never know how good the writing was or how the writer put his stamp on the trope. That's why we're always hearing about writing something unique to stand out from the crowd rather than yet another burnt out cop haunted by the death of his wife at the hands of a killer he was chasing.

            Also, not that I'm trying to aim low but a lot of direct-to-video/genre fare isn't the sharpest so whilst the majors may pass on a 6/10 by-the-numbers script, a smaller company may not, no?
            Even if you're writing a masked killer in the woods story or a loner cop saves the day, you should be trying to do something brilliant, something we haven't seen before either for its ingenuity or its sheer execution and ideally both. "Good enough" isn't good enough, even for smaller companies.

            The Black List is not in the business of spotlighting good enough. We're in the business of identifying great.

            Comment


            • Re: Q for Franklin Leonard

              Originally posted by FranklinLeonard View Post
              Even if you're writing a masked killer in the woods story or a loner cop saves the day, you should be trying to do something brilliant, something we haven't seen before either for its ingenuity or its sheer execution and ideally both. "Good enough" isn't good enough, even for smaller companies.

              The Black List is not in the business of spotlighting good enough. We're in the business of identifying great.
              Thanks, that hit the spot.
              M.A.G.A.

              Comment


              • Re: Q for Franklin Leonard

                Originally posted by SundownInRetreat View Post
                But would you be compelled to read a script about a masked killer in the woods stalking a bunch of teenagers? I would guess not. And you'd never know how good the writing was or how the writer put his stamp on the trope. That's why we're always hearing about writing something unique to stand out from the crowd rather than yet another burnt out cop haunted by the death of his wife at the hands of a killer he was chasing.

                Also, not that I'm trying to aim low but a lot of direct-to-video/genre fare isn't the sharpest so whilst the majors may pass on a 6/10 by-the-numbers script, a smaller company may not, no?
                I think I should re-iterate a point that has been made on this board many times that is still not being grasped.

                A great script will stand out. A great script about a masked killer in the woods will stand out. A great script about a masked killer in the woods is a script I want to read.

                Many are often told you have to have a great idea (and that's even more important when it comes to your log line standing out when sending queries). There is a reason for that. Most are not great writers. Most are not even good writers. Most are wildly mediocre at best. A wildly mediocre script about a masked killer in the woods...... nothing will happen with it. A somewhat adequately executed script, your 6/10 as you say, that is a home run idea? That has a chance. But even then, those that stand out, those that explode onto the Hollywood scene, they write really really good scripts.

                Again, as Franklin has said, and as I have said, it's all about writing a great script. The blacklist filters all of those scripts and brings to the surface the really good to great scripts.

                Best,

                Michael
                twitter.com/mbotti

                Comment


                • Re: Q for Franklin Leonard

                  Originally posted by michaelb View Post
                  A great script will stand out. A great script about a masked killer in the woods will stand out. A great script about a masked killer in the woods is a script I want to read.
                  I think the problem people are having with this idea is that they feel the killer-in-the-woods won't get read because no one will request it based on the concept/logline, thus no one could possibly know it's great.

                  The only perceived option (other than the new option of paying for a read on BL3) is to brute-force sending query letter after query letter until you find someone who happens to love killer-in-the-woods movies or gives the script a chance for some random reason, like the poster whose (great) script was read because he has a Korean name.

                  Comment


                  • Re: Q for Franklin Leonard

                    Originally posted by Atlas View Post
                    I think the problem people are having with this idea is that they feel the killer-in-the-woods won't get read because no one will request it based on the concept/logline, thus no one could possibly know it's great.

                    The only perceived option (other than the new option of paying for a read on BL3) is to brute-force sending query letter after query letter until you find someone who happens to love killer-in-the-woods movies or gives the script a chance for some random reason, like the poster whose (great) script was read because he has a Korean name.
                    People broke into the business 20 years ago off of query letters. If a script is great, it finds it's way into Hollywood. The blacklist makes it that much easier.

                    If you query a 100 people, and get 1 read, and it's great, they send it to others.

                    Best,

                    Michael
                    twitter.com/mbotti

                    Comment


                    • Re: Q for Franklin Leonard

                      Originally posted by michaelb View Post
                      People broke into the business 20 years ago off of query letters. If a script is great, it finds it's way into Hollywood.

                      If you query a 100 people, and get 1 read, and it's great, they send it to others.
                      I don't deny both of those things are true. I think it's also possible, however, that people failed to break into the business 20 years ago despite having written a great script because they didn't get that single read. I would imagine that typing -- on a typewriter; this is 1992 we're talking about -- and mailing 90 or 95 query letters without a peep in reply would be somewhat discouraging.

                      I don't think you would argue that 100% of great scripts find or have found their way into Hollywood absolutely without fail, but you seem to not want to admit it.

                      The query-letter system is broken, or at least well below optimal -- isn't that why Franklin has started this new system?

                      (For the record, I'm just trying to explain what I see as the reason you keep seeing posts like SundownInRetreat's. I've never been worried about breaking in.)

                      Comment


                      • Re: Q for Franklin Leonard

                        Originally posted by michaelb View Post
                        People broke into the business 20 years ago off of query letters. If a script is great, it finds it's way into Hollywood. The blacklist makes it that much easier.

                        If you query a 100 people, and get 1 read, and it's great, they send it to others.

                        Best,

                        Michael
                        Atlas, that's also why the Black List was created. If you've written a brilliant masked killer in the woods script, it can get identified now - quickly and efficiently - and the industry can be made aware of it. If you've got a better way to accomplish it, by all means, I encourage you to pursue it.

                        Comment


                        • Re: Q for Franklin Leonard

                          Originally posted by Atlas
                          I'm just going to leave this here. No comment.
                          You're conflating my "writing well" with Michael's "great writing." There's a difference. Writing well implies the top edge of competence. Great writing implies excellence, the sort of emotional writing that moves a reader, regardless of the emotions (joy, fear, humor, etc.) that the writer is trying to inspire.

                          Sure the denotation of the terms may be similar, but the connotation, at least in the context of the industry, differ widely.

                          Comment


                          • Re: Q for Franklin Leonard

                            Originally posted by FranklinLeonard View Post
                            Atlas, that's also why the Black List was created. If you've written a brilliant masked killer in the woods script, it can get identified now - quickly and efficiently - and the industry can be made aware of it. If you've got a better way to accomplish it, by all means, I encourage you to pursue it.
                            See my post right above yours.

                            Originally posted by FranklinLeonard View Post
                            You're conflating my "writing well" with Michael's "great writing." There's a difference. Writing well implies the top edge of competence. Great writing implies excellence, the sort of emotional writing that moves a reader, regardless of the emotions (joy, fear, humor, etc.) that the writer is trying to inspire.
                            When you say

                            Originally posted by FranklinLeonard View Post
                            A script must also be the sort of thing that people are likely to respond to in the marketplace today.
                            it seems like you're saying you need a certain "sort of thing" -- which I took to mean it must have a certain sort of concept or premise -- in addition to being well-written. If that's not what you meant, I don't know what you did mean. Possibly you're using "writing" in the sense of composition, and Michael was using "writing" as short for "screenwriting."

                            This doesn't seem like fruitful line of discussion, though, so feel free to not respond. It was actually more directed at Michael because he seemed to be saying something contradictory to conventional wisdom.

                            Side note: The only email addresses listed on your About page are for advertising, press, support, and general inquiries, so I'll email the general inquiries address, OK?
                            Last edited by Atlas; 11-11-2012, 05:30 PM.

                            Comment


                            • Re: Q for Franklin Leonard

                              Originally posted by Atlas View Post
                              See my post right above yours.



                              When you say



                              it seems like you're saying you need a certain "sort of thing" -- which I took to mean it must have a certain sort of concept or premise -- in addition to being well-written. If that's not what you meant, I don't know what you did mean.

                              Possibly you're using "writing" in the sense of composition, and Michael was using "writing" as short for "screenwriting."

                              This doesn't seem like fruitful line of discussion, though, so feel free to not respond. It was actually more directed at Michael because he seemed to be saying something contradictory to conventional wisdom.

                              Side note: The only email addresses listed on your About page are for advertising, press, support, and general inquiries, so I'll email the general inquiries address, OK?
                              Michael and I are saying near identical things, neither of which are counter to conventional wisdom.

                              There are two ways to really make a splash with a screenplay: Give Hollywood what it wants or give Hollywood what it doesn't realize it wants until it reads your script.

                              The first means deliver a take on the familiar so well executed it feels new and exciting. The latter means delivering something so good that it doesn't matter whether it's familiar at all.

                              Do either of those two things, and the rest will take care of itself. The Black List exists to take care of it faster.

                              This has always been true.

                              Comment


                              • Re: Q for Franklin Leonard

                                Originally posted by Atlas View Post
                                I don't deny both of those things are true. I think it's also possible, however, that people failed to break into the business 20 years ago despite having written a great script because they didn't get that single read. I would imagine that typing -- on a typewriter; this is 1992 we're talking about -- and mailing 90 or 95 query letters without a peep in reply would be somewhat discouraging.

                                I don't think you would argue that 100% of great scripts find or have found their way into Hollywood absolutely without fail, but you seem to not want to admit it.

                                The query-letter system is broken, or at least well below optimal -- isn't that why Franklin has started this new system?

                                (For the record, I'm just trying to explain what I see as the reason you keep seeing posts like SundownInRetreat's. I've never been worried about breaking in.)
                                Nope. I'm sure a few didn't find a way in, nothing in life is 100% certain except death and taxes, but really, that's being nit picky to a general statement I was making. And ultimately, I stand by what I said.

                                And yes, Franklin's service is far better than querying in my opinion.

                                Best,

                                Michael
                                twitter.com/mbotti

                                Comment

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