LESSONS FOR PROS

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  • #31
    Re: Lesson for Pros

    All that combined with proven talent and life experience.

    Otherwise, you might be fearlessly writing crap all your life! :eek

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    • #32
      Struggling with "fearless"

      When Hollywood looks at specs from unproven writers, that fear generally manifests itself as timidity to take chances on scripts that aren't just a slight variation on the movies that were already big hits. At least, that's what my partner and I find with the comedy specs we write.

      We had a mentor who, like Tao, was a respected writer of prestige screenplays, and he appreciated our most original and quirky comedy. We agree it's our funniest, and a lot of time and craft went into it. But except for other screenwriters like our mentor, Hollywood hasn't shown a bit of interest in that quirky script. I've come to think originality might be more valued in the realm of prestige pictures. Or maybe it's valued more by the screenwriters who happen to enjoy it than by the people who actually have to go out and sell scripts to current Hollywood. Or maybe I'm just deluded, luckless and/or not good enough.

      I do know we get much more interest in our script that's obviously inspired by Legally Blonde. A whole lot of manager and producers have been interested in that one, and new ones are still appearing. But whenever one of them takes our Legally Blonde variation to one of the studios, the studio says they already have other Legally Blonde variations in development. No point in buying ours, too, unless the right elements are attached. So as of this point, we haven't sold the quirky ones OR the derivative ones.

      We have a short soon to go out to festivals, though, and there we're still optimistic about having made one that was fearlessly original. We're hoping that's the place where it might be valued. If Hollywood sees we have a unique enough voice, maybe they'll let us write the next derivative teen comedy. I'd actually be thrilled with that.

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      • #33
        Re: Lesson for Pros

        Boobsie:

        I made a conscious decision to post this information here as opposed to a WGA site. Because I think writers that think of themselves as pros (whether they are making a living yet at it or not) have an insatiable curiosity (at least I did, and continue to be curious about all aspects of the business I don't know) that drives them to learn, and they presume "advanced" information like this will be of use to them one day. In fact, my guess is that YOU probably feel that way.

        Quentin Tarrantino was still working at a video store while planning the casting, music and marketing for his films; and most great writers and filimmakers were considering the trajectory of their careers, what films they would make first etc. BEFORE they had ever gotten paid for it.

        so the provocative question of the day is: do i believe in your "pro" qualities more than you do?

        btw: you are forgetting the more obvious fact that I am computer retarded and get tired at the thought of having to find a new site/forum to post on. I am interested in two adverbs but haven't navigated my way over there yet either. But more likely, i will continue to post here even if I switch careers and become a cellist. I'll just post about pressing issues having to do with philharmonic labor issues and hope somone gets benefit from them.

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