OK, first of all, to anyone who read and/or traded and/or discussed and/or liked and/or hated the script I just sold (GOING THE DISTANCE)...thanks. Seriously, from the bottom of my heart, thanks. It totally blows my mind that anyone is even reading it, much less talking about it.
I had responded to an earlier post about the script and mentioned I was a reader (I actually read for the studio I sold the script to, New Line) and someone sent me a message asking what scripts I would recommend they read. There are a bunch of different ways to answer that question, but it's a good question, so I thought I'd tackle it in long form just in case anyone else was curious.
Whenever someone who wants to start writing scripts asks me what they should do, I tell them two things: read SCREENPLAY by Syd Field and read every single produced screenplay you can get your hands on. I don't know if people still read Field as much as I'm told they used to, but I think it's an invaluable tool. Though you want to avoid writing the cookie-cutter scripts the Field system (not that he created it, but explaining it concisely and simply is rightfully credited to him) teaches, it's important to know the rules so you know the right ways to break them.
Anyway, there are six scripts in three classes of films - High-Concept, Perfectly Executed, and Impossible to Top - that I mention without fail.
HIGH CONCEPT
BACK TO THE FUTURE - The epitome of a big, fun, "studio" movie. It has all the nuts and bolts.
THE KARATE KID - Same as above, except this was a movie no one was sure was going to do well (and that a slew of people expected to fail miserably). Essentially the perfect "formula" script that manages to make you not care about how stock its storyline is.
PERFECTLY EXECUTED
SE7EN - Not everyone agrees with me on this, but I consider this script the height of tight storytelling and setup/payoff. And Andrew Kevin Walker is from my hometown, so I'm almost required to think that.
THE SIXTH SENSE - A brilliant story that should catch you completely by surprise and at the same time make TOTAL sense as you go back and read through it. That's the mark of quality.
IMPOSSIBLE TO TOP
NETWORK
CHINATOWN
(There's not much to say about these two; they're generally considered two of the - if not THE two - best scripts ever written. Though I'm continually confounded that SO many people don't know anything about NETWORK. That's depressing).
Just for fun, here are some of the best scripts I've read over the last few years:
SEEK OUT/KEEP YOUR EYE ON
THIS SIDE OF THE TRUTH
UNTITLED BILL CARTER PROJECT (AKA FOOLS RUSH IN - the best script I've read in nearly five years)
A KILLING AT CARNIVAL ROW (Note: If you can get your hands on either the original by Travis Beacham or the newest draft by Neil Jordan, read thsoe; the draft that Guillermo del Toro ****ed up is just sad.)
MIDLIFE PIRATES
MAN-CRUSH
2-FACE
THE WRESTLER (probably obvious now)
F*CKBUDDIES
THE GARDENER
KING SUCKERMAN
That's a short list off the top of my head. And after poking around on the boards, you guys have convinced me to read GALAHAD. Hope this helps!
Geoff
I had responded to an earlier post about the script and mentioned I was a reader (I actually read for the studio I sold the script to, New Line) and someone sent me a message asking what scripts I would recommend they read. There are a bunch of different ways to answer that question, but it's a good question, so I thought I'd tackle it in long form just in case anyone else was curious.
Whenever someone who wants to start writing scripts asks me what they should do, I tell them two things: read SCREENPLAY by Syd Field and read every single produced screenplay you can get your hands on. I don't know if people still read Field as much as I'm told they used to, but I think it's an invaluable tool. Though you want to avoid writing the cookie-cutter scripts the Field system (not that he created it, but explaining it concisely and simply is rightfully credited to him) teaches, it's important to know the rules so you know the right ways to break them.
Anyway, there are six scripts in three classes of films - High-Concept, Perfectly Executed, and Impossible to Top - that I mention without fail.
HIGH CONCEPT
BACK TO THE FUTURE - The epitome of a big, fun, "studio" movie. It has all the nuts and bolts.
THE KARATE KID - Same as above, except this was a movie no one was sure was going to do well (and that a slew of people expected to fail miserably). Essentially the perfect "formula" script that manages to make you not care about how stock its storyline is.
PERFECTLY EXECUTED
SE7EN - Not everyone agrees with me on this, but I consider this script the height of tight storytelling and setup/payoff. And Andrew Kevin Walker is from my hometown, so I'm almost required to think that.
THE SIXTH SENSE - A brilliant story that should catch you completely by surprise and at the same time make TOTAL sense as you go back and read through it. That's the mark of quality.
IMPOSSIBLE TO TOP
NETWORK
CHINATOWN
(There's not much to say about these two; they're generally considered two of the - if not THE two - best scripts ever written. Though I'm continually confounded that SO many people don't know anything about NETWORK. That's depressing).
Just for fun, here are some of the best scripts I've read over the last few years:
SEEK OUT/KEEP YOUR EYE ON
THIS SIDE OF THE TRUTH
UNTITLED BILL CARTER PROJECT (AKA FOOLS RUSH IN - the best script I've read in nearly five years)
A KILLING AT CARNIVAL ROW (Note: If you can get your hands on either the original by Travis Beacham or the newest draft by Neil Jordan, read thsoe; the draft that Guillermo del Toro ****ed up is just sad.)
MIDLIFE PIRATES
MAN-CRUSH
2-FACE
THE WRESTLER (probably obvious now)
F*CKBUDDIES
THE GARDENER
KING SUCKERMAN
That's a short list off the top of my head. And after poking around on the boards, you guys have convinced me to read GALAHAD. Hope this helps!
Geoff
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