W00t! I’ve been invited to guest on a panel of writers for @ScriptChat on Twitter next Sunday, February 28th.
We are thrilled to announce our first panel of guests at scriptchat! We’ve comprised two different panels of talented indie filmmakers/producers to guest at both our EURO chat and our American chat. Check them out and join the party!
I will be on the American chat at 5pm PST. Who else is on the panel?
Hue Rhodes: Hue Rhodes is a writer/director. His feature film SAINT JOHN OF LAS VEGAS stars Steve Buscemi and is in theaters now. http://huerhodes.com
Gary King: In 2009, he made his feature film debut with the ensemble drama NEW YORK LATELY which has been hailed by The Independent Critic as “a remarkable achievement” and Row Three as “a beautiful film” making its Top Ten Films of 2009 List. It was also listed on Associated Content’s “Best Independent Movies” List — right behind SLUMDOG MILLIONAIRE. http://www.grking.com/blog
Phil Holbrook: Phil Holbrook has always had a love of film and the filmmaking process. He has written anddirected several short films, all shot in Minnesota. He is currently working on the featurefilm “Tilt”. www.CreativeJinx.com
King Is A Fink: Jessica King and Julie Keck have been making films as King is a Fink for 10 years. Their short films Snow Bunny and Libidoland are currently making the rounds on the film festival circuit. In addition to making shorts, King and Keck also write feature-length screenplays. They’re currently writing a dramatic thriller called TILT for Phil Holbrook and adapting a naughty memoir by Kevin Keck (http://www.thekeck.com/). http://kingisafink.com.
C’mon, join in and send me good juju!
(aka: Percy Jackson: The Story Thief)
“Percy Jackson and The Olympians: The Lightning Thief” – a review about mismanaging story
*** NOTE: Spoilers galore. ***
I am not one of those “the movie is never as good as the book” guys. Ever read Dick’s Do Androids Dream of Electric Sheep (the source material for Blade Runner)? You couldn’t help but make a better movie than book, as the book is laughably bad. And Blade Runner is one of my all time favorite films.
And I’m not in love with Percy Jackson and the Olympians: The Lightning Thief as a book. It’s engaging enough, and full of big ideas, but somewhat lacking in story structure.
So why am I so struck by the failure of Percy Jackson and the Olympians: The Lightning Thief the movie?
I think, the more I ruminate on it, it’s because the mistakes seem so rooted in fundamental story issues, and seem to favor the weaknesses of the book over its strengths.
Got an offer to option your screenplay? Here are eleven terms you should know when talking to your attorney.
[See PART I – 10 things to think about when optioning your screenplay]
Okay, so you’ve gotten an option offer, you’ve thought about the 10 things, and you still want to do it. Now it’s time to talk to your attorney, and make some decisions about the negotiation points. Your attorney is going to toss some notes back to you for consideration, and chances are these things are going to be included. (There’ll be lots more than this… from simple typos to wholesale rewrites. But these are the top contenders for “things I think you should know”.)
Ask your attorney to spend some time with you to explain what they mean in the context of your deal… but here’s my take, based on my experience.
DISCLAIMER: I shouldn’t have to say this, but: I Am Not A Lawyer, I am not offering legal advice, and none of the numbers used as examples here should be considered recommendations or as examples of my personal previous contracts (which are none of your beeswax 😉 ). They are provided as hypothetical examples only. Talk to your own attorney about your particular deal. Continue reading “11 more things to think about when negotiating your screenplay option”
What does it mean to have your screenplay optioned?
A producer wants to option your script. Should you do it? What are the considerations? Here’s one guy’s opinion.
Part I of II [Click for Part II: Eleven More Things To Think About When Negotiating Your Screenplay Option]
Now that I’ve been through the option gauntlet a couple of times, I get asked about the experience and the process. It’s a little humbling, cuz I’m just a lucky guy with a couple of options, but I know how much I appreciate when I stumble across some good first-hand info, and figured it would be a good idea to share what I know. So I thought I’d gather my notes together here, in the hopes that it’ll prove useful to others. This is no substitute for having an attorney, mind you… more on that later. But I wish I’d had this list. Continue reading “10 things to think about when you option your screenplay”
Every so often I see a conversation about “high concept” films or screenplays that goes something like this:
“That was a high concept film.”
“High concept? It was a bunch of explosions and giant robots! What’s so high concept about that?
“That’s poster-child high concept. By definition.”
“No, high concept means a concept with high aspirations… concepts with a higher calling.”
“High concept” does sound like it’d be more applicable to The Seventh Seal than to 2012. And those who lament Hollywood’s penchant for 90 minute action-figure commercials based on video games from the ’70’s might resent the apparent hijacking of the term to mean its exact opposite, somehow projecting value on the valueless by virtue of its semantic favoritism. But it is what it is… the term is firmly embedded in the lexicon of the industry, and now means precisely the opposite of what it sounds like it means.
So I dug up some old notes I’d written a few years ago, and thought I ‘d repost it here, to sort of bubble it back up to the top of the conversation. A few of the links are no longer any good, but you’ll get the point. Continue reading “on defining “high concept””