Paranormal Activity sequel promises to out-boo its predecessor – will it succeed?
If you read my exhaustive review of Paranormal Activity, you know I was a big fan of (99% of) the film.
Paranormal Activity is the movie The Blair Witch Project wanted to be and Cloverfield didn’t even try to be. Discuss amongst yourselves the relative success or failure of The Last Broadcast, REC or its American remake Quarantine.
But we all also know that more often than not, sequels tend to disappoint (unless the audience’s requirements are low – Hello, Twilight).
Lauren Bacall / Josh Hutcherson film gets a new lease on life
Last year I was fortunate to do a little work on a film for a friend. Brian Sharp is an amazing art director (taught me everything I know – about art direction) and hired me to build him some props for Carmel By The Sea, a feature being shot in a nearby town (Carmel By The Sea film blog here).
Turns out the flick starred some of the biggest names in Hollywood, both new and seasoned… Lauren Bacall, Alfred Molina, Josh Hutcherson, and Hayden Panattiere, to name a few. The film had a terrific crew and the footage looks amazing.
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…
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.
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 one indie sale and a few indie 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.
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.
[Become a fan of Grampa Was A Superhero on FACEBOOK]
Writing duo’s family friendly spec script lands option deal with Epiphany Productions.
Santa Cruz, CA – January 31, 2010
Chip Street and Sean Meehan have had unlikely good fortune in their short spec-screenplay writing careers. In an industry where newcomers are told that it’ll take 10 years of writing 20 lousy screenplays to finally get it right and earn any recognition, they’ve beaten the odds three for three.
Their most recent success? The family friendly screenplay Grampa Was A Superhero has been optioned by Mitchell Galin at Epiphany Productions. The story centers on 12-year-old Jesse and his Grampa, who thinks he’s a TV super hero. The elder drags his grandson on a cross-country road trip to confront his imaginary arch enemy… accidentally thwarting crimes along the way and fast becoming a folk hero.
A few years ago I ended up talking with Veronica Craven about her upcoming slate of horror films. We chatted about me writing a zombie flick for her but that project didn’t come together (at least not with me). She…
Very cool series of vids on YouTube from UCLA’s film school. Interviews with producers, directors, agents on how to pitch, what you get out of film school, and more… all good stuff, and always great to get it form the…
Away We Go is just the latest in a long line of “indie” films to leverage the oh-so-cool “hand drawn title” font, lending it serious street cred and instant indie validation before anyone even sees the film. Recently popularized by…