Chip and Sean,
Your screenplay has been selected as a semi-finalist in the 2009 Shriekfest Screenplay competition. Congratulations on making it this far. The judges are currently in the process of selecting the finalists for the festival. We will be contacting everyone sometime this coming week. Thank you for your patience.
Don’t know if we get laurels for it, but I’ll take it anyway. Not bad for a script we wrote in 6 weeks, huh?
Hyperion Hyperbole, you say? I think not. Hyperion investigates issues of humanity and society alongside the best of Gibson, but without the (sometimes) overly conscious punk edge that can make classic cyberpunk “too uber-cool for school”.
It creates mysterious worlds, frightening mythologies and psychological challenges for its characters, and its readers, like very little else.
It is far and away more Literary in the most fundamental sense than any of the fetishism of scientific specificity that mires the Clarkes and Asimovs and yes, occasionally, even the Heinleins of Golden Age scifi.
And its foundation in classical Literature (Hyperion is clearly modeled on Chaucer’s Canterbury Tales) makes it all the more rich for those with an awareness and appreciation for it (and merely having a character quote Shakespeare from time to time – hello, ST:TNG – is not the same thing).
The Hyperion Cantos is easily on par with such watershed works of scifi as Herbert’s Dune (which has yet to have a proper theatrical interpretation, though I liked the miniseries just fine), or Card’s Ender series (which is also in development with Warner Brothers)… and in many ways, most clearly stylistically, it surpasses them. And while a few scifi films have been based on the works of P.K. Dick – one of them even good (Bladerunner) – Dick’s books have dubious Literary value at best but rather are merely good ideas poorly executed.
The trick is, in the end, Hyperion is a fractured travelogue, a collection of campfire tales shared by a group of travelers quietly working their way across a dangerous planet as a war rages in space above them. The stories are intense, and fantastic, and heart wrenching, and personal. And the war, for the most part, remains in the sky as an occasional light show, reminding the group of the importance of their mission. The book has very little to do with the 3-D trickery, unfolding automotive robots and blood-thirsty aliens of typical contemporary Hollywood scifi.
But it’s this unique, sensitive, artful brilliance that will make the film profound and timeless, so long as the source is respected.
It’s being adapted by Trevor Sands, whose work I’m unfamiliar with but who seems to have written exactly one produced short and one produced feature (note to self: get feature produced).
There’s a new blog in town… Write Club Screenplay Challenge is a simple little blog that sets up mini-challenges for screenwriters. It’s like one of those 48-hour filmmaker’s challenges, but you don’t have to make a whole movie. You just have to write it.
The site is designed to offer motivation to get writers to write; it allows for socializing with, and feedback from, your peers; and it’s good fun.
Write Club was inspired by the John August website. Although John is a busy busy man, he occasionally finds time to offer his blog readers a “scene challenge” — wherein John sets up parameters, and invites readers to post “entries”. Similarly, Write Club will set up new challenges, with professional “referees” who will not only define the challenges, but judge the results, choosing a winner and a few close seconds.
If you read my first post on Enigma, you know that I was impressed by the trailer and excerpts, but had two primary issues: I was unimpressed with the animated googly-eyed monkey (put me into painful Lost In Space flashbacks), and I wasn’t sure why one would spend 40K on making something too long for a short but too short to distribute as a feature. Otherwise, I thought the production looked solid and bigger than its budget.
In a darkly comic homage to “Alien” and “The Thing”, the cast and crew of an adult film, stranded in a blizzard, must band together against a mysterious and deadly alien, which has possessed the actor with the biggest part–Ron Jeremy (naturally). Now, with the monster on a killing spree, the race is on to trap and destroy it before there are more victims of its peculiar skills.
Starring Amber Benson (“Buffy The Vampire Slayer”), Charles Napier (“Silence of the Lambs”, “Rambo”) and introducing Ron Jeremy
Liz Maccie, studio reader, has a nice list of professional insights over at the BOSI site…
About two and a half years ago, I got the wonderful opportunity to become a “reader” for a studio, think mouse house. I continue to work for them under a freelance status and absolutely love my job.
Being a reader means you literally read materials such as scripts, novels, and teleplays. Then you write up “coverage,” entailing a synopsis of the plot as well as an analysis of the story elements.
Finally, you either recommend the piece for further consideration or pass on the material. All in all, it is a fantastic fun job that has made me, hands down, a better writer, simply because absorbing stories on a daily basis has helped sharpen my tools for defining story.
After reading literally hundreds of scripts, here are some tid-bits that may be of value to you on your journey to becoming a produced writer.
God I love these guys. Big, sloppy fawning unmitigated man-love these guys.
When you look at a list of their projects — Blood Simple, Raising Arizona, Barton Fink, Miller’s Crossing, Fargo, The Big Lebowski, O Brother Where Art Thou?, No Country for Old Men, and Burn After Reading (and that’s not all of them) — it’s just stunning. I mean holy shit. They’re not just good movies. They’re not just really good movies. They’re experimental, brave, complicated, unique, and varied. They’re almost all brilliant in some aspect of the word, and certainly none are “average”.
My writing partner and I had a conversation many years ago, that went something like “Would you rather be Isaac Asimov and write 200 or more mediocre books, or Kurt Vonnegut, and write far fewer really amazing and challenging books?”
We both answered “Vonnegut” (and that answer of course assumes you’re capable of writing like Vonnegut).
The Coen Brothers are my screenwriting Vonneguts. They’ve got the goods. They are what I aspire to be. Just once.
Opinions vary on the value of shooting a trailer for your unsold screenplay. I’ve heard some folks (John Brown) state that it can’t hurt, and might help, the sale. I’ve heard other folks say it’s a waste of time.
If you fall in the first camp and think a trailer might be the thing for you, but don’t have the resources to do it yourself, I stumbled across Movie Trailer Makers, a team of filmmaking pros who specialize in kickass trailers of unproduced screenplays.
Movie Trailer Makers produce fast and affordable movie trailers and teasers for screenwriters & film studios. Just send us your script and we’ll take care of the rest.
We have a team of international film makers with the talent, experience and resources to turn your script into a professional and entertaining movie trailer.
Our team are real movie directors who have worked on dozens of feature films, documentaries and TV series. We know what Hollywood are looking for and will help present your script accordingly.
And their reel is really impressive. There’s no doubt they can deliver the goods. But at what cost?
We’ve been thinking about making a trailer for our screenplay “Faeries” so I sent them a synopsis, just to get an idea of price. The reply was “…a typical non-animated trailer produced by us costs between $5K-$8K.” Well, that might be worthwhile for some, but for this project at least I can think of better ways to put 8-10K to work… shooting a short, jump starting a feature, fixing my car…
Which isn’t to say the service is not worthwhile. It’s just to say it’s too rich for my blood right now.
A few days ago, John August announced his latest scene writing challenge. It’s kind of like one of those 24-hour filmmaking challenges, except you don’t have to actually make a movie… just write one. And not even a whole movie… just a scene or sequence. Simple, right?
John has done these a few times before. Each one garners more and more responses, from more and more good writers.