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
Where The Wild Things Are – a disappointing imbalance of dramatic and thematic intent.
I knew going in. I’d heard the reports, seen the reviews, and I knew.
“It’s awfully dark,” they’d say. “It’s not a kid’s movie.”
“But it’s a kid’s book,” I’d say. “It’s about a boy who imagines a land with friendly monsters. How can that not be for kids?”
But in my mind I thought maybe at least it would be an interesting adult take on a kid’s story. And it was a tossup between WTWTA and Jim Carrey’s new 3D Scrooge extravaganza from the people who brought you the robotic and unengaging Polar Express. So I opted for WTWTA.
Ah, but they were right. And I was wrong. And here’s why. Continue reading
It’s official… Miss Julie Brown is attached to the Rocket Summer project in the role of Mercy!
Rocket Summer is great, I love it and would love to be in it!
– Julie Brown
Julie and I worked together a few years ago on the film Fat Rose and Squeaky (where I was Art Director), and I couldn’t be happier to have her involved with RS.
For those of you living under a rock: Continue reading
The following is excerpted from my Paranormal Activity review… it’s a portion of the post that I find myself referring to and wanted the passage in its own post for reference.
THE LIMITATIONS OF AUTO-CHRONICLING
The “auto-chronicled narrative conceit” has its innate issues. It creates a single camera situation shooting in real time (Blair Witch circumvented this by having two cameras available, but didn’t really leverage it), with one character nearly always off screen, that does away with (or severely hampers) all the established film vocabulary tools… the wides, the two-shots, the over-the-shoulders, the singles, the cutaways, the inserts. All the film tricks that directors and editors use to subconsciously establish relationships between characters, to control tension and mood in dialogue exchanges, to communicate unspoken subtext, to control and structure our experience of the story into a narrative that works, are suddenly wildly restricted if not impossible to leverage. Continue reading
Although our screenplay “Faeries” didn’t win at Shriekfest, we still got to see the judge’s notes… those kind folks who put so much time into reading all those screenplays. We’re feeling pretty good about what they had to say…
A lively, unusual slasher movie that delivers plenty of gore, and introduces a new set of monsters that could be worth a franchise.
I could see this as a movie… so many are hard to see actually made. This could be a fun little romp. 9 out of 10!
Clear and atmospheric writing that flows easily down the page. I enjoyed it. Definitely above average writers.
Thanks, amazing readers at Shriekfest! We appreciate your time, attention and obvious good taste!