“…the horror builds … an unusual creature … well written … above average … there is much to like here.”
Faeries gets some lovin’ from the SlamDance judges panel.
Faeries, possibly the best unproduced horror screenplay about pack hunting, echo locating, semi-sentient proto-humanoids currently making the rounds of Hollywood, just got some good feedback from one of the country’s most respected screenplay competitions.
“…the use of the faeries is an unusual creature, the characters are above average and the author strives to give them some depth and individuality … the story moves at a nice pace. The build is very strong. The author doesn’t try to rush things and make everything happen immediately or too fast, but lets the horror build. The early scenes especially have an unease about them (as one character points out, there’s something wrong or off about it all). All in all, there is much to like here.”
We appreciate that, SlamDance. And you’re in good company… both Shriekfest and WildSound have had praise for Faeries as well.
“A lively, unusual slasher movie that delivers plenty of gore, and introduces a new set of monsters that could be worth a franchise”
– Shriekfest Screenplay Competition
“Compelling, terrifying, disturbing, beautifully written.”
We’ve recently submitted the as-yet-unproduced Faeries horror screenplay to a few competitions, and just got the first set of coverage notes back. We think we did pretty well, and it only makes us more confident about the script.
This is from the WildSound Screenplay Competition. We appreciate their kind words!
**** SPOILERS **** Continue reading
Have special effects finally gotten so accessible that indie spectacle filmmakers can focus on story?
The short film Plot Device was put together to showcase the new Magic Bullet Suite 11 from Red Giant. So yeah, it’s a “gee whiz look at the affordable but awesome FX extravaganza” whose primary aim is to highlight the software.
But it goes a step beyond that, and includes some great acting, a fun story, something of an arc, and a truckload of homages that are lovingly included (my favorite: The simple fact that he’s barefoot throughout the story).
On one of the many screenwriting forums I frequent, a screenwriter posed the question “Did this producer steal my screenplay?”
Good question. Here’s the story.
Making the sale
It seems the writer was approached by a producer who was interested in one of her screenplays. They swapped a series of emails, exchanged several versions of a sales contract, and arrived at a purchase agreement. Yay for her.
The screenwright delivered her screenplay via email, the producer delivered the agreed upon sum. Again, Yay for her.
But the final contract didn’t arrive with the payment. In fact, neither the screenwriter or the producer signed a hard copy.
Time passed. Continue reading
Why too much detail destroys screenplay description – and pisses readers off
I just finished slogging my way through another script as a judge for a screenplay competition.
Yes, slogging. It was painful. It was boring. Frankly, I couldn’t finish it. I gave it a “pass”.
Because the writer gave me too much description.
Exactly how many licks it takes to get to the center of a Tootsie Pop
The screenwriter told us just how many steps a character took to cross a room (11), whether the couch was on the right or the left of the doorway (left), how many seconds a dog barked (5), and precisely how much space is between the lights in an alleyway (30 meters). I learned that the kitchen table is rectangular, and how big it is (approximately 33 inches by 60 inches).
I wanted to shoot myself in the head. For the record, this is not how you want to make your reader feel. Continue reading