Archive for the ‘Handful’ tag
CHRISTOPHER VOGLER TELESEMINAR Q&A (PART 4 of 4)
Christopher Vogler (CV) and I conducted a wonderful tele-seminar a few weeks ago, it was great fun.
We had a stimulating Q&A session. However, due to the abundance of questions and the limited time we were unable to take and respond to everyone’s questions on the live call.
But, I promised everyone on the call that they would get their specific question answered and emailed to them directly. At this point everyone has received their individual response from CV. Cool, right?
Well, it occurred to me that it may be beneficial to share some of it with you so I have randomly selected and posted a handful of the screenwriter’s questions and CV’s response here. Enjoy part 4 of 4.
My hope is that it serves you.
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Galia Hillhouse-Kwa-Zulu Natal, South Africa
Am I shooting myself in the foot if I write screenplays with a South
African background? Would I stand a better chance writing American
stories?
CV: I think your energy is best spent developing stories set in the
world you know. It is VERY difficult to conceal subtle signs that you
did not grow up on the streets of Los Angeles, and they will not take
you seriously if they detect that you are writing about things that
are distant from your experience.
Pamela Ross-Sacramento, CA
Mr. Vogler, have you ever developed a Western screenplay with Native
American characters? Regardless, what would you look for as your main
critique points in developing?
CV: No, I never had a hand in a Western though I am fond of the
genre. Big influences on me were the Lakota shaman Black Elk and the
poet John G. Neihardt who write about “the twilight of the Sioux”.
Main points: Unusual take on a well-worn genre. An unexpected
setting or a new twist. Something with contemporary relevance, a
story from history that in some sense is still happening today.
Compelling, attractive characters that will make actors want to play
them. A subject that a lot of people will relate to.
Constantine Veroutis-Calgary, Alberta, Canada
What contribution did Chris take part in the developement script of
Lion KIng and Till Eulenspiegel ?
CV: Thanks for asking! On Lion King I have a credit of “Additional
Story Material by” which I share with about twenty other people who
contributed ideas and scenes to the film. My specific assignments
were to draw a comparison between the Lion King and Hamlet, pointing
out the Hero’s Journey of Hamlet and noting some famous quotes which
were turned into jokes and dialogue references by the writers. I
contributed a couple of visual touches – the shaft of light that comes
out of the cloud when Rafiki holds up the infant Simba in the opening
Sappho hd
sequence of the film, and a scene where Scar’s evil influence causes
the waterholes to dry up.
On Till Eulenspiegel, an animated feature produced in Germany with a
multinational crew, I wrote the entire screenplay and lyrics for a
couple of songs. The producer already had a rough story outline when
I came aboard, and I worked from that and from the legends and stories
of Europe’s favorite court jester, Till Eulenspiegel. I modeled my
story on the wonderful Danny Kaye comedies that I remembered from my
childhood, marvelously silly films like THE COURT JESTER and THE
INSPECTOR GENERAL.
Bruce Moore-Spring, Texas
Why do so many wonderful historical subjects get made so different
than what really(supposedly) happened, when the real-life stories are
actually much more dramatic and/or interesting?
CV: Oh man, don’t get me started. I saw this happen right under my
nose when Disney made a picture called “Squanto, a Warrior’s Tale”,
based on research I had done for their story department. The story
was so loosely based on the amazing true story that I wished they had
called it “Standing Water” or something else made up. It wasn’t a bad
story, it just had very little to do with the actual Squanto story
which was much, much better.
I can only GUESS that studios make the mistake of hiring writers who
are just doing a job and never fell in love with history, which as you
point out almost always makes for much better stories than those the
screenwriters make up. People feel they have to “make the story their
own” or maybe they don’t have confidence in the facts of history.
Jesse-San Antonio
How would you go about selling a “High Concept” spec script in today’s market?
CV: This is a very technical matter. You’d have to SOMEHOW hook
yourself into the high-speed world of execs and producers and agents
The Clique movie
who launch elaborate spec sales campaigns every week. Personally, I’d
be looking to make an alliance with a producer who has deals with the
studios and who handles your kind of project. Again, do your
homework.
Brett Moore-Spring, Texas
Michael Ray Brown say’s hello. What is your feeling about having a
professional reader providing coverage?
CV: I don’t think this helps you one bit in terms of convincing
somebody to read it or buy it. It’s not a sincere endorsement because
you paid for it. But it can have great value for YOU – the process of
boiling something down to a synopsis often reveals flaws and
inconsistencies in the story. I ALWAYS do a synopsis of anything I’ve
written or that I have to evaluate seriously. It’s a big help in
diagnosing story problems because it makes you focus on the big
turning points.
CHRISTOPHER VOGLER TELESEMINAR Q & A (PART 1 of 4)
Christopher Vogler (CV) and I conducted a wonderful tele-seminar last week, it was great fun.
We had a stimulating Q&A session. However, due to the abundance of questions and the limited time we were unable to take and respond to everyone’s questions on the live call.
But, I promised everyone on the call that they would get their specific question answered and emailed to them directly. At this point everyone has received their individual response from CV. Cool, right?
Well, it occurred to me that it may be beneficial to share some of it with you so I have randomly selected and posted a handful of the screenwriter’s questions and CV’s response here. Enjoy part 1 of 4.
My hope is that it serves you.
**********************************************************************************************************
DONNY-SHAWNEE,KS
when writing a potentially action-thriller blockbuster feature,
pitting two massive franchises against eachother like predator vs
aliens, how should i structure it. also, what is the best way to
approach studios with it. should I approach them with a script,
treatment or what, and would I need to aquire rights first since i’m
writing it on spec with something involving a multimillion dollar
franchise like terminator.
CV: This sounds risky, a difficult thing to do even if you were
deeply imbedded in Hollywood. Sounds like a super-high concept and
those kind of franchises are all highly guarded by lawyers. It’s like
a citizen trying to convince Canada and Brazil to become one country.
I certainly wouldn’t waste time on developing a script. The studio
wants to have the fun of deciding what kind of script will be written
from the concept. Just write up your concept in treatment form. Yes,
you probably would have to acquire some kind of rights or else you’ll
just get trampled.
Maria-Jackson
How to make a good script great! your famous “formular” for the hero
with 1000 faces elaborated in our time.
CV: Same as ever. Put sympathetic but realistically flawed
characters in a situation where they desperately want or need
something and then make it devilishly difficult for them to get it.
Along the way, give them mentors, allies, threshold guardians, and
tests of character that lead them to transformation and deeper
self-understanding. Since so much of modern movie time is taken up with super-heroes and
heroic action, you’d better know something about how the heroic form
operates on the grand scale. But don’t forget the power of simple,
local, intimate stories, which can be just as heroic.
Mark-Los Osos
I write a lot of horror – can you give a contemporary example of a
horror film that successfully employs the hero’s journey?
CV: The last horror movie I saw was CLOVERFIELD which I quite enjoyed, a
delicious nightmare. It has a classic hero’s journey quest form. The
Ordinary World is a young man’s going-away party captured in
convincingly amateur fashion with shaky hand-held cameras. The Call
to Adventure on the emotional level is his brother urging him to “go
for it” and declare his love for a girl, followed a few seconds later
by a more literal Call to Adventure as a mysterious giant monster
bursts out of the streets of New York and starts slaughtering people.
The hero and his friends go on a classic quest to save his trapped
girlfriend. The sacrifices and ordeals of a Hero’s Journey are all
played out in timeless fashion except that the heroes are apparently
killed at the end, reinforcing the horror effect. Too much shaky
camera for my taste, though.
CatherineVetere-London, UK
what is the first and, you consider, the most important element you consider when you first read a script?
CV: If I were just reading in a vacuum, unaffected by the needs of a
client or studio, it would be a compelling story that I’d like to see
as a movie. That means a great character in an interesting world, in
a situation that produces emotional reactions. But I don’t read in a vacuum, and am almost always reading with some fairly precise and narrow ideas of what my client is looking for.
Often I am looking for a story that will work for a particular star or director, or scanning for a particular genre. The studio puts out the word that they need a children’s fantasy or an adult thriller, and I start looking for one.
Kristin Fieseler-Paderborn/Germany
Is the Special World’s function eliminating the character’s lack in
the Ordinary World?
CV: That could be one of the functions. Whether the hero realizes it
or not, that’s why he or she goes there, to find their missing piece.
The Special World has other functions though; providing a sharp
contrast with the Ordinary World, providing a crucible for the hero’s
transformation, offering the audience escapism with an exotic setting
or unusual situation.
CHRISTOPHER VOGLER TELESEMINAR Q&A (PART 3 of 4)
Christopher Vogler (CV) and I conducted a wonderful tele-seminar a few weeks ago, it was great fun.
We had a stimulating Q&A session. However, due to the abundance of questions and the limited time we were unable to take and respond to everyone’s questions on the live call.
But, I promised everyone on the call that they would get their specific question answered and emailed to them directly. At this point everyone has received their individual response from CV. Cool, right?
Well, it occurred to me that it may be beneficial to share some of it with you so I have randomly selected and posted a handful of the screenwriter’s questions and CV’s response here. Enjoy part 3 of 4.
My hope is that it serves you.
**********************************************************************************************************
Suzanne-Muncie, Indiana
When you have limited funds and you know that you have an exceptional
script, what is the best way to get it into the right hands?
CV: Do your homework. Figure out who the critical people would be to
get your project made. Who’s the ideal director? Studio to release
it? Actors to play the leads? Find out the names and addresses of
their companies from sources like IMDB.com or the invaluable Hollywood
Creative Directory that lists all the major players. Make your wish
list and send out query letters saying “Would you like to read a
terrific screenplay about X?”
Carmen Cifuentes-N. San Diego
After 11 months of research, writing and rewriting with a professional
coach I finished my script. It is a modern romantic comedy. An
executive at Overture says it’s high concept and wants a ‘dialogue
rewrite’. While concept is my strength, dialogue is my weakness. What
do I do? Dialogue writers are too expensive (thousands of dollars).
Please advice. Thank YOU.
CV: You’ve been thrown a challenge. Sounds like you’re going to have
to make a collaboration and find yourself someone at your level who
has the necessary skills. You kind of have to turn into a producer if
you don’t feel confident growing a new brain as a dialogue expert.
(This could take years of study and practice to make any noticeable
change if it’s not your strong suit.) You’ve got qualified
encouragement there so it’s worth some effort. Can you get involved
in a local writer’s group and approach the best dialogue writer in the
group about a collaboration?
Amy-Irvine
In your opinion, what are the three biggest mistakes screenwriters
make? And do you have any recommendations on how to best avoid making
those mistakes? Thank you!
CV: 1. Beginners sometimes overexplain and spend too much time on
introductions and details of backgrounds and action. Solution: Give
your writing a clean shave – go over it one time with one question in
mind: What can I do without? You’ll be amazed by how much better it
gets when you start throwing stuff out. It will read faster which is
a great selling point.
2. Beginners sometimes don’t differentiate characters enough.
Everyone sounds the same, and most often they all speak in the voice
of the writer. Solution: Make sure each character has a distinct way
of speaking that reflects something about his or her personal history
and attitude towards life. Some people speak in incomplete sentences,
some people run on and interrupt themselves, some people use a big
vocabulary and colorful expressions while others are blunt and
literal.
3. Some writers fail by losing sight of their main theme, or perhaps
they don’t really know yet what the story is really about. Solution:
Ask yourself “What is the one word that describes what I’m writing
about?” It should be some basic human emotion or drive, like Love,
Trust, Betrayal, Loyalty, Friendship, Ambition, Terror, etc. Make
sure every scene in your script somehow expands our understanding of
that single word, your theme.
Mark-Los Osos
Do you put any stock in scriptwriting software that seems to draw on
your book for inspiration? And If you don’t have an agent or known name, what will get you noticed so that someone will read your script? I have a fantasy rom-com that has been optioned. A known director likes it, but says it isn’t quite “studio ready”. Is this some kind of code? What should I look for and change if I don’t receive notes?
CV: First, Not personally. All the software I need is inside my skull. But
hey, it couldn’t hurt if Vogler-inspired software helps you formulate
a thought.
Second, a truly great script that makes people excited enough to want to
tell somebody else to read it. There is no other secret.
Lastly, it means he saw some good features in it but can’t see himself
sticking his neck out for it. Trust your instincts on this one – you
can usually “smell” what it is that shot you down. Something struck
that director as too corny or far-fetched, too underdeveloped, too
esoteric, or too much like other projects floating around the studios.
CHRISTOPHER VOGLER TELESEMINAR Q & A (PART 2 of 4)
Christopher Vogler (CV) and I conducted a wonderful tele-seminar a few weeks ago, it was great fun.
We had a stimulating Q&A session. However, due to the abundance of questions and the limited time we were unable to take and respond to everyone’s questions on the live call.
But, I promised everyone on the call that they would get their specific question answered and emailed to them directly. At this point everyone has received their individual response from CV. Cool, right?
Well, it occurred to me that it may be beneficial to share some of it with you so I have randomly selected and posted a handful of the screenwriter’s questions and CV’s response here. Enjoy part 2 of 4.
My hope is that it serves you.
**********************************************************************************************************
Karen Quah-Sydney
It’s hard to look at one’s own work with objective eyes. When do you
know a story isn’t working? And at what point in a character’s journey
should a writer know that the character’s journey has strayed or isn’t
the right one?
CV: You must develop sensitivity in the organs of your body. It
helps me to put my work away for a couple of days and then sit down
with a clear mind and read the whole thing through with new eyes,
pretending I am someone who has never heard this story before. I
watch closely for reactions in my body – smiling, heart racing, throat
choking up – which indicate my story has touched my emotions.
And just listen to your mind as you read your own work. If
something’s wrong, you will hear a voice that says “I’m not buying
this,” or “Why would she do that?” Keep working until that voice
shuts up.
Kristin Anne Fieseler-Paderborn/Germany
Dear Marivin and Christopher: First I have to thank you for having
that opportunity to ask. How can I show the character’s need of
crossing the Threshold most impressive? Best Regards, Kristin
CV: Good question, shows you are thinking about how to emphasize big
turning points. I would say put the character in the corner, blocked
at every turn. Show the person trying to escape destiny and being cut
off until there is only one way left – cross the Threshold.
Honour Leigh-Canberra, Australia
My hero fails the ordeal. What should replace the
celebration/reward/seizing the sword? Thanks Christopher. Forrest Gump move
CV: That depends on how grim or tragic your story ultimately will be.
If you really want to torment your failed hero, instead of seizing
the sword he or she might come to a situation where they desperately
need the magic thingy from the ordeal, only now they don’t have it and
are embarrassed or put into great danger.
A more positive spin would be that the failure causes a re-assessment
of values, a scene where the hero hits bottom emotionally and then
bounces back after realizing the root cause of the failure.
Stephanie Pasternak-Miami, Florida
When it is said that a starting writer should start with big ideas,
does it refer to the story or the structure like for example the one
in “Memento,” or both? Because it seems as if every subject matter of
history, life and current events have already been used and also no
matter how complicated some stories are, most end up being just a love
story.
CV: Complex question. I don’t know who said “Start with big ideas”
or what they meant. That’s true sometimes but what about intimate
little stories like “Little Miss Sunshine” or Seinfeld? Quite true
that a lot of subject matter has been done, but you won’t get far as a
professional writer if you let that stop you. I am sustained by the
need to see SOME KIND OF EXPRESSION of the movies I see in my head
when I read the stories of myth and history.
Andy Cohen Teleseminar Q & A (PART 1)
On the 30th of January I hosted a tele-seminar with my friend Andy Cohen, an established literary manager and producer, to offer tips and insights to all those who participated. We had a blast!
The kind words that we received, from soooo many of you, via email at the conclusion of the tele-seminar were very generous and appreciated, thank you.
During the call we offered the participants the opportunity to ask questions and we made every effort to address as many as possible, but time was limited and questions were abundant.
I thought this would be a great forum to address some of those unanswered questions. Over time, I will sporadically select questions (a handful at a time) and will share my personal insights with the hope that the answer will be helpful.
Again, thanks to all those who participated and contributed. Here we go:
Vincent Fahy-Mayo, Ireland
Hi, Just wondering when one gets representation, does that then become a pressure situation? Are there particular demands? E.G. You must write a screenplay within a certain period or you must produce a certain amount each year! My reason for asking is I believe that a writer would work better without stress or am I mistaken in that?
***
Dear Vincent,
If I opt to work with a writer, then I do have expectations and frankly most representatives I know do as well. The primary expectation is that you are creating content, delivering material to sell or to use as an opportunity to land you a writing job. If a writer is not working on a rewrite for a studio, on set for production rewrites, working on a television show, then I expect them to write new material. I expect them to always be writing new material — that’s your job.
Now I don’t call my writers everyday, nor do I do business with writers that need me to prompt them to write. But, more to your point. I, like most representatives, run a business, if our business partners (the writers) only generate one spec screenplay a year then that’s not much of a business partner. Keep in mind that if a studio paid you to write a screenplay, your contract would provide you with roughly 12 weeks to deliver the first draft.
I think screenwriter John August said it best, ” … amateur. I want you to banish that word, because you need to treat everything you do from the moment you walk out the door as a professional. This is now your job.”
Representatives are seeking professionals.
Again, thank you for participating.
May Your Life Be Extraordinary,
Marvin V. Acuna
Craig Lew-Rancho Santa Margarita
Is having coverage (Consider) attractive to Manager’s and agents? Which agency is most respected?
***
Dear Craig Lew,
Thank you for participating.
Coverage may be helpful to a manager and/or agent if it’s from a trusted source, but it’s their trusted source. Coverage from some random individual or entity that you paid doesn’t help your pursuit of a representative.
The top tier agencies in the business are CAA, Endeavor, William Morris, UTA, and ICM.
Again, thank you for participating.
May Your Life Be Extraordinary,
Marvin V. Acuna
Donte-Seattle
Generally, how long are your first drafts of your scripts? How do you plan to attack your second draft. And how do you decide to cut the fat?
***
Dear Donte,
I’m not a screenwriter so I will address the question from my perspective, a producer. A first draft should generally be between 90 to 120 pages. Upon review of the draft, I offer constructive criticism to the writer in the form of written notes then we meet to discuss. After the meeting the writer implements the changes that serves the story most.
In your case, it may serve you to share the material with a group of writers that you trust (if you are not part of a group, join one) or to stage a reading to collect feedback and determine what is working and what is not working.
Again, thank you for participating.
May Your Life Be Extraordinary,
Marvin V. Acuna
Ketevan-Tbilisi
Hello, I live in republic of Georgia… do I need an agent to sell my screenplay? If not, how can I contact producers?
***
Dear Ketevan,
It certainly would be helpful to have an agent, but until you have an agent to navigate the business with you (not for you) then you can use the Hollywood Creative Directory http://www.hcdonline.com/ to identify producers who are suited for your material and their contact information.
Again, thank you for participating.
May Your Life Be Extraordinary,
Marvin V. Acuna
Tim-Show Low
If we have a celebrity attached to our script in writing, will this help us get an agent?
***
Dear Tim,
To be clear, there is a very distinctive difference between a celebrity and a star. I don’t know who your celebrity is, but if you do have a celebrity of any real note (true value) interested in your project then your focus should be on getting it made not finding an agent. But, if you choose to pursue an agent then emphasize your logline, not the celebrity (unless it’s a star).
Again, thank you for participating.
May Your Life Be Extraordinary,
Marvin V. Acuna
Bruce-Indianapolis
How do you know what type of material a production company is looking for?
***
Dear Bruce,
Read the trades Hollywood Reporter, Variety, visit IMDB.com and check out who is making the types of movies your writing, etc. These are a few examples of internet resources available to help you.
Again, thank you for participating.
May Your Life Be Extraordinary,
Marvin V. Acuna
Michael-Princeton , NJ
What is the working definition of a ‘good movie’? And can anyone really tell ahead of time if a script/movie is ‘good’? Nobody wants to produce a ‘bad’ movie, but there are tons of them out there.
***
Dear Michael,
I’m not certain that there is a standard definition for a “good” movie. Art is subjective. I don’t believe people set out to make a “bad” movie, but there are some people who simply choose to make a film because it makes good business sense.
Again, thank you for participating.
May Your Life Be Extraordinary,
Marvin V. Acuna
B. Daniel Martinez-Redondo Beach
Why do so many of those in power have to put their fingerprints on a script when many times it destroys it?
***
Dear B. Daniel Martinez,
The film business is a collaborative process. The saying, “it takes a village to raise a baby” is absolutely true in this business. It’s never simply one person that gets a project off the ground. Unfortunately, some ideas don’t serve the project, but I don’t feel that anyone ever intends to “destroy” the project.
Again, thank you for participating.
May Your Life Be Extraordinary,
Marvin V. Acuna
Stan-Iowa
Do you think there’s a minimum number of completed scripts a writer should have before contacting a manager or agent about representation?
***
Dear Stan,
Absolutely! But, that’s my opinion. How enthusiastic would you be if the agent and manager that was interested in your material only had one personal relationship in the business or no working knowledge of the business? I’d guess that it may not be that thrilling to know that the person you are entrusting with your work knows as much about the business as you do.
You should have an abundance of material. The more the merrier, but if I had to be pinned down to a number…I’d say at least three. But, these scripts should be multiple drafts deep, not firsts.
Again, thank you for participating.
May Your Life Be Extraordinary,
Marvin V. Acuna
