Holding the Winning Ticket...

As I was talking with a good friend last night, we were discussing Elle and Jake and the further news that financing was looking good for the latter film and the former was close to sale. He congratulated me, which I never take as gracefully as I should, and compared the situation to holding a winning lottery ticket. I like that analogy, and it seems fitting.

I'm in a position I've heard few writers discuss, so if I wax verbose, bear with me, but maybe it will help someone down the line or, maybe, even inspire someone. After getting hired for a gig for the low-budget production of Elle, at a ridiculously low wage, but it was everyone's first film, so no criticism there, I fulfilled the initial dream. As my manager said, "You give away the first script, you get paid for the rest." More than anything, I wanted to be able to look at a shelf and see the DVD of the movie I had written sitting there. That's not quite happened, yet, but it will and it's close. The big worry, following that production, was, 'Will I get another job?' Fortunately, the same people behind Elle wanted to do a second, and that contract has been signed, the first draft delivered and notes on the way.

The latter film was contracted under WGA low-budget rates, so much of the pay is still deferred, and we'll see how all that goes. Another film is looming for the fall and I still have a script almost ready to pitch in the agents' hands. So, it is like holding the lottery ticket. Not sure about the winning part, yet. But it feels amazing when I take a moment to stop and appreciate the fact that the original dream has come true. I wrote a film that was actually made into something real. It's an awesome responsibility, and there were moments I failed the film as a writer, and I accept that, knowing I'm better at the craft now and that I will say the same thing throughout my (hopefully long) career. You are always better than the script you wrote last. You've learned, honed, practiced. I think Jake will be a lot of fun. I think the next one will be better.

So, after Jake is complete, a weird sort of limbo state enters where I have some rewrite work to do, but no official gigs. It's frightening, because I want to keep doing this - keep creating, keep writing, keep filling the page. And I always will, but it's a lot nicer to be paid for it. The ticket I hold has two outcomes. The first is that the numbers hit, and this movie leads to the next which leads to the next and so on. The other result is that, after this film, the phone doesn't ring. The agents lose faith. And I'm relegated to the day job for the remainder of my days, still writing, and boring people with stories of how I almost made it to the big time.

The Benefit of Management

So, a little practical talk today. When I first began writing screenplays, my only thought was how to make a good movie. As I grew, I learned more about the craft of screenwriting and the mechanics of structure, how to make scenes use tension of some sort to propel the action... all the things that make a good script, well, good. What I quickly realized is the difficulty of getting a script you are happy with into the hands of people who can actually make the movie, which is a whole different set of hurdles.

I got lucky with my first produced film, a movie made for very little money, but Elle was received well, and the director wanted to make a second film with me on the script. That's both flattering and potentially profitable for all involved. But, since our first film was behind us, it was time to bring a more professional air to the proceedings and contract discussions have begun. And here is the second arena in which I count myself lucky. I have a management team behind me. It gave me the option of sending the contract to them, a gig that they did not procure, but I'm happy to give them their cut. Why? Because they have the resources and expertise to ensure that the project is a WGA signatory film and that both I and the director have a clear understanding of pay, payment schedule and any penalties levied if I am not compensated appropriately. "You give your first script away," one of my managers said. "Not your second."

There's the vicious Catch-22 of most agents and managers, in that you can't get representation without something produced and you can't get anything produced without representation. Fortunately, the company I signed with was new and willing to take a shot with me. Several rewrites of a script they liked later, and I'm a better writer for the experience. I don't know how common it is to find a team of people who get your work and do everything they can to make it better so we can sell it and all become rich beyond our imaginings. or, at the very least, make a living doing what I love... making movies. No matter, I count myself lucky.

At the end of the day, I value their input and appreciate their services. I can't recommend enough finding someone within the industry to give you pointers and help you with legal matters. There are plenty of hazards in navigating the waters of the film business. It's a whole lot easier with a crew.

Elle Screens, Jake Evolves...

Elle: A Modern Cinderella Tale screens today at Cannes, in the sales wing. No competition or anything, but it's there and I couldn't be happier. Now if it would only sell and make a little coin for all of us who worked on it, better yet.

On the other front, the next film for the same director is trucking right along. First act is just about complete after much negotiation on the outline. I find that an outline is the only way to fly. I also use a beat sheet program from Blake Snyder, which helps more with structure. One lesson that every screenwriter should learn is the appropriate use of the three-act structure. the story is, of course, important, but ithout the beats, you might as well be telling your story around a campfire. Even then, you better have some moments to propel the story along.

Although outline-less, I have done the same beat sheet work-up on the next two films I intend to rite, and it's a great way to begin the process of developing, fully, the story while work continues on Jake. I revisit the beat sheet and muse over the ups and downs of the characters, hoping that, when it comes time to write, they speak as they should - clearly and with distinct personality. We'll find out soon enough. The to week deadline on Jake means that the first draft must be done within the next ten days. We're on track, for now, and the story is humming along. The villain is fun, the hero is torn and the supporting characters, so far, have their own agendas. What more could you want?

Updates and What Nots...

Been far, far too long since I posted. Well, that's largely due to being busy and not taking the time to update, and that's on me. But, good news is afoot. Elle: A Modern Cinderella Tale played the Newport Beach Film Festival the weekend of April 24th and came away with the audience award for Best Family Film. And, yes, there were other entries. Also, it may be making a trip to a well-known European locale...

So, much good news. The director of that film and I have been hammering out the story for another film, one which I think will top Elle in just about every way. Still playing in the family genre, but with a bit darker tone and some real action for the young men in the crowd.

Lastly, a couple of ideas are in the hopper and have been partially written out. My next two scripts have been decided upon, barring a paying gig that will delay them. I'm very excited about both, but first comes the family fare.

Produced and Should-Be Produced

So, quick update on the produced script, Elle. The print should be locked soon, then off to final corrections and the March release date looks solid. I still have some issues with some of the clips I've seen, only because I didn't write them, or the tone in the shot is different than what I had in mind, but what are you gonna do? I still like the film for the most part, and, more than that, I like seeing the words on film. The next project with the same company I hope will yield a little more involvement in the realization of the script.

On to the rewrite. Posted up the first act yesterday, and I've been shooting for about ten quality pages per day. Lots of the original script has now become backstory, which I dig. It gives a lot of depth to both story and character, and I've also been pleased with the dialog.

Now, enough yammering... back to work!

We Are 5 X 5...

A quick status report on all things writing. First and foremost, my script Elle is moving from the filming to post-production phase. It's interesting, as a writer, to see the molasses-slow process of filmmaking from the purchase (or commission, in this case) of a script to it's transition to the big screen (or direct-to-video screen, as this seems likely to do). Still, there are moments of intensity during rewrites, specifically working with one of the actors on the project which was both informative and a delight.

What did I learn from all this? Make the lines count. Every one of them. When an actor has to say them, make sure you have a reason for the line to be the way it is. That doesn't mean that it won;t change, but it shows you know your stuff. And be open to the collaborative process. The movie will be a better one because of these collaborations.

Also in the works, the new horror script is done through the first act, and the second is where things get creepy. I'm shooting for more of a Polanski-esque vibe on this one, and we'll see how close I get to that lofty target.

Lastly, I'm beginning the hunt for representation. There are some great notes on Chip Street about this very thing, and you can find that here... So, I'm using the contacts I've made to assist in finding someone to get me further work. All the while, I keep focused on the notion that I have to have a body of work to make anyone pay attention. As Steve Martin said, "Be so good, they can't ignore you." I'm not that good yet, but I learn every day.

And So It Begins...

After much writing, rewriting and polishing, it's time to do some self-promotion. This will be the place to promote existing scripts, discuss the writing process with others, and generally nerd out on the art of screenwriting.

As of this writing, my first produced script is filming, entitled Elle: A Modern Cinderella Tale. You can see the IMDB listing for the film here, and my own here.

In the works is a new horror script, one that, conceptually, I am very pleased with and look forward o completing a first draft very soon. Additionally, I have almost a dozen registered scripts with WGAW, and more to come. Always more story than time, sad to say...

Jump in, say hello and I hope you find this entertaining and/or informative. Or, at the very least, a pleasant way to spend some idle moments.