Practical Advice For Getting A Script Read In Hollywood - Brad Sykes
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- เผยแพร่เมื่อ 3 ก.ค. 2019
- In this Film Courage video interview, Filmmaker Brad Sykes gives his advice on getting a screenplay read in Hollywood.
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#screenwriting #script #screenwriting101 - ภาพยนตร์และแอนิเมชัน
Is this the camp blood guy? Lol 😆 awesomeness
This guy is really great. I too fix scripts, write, when i was a bit younger i hung out on sets and would see everything.
This guy’s great. Love his honesty.
The same thing happens in medicine. The Resident writes “Doctor’s orders” for a patient and then the Attending Physician comes in, deletes all of the orders, and writes his own instead. The Residents and Interns get upset and feel “Why did I even bother?” Life is humbling. It’s like grass that keeps trying to grow to its highest potential, but here comes the lawnmower. Sometimes the goal of others isn’t for you to grow to your highest potential. You find out that the goal was for you to keep titrating a manicured lawn. But raw creativity hates that kind of gig. It wants to grow organically like a wild weed. So your creativity is going to attract machetes. It’s a dance.
I feel sorry for the guy who paid $500 but his movie didn’t end up getting produced.
Networking is definitely a thing.
Also... knowing WITHOUT A SINGLE DOUBT that your script/work has some serious power... impact... beauty/style... and, in general, writing that is worthy of taking up the valuable time that people invest into a show or film--this is super important, too.
I, for one, would NEVER want to put serious work into pitching my work if I thought it was commonplace or "a copy of a copy". :) The current project I'm working on is so unique... I believe in it 100% and as far as one possibly could. I *KNOW* it's powerful. I KNOW it's written well. I KNOW it will leave audiences "different than when they first came in". They will be moved and forever changed by it. And, again... I'd never dig in hard and put my money and efforts into it if it were just something stupid (lol, such as "Sharknado").
I certainly hope that one day (maybe soon)... I'll be able to look back on this post and say: "Look--an old post of mine... way before my film was DONE. :) And what a pleasure that the world has now been SO affected by my work. I'm blessed."
We'll see.
From Vegas, I wrote the second script to a trilogy set and met a producer for Vivendi Universal from ICQ in 2001. We met in L.A. after I copyrighted the script, and told him he would be dealing with my agent Henry Root but I was also going to give a tighter version of the same script to Tucker Tooley whom I met thru his childhood friend. The big studio wanted my characters and to give another writer production work on it and Tucker's reader passed on it.
The screenplay I showed had a first script that was an action draft for Brandon Lee. I needed Cher and Nicolas Cage on the second script but the stregnth of the set was really about seven female parts opposite one male protagonist, which was diced into a play version of 3 women opp. 1 male. What started out as 184 pages ended up at 121 and 79, obviously it was a 3-in-1 script that Tucker couldn't have financed in 2002. Today, I have all three plus another 4 scripts because once I learned to craft material at a fast pace, I loved calling myself a screenwriter.
I would never bother with using my time to rewrite someone else's screenplay. Adapting a book is another story because my original Brandon Lee script in 1990 was taken from 800 pages of material I had written on a pre-9/11 subject matter.
They say don't write for actors... But is is okay to write from a director's POV? Most books will tell you how to do both but story is key, timing is a huge factor relative to who you know or are dealing with. Learn to love working the dialogue, developing characters because no one will care to read a shit script.
Camp Blood 10?
If you have a script you feel is right for a particular actor should you try to find out his agent to send him a synopsis and ask if he’d like to see the screenplay itself?
I'd take the $500 for the experience. And for the chance to 'make a silk purse out of a sow's ear.' Maybe.
I would’ve taken the 500...money/experience/connection especially if I don’t even have a name at the time
Yeah I'd take on a $500 re-write job, it'd be a good learning experience!
Did you lose your DP?
Camera die?