How's that screenplay coming, anon?
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How's that screenplay coming, anon?
How's that screenplay coming, anon?
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bump.
Nobody wants to talk about their scripts 🙁
Why do you assume anyone is writing a screenplay? Why do you write one?
Someone else out there must be writing a screenplay, otherwise the competitions would be a lot easier to win
We used to have screenwriting generals on here.
i'm afraid you will steal my ideas
everytime i post mines nobody even replies
Like the one with the goth girl and her ghost gf
>Like the one with the goth girl and her ghost gf
hey, that sounds good!
it is very good, it's set in the 90s too so lots of nostalgiabait
instant hit
im writing a sketch atm about joe biden where he walks on stage and does a speech in a racist chinese accent
>YEA ME BIG TIME AMERICAN PRESIDENT, ME DONT REMEMBER SO GOOD hahahahaha ABRAHAM RINCOLN ahahahahaha
It's sad that these threads were actually active once upon a time.
I think the biggest deterrent is that if you have a great script--israelite agents and producers will steal it when you give them the pitch, and leave you to rot.
Theres no winning in hollywood, unless you're a israelite.
>dude they're stealing my ideas lmao
it's cute that you think any of your ideas are original enough to steal
israelite.
I stole all your ideas in the general threads. I fricked all the actresses. We made 100m off of superman fights evil alien 2. U mad?
I never shared an premise/synopsis on Cinemaphile or any chans ever.
I know how you snivelling shits operate.
I had Looper stolen from me.
Hollywood is a shithole now. Working on my books instead
This. I decided to work on my novel and put the screenplay on ice.
Pretty good. Thanks for asking. I've almost got an outline. Once I've figured out the act-structure, then I'll probably average like 25 pages a day.
>25 pages a day
That's a lot of pages. Does it only take you like four days to write a draft?
If I outline every scene, maybe 5-6 days. I usually falter around day 4 and will only pump out 10-12 pages.
Hypergraphia and possible ADHD is a curse though, not a blessing
finished two
finished a tv pilot
got another thats 91 pages
got two more that are 40 pages
simple as
I can't write. The "creative process" is beating my ass.
You'll never be good if you don't work through being bad
>work through being bad
I don't even know how to start. I don't think I have enough life experience to make art anyway.
You've got an imagination, don't you? Use that.
>You've got an imagination, don't you?
Not much of one, not anymore. I have an idea I've been trying to make something of for a few years now but I just can't get it to make sense, in any way. It just doesn't work.
If one idea isn't working, try another one.
I can't get most of my ideas to work. They're all broken in some weird way I can't figure out. This idea specifically I realized was kind of two ideas in one, but if you split one from the other than one of them doesn't work. And the idea came to me as one idea, fully formed. I don't know, it's weird. But I have trouble getting most of my narrative ideas to function. Or I don't know where to start because there's too many options. Or in the case of this idea, too few options.
Can you give any specific examples?
Yeah, so the example I had in mind is an idea I had for a slasher film where the killer only goes after women with big asses BECAUSE he was in love with this girl with a big ass once, but never confessed to her. So its like when he sees girls with big asses he's reminded of her in and he goes into a rage and kills them. Except the killer isn't really just a normal human man. He's a monster who was a man, but his feelings of anger and resentment turned him into a monster. A monster who kills women with big asses... until he comes across this girl who is a perfect match for the girl he was in love with, back when he was human. And he wants a second chance with her. He slowly starts to gain his memories back and becomes more human because of this girl and at some point I was thinking he'd kidnap her and it'd be this whole King Kong/Phantom of the Opera thing. But I want it to be a slasher film so he'd pick off all of her friends at first, to get to her. And if he's killing the friends obviously the friends he kills have to have big asses too cause those are the only people he kills.
It's all very convoluted and makes no sense, like a lot of my ideas. The thing that stumped me the most for a slasher where the killer only goes after women with big asses is the setting. Because where do girls with big asses congregate? I would want them to be regular girls not like sex workers or something. And what are the chances a bunch of girls with big asses would all know or be friends with each other? I have these kind of problems with all my ideas.
What exactly do you mean by "outlining"? For the big ass slasher idea I have pages and pages of notes. But I'm not sure much of anything I could call an "outline". Well, one outline,
a - wouldn’t just a nightclub work? He can like lurk outside and target the well-endowed as they leave
b - so I love outlining, I write out every scene I want to have happen in one line of a document and reshuffle them or compose new ones until I get a skeleton that works. That’s where most of my thinking and daydreaming goes, the actual writing is all downhill from there (once I actually get to it). Different people have different writing styles so ymmv
I can post an example if you want
I mean if they were once pals maybe he offhand mentions the concert to Protagonist super early and he just remembers that later
But if trailing a car works, great!
A nightclub might work in the beginning, for individual kills. But I'd want him to target a group of girls that are all together for the main action. A group that the main girl would be a part of.
>I write out every scene I want to have happen in one line of a document and reshuffle them or compose new ones until I get a skeleton that works
That... could be interesting. I'm not sure if I have specific scenes in mind anymore. But writing down scenes I envision and then connecting the thread does sound like something that could maybe work. I was reading Stephen King's book "On Writing" to try and get help with a process and a mindset but he kept saying a bunch of stupid fricking shit that annoyed the hell out of me in between some of the good stuff, like pic related.
Really, I should probably be taking advice from writers I want to write like. But I lost my book of David Lynch interviews.
Couldn’t the girls just be part of a friend group? God knows women like to obsess about particulars of their appearance and friends who go to, say, yoga to grow their badonks for their bfs’ sakes seems believable to me
As for writing I personally can’t do jack shit without a rigid plan but writers differ. GRRM is legendarily a “gardener” (though see where that got him) and I guess King is as well. Just remember that movies and books are very different mediums!
All that ultimately matters is what lets you get words on the page
>Couldn’t the girls just be part of a friend group? God knows women like to obsess about particulars of their appearance and friends who go to, say, yoga to grow their badonks for their bfs’ sakes seems believable to me
That's not a bad idea. Writing them like the Fashion Club from Daria could work, but its not what I had in mind, especially for the eventual final girl. I don't know. I don't think its something I can get to work. Even if I remove the whole Phantom of the Opera/King Kong/Orpheus/Metamorphosis storyline and go back to the drawing board with the basic premise of a killer that only goes after women with big asses, it doesn't really work.
I think I'm more of a rigid plan writer but what I've noticed in the past is that when I plan, I get distracted because there's too many options and ideas (or in this case, too little) or I stress so much about trying to figure it all out and trying to know everything that I frustrate myself and then eventually lose interest completely.
I don't know. I downloaded some Lynch scripts I'm gonna read to try and see if that helps me.
What were you having in mind? ofc I’m not in your head but I can see a pretty logical something like
>some assy lady gets killed to set tone
>inciting incident: killer sees final girl
>rest of act 1: establish characters as killer stalks friend group
>act 2, part 1: killer kills several friends
>midpoint: killer attacks final girl
>act 2, part 2: final girl tries escaping, seems to succeed, but killer gets drop on her anyway, kidnaps her
>act 3: King Kongy vibes, final girl is his captive
>climax: whatever resolution you’re planning
This is off the cuff but it’s just how my brain works; I can totally see such a plan working though
If you really wanna emphasize the King Kong thing you could scoot the kidnapping more up to the midpoint for more time with him
I’m curious about this script now, would be awesome if I go into some slasher in a few years and then think “hey...this seems familiar!”
But yeah reading scripts tends to be the best way to learn how to write scripts
Good luck anon!
I don’t remember seeing this; I’m curious about it too
It's been a few years now and I'm not exactly sure where my notes are. I first came up with this idea my freshman year of college and went through a few different iterations. But for the most part, that's pretty much what I had in mind. Except the killer would kill all the big-assed friends in one enclosed space. Like Slumber Party Massacre, Sorority House Massacre II, or House (1977). Wait, let me see if I can find my notes. If you wouldn't mind?
Same person?
I really like it! So the ghost is just evil? Definitely would pack a punch, it’ll just need to have a bit of lead up even beforehand so it doesn’t sit poorly
Does the victim become a ghost?
And will you be moving forward with this? No joke I think this could get made
lead up to what
no the ending is that she just dies as ghosts aren't real
>no the ending is that she just dies as ghosts aren't real
That's stupid as frick.
the entire point of the movie is having the audience pissed and arguing about if she was schizo, the ghost a evil ghost, or a demon or whatever preying on her mental illness
the post credit scene will intentionally have something ambiguous in it to make audience even question if the girl is the ghost shown saying "hi" to the new girl, like it would be a long shot of girl in the park with only the back shown for the ghost girl with the dead girl's favorite iconic tshirt or whatever
or maybe a slightly visible second shadow on the ground so people will argue if they're together now or not
no it's a terrence malick meets lynch deal
there is no buildup, and her actions can be interpreted genuinely in both ways
as for the post credit scene see above
I’m not meaning to say build up as in she has scenes of evil cackles by herself, just that she has enough steel or manipulativeness in her personality from early on that it all feels like the same person. But this could just be my own tastes speaking. Can you talk more about any other psychological problems the victim would have - is there a precedent for her having hallucinations that turn on a dime?
And more importantly, are you going to try to make it, even as a long shot?
she is not manipulative but very assertive in personality, which is actually an important plotpoint contributing to the goth shy chick improving her life, doing all the fun stuff that her ghost gf suggests and that in the third act results in school issues, etc
the longing to be physically together will be present throughout the second arc too, especially in the lying together on the queen bed scene
or the lake "kiss" scene in front of the bonfire
>is there a precedent for her having hallucinations that turn on a dime?
initially i thought of the movie opening with a childhood scene where she was playing with her imaginary friend who only she could see, in a montage through late childhood of seeing ghosts while riding the car with her family (stuff like look mom there's a man there on the roof-homage to it follows for zoomies-and the mum saying no anony there's no one there) then quick scenes about her with the psych etc
But i felt it made the movie too dark tonally so now it's only referenced through dialogue with parents and with her ghost gf, and minute details like schizo meds in her room etc
For the ending, the earlier revision had the movie end in a happier note, with no post credits and an important switch to the scenes, in that one the girl dies, then the ghost girl is shown staring at the corpse for a while, but only afterwards she turns around and smiles, seemingly as if she is seeing someone, then fade to black.
So in that version the ambiguity would be much more dimished, and the two alternative interpretations would be that she is happy about killing her or happy because she appears as a ghost out of frame.
Not sure if it works better. It is certainly more elegant than a post credit scene though.
>And more importantly, are you going to try to make it, even as a long shot?
probably not, and not anytime soon
my other screenplay about incel in japan is more interesting to me
>no it's a terrence malick meets lynch deal
sounds like a lifetime original movie for idiots
i agree that the plot itself when written down sounds kinda stupid, but it would be 99% about the visuals, atmosphere, and OST
I am a huge Sofia Coppola fan, so think virgin suicides in the 90s, but played more straight and more dream like
lead up to the ghost revealing her true nature; there has to be a strand of darkness written into her from the beginning
How does ghosts not existing square with the post credit scene though?
it's a very simple movie
set in the late 90s
shy nerdy but very attractive girl age 16
always wears black knee high leather boots, light blue/grey tight jeans showing off her cute round butt, with a black shirt or tight top every single day
has raven dark hair, fuzzy, and freckles, dark black eyes
wears goth makeup
she's been friendless and lonely most of her life, so started to make up imaginary friends to the point she can really see them, parents think she's schizo and has a past of therapy and meds
she believes she's actually seeing ghosts
one day she meets a cute ghost girl, blonde and dressed in 80s style which she finds cool
this happens while sitting on a swing alone late one night at the park
setting is in vermont or NH or similar
from now on the movie plays like a straight romcom with the 2 girls being happy and going to the lake, shopping, hiking, hanging out after school
the MC falls in love with her
grades start to suffer, skipping school, subplot about her parents catching her talking to herself, wanting her to go to the psychiatrist again
towards the last third of the movie it turns dark, with the ghost qt starting to talk about being together forever and how they cannot physically touch, take pics together, make lez sex etc
after some school bullying and the latest fight from her parents she agrees to do it
one night she exits the house being grounded, old 1800s east coast house outside of town
ghostgirlfriend waiting for her there
they go deep into the woods and have romantic tiem then tie rope to suitable tree
cut to shot of her feet becoming motionless after a bit
cut to ghost girl face smiling
cut to distant long shot of ghost girl looking at her hanging corpse
credits roll
post credit scene is ghost girl replicating the meeting scene with a different girl elsewhere
well, the premise sounded good, at least.
No, I'm the ass slasher guy. And I found my notes.
Oh my mistake I thought goth girl was looking for their notes and posted upon finding them. Definitely interested to hear more about the slassher!
>Definitely interested to hear more about the slassher!
Would you believe I have at least 16 full individual pages of notes about this? I can't believe it myself. I have some potential dialogue written, scenes, etc. Anyway, I said King Kong but I was thinking a lot of the story of Orpheus. The killer would want a second chance with his big-assed girl like Orpheus with Eurydice, I even had one idea for an ending where he kind of "brings her back". I wanted to establish a sort of psychic connection between the killer and final girl and keep it vague as to whether or not shes really the reincarnation of the woman he loved or not. I was also focusing a lot on the transformation aspect. I had an idea that the killer couldn't speak because the whole thing started because he never spoke to his crush. And I took a lot of notes on Kafka's Metamorphosis like how Gregor can understand human speech but can't be understood when he tries to speak. The killer wouldn't know or what he is and everything would be sort of instinctual until he met the final girl that just like the girl he loves, then he'd start to remember. Had the idea that it would be a slumber party or high school graduation party (but they all need to have big asses which creates a weird coincidence).
God, I even took notes on serial killers. And outlined the entirety of House (1977) cause that's the movie I most wanted to emulate. This is what I meant by having too many ideas. So the outline I did make wound up being sort of unconventional.
>We see the killer killing women with big asses
>The final girl and her friends decide to have a nostalgic sleepover
>The killer sees the final girl and one of her friend's in the park, notices how big their asses are
>Follows them for blocks until they get to their destination, which is the sleepover
>Was only gonna kill the two but then sees theres a bunch of big-assed girls he can kill
>Doesn't realize the final girl resembles his crush until the very end, after he's killed all the other girls
>Upon realizing that he chooses not to kill her and they do a Orpheus and Eurydice thing and crossover
>Suddenly she's a different girl (the original girl he had a crush on) and they're married but she's still her and she's miserable because she remembers who she is and what happened
>Movie ends
I even had an idea that the killer wasn't killing the girls on purpose. Or that the man and monster were sort of distinct. Like the man was actually sort of nice but being transformed into a creature or regret and rage made him do things he would never do otherwise... but that's only because I asked for feedback at the time and people kept telling me that the killer should be sympathetic. Another problem I had is that his reason for killing is kind of lame and immediately makes him unscary. It's also... just not very strong. If he was killing women with short blonde hair because the girl he was in love with had short blonde hair, that makes sense, thats plausible. But going after every and any woman with a big ass feels a little too nonspecific.
How much do you outline? I go into super deep detail and it helps me a lot; it might help you too
>I don't think I have enough life experience to make art anyway.
Larry David infamously only had enough life experiences to write 4 episodes; the trick is to just make up some bullshit after that
For Seinfeld? I actually like Larry David so that might actually be advice worth heeding. Do you have anymore information?
Literally about to get started.
A COUPLE IN THE WORKS BUT IT IS NOT LOOKING GOOD. I GOT IN TROUBLE WITH THE LAW FOR SO CALLED STALKING AND HARRASING A HIGHER UP AT A TV STUDIO TO GET TO TAKE MY SCREENPLAY. HOPE I DONT GET BANNED FROM ALL OF THEM BUT PERSISTENCE PAYS OFF..
Maybe if you slash their tires they'll take another look at your script
I gave up when I realized I was writing it with the type of actors in mind who don't exist anymore
What are my chances of making it if I draw out a full storyboard of the film along with the screenplay?
If you plan on making it yourself, go ahead. If not, you're making something nobody will look at.
I finally finished the midpoint, which had been kicking my ass. Looking forward to bringing it in for a landing by around the end of the month, plus or minus
Been pretty distracted recently, trying to get a temp job in LA so I can network but not having a lot of luck so far :/
I am at writers block of how to logically get my two protagonists from one place to another without an insane coincidence. Ie: How should they figure out how to get there to continue the plot. It's been a month of no progress and it being busy at work doesn't help.
Ooh can you post the general situation to get feedback here? I for one enjoy fiddling with questions like this
Personally I found sometimes more characters help, I was writing a heist scene and just couldn’t get what I needed to have happen until I wrote in some new chump characters to start things off, maybe you can introduce a mutual friend of the characters who brings them to the place or something like that
the gist: one of our two protagonists is at a dock warehouse operated by one of the antagonists
sneaking to the foremans office, the antagonist isn't there, he is at a small concert
our protagonists are time constrained to that they need to find him in this one night
my best idea yet is to have one worker at the dock come up to the office while our protagonist is there and see that his boss, the antagonist isn't there and for the protagonist to follow him, where that worker would ask another, "Where is boss" "At some concert"
maybe to coincidental itself, but then there are probably multiple concerts in the city at night, and for the worker to know which concert exactly just adds more coincidence
there could be something stupid like a tour poster in his office
Tour poster works but is hacky
What if one of the workers drives off to deliver something to the boss, maybe the protagonist fakes an email or impersonates a superior or something to get them to do it and then Protagonist trails Mook’s car
Or if you’re super devious if Antagonist has some downtime in an earlier scene where he has a wire on or some such he can be chatting with a wife or whoever how much he’s looking forward to the concert and then Protagonist can look into where it is
the operation ran by the antagonist is a shady criminal smuggling operation and our protagonists are smaller time criminals betrayed by the antagonist, so there's nothing to tech-y that they could do to find the concert
tailing a worker to the boss could work, if ______ that needed to be done was so important that they contact the boss and he says "just bring it to me, here, now"
on page 12 of the rape scene.
I'm writing a script about a conspiracy inspired by the Epstein fiasco and I'm really intrigued by the concept but I'm afraid if I submit it anywhere it'll make me look like some kind of Qanon freak
It's incomprehensible until I figure out how to get the characters from the beginning to the middle to the end while laying out hints subtly and not having things be moronic.
10 pages in but it seems futile continuing so I haven’t written in a while. I have no connections so I’ll need to try and shoot it myself but I don’t have the resources or experience to do that well
So, who's gonna post some of their work?
how do you even write one? is there a format in these kinds of things? I never looked it up. Is there a tutorial, beginners guide, a for dummy shit for this?
screenwriting.info
awful
my cia vs bane script is in developmenthell
I don't need one I'll just improv everything
Finished, but what the frick do I do know. My intention is to direct it myself, but I know studios will frick me out of it. Thinking about writing some more scripts to sell first.
Just direct yourself with your friends and your phone.
I writed it but have not heard back as of so far.
I gave up on the screenplay I never started. It's now a novel I haven't started
I started writing several screenplays, and even finished one (it was honestly not good) but then I decided I'd have a better chance at becoming a voice actor. I've been in some video games, even a top a few top sellers on steam, but I still can't land a fricking agent and I'm starting to think I made a mistake. I think I might be better off by now if I had focused on writing and networking. I'm turning 30 next year, and my life is such an embarrassment that I wish I was dead. I can't believe my girlfriend hasn't tossed me out by now, as it's been several years of me being a broke failure.
So anyway, that's how my screenplay is going.
doing just the screenplay is like doing just the programming without making any assets in game development i imagine. you should probably learn how to communicate with other people and be the director, producer, managing actors, screenplay is just a part of all that
Lots of screenplays are written absent any of that and tossed off to the producers/directors and paid for with a single fee. Trust me read some good and bad screenplays and you can see there are some that would doom any director if they got dragooned into handling it
Not sure on how to end my Aliens vs Pablo Escobar movie.
The premise is that alien pirates have come to earth to steal the universe’s most valuable resource, cocaine. Set in the 1980s, the alien pirates fight against Pablo Escobar and his cartel goons for Colombia’s finest. The aliens are like the hokey, little grey aliens from the films of the 1950s. Because of how ridiculous they look (their spaceship looks it is made out of cardboard), Escobar thinks this is a weird CIA operation. The CIA meanwhile think the reports of aliens in Colombia are just the drug-induced delusions of the cartel.
Any suggestions on what my third act should be?
Never mind, the third act is clearly that the cartel and CIA team up and defeat the aliens.
Seems logical but this is a bananas enough idea, any way to go even more crazy with it? Would be lots of fun
Honestly I kind of want it to be Pablo + aliens against the US, the producers and the hippie aliens vs. the exploitative narcs