>I'm going to make it as a screenwriter in Hollywood!
 It's All Fucked Shirt $22.14 |
 Ape Out Shirt $21.68 |
It's All Fucked Shirt $22.14 |
>I'm going to make it as a screenwriter in Hollywood!
>I'm going to make it as a screenwriter in Hollywood!
It's All Fucked Shirt $22.14 |
Ape Out Shirt $21.68 |
It's All Fucked Shirt $22.14 |
can you explain all the paper
i start fires in the California hills and I use it as tinder
Those are screenplays in an agent's office. There are hundreds, if not thousands of rooms exactly like this in Los Angeles.
Man, a filing cabinet salesman could clean up in LA, huh?
99.9999999% anti white woke trash
Exactly.
is this supposed to be somehow surprising thing?
Since you asked you probably know the answer
>all those scripts
>only movies that come out are remakes and capeshit
>be film producer
>get told you need to release 3 films next year and your bonus is tied to how well they perform
>100 scripts on your desk
>90 of them are original, indie films about complex matters that would go over the majority of audience's heads
>5 of them are shitty uninspired trash scripts written by friends/family of executives
>5 of them are original and unique blockbusters - but you don't know which 5 of them are these
>realise that releasing remakes bypasses the need to take a risk or actually read scripts since there's already a proven market
>pick 2 of the shitty uninspired scripts to brown-nose your way with execs, and commission a remake of whatever was popular 15 years ago
>throw every other script in the trash
>rinse and repeat
You are stupid. Things like The Blair Witch Project or Saw or The Man from Earth cost like 10 bucks and then made millions.
Don't let brainlets dictate to you it's impossible.
>>5 of them are original and unique blockbusters- but you don't know which 5 of them are these
Isn't being able to tell which scripts will make money like their only job? That's literally what they get paid to do. So they are stupid morons with high paid jobs they have no idea how to do. Sad, many such cases.
>aren't producers supposed to be good at their jobs?
"no"
we got our script through. it seems random but its not. the script is really concept and story based. most writers think characters, tone, meaning. people have to realize the intangibles mean everyone had a diffearent perspective. but a good story is a good story for everyone. get out the solipsistic mindset. write that elevator pitch script.
think of it like this:
>you have 2 buttons
>the left button has a 50/50 chance of either giving you 100 million dollars, or putting you 50 million in debt. can only be used once.
>the right button has a 100% chance of giving you 300 million dollars. has unlimited uses.
which one are you picking?
>original turns out to be the next Star Wars and you make several billions out oif a limited initial budget
>remake bidget is high because you expect success but it's a flop because you pushed your woke propaganda too hard to understand that it isn't enough to support the film on itself
Why not just email it? Boomer execs don't have kindles?
lel, like just hire additional people to review them. the scripts are obviously important enough to dedicate rented square footage, might as well not chuck the money out the window. or just burn it all and remake seven samurai again
This is 100% b.s.
Hollywood doesn't take scripts from non union writers PERIOD! You try to send them one it goes to a 3rd party first that sheds sends them back unread with a rejection letter.
This is because writers file a thousand civil suits a year claiming they stole an idea.
>he got filtered by the "rules"
I have 25+ active submissions to top managers and agents in my inbox right now.
show your work then
Unironically tell us more on how you do it
Just an imdbpro account, googling for email addys and writing good query letters.
Odds are that none of them will pan out of course, but a boy can dream.
How long you been doing this? Any luck?
You really think he would be here if he had any luck?
William Shatner posts here so
Find and address and send an email
Not exactly rocket surgery
I spent a summer reading scripts for an office in Beverly Hills a few years ago, and there was no mess of scripts this big or anything. It was just reading what they gave to me as pdfs and printing it out, had no idea how big their actual backlog was but didn't feel like this.
Yea. Its all Nepotism. If someone likes working with you and know the right people your script will be chosen
good agents are able to read the first page or two and tell if its worth anything. you could unironically remove 95% of those papers in a few hours and read the ones ones that survived the initial cull more thoroughly.
2 days work at most
Mine is here
almost there bros
His scripts they wiped thier asses with
>I'll write mine on RED paper to STAND OUT
ishygddt
worked on you chud
If you feel discouraged by this photo just remember that 90% of people are mediocre so the playing field is a lot less daunting than it seems
The rule is 80-20
how does that apply here?
80% of everything is shit and worthless
based replier
y-you too
Was given the slush pile at a well-known publishers. It in the high 90s of submissions that are pure shit.
Its not at all as people think, we'd love to find something worth publishing (this is not quite the same thing as "something we like", but commercial doesn't mean sell out pap, just viable). Its absolutely desperate.
80% is pure rubbish, usually not even spell checked and written by either mad people or people that have written more words than they've ever read. You get maybe a competent 15% that think they can sneak LoTR, Star Wars or Stephen King past you if they change the names, leaving the remainder. 1-2% obscurely non-commercial (e.g., memoirs of country parsons and the like, 100k words) leaving 2%. Of that 2% you might talk to them, 50% of them will refuse anything approach editing or won't sign contracts and are impossible to work with on grounds of character.
You can try and publish the latter, a proportion of that won't do the drafts and will try to disappear on you. There are no real advances these days fortunately.
Authors are the people who get through all that. It seems like long odds but if you can write and aren't insane, the chances are better than people tend to imagine.
>but if you can write
Oh boy, this is m-
>and aren't insane,
Oh nevermind
Fake staged pic. You really think they print out all the shit they haven't bought instead of just reading PDFs?
Maybe only 5% have the talent and less than 1% have the talent + discipline. The pool of actual competition is miniscule.
Some agencies only take paper, and also some these all have probably gone through somekind of 'reader' to hit here.
t. screenwriter
Interesting... which agencies? Maybe these are the ones who've been ignoring my emails lol.
5+ years, got one manager and we sent out a spec but it didn't sell. Still looking for the first shoe in the door but I'm a nobody from the midwest with zero connections. I do live in HW though at least.
Heh, I am ALSO a nobody from the Midwest with minimal HW connections
Entertaining a move out there anyway to chase the dream. What neighborhoods are the ones to absolutely avoid?
We get infrequent production leaks and pictures from the crew, so why not a writer or two?
You want to be on the west side, even if you have to pay $1500 for a studio closet. Avoid downtown at all costs, that whole area is a smoldering shithole.
Thanks fren
Before you sign a lease, stake the area out for a day or two. You see any black people or a white to hispanic ratio of less than 4:1, run.
It doesn't matter if 99% are shit and yours is brilliant if nobody reads it
It doesn't matter if you wrote the next fricking citizen kane (you didn't we can all see the catalog so we know what you morons are capable of) if you're at the bottom of the pile you're never seeing the light of day
Smartest thing you can do is just go out and make the movie yourself instead of hoping someone reads your screenplay
uhh you realize that doesnt change anything right? nobody in hollywood gives a frick about talent, and even if they did those 90% of bad drafts would still drown out anything you made
60 years ago, someone might have read your unsolicited screenplay. Some episodes of Star Trek the OS started out that way.
Renny Harlin got a career as a Hollywood director by walking from office to office asking for directing jobs just because no one had told him that you're not supposed to do that.
Shut up satan
you forget one thing, he is supernaturally charismatic and likeable, tall, and handsome. people like that can get anything they want with zero pushback.
You mean Howard from BCS?
i would have roped at just 5% of this trash output, seems like it would have led the exact same path
>send in a script made entirely of flash paper
>burn down israeli hollywood offices
Do everything yourself. There's no reason to try to "make it" in Hollywood when the internet exists.
>300+ hours of work & editing
>55 views on vimeo
>10 shares on facebook
>dumps 300+ hour extravaganza onto the public without any reason for them to care, instead of building an audience overtime
or
>work just sucks
Not him but I've genuinely just finished producing a feature film. Tell me how to release it in a way that will engage audiences
Not that guy but I'll bite, give me the following details and I'll give you free advice
>country
>language
>your age/previous experience (vague is fine)
>runtime
>logline or main themes of the film
>is it a "it's like x meets y plus z" type flick or something original/avant garde?
>have you submitted to any festivals in your country or internationally?
>do you have the backing of or connection to anyone noteworthy?
uk
english
>>your age/previous experience (vague is fine)
first feature film, young for a filmmaker but not zoomer young
just over 2 hours
or main themes of the film
Depression, emptiness, death, apathy
>>is it a "it's like x meets y plus z" type flick or something original/avant garde?
Avant garde film about a contract killer. It's mostly just talking, interrupted every so often by some violence
>>have you submitted to any festivals in your country or internationally?
Yeah, don't hear back for a few months though
>>do you have the backing of or connection to anyone noteworthy?
lol no
Scrap it. Try again when you're older.
Oh, but I forgot to mention: it's literally the greatest film ever made and pure, unfiltered kino
No zoomer writing about "depression abd emptiness" and calling their own script "avant garde" is going to produce kino. Better than luck next time, kid
>No zoomer
You're right, but I'm not a zoomer 😉
>UK
Drop any dreams of becoming big unless you have the cash to pick up sticks and go suck producer wiener in America.
Unless you make a splash at festivals, the best reasonable success you can hope for with your feature besides screenings at indie cinemas is using it as a showreel to get hired as a television director.
The UK industry is London-centric though so if you're not there and don't have a strong professional network, you'd probably have better success in Canada or Aus/NZ.
>Depression, emptiness, death, apathy
>Avant garde film about a contract killer. It's mostly just talking, interrupted every so often by some violence
Last I heard studios aren't interested in dark films, supposedly A24 rejects good films just for not having happy endings.
Especially post-pandemic and with all the talk of mental health, feel good is very much in right now which is why films that once upon a time would've been pure action, thriller, or horror now seemingly all have lighthearted moments or jokey characters sprinkled throughout.
What was the original question?
>how to release [my first feature film] in a way that will engage audiences?
I forgot to ask but target audience/demographic would help.
There's the depressing harsh truths that I come here to read.
I had a semi-network built, but then a combination of all my friends moving away leaving me with social anxiety, the pandemic and the insufferability of the majority of amateur filmmakers (and their groupies) kind of killed it.
>target audience
Stupidly, I made it for myself with the hope that other cinephiles would like it. A few years back I went to an indie film festival (one of the bigger ones) and the majority of the films were trash. And I remember thinking that a film that was half-decent but stereotypically "indie" would clean up in terms of interest just because of the weak competition. Like people go to indie film festivals because they want to see raw and uncompromising films. But so many low-budget indie features just look so cheap with terrible acting and stories that mimick blockbusters with shitty vfx work.
So it's bloody and there's really crass language and some nudity and some drugs, all while subverting obvious tropes despite having a story that sounds like a generic mainstream flick. But as you've probably guessed, I've realised that it's really hard to market it.
>There's the depressing harsh truths that I come here to read
To leave you feeling less dejected, festival success isn't impossible.
And you could always send cold emails and potentially find a producer or angel investor who believes in your vision, it's statistically more likely than winning the lottery.
If you have enough cash left over you could also try professional channels to submit it to the Channel 4/Film4 or content-hungry streaming services.
Plus it's really cool that you stuck through the pains of making a film and have a completed project, a lot of people who start that same journey don't make it that far so you should feel accomplished.
>it's bloody and there's really crass language and some nudity and some drugs, all while subverting obvious tropes despite having a story that sounds like a generic mainstream flick
>I've realised that it's really hard to market it.
That does sound like a tricky one, by any chance do you have a trailer you could share on vimeo or streamable etc?
Thanks anon, genuinely. I had 2 festivals view it (or say they did).
One really liked it but they wanted to premiere it online so i said no.
The other just rejected me which was depressing.
After this next round of feedback from like 3 or 4 festivals, if I get nothing then I'll probably submit to a bunch of monthly festivals just so that I can hopefully get some laurels for advertising purposes and then was gonna go the amazon route of self-publishing. But reaching out to bbc/c4 might be an idea.
I have a trailer but I feel like I shouldn't share it here. I'm not ready to be tied to Cinemaphile shitposts.
Not that anon.
My advice for you is to market it at film festivals, film schools, film colleges at any/all European countries, even outside Europe.
Submit it everywhere for review and critics, it won't hurt you.
Somewhere in Slovakia at some park in Bratislava you will have young couples and teens watching random indie movies (incld. your movie) on a saturday night.
t. slovakian
>Watching movies in the park
Nice.
should have spent more on marketing
so Look how much Hollywood spends on marketing vs Film budget.
You forgot the part where you have to be hypersocial and network at film festivals and with people in the scene online because everything in life is about how well you interact with people and not about how good you are at the thing this is supposed to be all about.
Do you watch indy films made by literal-whos on shitty digital cameras? Yeah nobody else does either.
All of the big shots started out as literal-whos making movies on shitty cameras.
Most of the New Hollywood crew went to NYU or UCLA. Shane Black and QT wrote scripts to break in. Joe Eszterhas wrote at Rolling Stone and wrote novels. You need a network or a writing sample or both. Putting your name on some shitty student film production can end your career before it even starts.
>Do you watch indy films made by literal-whos on shitty digital cameras? Yeah nobody else does either.
i do on dodgy stream websites because how else do you find them? except the odd few on youtube
>i do on dodgy stream websites because how else do you find them? except the odd few on youtube
There should be a Netflix for indies.
there have been a few. be careful what you wish for. the indies you speak of are all woke, far left trash full of identity politics.
>there have been a few. be careful what you wish for. the indies you speak of are all woke, far left trash full of identity politics.
I only watch sci-fi, fantasy and horror indies and I try my best to avoid american ones.
>>just be non white
and you'll make it
>you have to go outside the system
What about those contests where you pay a fee to submit the script and then judges read it and hook the winner up with a producer?
Readers are probably the same people you compete against so.
Be really picky with your competition and check who's in the jury.
Google them, they're rare but they do exist - they usually state it right out.
I've read 2 people who claimed that they did this and then their scripts were essentially stolen by hollywood
(Both people by the Nolans funnily enough - Interstellar and Reminiscence - the latter has a lot of supporting evidence that the guy isn't bullshitting too)
Can't you get a script copyrighted first or something?
Of course.
But that only protects you from having your literal words stolen. Someone can easily steal the story without technically violating copyright.
I'm getting teary eyed. What do I do? I have a great story, I know I'll make a great script (I'm based), I just want to be paid for it
Worry about writing the thing first. Your first few scripts will be so shit that no one would even consider stealing them.
Hollywood is a fricky game. You can always try your luck. They might not steal your story.
But as another cautionary tale, people often wonder what happened with Shane Carruth. From reading theories and hearing stories, it sounds like he tried getting A Topiary made back in the mid 00s after coming off of Primer.
Apparently he's an arrogant little shit though. Not the point. He didn't understand how networking works. He didn't realise that he had to keep hustling and grinding, he thought he'd already made it because Primer did so well.
So when he kept getting half answers and non-commitments, he eventually went out and made Upstream Color to try and make the process smoother. Still nothing.
But what did happen is that a slew of sci-fi films came out like Super 8 and shows like Stranger Things that focused on a teenagers who came across a sci-fi *thing* and had to deal with it and adults being weird.
And according to some people who have read the script for A Topiary, a lot of the elements in that script can be found scattered across these films and shows. And that sort of thing might make someone very bitter
Are you Shane Carruth?
It's only like $20 to register a script with the WGA. Can be done in 10 minutes on their website.
GL
>there is no way around the system
>Get your script fully drafted and ready
>Legally change your last name to end with -berg, -stein or -witz
>Move to LA
>Wear yarmulke
>Start attending synagogue as physically close to Hollywood as possible
>Mingle with as many people as possible there and tell them about how you're a screenwriter looking to get his script turned into a movie
Literally my plan.
But I'm changing it to something Iranian israeli. Its double dipping but whatever.
less likely to raise questions if you pass.
be sure to say you're like from maine or ontario or Montana or something, you don't want anyone to question your backstory or gatekeep you.
>be sure to say you're like from maine or ontario or Montana or something
im from the west coast. You better off saying you're from a major city. You don't find Iranians outside of maybe a dozen places outside the LA area.
What is even the point of trying to make it in Hollywood in the current era? There are only like 3 good movies that come out per year. The industry is creatively dead.
I think people should be at the point where we try and decentralise the industry away from hollywood. Currently the average person can fund a feature film themselves if they're willing to put in the effort. And if they've got collaborators, it's even easier.
Hollywood isn't needed anymore but people have bought the moronic lie that you shouldn't spend your own money on films
>just buy a few panavisions and 1000s of feet of celluloid and fund a film crew bro
Gear
>Blackmagic pocket - $1k
>lens 28mm-75mm - $200
>DaVinci Resolve - free
>editing computer - $2k
>cheap lights - $100
>decent tripod - $150
>2 x zoom h1 - $150
>a half-decent shotgun mic - $150
>2 cheap lav mics - $30
Total: $3780
Production:
>actors - $100/day/actor
>5 actors for 7 days each - $3500 total
>costumes - $500
Total: $4000
The only other expense is crew and locations.
Crew you can skeleton and find friends who will help out for basically nothing.
Locations is the actual big expense but set it in only or 2 places and the cost comes crashing down.
>frame full of shitty digital pixels and literalwhos
Not even your mom will watch it.
You filmprostitutes should laugh it up while you can because a storm is coming and every hipster pseudocinephile gay like yourself will be in the line of fire.
Kek, will the "storm" be posted on youtube and get more than 50 views? Nice 10k you spent there.
I wouldn't watch a movie shot on a blackmagic pocket even if Hitchwiener directed it
>rates Hitchwiener
Well when you have such appalling taste, who gives a shit what you won't watch?
Yeah, Hitchwiener sucked. He's no Indie Filmmaker With Digital Camera #4790426946, that's for sure.
>not liking Hitchwiener
he's unironically arguably the best director of all-time, to not think so probably means you're a contrarian trying to bang undergrad art hoes
>he's unironically arguably the best director of all-time,
Name your top 5
jesus bro this is a bad take
hitchwiener was a fricking master
don't be a geargay. doesnt matter what tool you use.
What you shoot on affects how the movie will look and how the audience sees it. Art is all perception.
>they’re just tools, all that matters is how you use them!
Gear only matters with sound. If you're good at lighting, color, and composition then it will look good regardless of the camera.
I don’t know how to film a movie tho
Lol cheap lights would be 400 at least, if all you wanted was to light a single interview subject. 150 for a “decent” tripod, what the frick? You can’t get a decent photo tripod at that price, much less a fluid head. Mic prices are way off, if you could even find some used shit for those prices it would sound awful. Why the frick would you need two zooms? moronic first year film school list.
Pls informed-anon, share your kinotography equipment breakdown.
I have an idea for a short film that I think could do really well, I just need a rough idea of how much money I should sink into it for it to look professional.
Your best bet is to get a job/internship with a local production company and go from there. You can rent or borrow their gear. I bought my base set for commercial work for a lot more than that list. The tripod alone was 3 grand, mid tier mannfrotto. A zoom and wired lav about 300. Light stands, c stands, sand bags about 800. Lights were a very basic Lowell kit, soft box and little 2k, I think it went for 450. GH2 for 2-3 grand, but I mostly used FS7s. I only bought all that because I was getting steady paying freelance work. Buying gear for a one off passion project is crazy.
>Currently the average person can fund a feature film themselves
Sadly, this is not the case
>Currently the average person can fund a feature film themselves
b***h the average person today works 11 hour shifts at 27 to afford to live with their parents.
>competition sucks
>why even try?
Uh... because the competition sucks bro.
Money
Moderate fame
>not being a "I have a script I'm working on in my head but haven't actually written anything down" chad
I tell myself stories in my head all the time that I have no intention of shearing with anyone.
Mine's about space pirates
One that made me really laugh once, was a time traveling cat who was trying to save her owner/fren that was a physicist from dying. She hadn't worked out all of the kinks of time traveling, and found herself back in ancient Egypt where she got a job protecting the pharaoh from people who tried to assassinate him with rats with fleas carrying the plague, and she reads The Book of the Dead. The thing that mad me laugh, was I pictured her flying a space ship and shooting lasers when she went to far into the future.
That's literally everybody in the whole world. There is no "creative but lazy" kind of person, only people who care enough to put in the effort and take actual active steps to make things.
Artists are insanely hard working people who take pains over things in a way that would drive anyone else crazy. Everyone "wants" to be an artist, hardly anyone does if you've seen it up close. I'd imagine its like that with professional sportsmen as well.
Well you can be crazy but if you can accept feedback and produce drafts as promised, that would be fine. Its a business and a business where people have to advocate for you constantly (music etc. is the same), so if you start letting people down, breaking their promises to other people and make them look stupid, that is pretty fatal.
>Being a scriptcuck instead of a chadrector
>not being a writer/director/producer auteur
Wrote 4 films - got into a workshop program.
I got found by a producer who liked my writing and got hired to write the studio's next film that's getting released next year.
I live in Finland - anyone can do it!! 🙂
Nice, did you have to pay for the workshop? I've been researching classes/workshop things in LA but they all charge like $300+
Right now I'd rather just stick with imdbpro and cold querying my scripts, but having some kind of networking on the side couldn't hurt.
I applied to the workshop, and they liked my work and invited me in. I got free for 3 months I think, then they began to ask for money for membership. I declined - because I already met a lot of other people (and got hired) Through it, I might go back someday.
>Assuming you can defeat the stack, pro tip: you can't
One adaption please.
Is this book good?
No idea.
Looks like a rip-off of a Anime called Darling in the Frank's.
this was generated by an AI right?
People write screenplays thinking it's going to become a kino movie but don't realize that even if it's picked up, even if it's used, the director and actors won't be able to adapt it the way you saw it in your head.
Ive written 55 pages since June 1st. I like it and wont stop despite your demoralization
Frick you