Posts Tagged ‘Script Shadow’

“Theme is not only the spine and core of your movie but the Heart and Soul of your story. It’s the moral and lesson of your story that gives your screen or teleplay universal meaning. Ultimately, it’s what unifies your story and makes it emotionally significant. It’s your ‘voice’ – it’s what you want to say. Stories teach us how to be human through symbolic experiences…..I think the most important and effective way to illustrate theme is through your main character. Theme is expressed through your main character’s transformational arc during the journey. How do you show this transformation? To express transformation, the need for transformation has to be established – hence the Character FLAW. Remember this: Theme is the opposite of the character’s flaw
Tawnya Bhattacharya (writer on USA Network’s Fairly Legal and the blog Script Anatomy)
Scriptshadow Interview

Related posts:

Writing from Theme (Tip #20)

More Thoughts on Theme

Michael Arndt on Theme

Character Flaw #101 (Tip #30)

Writing Quote #22 (Dara Marks)

Scott W. Smith

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“With a screenplay you’re creating a world; consider everything, every character, every room, every juxtaposition, every increment of time as an embodiment of that world. Look at all of this through that filter and make sure it is all consistent.”
Screenwriter Charlie Kaufman

“No hero is ever ready for the journey.”
Adam Levenberg

Yesterday I had the single best script critique I’ve ever had. It was also the longest phone conversation I’ve ever had.

My 2 hours and 54 minute conversation with Adam Levenberg was longer than the movie Gone with the Wind. Not that my script is as epic, but Adam wanted to show me what he does as a script consultant. I was impressed and will talk about the experience more in detail in January. But if you’re looking for a gift for that screenwriter in your life who has everything but a produced script—or you want to indulge yourself as a writer—contact Adam.

And while the service was offered free to me, I will warn you that his fee is in the iPad range.  Seriously, writing this blog has brought me into contact with some interesting producers, directors, and screenwriters in Los Angeles and talking with Adam yesterday was a great way to round out the year.

Adam doesn’t guarantee that your script will get made, sell, or that you’ll even get an agent— his goal is to make you a better writer. Over the years I’ve taken plenty of screenwriting classes and workeshops, but having Adam go through my entire script and question choices I made was a whole different level of understanding that you can’t get in a class. You can’t hide. (For instance, while my hero’s backstory was in my head—Adam pointed out that it wasn’t in the script.)

Earlier this year I finished the script Shadows in the Dark (with Scott Cawelti) which while my first collaboration, was actually my ninth feature script completed. (In a conversation with My Cousin Vinny screenwriter Dale Launer this year he told me I had one more script to write before I sold one because it took him ten scripts before his first sale.) Anyway, I was fortunate to have several writer friends around the country read my script and offer lengthy and detail notes on various versions of the script.

So the script that Adam read was probably the sixth draft and he still had enough notes for an almost 3 hour conversation. (Actually, it was probably a solid 2 hours of notes because he let me ramble on talking about movies and such.)

I know there is a mini—debate surrounding script consultants, but I was impressed with Adam’s knowledge and thoroughness. And he’s just a heck of a lot fun to talk to on the phone. Adam’s background includes a degree from USC School of Cinematic Arts and time as a development executive at One Race Films—Vin Diesel’s company. And he’s been featured as a guest blogger on WME Story Editor Christopher Lockhart’s blog.

We all have knowledge gaps and have much to learn, which is why even Oscar-winning screenwriter Charlie Kaufman (Eternal Sunshine of the Spotless Mind) says he’s still a student. If you’re a working writer in Hollywood you have plenty of working relationships to hone your skills. Diablo Cody recently said she sent the first draft of Young Adult to Jason Reitman and he said it wasn’t quite there and kept sending her notes until it eventually became the movie Young Adult. (And even after all of that talent, when I saw Young Adult in the theater just as the credits began to roll a lady behind me said out loud, “That’s it?”)

Most of us can’t slide Jason Reitman a script and expect him to give us notes. So if you’re in say, Iowa—or some other unlikely place in the world to be writing screenplays–you have to be resourceful.  As a small business owner (River Run Productions) I’m all for the entrepreneurial spirit and free market enterprise. So if you have the funds and what to be a better writer I’m all for any classes, workshops, books, and scripts consultants you can afford within your budget to accomplish your goal. But remember the basic solid economic principle— “Make every purchase and investment.”

I do believe that in many cases that experienced script readers, producers, and studio executives can give better script notes than working screenwriters. For instance, you’ll learn more from Carson Reeves’ Script Shadow blog than you will from most blogs by working screenwriters.

I’m sure that there are script consultant scams out there so be careful.  While I don’t really know Adam, I will say that my experience with him was positive. The only way Adam could have given me as detailed notes is spending time going over my script. He typically invests at least two days going through a script.  His notes went quite in depth and covered some key flaws. I know I’ve never able to give as detailed notes to friends scripts I’ve covered, because I simply can’t spend that much time on it. Plus it’s not something I enjoy doing.

Will Adam’s notes get my script sold or produced?  Again, no one’s making that claim. (And if anyone guarantees they’ll get your script sold or even get you an agent is a good sign to run.) But I do believe Adam’s notes will make my Shadows in the Dark script better as well as overall making me a better writer. If you’d like a lower budget version of Adam’s film industry knowledge check out his book The Starter Screenplay.

You can also check out his website HireAHollywoodExec.com and judge for yourself.

P.S. And I offer as a totally free gift to you this Holiday Season, a link to quite an interesting talk Charlie Kaufman gave earlier this year for the British Academy of Film and Television Arts (BAFTA).  (A link I first found at the always informative Go Into the Story blog where Scott Myers has posted transcripts of that talk as an eight part series.)

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“I was really beginning to question if I’d ever catch my proverbial big break. I drifted away from film work and started applying for police jobs.”
Chris Sparling, Buried screenwriter

“(Chris Sparling) went directly from struggling indie director to successful Hollywood scribe when the screenplay for his horror thriller Buried was picked up, cast with a major up-and-coming star, and thrown before the cameras in just six months. And now it’s receiving its U.S. première at the Sundance Film Festival.
Melissa Silvstri
Filmmaker Magazine Winter 2010

Until this morning I had never seen or heard the name Chris Sparling. Then I read on Scott Myers’ screenwriting blog (Go Into The Story) about a movie Sparling wrote called Buried that sold at the 2010 Sundance Film Festival for between $3 & $4 million. Sparling is from Providence, Rhode Island and has made short films and one low-budget independent feature five years ago that had little distribution.

He was looking to write a movie that could be shot quickly and cheaply when he stumbled upon the idea for Buried.

“Stealing a page from Hitchcock’s playbook, I decided on writing a story that takes place entirely in one small location. In my case, this was inside an old, wooden coffin.”
Chris Sparling

While his sudden rise is rare, the process that he took to be a screenwriter in demand is a familiar story. One of dedication and hard work.

Sparling was asked in an interview with Carson Reeves at Script Shadow, “How many scripts had you written before Buried? Which script did you realize that maybe you were getting the hang of it?” Sparling said, “Before Buried, I think I’d written about nine or ten features and two TV specs. Truth be told, it didn’t start to click for me until about my seventh feature script.”

I think to pull off writing a 90 minute story in a coffin one has to have a solid handle on the craft of screenwriting. You have to think that having a story set in a coffin would cut down on crew, cast, wardrobe,  lighting, etc.. The film was directed by Rodrigo Cortes and shot in 21 days in Barcelona, Spain. With Ryan Reynolds in the lead role it couldn’t have be too low a budget film.

Renyolds plays a  U.S.  contract driver in Iraq who is attacked and placed in a coffin with a flashlight, a cell phone and a lighter and must find someone to pay a million dollar ransom or he’ll soon die. A primal survival story reminscent of low-budget success stories of past years; The Blair Witch Project, Open Water and Paranormal Activity.

Is there a Midwest angle? Of course.  The character Renyolds plays says that he’s from Hastings, Michigan. Below is the promo for the movie that is said to being released this spring. If you do a little homework you can find a version of the script online.

Scott W. Smith

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