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Posts Tagged ‘Scriptnotes’

[Substance definition: Significance or importance]

I think if you put energy into how do I break into the industry, how do I get an agent, how do I – it’s putting the cart before the horse. I think that ultimately first and foremost practicing. Shooting it. And then reshooting it. And reshooting it. And rewriting. And just getting, working on yourself and getting better. But just doing it.

Like getting a camera. Getting whatever camera you can get your hands on. And making stuff. And then getting out there however you can. I actually think practically that’s the industry – you can’t say the industry will be the path to your door, but I think the best way to find your career is just to do what you do and get it out there however you can…. Double down on substance. And that ultimately is what everybody is looking for so hard out there. Everybody wants something that’s interesting and good.”
Writer/director Rian Johnson (Star Wars: The Last Jedi)
Scriptnotes Q&A with Craig Mazin (Episode 299)

Related posts:
The 99% Focus Rule (via Oscar winning screenwriter Michael Arndt)
Rod Serling on Breaking In
The Myth of “Breaking In” (Terry Rossio)
Follow Your Own Wacko Vision
‘I never saw myself as a sitcom writer, but I was waiting tables’—How Rob McElhenny helped launch his career with a camera he bought at Best Buy.
Filmmaking Quote #31 (Annie Mumolo)  “Whether it’s short films or whatever you can do, my advice is make your own stuff. I’m a real believer in preparation meets opportunity…”

Scott W. Smith

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The moment came at 64 minutes and 11 seconds into episode #300 of Scriptnotes when Chris McQuarrie explained the differences between screenwriting and film directing in just 18 words:

“Screenwriting is pushing a rock up a hill, and directing is running downhill with a rock behind you.”
Writer/ director Chris McQuarrie (The Usual Suspects, Mission Impossible-Rogue Nation)

That’s a great soundbite, and serves as a climax to that episode—perhaps to all 300 programs on the Scriptnotes podcast. Heck, it’s visceral enough to describe the entire 100+ years of cinema.

Sisyphus

Sisyphus=Screenwriting

IJ_rockroll-cropped.gif

Indiana Jones=Directing

I don’t know if there will be another 300 episodes of Scriptnotes where screenwriters and hosts John August and Craig Mazin talk “about screenwriting and things interesting to screenwriters” but it’s been quite a run. Congrats to all involved in making that happen.

Scriptnotes debuted in August of 2011 and was the first podcast I listened to on a regular basis. Fast forward six years and I now listen to podcasts more than I do watching Tv or even movies. (Tomorrow I’ll even start a run of posts on how Alex Blumberg transitioned from NPR/Planet Money to raising $1.5 million to launch the podcast company Gimlet Media. And will look at how it represents a new era for content creators including dramatic writers.)

Here are 10 posts of mine over the years based on quotes pulled from Scriptnotes:

Scriptnotes’ 100th Podcast

Is It a Movie?

How to Get an Agent (Quote from UTA agent Peter Dodd)

I was never good or smart enough to get industry work before I made my first movie—Star Wars:The Last Jedi writer/director

I never saw myself as a sitcom person, but I was waiting tables…—Hit Sitcom Writer

From Houston to Hollywood (Mazin’s interview with John Lee Hancock)

Kramer vs. Kramer vs. Modern Hollywood (quote from Billy Ray)

Film vs. TV Writing (10 Difference)

What’s Changed? (Tip #102)

What’s at Stake? (David Wain)

P.S. The one show I’d like to see Scriptnotes produce is one where they expand on episode 235 showing how the original Game of Thrones pilot was shot and scrapped because it didn’t work. Love to see them explore how the script was reworked and reshot on its way to becoming a hit TV program. (It would be a bonus if Scriptnotes wanted to move into doc filmmaking and make a Hearts of Darkness: A Filmmaker’s Apocalypselike documentary on that topic.)

Scott W. Smith 

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“We tend to overestimate what we can do in one year, and underestimate what we can do in ten.”
Richard Foster
(Quote often attributed to Bill Gates, but I believe Foster wrote the line years before Gates wrote or said it.)

Screenwriter Dana Fox was 2 for 2 when she followed her career trajectory question to Rob McElhenny on Scriptnotes episode #299 with a question to writer/director Rian Johnson about his career trajectory that led to writing and directing Star Wars: The Last Jedi.

“I was never good or smart enough to get industry work before I made my first movie. I basically wrote Brick right out of college and essentially tried to get it made through my 20s. I didn’t make it until I was 30, but the whole time I was trying and kept almost getting there and it kept falling apart. But I was working some really wonderful jobs like I worked at a preschool for deaf kids for a while, I worked at the Disney channel producing promos for like Bear in the Big Blue House—really good jobs but nothing that was like I was making money doing what my sights are set on. So when I started doing it it was starting with this really personal thing and then I was very, very lucky and able to just kind of keep doing it.”
Writer/director Rian Johnson

It’s also worth pointing out that Johnson graduated from USC film school (same school Star Wars creator George Lucas attended) where he made short films, and continued to make short films after school. When he finally got Brick made for $500,000 it won the   the Special Jury Prize (For originality of vision) at the 2005 Sundance Film Festival, and won Best First Film at the Austin Film Festival in 2007. He then followed that success with The Brothers Bloom (2008), Looper (2012), and directed the  Ozymandias (2013) episode of Breaking Bad, before given the Star War reins. A good example of being persistent and building on small successes that brought him to the intergalactic stage.

Scott W. Smith

 

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“I never saw myself as a sitcom person, but I was waiting tables and I was like I have to figure out something and I wrote this script that was super dark, but when I put it into Charlie’s [Charlie Day] hands or Glenn’s [Glenn Howerton] they made it funny and I realized this could actually be a sitcom. But the truth is I never had any aspirations to get into comedy writing at all.”
Writer/actor Rob McElhenny on the initial concept for It’s Always Sunny in Philadelphia

The following exchange from Scriptnotes podcast #299 lasts less than a minute, but it belongs in the Scriptnotes hall-of-fame. And it’s the drum I’ve been beating in the 9+ years of writing this blog. And a classic example of “do what you can, with what you have, where you are.”

Screenwriter Dana Fox: What was your trajectory to get you where you are right now?

Rob McElhenny : Well, mostly desperation. I was working in every bar and restaurant in New York City and I was just acting—or I was auditioning, and not getting any jobs, and complaining about every script that I read. So I was encouraged by my agent to stop bitching and write something for myself. I got the Syd Field screenwriting books, and William Goldman [Adventures in the Screen Trade] and just tried to understand [the basic principles of writing]. The first thing I wrote was not a comedy at all, it was really super dark. Really dark because that was a time in my life when I was very dark. 

That script got optioned and led to Rob working with Paul Schrader (Taxi Driver) for six months. And while had to be an incredible opportunity itself, took Rob further into the deep forest as the project fell apart and ultimately didn’t get made. Rob stopped writing and decided it was time to leave New York.

Rob McElhenny (con’t): I moved out to Los Angeles and I decided to write again. I said I want to write something very simple so I don’t have to give it to somebody else. I want to go shoot it myself. So I wrote a little short film that was very dark but I brought it to my friends Glenn and Charlie and they thought it was funny so I just hitched my wagon to those two and held on for dear life. 

I didn’t really know anything about filmmaking, but I didn’t know anything about writing I just got all the books and watched as many movies as I possibly could. And so I just went to Best Buy—I didn’t have any money, but I got one of their credit cards with the high interest rates and I bought a prosumer camera and I got Final Cut [editing software] and learned how to cut and we shot it and I cut it together—and it was terrible. Like terrible, terrible. But I realized it was terrible and I re-wrote it and I shot it again. That was also terrible. And then we shot maybe three or four iterations and then I realized, wait, maybe this isn’t so bad. 

It not only wasn’t so bad, but it was so good that it paved the way to co-creating It’s Always Sunny in Philadelphia (with Glenn Howerton) which is now in its 12th season, and if it continues through its contract will end up being the longest running live action narrative TV program in the history of television. (Surpassing The Adventures of Ozzie and Harriest which ran for 14 seasons.)

Scott W. Smith

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John wanted to be a screenwriter. He was born to public school teachers in Longview, Texas and raised in Texas City, Texas. Eventually he earned an English degree from Baylor in Waco. Then after graduating from law school he became a lawyer in Houston.

What are the odds of John making it as a Hollywood screenwriter?

[Dramatic pause]

The odds are against him, right? Well, if you’ve seen The Blind Side, Saving Mr. Banks, The Rookie, or A Perfect World then you’ve seen movies where John from Texas (John Lee Hancock) is credited as writer and/or director.

In an interview with Craig Mazin on Scriptnotes, Episode 27 John unpacked how he made the initial transition from a lawyer/actor in Houston to Hollywood writer/director:

“I really fell in love with movies. Not when I was a kid, but when I was in college and I would go to movies a lot. And so I started thinking hard about kind of movie stories, and how they looked on the page, and — this was back in the days before you could walk into a bookstore and get, like, 17,000 books on how to write a screenplay.They didn’t exist. I mean, and you were lucky, you could — there was no online at that time.”

Hancock just turned 60-years-old so I’m guessing this was the late 70s or early 80s. Not only before the internet, but possibly even before Syd Fields’ book Screenwriting: The Foundations of Screenwriting was originally published in 1979.

So he found a place in the San Fernando Valley (probably Burbank) where he could order a few scripts. After learning the format of a screenplay he wrote his first script on the side while practicing law.

But even before tackling a feature script Hancock was studying acting with a teacher who had been a working actor in Los Angeles. It was there where he first started writing monologues and short scenes. Writing that provided “instant gratification.” (A similar experience that Tarantino had in acting classes. Read the post ‘The way I write’—Tarantino)

Hancock said that first feature script (“a story about a guy in his 20s in Houston, Texas who’s angst-ridden and doesn’t know what to do with his life”) was awful. But that “awful” script changed his life.

He sent it to the newly formed Sundance Institute that was doing a workshop in Austin with John Sayles and Bill Wittliff and others and Hancock thought that would be a great opportunity because he’d “never even met anybody who writes screenplays.” (To keep this in perspective he was probably in his mid-twenties at this time.)

“And I signed up, and it also had a thing that said you could — they were going to select, I think, eight screenwriters to go through an intensive four-day worship with Frank Daniel (who had been the head of Columbia Film School and USC).”

I don’t recall if Hancock says on that interview how he started to get traction and work in L.A. (or when he moved there), but that initial thrust began like many others—a desire to write, then writing a screenplay and sending it to some people, and that writing getting him some recognition and eventually leading to his becoming a working Hollywood screenwriting.

Hancock’s experiece in Houston is an echo of what Diablo Cody did in Minneapolis a decade ago and served as the inspiration for starting this blog. (Read the post Juno Has Another Baby). He may not happen everyday, but it happens.

P.S. Keep in mind that Hancock made that transition began over 30 years ago. If he were a lawyer in Houston today he might connect with some filmmakers in Austin, write something that gets on The Black List, or perhaps fund his own low-budget filmmaking. He would find a different path because times and opportunites change.

Related post:
The 99% Focus Rule (via screenwriter Michael Arndt)
Start Small…But Start Somewhere
Starting Small
Screenwriting from Texas

Scott W. Smith

 

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“Be so good they can’t ignore you.
Steve Martin

Getting an agent is easy. The actual process I mean;  Script read. Phone call made.

After you’ve written a screenplay that captures the attention of someone influential in the film business. (BTW-That’s the hard part. The part that took Oscar winning screenwriter Michael Arndt ten years to accomplish.) That influential person—a studio executive, repped writer, established actor, whoever— will pass your script to an agent.

“There was a [new writer] sent to me last year. The executive that I like said to me, ‘Managers are chasing this person. He’s meeting with 15 different managers over the next two weeks. This is a hot script, you should read it right away.’ I read it that night. I reached out to the writer….For us and for new clients, it’s all about voice. Do you have a voice? It doesn’t matter if the voice is in the most uncommercial script in the world. That could still be an amazing voice. We can take and use that unconventional, uncommercial script and launch them into the stratosphere as a cool writer.”
UTA agent Peter Dodd
Scriptnotes interview with John August & Craig Mazin

If a script/voice resonates with Dodd, he said in that informative podcast interview that he’ll sometimes contact a writer he’s interested in representing right away, even if it’s Saturday or Sunday. He’ll cold call, email, Tweet the writer, Google search, or stalk them on Facebook. He will find them and let them know right away that he appreciates their work.

That’s how easy it is to get an agent.

Related posts:
The 99% Focus Rule
Outsider Paul Haggis and Your Voice
Finding Your Voice
Scott W. Smith

 

 

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Earlier this week I heard the first quote listed below on a Scriptnotes podcast and it didn’t take long to track down similar quotes on paying your dues that I’ve posted over the years on this blog. (And while you may see these quotes as more anecdotal than empirical data—there does appear to be a common theme. Press on.)

Eugene Mirman says this thing, because he gets approached by young comics all the time, and they say, ‘what do I do?’ And he says, ‘Start doing comedy, keep doing comedy, call me in ten years.’ And I think that applies to anything in the artistic realm. It’s like it takes a hard ten years.”
Writer/director Mike Birbiglia (Don’t Think Twice)
Scriptnotes interview with Craig Mazin

“I spent 18 years doing stand up comedy. Ten years learning, four years refining, and four years of wild success.”
Commedian/actor/writer/musician Steve Martin (The Jerk)
Born Standing Up

“A mere seven years after my graduation day, I had failed on an epic scale. An exceptionally short-lived marriage had imploded, and I was jobless, a lone parent, and as poor as it is possible to be in modern Britain, without being homeless.”
Author J.K. Rowling (Harry Potter series)
On the Benefits of Failure

“The myth about me is that I sold my first screenplay and it’s true. But I had also worked very hard as a fiction writer for ten years and that’s how I learned the craft of telling stories.”
Oscar-winning screenwriter Akiva Goldman (A Beautiful Mind)

“For me, it was a matter of years of trying to develop my writing in the same way that some people spend years learning to play the violin.”
Writer/director Frank Darabont (The Shawshank Redemption)

“Before I got adept at it, I had to write about ten scripts.”
Oscar-winning screenwriter Brian Helgeland (L.A. Confidential)

Question: How did you first get your break in writing, and what were you doing before writing [the novel] Fight Club?
Chuck Palahniuk: “I worked at Freightliner for thirteen years right after college. I worked on the assembly line for several years. Then I moved into working as sort of a research mechanic, I would do repair and vehicle modification procedures and then write about them. So I worked on trucks and wrote about them.”

“I graduated from Northwestern. I had no money. No one had any money. So I got a day job, shelving books at the Northwestern University Law Library. Every morning I would work from nine to five and shelve books, for ten years. Every single day for ten years.”
Three time Oscar nominated screenwriter John Logan
The Secret to Being a Successful Screenwriter (Seriously) 

“I devoted myself to writing for years without representation or a promise of anything. And there were times when I felt quite down about my prospects.”
Oscar-winning screenwriter Geoffrey Fletcher

“I think every writer harbors—secretly or not-so-secretly—delusions of grandeur. Still, when you’re starting out, it’s hard to imagine how you’ll ever ‘succeed….The question is ‘How do you meet an agent?’ or get your script to an agent—It’s a mystery to me. Everyone sort of is able to find a different path, and usually it just comes to referrals…. I would say 99% of your effort should go to writing a good script.  And my story is a testament to that. I spent 10 years teaching myself how to write. [The Little Miss Sunshine script] went to one [agent’s] desk basically and once it hit that desk though it was like the doors were flying open.”
Oscar-winning screenwriter Michael Arndt (Little Miss SunshineToy Story 3, Star Wars: The Force Awakens)
2007 talk at Cody’s Books

Related links:
10,000 Hours vs. 20 Hours
Stephen King’s Double-wide Trailer
‘Art is Work’—Milton Glaser
Bob DeRosa’s ‘Shortcuts’
Start Small…But Start Somewhere

Scott W. Smith

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