The Screenwriter's Forum Q&A Part II
March 14th, 2004
Q: John: I'm planning an action-thriller involving nuclear terrorism. Some agents insist no more nuclear bomb stories. Am I wasting my time? Pete.
A: Pete - Unless the agent is buying scripts he really is telling you his
personal preferences. Write what you want to write.
John De Marco
Q: Dear Mr. De Marco: My question. At the beginning of the script, how far down do I go before I type "Fade In", and how far below that does the first scene start? Martin Deacon
A: Martin - If you have to ask that question I suggest you either buy a
book on screewriting or go to Utopia where you can purchase a script
from one their sponsors.
John De Marco
Q: John, I have a wonderful script sitting here. It's just begging to be produced. How on Earth can I get some company to pay attention and read my script? Bob Farrel
A: Bob, you have to send it to those agents and producers that have said they will accept scripts. I sent out fifty copies of my first script. John De Marco
[note: Bob, the Utopia has a listing of agents in the Archives section under Super Links, look there for internet listings. Some agents even have email addresses. Also, the Hollydex which John De Marco is listed in, list producers, agents, and other writers along with emails, fax numbers, and other info. It is easy to access
Q: John, I'm trying to get an agent. Should I use my character driven script, or my blow-em up "high-concept" script? Or does it matter at all? thanks Somvang Sam Sisavath
A: Somvang, send the blow em to hell script, they all love thrill ride movies. John De Marco
Q: John, I've written a comedy in proper format. The length is 90 pages. An agent has read it and said there was a problem with the length. Does a script in proper format run at one minute per page or is that something that only applies to a shooting script? Lowell Gilbertson
A: Lowell -- the average script runs 110 - 125 pages. A minute a page
is for shooting script although it's not set in cement. If you figure
thirty to forty pages an act it works. Personally I don't think the
lenght makes any diffrence but they want at least ninety minutes of
screen time.
John De Marco
Q: John -- I have noticed more and more directors and actors are writing. Such as Tom Hanks doing all, and Steve Buschemi, doing all as well. Its seems that because they have 3 talks in one film, they have more creative control and feel more in the independent feature mode. Do you have any opinions on this? Second , someone in this forum asked about music, and you answered that the music is the directors concern. I was wondering, what if your script was inspired by a piece of music, and you wrote it with the music in your mind and you know that a certain piece would give it justice. Is there at all a point in the script where it's necessary or can be included. George Lucas, even though he directed it during American Graffiti, had a new song for every new scene, and I think there was 45. Thanks for your time. Anthony
A: Anthony -- Actor ans directors are writing for independent
companies because mainline studios are going for the big thrill
ride movies. Independnts are more liable to take on film that
has a strong story and character driven. As far as inserting
music in your script certainly if it's a part of the films beat put
it in. Lucas put in the music to give the audience a feel for
the time.
John De Marco
Q: Hi John - I 've submitted some scripts to various people of production
companies in various states of Australia with no bites. Would it be
worth my while to start to send my work to Hollywood? You know...cut out
the...middle man? Catherine Maddern
A:Hi Catherine - I assume your live in Australia. If you are not getting any interest there, you could send to production compaines or agents in the US. I would also send to Mirmax, Fine Line, Fox Searchlight. John De Marco
Q: John...Can you recommend a good index on the internet where agents will take abstracts or full screenplays? Or should I stick with sending the full plays to those on a list who accept unsolicited work? Thanks for your response. I'd love to start feeding information over the net, what do you think? Breandan Connor
A: Breandan - I don't think you get much help with agents on the net. I would continue to go the route of sending to agents. I don't know what kind of info you want to feed over the net. John De Marco
Q: How do you prepare for a television pitch? Do you pitch plot first or story? hook first? Matt
A: Matt -- if this is a new idea for a series you first run down the
characters and how they interact then get on with the franchise.
John De Marco
Q: -John...I recently entered the Sundance Screenwriters lab contest and
made it past the first round. Does that first round have a big cut or
does everyone make it past the first round?--Richard
A: Richard -- I don't know how big the cut is. It really doesn't matter
the important thing is that you are in the ball game.
John De Marco
Q: I may be meeting some stu io people in Cannes this year they're probably not going to pick up scripts off people because of the sheer bulkiness? So I woul like to get your a vice on the optimum page count for a feature film script treatment. I just want to hook their interest in the script, which if they are intereste. I can sen later. Appreciate any help on this one. Regard's, Steve
A: Steve -- I would say a good tight twenty pages or less would be an
easy read to get interest.
John De Marco
Q: John. After looking through most of the questions people have, it seems
that many people are in a better state then they realize. I am a new
screenwriter basically with no professional experience under my belt,
and slowly learning more and more of the processes that are involved I
wanted to know, how important is it to have an agent? From
what I gathered it seems that having a finished screenplay is better
than an idea. Being in CT, the contacts out here are far and few. NY
is about an hour away question being how would one go about having
someone look at a screenplay with out any access to "hollywood". You
cant reply on friends to make a film with you. If I send my script to an
agent, what is the chance of them even looking at it, if they do look at
it, how much do they read before they determine if its good or not.
Also, when writing, is it necessary to include camera directions? How
would you write simeltaneous talking in a scene? Do different studios
require different formats, and if I use a certain screenplay program,
should I adjust to that format? Finally, where would I find how studios
set up their formats (any inside tips)? I may have a lot of questions,
but that's what the a child does when he learns. - Anthony
A: Anthony, format for screenplays are all the same. No camera direction
that's the directors job. Similtanenos talking is done alongside each other
IE:
ANTHONY JOHN
I have a lot of questions. Okay, shoot.
Usually agents and producers read the first 20 pages if it doesn't
grab them your history. As far as getting an agent -- I suggest you
send letters of inquiry to NYC agents telling them you are available
for an in-person inteview.
John De Marco
Q: John De Demarco, I've had a couple questions myself for some time, but just figured they'd work themselves out. Well, that approach isn't very efficient, so maybe its time I sought a professional's opinion. Let me paint the scenario first...Three years ago, I had a graphic novel published. Okay, a comic book. It did okay for what it was - heavy pulp noir. At the time, I was also developing an original computer game concept which to everyone's surprise, got a LOT of attention from big players -- I found myself pitching it to Steven Spielberg in his home! That was a little over a year and a half ago, and in that time, the game was wrestled away from me by my former employers and neglected to death. My first big lesson: A LEARN TO LET GO AND GO ON. Oh, and also SECURE OWNERSHIP. Since then, I've maintained communication with DreamWorks, and had several meetings where they just picked my brain. All this sounds exciting, but it could easily become a perpetually fruitless exercise in brainstorming and just peter out. I know that the first thing I need is a finished script. I've already written 3 one hour TV dramas as samples, and am currently working on my first feature. I think I know what has to be done, its just a matter of doing it. Now my questions: Do you think it's premature to seek an agent? Would an agent be willing to pick up someone based on 3 non-feature samples and one healthy established contact? Although feature work would be ideal the television format was kinda fun. Would I need separate agents for features and TV? How important is it REALLY to move to LA, specifically at this stage? I've heard the testimonies and read the books%2C but that always seemed to be for people first trying to get a foot in the door. I've got a foot in the door already, do I really need to break my hip on the doorframe? I've got a comfortable full time job in San Francisco, with which I can continue developing screenplays on the side and make the occasional trip to LA until something breaks. Does this sound viable, or am I just being stubborn? I really appreciate your suggestions, as all this stuff can easily overwhelm a naive 27 year old brain. Mike Kennedy
A: Mike, Literary agents handle TV and film. If lyou want to work in
TV pick out a show on the air and write an episode as a sample.
An agent does't need contacts -- he needs product. Complete a
screenplay -- then send to an agent. If you feel Dreamworks is
picking your brain -- stop talking to them, show them the written
word.
John De Marco
Q: John- I have completed one script for a local production company in Nashville for limited theatrical release in fifteen cities. They want me to write their next three projects, but I'm not sure if I want to get locked into contracts with them. They are a client-based production company and are sometimes at the mercy of their investors. Q-should I continue to write good scripts for them that are almost surely going to be turned into trash because some guy who invested a hundred grand wants his cousin to play the bad guy I have about ten full length features completed or near completed and one is with Will Morris here in town. It's a dilemma because the moneys not that good--2500.00 for a sixty page children's script that I had to completely rewrite. They want a western idea of mine that I'm convinced that if done right could be an award winning film. IT'S KILLING ME. Money or integrity? J.S.
A: J.S., boy have I been there before! Do you go for the cash and beat yourself
up or take the money and move on. This fly by night company that your
involved with -- I did a smiliar deal a few years ago. I wrote two
original scipts -- got Fifty grand option for both and they never went
to production. The options were renewed so I proabably will never get
them back. I suggest that if they want you to commit to writing three
scripts for them, you tell them to give you option money on all three
scripts upfront. The option is for two years and then revert to you.
The option should be considerable -- so they will proabably pass. This
will let you suggest you write them one script at a time with a
seperate deal each time and the money gets bigger each time. As far
as the western goes I think all writers feel they have an award
winning scipt. You seem to have no problem coming up with story ideas,
so -- write another award winner! Terry Nation the [creator of Dr. No]
told me,"the writer's obligation is to get his work sold. If it's a
good production, bad production or even gets made is someone else's
repsonsiblity." I found that to have been good advice. It's not a
matter of integrity ... IT'S YOUR JOB TO GET PAID FOR WRITING! There
are a lot of writers tha would envy your position. Good luck.
John De Marco
Q: John- any suggestions on publications that can offer help in writing a screenplay many of us have full-time jobs and don't have the time to attend classes or seminars? Thanks Lisa.
A: Lisa, you could subscribe to SCENAIRO mag. They publish screenplays
and give tips -- their fax is 2129899891. There is also a book by Richard
Vail on the art of screenwriting and one by Bo Goldman. Utopia has a
banner ad for obtaining screenplays -- it's a good idea to read a
number of them to get you on tract. I would just get the form down
and then begin. First however it imperative you put your story down
in about ten to twelve pages to make sure you have three acts that
work - like 3 to 4 pages to an act.
John De Marco
Q: John I have a treatment and outline for a story that involves
a single character lost in the wilderness for most of the film. Do you
have any suggestions for how to keep the screenplay from turning too
prose-heavy. Can you think of any films that were this light on dialogue
The Bear comes to mind, but I can't find that screenplay anywhere. It'd
be nice to see how someone else did it successfully. Mike Kennedy
A: Mike, Robert Redford did a film about a man in the wilderness -- it was a
hit the name of the film was Jerimah Johnson -- I'm sure you can rent
the video or buy the script.
John De Marco
Q: Hi John, just finished my first novel and I think writing is the best
way to break into the business. I also just polished my first
screenplay called The Robber Bride, based on the Margaret Atwood Novel.
Looking at eh success of The First Wives Club With Bette Midler, Diane
Keaton, and Goldie Hawn, this would be a great vehicle for them. The
book is about a dangerous, younger, sexy woman presumed dead. Who comes
back and haunts the lives of three woman in their forties. The
screenplay has already been copyrighted, So how do I
#1 get in contact with Atwood herself, or her lawyers to get permission to use the script, since it's based on her novel and characters?
And #2 how do I get it to Hawn, Keaton, or Midler?
A: If you write a script based on a book, you have to get in touch with the autors agent or publisher to see if the book is already optioned by Hollywood. If it's avaiable you will have to make an option deal which could cost you money. As far as getting in touch with a star, you have to go through their agents. You can call SAG and they will tell you who represents them. John De Marco
Q: Well I am a young hopeful...It's a strange drive I think about writing constantly. Ideas pop into my head every hour of everyday. I constantly think of great movies that I would race to see at the theatre. Is this common with new writers or am I simply setting outlandish goals much like when a child is asked what he wants to be when he she is grown I read so much about how hard it is to get recognition etc, etc and yet I still want to write. I'm hoping I'm not just in love with the idea of being a screenwriter instead of screenwritING. Strange question maybe but it's on my chest. My first screenplay is about my variety of personal friends in a twist of events which lead up to a strangely unexplained ending. My second question is should the ending ALWAYS be as clear as day to what degree can the ending be a draw your own conclusion type deal. I mean Pulp Fiction never revealed openly what was in the briefcase, right? My script has strong characters and hightened drama mostly and not much action. I'm trying to make the film reasonable so I'm not putting a rediculous amount of action. Is this a bad approach Ok that's all I have to bother you with. Thanks again for your great input on the forum...A-Duane
A: DUANE, first I want to say is that it's GOOD that you love
writing, that will go a long way in keeping your interest. The
ending should be clear -- it's okay to have an ending that lets
the audience surmise. I have just completed a screenplay
in which the ending leaves a quesiton -- but it is clear. As far
as your ability, that will only come when you present it to an
agent, producers or perhaps get some help in development.
John De Marco
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