Elston Gunn's WEEKLY SCRIPT REPORT (Major Sales, Events, and other News!)
March 18th, 2001
- Will Gluck will write a remake of the 1961 Jerry Lewis pic THE ERRAND BOY for Spyglass Entertainment and the Jacobson Co.
- Josh Schwartz will adapt Bill Flanagan's 2000 novel A&R into a feature script for Warner Bros. and producer Bill Gerber. It's about a young exec who gets a job at a big record label and discovers the tough environment there.
- Several studios are vying for a pitch by screenwriter Eric Guggenheim (TRIM, MOVE) about the American hockey team's victory of the then-unbeatable Soviet hockey team to win the gold medal in the 1980 Winter Olympics.
- Crime novelist James Ellroy will write his first original screenplay, 77, an urban crime thriller for Dick Wolf to produce. The story will be told through the eyes of a pair of police partners, one black and one white, as they are involved in two events from May 1974: the unsolved murder of Los Angeles police officer Mike Edwards and the nationally televised shoot out in South Central L.A. between the LAPD and the Symbionese Liberation Army.
- Jerry Weintraub Prods. grabbed the comedy pitch FISHIN' MAGICIAN from George B. White III. Danny Jacobson will co-write the script with White. It's a mob comedy that centers on a mobster who hides out in Alabama, but his cover may be blown when he catches the largest bass in a national tournament.
- Paramount Pictures pieked up the romantic dramedy script PERSONAL SHOPPING by Tim Sullivan, who will also direct. It follows an American in London who loses his bags and gets a female personal shopper at an upscale department store to help him out with a new wardrobe.
- Heather Hach will write a remake of the 1977 Walt Disney pic FREAKY FRIDAY.
- Disney picked up an urban coming-of-age pitch based on an idea by Lisa Bonet, who is attached to star in and co-produce. Monique Matthews will write the script for 3 Arts Entertainment about a mysterious boarder who changes the lives of two wayward teens in Harlem.
- Universal Pictures bought an untitled reindeer comedy pitch from Thomas Lennon and Robert Ben Garant (SEE SPOT RUN, MTV's "The State") that will center on how Santa's reindeer came together. The project will be made in the style of BABE.
- Producer Mark Canton and Senator Entertainment are in final talks to buy the spec CARUSO: THE KING OF TENORS, a biopic of the famed opera singer Enrico Caruso, written by Stefano Gallini. It will be set in New York at the turn of the 20th century and focus on the tragic life of Caruso, which included a scandalous love affair with his sister-in-law.
My pick of the week is the Eric Guggenheim 1980 Olympic hockey script -- as long as they play it straight and avoid the cliched Hollywood treatment. It could be great. The Caruso pic sounds promising as well.
All of us creative types have things we're naturally good at, and things we've learned to do, and things we aren't that good at (yet). This creates a creative trap: when approaching a project, we often work on the part we understand best — the part that scares us least. So if you're good at plot, you write the plot first, and then fill in the characters later. If you're good at characters, you write up the characters and then feel your way towards a plot.
Everyone pursuing a screenwriting career will eventually realize this journey is not for the thin of skin or for those who cannot handle the emotional ups and downs this business brings. If you haven’t yet experienced the soul crushing disappointment of finally having written a script that goes into development, but it doesn’t make it to production and sits on a shelf, I don’t envy you. It’s happened to me a handful of times out of my nearly two dozen paid screenwriting assignments. Learn this early — there are no guarantees in the screenwriting game. You take your lumps, heal, and move on to the next screenplay and the next one.
I love Readers! Yes they are the gatekeepers to the Promised Land and like it or not they do have power. But just how much? Well, I’m here to show you. I got my hands on a classified document folks, the holy grail… An actual copy of a real STUDIO MEMO covering GUIDELINES for their READERS.
Scenes must have a reason to exist in your screenplay. Each scene must advance the plot forward through dialogue and/or visual storytelling. Characters’ journeys drive the script’s narrative, and each scene must steer their journey forward. Although some scenes might not even contain any characters, these scenes must still provide information about your plot, as well as your characters’ lives and actions. There is no set rule as to how many lines, paragraphs, or pages constitute a scene.
The following has nothing to do with wet t-shirts. This entry is actually about screenwriting contests - a subject with little marquee value. One of the most popular category of questions that I find in my e-mail box is about screenwriting contests. As I say over and over, I believe that most are a waste of energy and entry fee. Some - like the Nicholl and Disney Fellowships - are very reputable and have launched a few Hollywood careers. Regardless of how reputable any contest might be, the screening process for most seems tenuous. Low fees for contest readers and a bulk of scripts guarantees a sloppy vetting system.
"Lowtide" writer, director and producer Kevin McMullin has sold his short story "Bomb" and is tabbed to write the script for "low seven figures" and "Gladiator" director Ridley Scott is attached to Direct. According to reports, 20th Century beat out studios Apple, Netflix, Sony, and Warner Bros.
Books are the fastest and easiest way you can learn from an expert. In screenwriting, it’s no different. Some of the best screenwriters and those who have mastered the craft, have created countless books trying to encapsulate all they’ve learned in their work. If you’re a new screenwriter and looking to improve or simply to learn how to create better scripts, these three books will help you out.
Everybody has a perspective. Everybody in your scene has a reason. They have their own voice, their own identity, their own history… But if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.
What is a successful second act? One that keeps the reader engaged, moves the story forward, and successfully delivers it into the falling action; that being the third act climax and the denouement. A bad screenplay has a second act that simply doesn't keep the narrative trajectory in place and thus the spine of the story sags; meaning rising tension and conflict is not taking place.