I keep hearing "ideas are worthless" when it comes to screewriting.
Not true!
Obviously, you have to execute the idea into the form of a teleplay or screenplay to be able to copyright the work and to have something to sell. But there are certainly million (billion) dollar ideas.
For example...
The late author Michael Crichton did two major hits with one concept:
An amusement park does scientific advances only to have the advanced creatures from the park go out of control and kill the park visitors.
That one idea lead to
WESTWORLD
and
JURRASIC PARK
I'd call that a billion-dollar idea!
Got an idea for a third park? If so, you might be on your way...
How about the film DIE HARD?
It has led to countless films using it as a template. My former mentor Chris Soth sold the script for FIRESTORM for $750,000 and it tracks DIE HARD story beat for beat (mini-movie for mini-movie).
The 'DIE HARD in a ___' is still making big money for writers decades later. They had not one but two 'Die Hard in the White House' movies out a couple years ago (WHITE HOUSE DOWN and OLYMPUS HAS FALLEN).
Then they did 'DIE HARD in a shopping mall played for laughs' -- PAUL BLART, MALL COP.
Amazing the shelf life of that setup. I met the writer of the screenplay, Jeb Stuart, a few years ago. He spoke at BR Community College. "Did you ever get a check for all of the DIE HARD knockoffs?" "I wish!"
So don't devalue ideas. Be sure you execute the screenplay or pilot as best you can but some ideas are golden.
Sunday, April 26, 2020
Friday, April 24, 2020
Rejecting Script Advice
It's your script. It's your story. The final choices are yours -- unless you sell it and then you may be replaced at some point.
I've noticed, however, over the past year a few situations that puzzled me.
1. A produced writer with major success (global brand level success) advised a young writer a title change to give the project more of a hook. "No. This is my title. Sorry."
Okay...
First, this told the writer/producer, "Stop talking to me. I'm not open to ideas and don't want your help. I have no clue how things work." Second, never completely reject an idea. "That's interesting and let me think about it." Why go immediately to the extreme negation of someone just pitching ideas?
Finally, the new title? You guessed it.... >> existing title. So there's that.
2. A young writer working on a project with a major hook (suggested by the title) is workshopping the series pilot. To maintain anonymity, let's just say the 'hook' was mermaids. "It's 90210...but with mermaids!" The title of the series: HIGH SCHOOL MERMAIDS. Discussing the project we find out there are no mermaids in the pilot! They're just suggested and the audience will see them later.
Huh?
You promise something with your premise and in your title and ... we don't see it? Why not?
"It's my story and I'll tell it how I want."
Yes, but...
We are here trying to give you the advice to avoid rejection. The entire hook for this project is this high concept thing but you don't want to include it?
How is your project unique? What does it have we haven't seen before? Or what does it have we have never seen before in this specific way (fusion of two concepts)?
SHOW THAT!
Show what is unique in the pilot or we have tuned out. We might tune out halfway through reading the pilot if there's no delivery on the promise of the premise.
3. Another young writer workshopping an idea had a concept that involved kings and queens and fantasy elements. But it wasn't based on existing IP.
IP = intellectual property. For example, Game of Thrones was a successful series of books with a long history and existing fanbase.
Elliot and Rossio (Shrek, Pirates of the Caribbean, etc.) have something they call "MENTAL REAL ESTATE." This is broader than IP and includes things that occupy mental space in our minds from years of hearing or learning about it. Could be a toy (slinky) or a myth or fairy tale.
I suggested taking the unique king and queen story and combining it with an existing myth or fairy tale. "But that's not my story!" "But this is a story that ... you could sell. You'd be pitching something based on something that already exists, that's public domain, but it'd have your unique take on it."
"Meh."
Okay...
People are trying to do the best they can and, presumably, want to get paid for their work. Bad path to follow rejecting good advice and writing something that's D.O.A. Over the years I've learned that many folks are writing just for fun, personal development, because they think screenwriting is easier than novel writing, and just don't want to hear advice that can take a decent idea to the next level of something that can sell.
Stay open to ideas and look at things that have already sold. What's the reference point for your project? If it's totally unlike anything in terms of the story topic, storytelling style, and title, you likely have a 'practice script' and not something that'll ever sell. Which is okay - we all need practice - unless you're on the 20th practice script (or 50th draft after five years) and learned nothing...
I've noticed, however, over the past year a few situations that puzzled me.
1. A produced writer with major success (global brand level success) advised a young writer a title change to give the project more of a hook. "No. This is my title. Sorry."
Okay...
First, this told the writer/producer, "Stop talking to me. I'm not open to ideas and don't want your help. I have no clue how things work." Second, never completely reject an idea. "That's interesting and let me think about it." Why go immediately to the extreme negation of someone just pitching ideas?
Finally, the new title? You guessed it.... >> existing title. So there's that.
2. A young writer working on a project with a major hook (suggested by the title) is workshopping the series pilot. To maintain anonymity, let's just say the 'hook' was mermaids. "It's 90210...but with mermaids!" The title of the series: HIGH SCHOOL MERMAIDS. Discussing the project we find out there are no mermaids in the pilot! They're just suggested and the audience will see them later.
Huh?
You promise something with your premise and in your title and ... we don't see it? Why not?
"It's my story and I'll tell it how I want."
Yes, but...
We are here trying to give you the advice to avoid rejection. The entire hook for this project is this high concept thing but you don't want to include it?
How is your project unique? What does it have we haven't seen before? Or what does it have we have never seen before in this specific way (fusion of two concepts)?
SHOW THAT!
Show what is unique in the pilot or we have tuned out. We might tune out halfway through reading the pilot if there's no delivery on the promise of the premise.
3. Another young writer workshopping an idea had a concept that involved kings and queens and fantasy elements. But it wasn't based on existing IP.
IP = intellectual property. For example, Game of Thrones was a successful series of books with a long history and existing fanbase.
Elliot and Rossio (Shrek, Pirates of the Caribbean, etc.) have something they call "MENTAL REAL ESTATE." This is broader than IP and includes things that occupy mental space in our minds from years of hearing or learning about it. Could be a toy (slinky) or a myth or fairy tale.
I suggested taking the unique king and queen story and combining it with an existing myth or fairy tale. "But that's not my story!" "But this is a story that ... you could sell. You'd be pitching something based on something that already exists, that's public domain, but it'd have your unique take on it."
"Meh."
Okay...
People are trying to do the best they can and, presumably, want to get paid for their work. Bad path to follow rejecting good advice and writing something that's D.O.A. Over the years I've learned that many folks are writing just for fun, personal development, because they think screenwriting is easier than novel writing, and just don't want to hear advice that can take a decent idea to the next level of something that can sell.
Stay open to ideas and look at things that have already sold. What's the reference point for your project? If it's totally unlike anything in terms of the story topic, storytelling style, and title, you likely have a 'practice script' and not something that'll ever sell. Which is okay - we all need practice - unless you're on the 20th practice script (or 50th draft after five years) and learned nothing...
John Warren's Free Online Course
John Warren is a screenwriting professor at NYU. This film school has many famous graduates, including Spike Lee, and the course is FREE. Check it out at https://youngscreenwriters.teachable.com
John answered a question of mine at one of his Friday chats. The question was, "You've taught many young screenwriters over the years. What separates those that made it and those that did not?"
His answer: WORK. He spoke a few months earlier with a former student that had loads of talent. "What are you writing?" "Well, nothing right. I'm waiting for inspiration." John said he had a chance to speak with screenwriting legend William Goldman (Butch Cassidy; Misery; and many others) and asked him his 'secret.' Work every day. "I'm in my office at nine a.m. and don't leave it until five p.m."
It's a challenge, yes, but for those waiting for the muse, inspiration, etc., it's a message to just sit ass in chair and write.
John answered a question of mine at one of his Friday chats. The question was, "You've taught many young screenwriters over the years. What separates those that made it and those that did not?"
His answer: WORK. He spoke a few months earlier with a former student that had loads of talent. "What are you writing?" "Well, nothing right. I'm waiting for inspiration." John said he had a chance to speak with screenwriting legend William Goldman (Butch Cassidy; Misery; and many others) and asked him his 'secret.' Work every day. "I'm in my office at nine a.m. and don't leave it until five p.m."
It's a challenge, yes, but for those waiting for the muse, inspiration, etc., it's a message to just sit ass in chair and write.
Tuesday, April 21, 2020
The Stan Daniels Turn
Stan Daniels passed away in 2007. He was best known for winning 8 Emmys on THE MARY TYLER MOORE SHOW and TAXI (which he co-created). He wrote a musical based on the Carl Reiner novel ENTER LAUGHING and was a great talent.
My book on comedy writing referred to a specific type of joke as an "immediate reverse." Further study reveals it was first dubbed the "Stan Daniels turn" years ago.
From his website (maintained by his family as a tribute:
"Stan was credited with introducing a particular type of joke that’s come to be known as “the Stan Daniels turn.” When a character says something and then unintentionally and unconsciously contradicts himself a moment later, the humor results from the character’s lack of awareness of the contradiction."
That's a bit complex, but let's see a classic example. I'm not sure if Stan wrote this joke personally but it's a great joke:
https://www.youtube.com/watch?v=SUtshfek8R4&feature=youtu.be&t=784
This joke - perfectly delivered by Ted Knight - has a strong assertion by the character. Then, new information. Then, immediate reverse. Classic.
As a final tribute in this blog post to Stan, here he is doing the warm-up for the MTMS audience:
https://www.youtube.com/watch?v=eUPWMBZIU0w
Stan was a great talent and will be missed.
My book on comedy writing referred to a specific type of joke as an "immediate reverse." Further study reveals it was first dubbed the "Stan Daniels turn" years ago.
From his website (maintained by his family as a tribute:
"Stan was credited with introducing a particular type of joke that’s come to be known as “the Stan Daniels turn.” When a character says something and then unintentionally and unconsciously contradicts himself a moment later, the humor results from the character’s lack of awareness of the contradiction."
That's a bit complex, but let's see a classic example. I'm not sure if Stan wrote this joke personally but it's a great joke:
https://www.youtube.com/watch?v=SUtshfek8R4&feature=youtu.be&t=784
This joke - perfectly delivered by Ted Knight - has a strong assertion by the character. Then, new information. Then, immediate reverse. Classic.
As a final tribute in this blog post to Stan, here he is doing the warm-up for the MTMS audience:
https://www.youtube.com/watch?v=eUPWMBZIU0w
Stan was a great talent and will be missed.
Friday, April 17, 2020
The PSYCHO Protagonist?
Who becomes the protagonist of PSYCHO after Marion Crane is killed?
Robert McKee in STORY states that there's a joint protagonist of the sister (Lila Crane played by Vera Miles) and Detective Arbogast (played by Martin Balsam).
I, however, believe that the protagonist becomes... Norman Bates.
Marion's death is a shock as we'd never seen the protagonist killed in a film. The shocking murder was all the more shocking as the leading lady was killed before our eyes. Following that, Norman discovers what "Mother" has done and he's forced to clean up the mess. We sympathize with Norman and even root for Marion's car to completely submerge as he covers up the crime.
As the Detective/sister team investigates and closes in on the mystery of Marion's disappearance, our sympathy is with Norman. He's a good son with a crazy Mother doing what can to stop her while protecting her. Look, for example, at the scene where Detective Arbogast finds Marion's signature and points it out with Norman. Are we rooting for the Detective in that scene? I'd say, "No."
This makes the Mother skeleton scene all the more shocking. Lila Crane tries to warn Mrs. Bates and we see that she's been long dead. Then Norman/Mother attacks and we add it all up. The protagonist we'd been rooting for is, in fact, the killer -- the Pyscho. That's TWO amazing reversals in one film.
The regrettable denouement psychiatrist exposition scene wasn't needed. It did, however, give us that final Norman smile/skeleton shot. A great film.
Look also for the 2015 documentary on the impact of the Hitchcock/Truffaut interview book with the filmmakers it influenced.
Robert McKee in STORY states that there's a joint protagonist of the sister (Lila Crane played by Vera Miles) and Detective Arbogast (played by Martin Balsam).
I, however, believe that the protagonist becomes... Norman Bates.
Marion's death is a shock as we'd never seen the protagonist killed in a film. The shocking murder was all the more shocking as the leading lady was killed before our eyes. Following that, Norman discovers what "Mother" has done and he's forced to clean up the mess. We sympathize with Norman and even root for Marion's car to completely submerge as he covers up the crime.
As the Detective/sister team investigates and closes in on the mystery of Marion's disappearance, our sympathy is with Norman. He's a good son with a crazy Mother doing what can to stop her while protecting her. Look, for example, at the scene where Detective Arbogast finds Marion's signature and points it out with Norman. Are we rooting for the Detective in that scene? I'd say, "No."
This makes the Mother skeleton scene all the more shocking. Lila Crane tries to warn Mrs. Bates and we see that she's been long dead. Then Norman/Mother attacks and we add it all up. The protagonist we'd been rooting for is, in fact, the killer -- the Pyscho. That's TWO amazing reversals in one film.
The regrettable denouement psychiatrist exposition scene wasn't needed. It did, however, give us that final Norman smile/skeleton shot. A great film.
Look also for the 2015 documentary on the impact of the Hitchcock/Truffaut interview book with the filmmakers it influenced.
Tuesday, April 14, 2020
The Casting of Blazing Saddles Waco Kid
Check out the posts above and then come back to read this blog...
These claims Young was only up for the role. However, in a bio of Young, his agent claimed that casting Young was part of the deal with Warners and Brooks was forced to accept him. He was definitely cast in the role, as photos exist of him on the set in costume. They are impossible to find online -- I saw them in an E channel tabloid show about Hollywood scandals. But I can't find the Young episode on the net.
Then, old-time star Dan Dailey was offered the part (some claim Dailey was pre-Young, but I think that's wrong). DD accepted, then dropped out the next day. (Like Young, he was a serious drunk). Then Wilder.
I can't understand why people don't see Wilder was miscast. Why not cast Don Rickles in the Slim Pickens role? (actually, that sounds like a much funnier idea than Wilder as the Waco Kid). There were dozens if not hundreds of better fits for the role. All the old western actors: Neville Brand, Richard Boone, Chuck Connors, Clint Walker (who actually showed some comic ability in a few roles), Ben Johnson (then enjoying a career revival thanks to Last Picture Show), etc... Or maybe even my dream choice:
Roy Rogers.
He was willing to spoof himself (Son on Paleface) but of course, BS was far too raunchy for his public image. (He turned down the offer to close out Woodstock by singing "Happy Trails" after Hendrix. No, I am not kidding. He was worried how being associated with the counterculture would affect public perception, as well as fearing that the hippies might even boo him. He didn't realize how beloved he was with baby boomers). He even refused to do a guest shot on 'Wonder Woman' unless Lynda Carter wore a less revealing costume. So she was forced to wear a solid blouse for that one episode only. (See the above pic.)
All this is in stark contrast to Roy's offstage rep as having banged half the women in the country music biz (there's a 'WW' publicity photo where he does the ol' sneaky wraparound w/Lynda). In fact, bringing us full circle from Gig Young, one of his sidepieces would lead to murder:
https://en.wikipedia.org/wiki/Spade_Cooley
Wilder was contacted by Brooks who was panicking and agreed to take the part. Brooks may also have felt that playing the role completely straight (like ZAZ would later do) might be too subtle for audiences. Blazing Saddle remains a classic and it's fun to consider the casting alternatives, including Richard Pryor as the Sheriff. Brooks' original intent is understandable and far riskier than the eventual film.
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