EMAILS WITH SCREENWRITERS by Dan Calvisi
· What is the criteria for
script contests?
· How long should I
wait to submit my work to
the industry?
· Getting the
read
· How
long will it take me to break through?
· What
do you look for in a story?
· Art
Films vs. Popcorn Movies
· A contact wants a
“cut” to pass on my
script, should I do it?
· To a writer worried about
their idea being
stolen...
· I know I’m shooting my
script as an indie
feature, do I need your services?
· Is it a big Hollywood
movie or a TV spec
sample?
WHAT IS THE CRITERIA FOR SCRIPT CONTESTS?
hi Dan,
What is the criteria for judging scripts in script contests? If you
don't place in one does that mean odds are you won't place in another?
Is it possible for a good script to not place simply because it wasn't
what they were looking for?
I entered my script into the San Diego Script Competition and found out
yesterday I wasn't even a finalist. I was pretty disappointed and
it got me thinking that my script isn't as good as I thought. I am
still waiting to hear from another contest but, I can't get it out of
my head that it is hopeless...
I won't ever give up and have already begun redrafting, but man did
that hurt. Can you offer some insight into to how the whole script
contest thing works?
Thank you from a newbie!
J.
Hi J,
I can't emphasize enough how important it is to have a great opening 10
pages. From there have a great first 30. From there keep
'em hooked and keep it moving. You get the idea. Come right
out of the box with both guns blazing and establish that main line of
action as quickly as possible.
If this script is a slow, talky Drama, then maybe it's not a contest
winner and you should submit your Thriller. Remember, each judge
in a contest is no doubt sifting through a hug pile of scripts and
doesn’t have much time. Every contest is going to be different,
and unfortunately some employ readers without much script analysis or
industry experience, so I can’t say anything about the ‘profile’ of a
specific contest. All I can do is tell you my experience...
I recently was a judge in a contest. I was sent 25 scripts in a
big box and told to send back the top 3. Very little pay. I
was tired, cranky, didn't want to read 'em, wished the top 3 could just
leap out of the box and read themselves. But I had to do
it. And I sympathized with the writers who put so much time into
all these scripts so I didn't want to shortchange them. But,
practically, I just could not read every single word of all 25
scripts.
So I dived in, set on reading them as QUICKLY as possible, with the
major rule that when they lost me they lost me...I'd put the script
down and move on to the next. My hard-and-fast cutoff was page 30
-- if an engaging throughline or fascinating main character was not
established by 30: the dustbin it went.
As I went I realized I wouldn’t even have time to read the first 30
pages of all 25 scripts, and I’d already run into a few with format
problems or basic story issues that obviously set them apart as
beginner work...so I knew they were going to be cut anyway. So I
honed my criteria...
Format problems -- give it 3 pages.
Clarity problems -- give it 5 pages.
“Overdirecting” of visuals, camera cues -- give it 10 pages.
No establishment of clear main character -- give it 20 pages.
Cut-off for story to begin: page 30.
These “rules” allowed me to get through the stack and weed out the
beginner work from the submission-worthy. And in the end it came
down to two very strong scripts, both at about the same level of
competency. I chose the one that I felt was more commercial, had
more potential to sell in the industry, because personally I feel that
contests can and should do more to launch quality commercial writers so
we can raise the bar on even our popcorn films and we can encourage the
industry to take contests (and by extension: unknown writers) more
seriously.
I hope that helps give some insight into the process.
dan.
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HOW LONG SHOULD I WAIT TO SUBMIT MY WORK TO THE INDUSTRY?
Hi Dan,
Thanks, I’m excited that my script has been a finalist in three
competitions and I continue to work on my new one as per your last
round of notes.
I haven't submitted my scripts to any production companies or agents,
just contests. I'd like to have 3 or 4 screenplays of this
quality before I storm Hollywood. I really did take the advice on your
website seriously, and I've been spending my time writing rather than
marketing. I can't control my luck, but I can control the quality of my
writing. Does that sound like a good plan?
M.
Hi M,
for the record, the general "best plan" for new screenwriters is to go
out with 2 strong scripts. Having 3-5 would be great, but it
could also add another 3 years to your wait -- the wait for fame,
fortune, Oscars and the world's most coveted bling bling, of
course. ;-)
But seriously...you want to pay attention to quality but you don't want to hold yourself back trying to be a perfectionist. I know, I've done that myself, most writers do. Submitting is tough for everyone, it takes a lot to send it out, but it's necessary. And when you're getting good response, as you are now from multiple contests, you want to use that momentum and interest to feed submission. So I say get that contest-winner OUT THE DOOR! Start submitting and gauge the response.
good luck and I'll talk to you soon! take care.
dan.
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GETTING THE READ
Hi M,
Just getting someone to take time out of their busy schedule, sit down
and concentrate on your 100 pages is DIFFICULT. And most of the books
and classes and seminars never mention this!
In fact, writers will always jump up and down because they met someone
who knows Will Smith or they found the person who can pass their script
on to Brian Grazer, but not realize that the next, even more difficult
hurdle, is to get that script from the very bottom of the pile on Will
or Brian's assistant's bookshelf on to the outgoing pile for the
weekend read. Then of course there's ten steps AFTER that initial read
to the sale, but let's focus on that first read.
We all know this, we've all been there -- that point where our script
has been in the agent/manager/d-girl's office now for three months, and
we've already called three times: first time we got them but they were
on another call so we graciously let them go. Three weeks went by.
Second time we call back: voicemail. We leave a message; no response. A
month goes by.
Third time we call back: get the intern/assistant, who checks to see if
they're “available” (i.e. puts us on hold, turns to their boss and says
"it's the unimportant screenwriter whose script you don't want to read
nor do you have time to read nor will you make time because there's no
heat on it") and surprise: they're busy and they'll have to take a
message! So we wait another month. No response.
Now, the bad news is that at that point it's probably dead in that
office; at least in my experience, if a script doesn't go in with
momentum and get read in a reasonable amount of time, it's probably
just not going to happen there. Or it's entirely possible that someone
has scanned the first few pages and decided to throw it aside for
another month, but of course they're not going to tell you that. So
anyway, point is, and I sympathize with every one here on this because
I've been there, also: it's a chore just to get someone to read the
damn thing. And like Mark said, unless you've got Will Smith attached,
you're probably limited to those few devices to create that heat and
suck them in so they sit down and give you a chance: logline, cover
letter, and free sex, er, I mean, a great opening scene! So make those
things GREAT.
And then M you went off on your "there's no such thing as a great
script" rant, and I can see what you're saying (even a great script
must have good timing and a lot of hard work and tenacity and
networking and serendipity behind it) but I can't totally agree.
Well...I can agree but in a different way -- the extra PUSH that it
takes to get any script over that wall and to get that paycheck, lies
in the WRITER. And not all writers are cut out for it. Unfortunately,
it doesn't ONLY take the talent on the page, it also takes the
confidence, endurance, and willingness to put in the time and drive
past the rejection to push that script and keep pushing until The
Writer finds the right Producer and gets the Producer to actually read
it. And that can and does take years. I know of one writer, a client
and friend of mine, who has the talent but is insecure, listens to
every note he gets from anyone and doesn't have the endurance to keep
pushing. So his script that has great moments and could be totally
great if he really just focused for one strong rewrite, sits, and he
stays at his day job. Actually I think he's unemployed now, got laid
off from his day job. It's tough.
Don’t mean to depress you, I know you’re already down because you
haven’t heard anything back about your submission, but I just wanted
you to know that the process is tough for everyone and you just gotta
hang in there. And most importantly, learn from the lessons this
time around so your next submission is that much stronger and gains a
faster turnaround. Good luck!
-Dan.
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HOW LONG WILL IT TAKE ME TO BREAK THROUGH?
Hi K,
nice to hear from you, here's some responses to your questions...
you wrote...
I know this business is extremely tough to succeed at so I want to
be a
realist yet an optimist. However, I don't want to be the "American
Idol" contestant who shows up every year trying to get on the show,
thinking he sings well enough to compete and constantly being rejected
by judges who say, "Doesn't he realize he CAN'T sing?"
>>So you want to be Bo Bice, not Scott Savol? Or maybe
Justin Guarini is more your speed? Ha haaaa...American Idol
references are fun. But seriously, I know what you mean, it's a
practical consideration, and I'm on the same page as I think about your
questions...
In your opinion, what would you say are realistic expectations for a
writer without the formal training (like you have, for example) to at
minimum, be able to write a "clean" script (all the technical aspects
look good) and at least be competitive in various writing contests?
>>To write a clean script that reads professional and impresses a
Reader: very realistic. Do well in contests: very
realistic. It will just take a couple more scripts and a lot of
practice, but you can get there. But to get the "Consider" or
"Recommend" coverage and get meetings/options/sales, that's a whole
level that's going to take a lot of dedication and *maybe* some more
training (I say maybe because I'd like to think that with many hours of
self-study, practice, and using smart friends or pro consultants like
me to give you notes, you can substitute for the three years in the
UCLA screenwriting program).
I'd like to think you can do it on your own -- e.g., my greatest
training was being forced to read and analyze so many stories and over
time this developed my story sense and detailed eye; I did this on the
Job as a paid Reader. But you could do it on your own, if you are
motivated enough. And then, with the aid of consultants, writers'
groups, peer review websites (I'll suggest a great one below), and a
supportive family and friend base, you can do it!
As you know from your background in media/video/interactive, creative
people only need to be GOOD, they don't need incredible degrees and
awards. It's all about the portfolio; in this case, your spec
sample. If someone has an amazing portfolio, does it matter if
they went to Yale or Smallville Community College? Hollywood
doesn't care, in fact I recently read an interview with big-time pro
Leslie Dixon ("Mrs. Doubtfire," "Thomas Crown Affair") who said "No one
cares about your education. No one." So there ya go!
Based upon just one script of mine that you've read, if I write on a
regular basis, how many scripts do I need to hone my skills and get to
a point where the questions become more "Is this marketable?" vs.
"interesting concept but poorly written script."
>>I'd say 2-3 scripts more before you really get the hang of it
and start conceiving (in your outline, before you write scenes) and
writing (the actual execution) an active, cinematic, dramatically
unique story. But to get an option or sale...it's totally up to
the individual. Some say it takes minimum 12 scripts and I think
that's bunk; I think that's for writers who ONLY write, in a vacuum,
without feedback, books, seminars, etc. And that notion also got
started years ago, before so many books, classes, and the internet.
When you write a script, what framework do you use to make sure that
all the pieces, from a technical standpoint, fit into place?
>>I always use my Story Map method and outline structure, for ANY
genre, it applies to pretty much every film I analyze. As far as
I can tell, from years of doing this, it's infallible. Don't mean
to exaggerate, I really think it's great! I love it and I've
recently added to it, developed it further. Now, I will admit
I've recently seen a few films that did NOT adhere to the Story Map,
but that's because they were foreign art films in an International Film
Festival. The lesson being: If you want to make foreign art films
for festivals, you do not need the Story Map. I think it was
Aristotle who first said that. ;-)
Just this past year, I've added an extra edge that I believe other
consultants and books don't mention, but the pros (consciously or
unconsciously) know and use. We're going to be using it in my
online classes.
Do you just write a first draft straight through, or are you
constantly
editing and thinking consciously about the technical aspects of your
work? If the latter, how much does the technical "quantitative"
thinking get in the way of the free flow of ideas and the "art" of your
writing?
>>This can be a tough balance. In short, every writer needs
to find the process that works best for them, but I personally believe
in outlines and trust in my Story Map template. When to put down
the Story Map and start writing actual script pages is up to the
writer, but keep in mind that as you write it’s okay to make changes to
the Map as you discover new things about your story and
characters. In short, I'm a huge believer in outlines as it not
only tells you if you have a strong, active story worthy of being
developed, but it saves you tons of hours of editing later. I can
look at just a beat sheet of major plot points and see story problems;
with practice you can develop this eye, as well.
Thanks again. Look forward to your responses.
K
>>thanks K, take care, good luck! And my final suggestion,
at this point, is to check out the TWB screenwriters site, I think
you're exactly at the
point where it can boost your writing development:
http://www.thewritersbuilding.org
dan
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WHAT DO YOU LOOK FOR IN A STORY?
Dan,
I enjoyed your thread in the TWB Screenwriters Lounge on Sideways,
Ray
and Million Dollar Baby. Very insightful stuff. As a pro
analyst, I am
interested in what you look for in evaluating a story.
>>I should make the distinction now that reading and evaluating
as a Reader for a company and as a Consultant for a private writer are
two different animals. (fyi, I'm no longer a Studio Reader; I did
it on and off for over 7 years and got as much out of it as I
could. It's not a steady job and not meant to make a career out
of.) Working for a company I'm making an "employer-specific"
recommendation, and giving notes to a private writer I'm giving them
notes on how to improve the overall craft, presentation, and commercial
aspects of the screenplay. The “employer-specific” means I'm
trying to find material that's right for the kinds of films this
company wants to make and find. So for Miramax, I wasn't looking
for a buddy-cop movie necessarily or a gross-out teen movie as those
weren’t genres they focused on. But actually, reading for Miramax
was a great example of looking for potentially all genres, because at
that time they were making all types of films. Definitely
commercial stuff in many genres, not just the costume period dramas
sometimes people associate them with.
From reading industry periodicals, it looks like there is a common
thread within the industry and that appears to be that the studios are
very concerned about their financials. The box office is not drawing
the percentages it did a decade ago, even with an increased population
and overseas box office.
>>My suggestion is you not focus so much on analyzing the
studios' financials -- think of it simply as "they got the big bucks,
you need the big bucks!" Seriously, that's the bottom line (no
pun intended). THEY are the financial wizards who figure out how
to make a profit from giving stars $25 million and 20% of the gross,
and it's not your job to tell them about this process. Focus on
your writing, and delivering to them a fresh, new, well-crafted
story.
Hundreds of films are made every year, and someone is financing them
and someone is making big salaries working for the companies that
distribute them. So why not get into that industry and make some
money yourself? But to do that you need to have something they
NEED. And that's a great high-concept script.
I assume you evaluate scripts and rate them as a Pass,
Consider
or Recommend?
>>If reading for a studio and doing "Coverage," yes, but I don't
give that recommendation on notes for clients. I actually wrote
an essay called Why I don't write Coverage...
Do you evaluate all genres equally? And I ask specifically in the
area
of character. I understand how characters in a script like Sideways
need a lot of depth. But, in a successful movie like Alien, the
character descriptions and depth were very bare-bones by comparison.
>>Yes, over the years I've evaluated all genres, and I evaluate
every script as *its own film*, it must be true unto itself.
E.g., some clients have written scripts that started out as family
films, but then they threw in R-rated content like bad language,
violence, and sex. And I would suggest they pick a side and keep
it consistent, because a studio needs to be able to read it and know
what KIND of film this is and who to market it to. Genre and
audience must be clear and focused. And that's just level one;
beyond that you have structure and all the elements of screenplay form;
then you have the icing on the cake with a great, unique "voice" on the
page in your description and crisp fresh dialogue. There's a lot
to it, and that's why it takes years of practice, and why reading
everything you can get is a good idea, like you're doing.
You know what's interesting, I read the first draft of Alien
and it
wasn't terrific. It seemed to violate all of the tenets that
Screenwriting 101 says not to. But, someone saw a story there and the
rest is history. My second question is if you see a good story within a
script that may not be well executed, how do you rate it?
>>I'll always try to find the best movie within the flawed
script. I've read so many different executions, at every level of
craft, that I feel I know what's holding a story down early on.
But another red flag to avoid is using *production drafts* as templates
for submission scripts -- the pros commonly write really long, drawn
out shooting scripts (and also, Alien was written in the 70s, a bygone
era for pacing by now). Shooting scripts by the pros are longer
because they're already established, because no actor wants to only get
through two lines before the director calls "cut" every shot, and so
they'll have stuff to trim in the editing room (and these days, content
for those lovely dvd "deleted scenes"). So production drafts are
LONG, or they can be. But they're different than
Submission/Reader drafts. And the rub is, submission drafts can't
usually be found online. It's frustrating.
To a pro Reader, their adage is “the shorter the better,” because
coverage is normally a flat fee of payment to them. E.g., the 140
pg. script pays the same rate to the Reader for coverage as the 99 page
script. After a long week and many scripts, which do you think
they’d rather read?
As a follow-up question, why do you think the screenplays that get
greenlit actually get greenlit? If Hollywood financials are indeed
suffering and industry insiders acknowledge this, then surely the
studio heads, creative execs, etc. see that as well. Yet, they seem to
go down the same path.
>>Again, do what you can to educate yourself about the
marketplace, but don't worry too much about it or spend too much time
on it. Write in the niche you like the most, feel the most
passion for -- make your own market because your scripts are that
hot! Like Charlie Kaufman, he's made himself his own genre, based
on one script that blew people away, "Being John Malkovich." But
the safest thing you can do, the smartest, is master a strong, popular,
commercially-proven genre. E.g., psychological thrillers may not
be hot *today*, not as hot as horror or teen comedies, but the studios
are always going to be looking for the next great psychological
thriller -- so if that's YOUR genre of choice, write 2-3 great
psychological thrillers.
-Daniel Calvisi
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ART FILMS VS. POPCORN MOVIES
Hi Dan,
From the thread it sounded like you don't care too much for popcorn
movies.
>>No, I don't care for BAD popcorn movies, and my point was that
the writers who write those movies, for the big paychecks, are
generally smarter than the material. In discussions and meetings,
they're not just talking about Hillary Duff's arc or if Britney Spears'
new album sold this week or not, they're potentially talking about
Sideways, the Oscar films, Jane Austen, Moby Dick, and William
Goldman. You need to be well-rounded and interesting as a person,
also. Which is not to say there aren't introverted, shy, maybe a
bit strange, successful writers, but it's good to be interesting "in
the room." This is more key in TV, from what I understand,
because you're on a writing staff, but your career is dependent on
relationships in Hollywood, and that means phone calls, meetings,
social networking, etc. I'm not great with that end, either,
doesn't come naturally. But it's part of the industry.
I doubt the artsy -type films would sustain studios, even indies, if
the dollars don't roll in. But, I feel they are a necessary balance to
the tentpoles.
>>I agree, a balance is good, but with so many indies now coming
out the studios don't NEED to make as many small films; and they
probably never will, again, no matter how much we gripe. But that
doesn't mean you can't make a career out of more artsy, less high
concept material. That big New Yorker article in 2005
that caused
controversy and made Halle Berry dump her ICM agent addressed the
second level of cache in Hollywood: the quality/artsy/awards
factor. They will pay for that, even if it doesn't translate to
box-office. Because everyone wants the "bragging rights" of being
associated with the literary award winner pics, not just the dumb
exploitation movies. Perfect example, Charlie Kaufman makes big
money even though he's never had a really big hit film.
Do you think that mix should exist and, if so, should screenplay
contests be more open to the popcorn scripts (well written, of course)
vs. the human dramas that seem to always clean up?
>>I definitely think the contests should acknowledge moreso the
popcorn films, if they're well-written. And I think it's possible
that many inexperienced contest Readers think a long-winded,
literary-reading script
is the mark of quality, whereas we know that's the kiss of death in a
submission! But every contest is different and I don't know the
specifics of their staff.
good luck, talk to you soon...
dan
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A CONTACT WANTS A “CUT” TO PASS ON MY SCRIPT, SHOULD I DO IT?
Dear Dan,
I know you're busy so I’ll get right to the point. I am a new writer
with no background in the industry. I wrote a treatment for a TV
series, registered it with WGA and then showed it to Mr. X, who is not
in the entertainment business but knows a lot of people who are. Mr. X
says it's good and plans to pass it along to his friend The Producer. I
can't believe it - but that's another story.
Anyway, Mr. X wants a "cut" if this goes anywhere, and told me to "work
something out." I don't have a problem with the concept -heaven
knows I need and value the connections, which I have none of myself
- but I can't find, anywhere, what an appropriate "cut" for
making the introduction might be. Can you give me some guidance, or
tell me where to find information?
Thank you for any glimmer of light you can send my way -
C
Hi C,
my personal advice would be to offer your friend not a percentage but
merely a "finder's fee," at a flat rate, if the producer does in fact
facilitate a sale or buy the script him/herself. And keep it low,
say $200-500 -- if your friend balks at that, tell them it's 500 bucks
for free, hardly any work on their part and they should feel lucky to
get it. After all, it's your quality writing that will make the
sale, not their amazing personality and connections (trust me, no one
but a-list people have the kind of rep that can get bad work
sold). AND if the script does sell, that only boosts their rep as
having connections to quality writers, so it's a feather in their cap,
too (and if they didn't think it could be, they wouldn't offer to pass
on your script).
If they want a percentage, tell them you're already going to have to
pay half to the taxman, 10% to your agent and 5% to a lawyer, leaving
not much for yourself so they should get over themselves, admit they're
not Michael Ovitz, and take the finder's fee! Sound good?
That's my two cents, and I'm not an agent, lawyer or producer so take
it for what it's worth. :-) good luck.
Dan.
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TO A WRITER WORRIED ABOUT THEIR IDEA BEING STOLEN...
Hi B,
You seem concerned so I felt I should give some of my personal thoughts
on the issue of your ideas being taken.
Here's the two main reasons why I suggest you don't worry...
1) that worry can hold you back from ever showing it to anyone and thus
you'll hold back your career. Many a lucky break has been made
because a writer was willing to pass their work on to people they
weren't sure could ever help them and that person knew someone who knew
someone. For example, the Farrelly Brothers say they got their
first break because they met Eddie Murphy's neighbor; they gave their
script to this guy and he gave it to Eddie Murphy one day when he came
out to get his morning paper in his bathrobe and slippers! Some
months later Murphy's people called the Farrelly brothers and they were
launched.
2) the odds of someone not only taking an idea fragment (or even a
finished script) but then also writing an entire script from that
concept or rewriting the stolen script enough to make it unrecognizable
AND that script being good enough to sell...are very slim.
Because this is a lot of work and a lot of commitment of time and they
don't have your specific vision for the idea and people would rather
develop their own ideas and they wouldn't have time to put into it
anyway. So it's a longshot and I don't think it happens
much. IMHO. Make sense?
So don't worry! Thanks and good luck,
Dan.
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I KNOW I’M SHOOTING MY SCRIPT AS AN INDIE FEATURE, DO I NEED YOUR SERVICES?
Daniel,
I won't be going the traditional route of submitting my
screenplay
as a spec script on the market. I am going to produce and direct
it as an indie feature film. I obviously don't need a commercial
assessment. Can I still benefit from your
services? Thanks, L.
Hi L,
thank you for contacting me, sounds like you have an exciting project
you're developing. I think the main thing you're looking for is
what I do, which is...
Story notes. By analyzing the story and giving notes on how to
improve structure, character, dialogue, conflict, pacing, voice, tone,
format, and all the other major and minor elements, I am helping a
client to improve their script so it's a better read for the Reader,
which makes it...
a) a stronger STORY on the page that creates a stronger FILM on screen
and in the
mind of the Reader, and also...
b) a stronger SUBMISSION to professionals
(agent/manager/producer/studio exec.)
Now you're saying you won't need b, which is fine and I've definitely
had clients in your position. But "a" is 90% of my analysis,
because it all goes toward creating "b": the great spec script
submission. But if your goal is to improve your screenplay so it
makes a stronger film you have come to the right place. As you
know, you can't make a film on your own, so you're going to want your
script to be as good as it can be to attract top talent and crew.
I have worked with filmmakers a number of times in the past on drafts
that they had thought were almost production-ready, but my notes gave
them new perspectives that can only come from objective analysis, and
this ultimately affected change in their final shooting scripts.
It was nice to work with them, for their knowledge of the film
production process but also especially because of their passion.
Thank you very much and I'll talk to you soon!
Sincerely,
Daniel Calvisi
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IS IT A BIG HOLLYWOOD MOVIE or a TV SPEC SAMPLE?
Hi F,
I'm finishing up the handnotes today and I'll drop this off at a fedex
drop by end of day. I really liked it; it really flows and you've
got a strong sense of structure and pace. Characterization is
great. Your writing skill and style is really coming along, based
on the first scripts of yours I read.
As a Reader I do have some concerns, and that's what you pay me for so
here's the main issues...
I like all the situations and they're obviously truthful and well
written and interesting, but you also have the problem of them being
somewhat familiar to the television medical genre (E.R., Grey’s
Anatomy, etc.) -- we've seen the young surgeon screwing up and falling
asleep on the job, struggling with the young wife, affairs with nurses
in the supplies closet, etc. But yet TV will continue to turn out
medical shows as they have for the past decades, so this script would
probably be fantastic as a writing sample for episodic TV. Please
consider pitching this as a writing sample to agents and prod. co's due
to the strong writing but lack of a huge high-concept. The
realistic portrayal of the hazing process at the country's toughest
intern hospital is a high concept in essence but it's not necessarily a
"big Hollywood movie" (BHM as I've heard it abbreviated, which is
annoying but there you go). At least it's not a BHM until you get
some major talent attached, then the tables turn.
If I were writing coverage for Miramax, I would definitely note in the
report that “this author has strong skills, character best and plotting
second; he should be considered for future work.” But ultimately,
my final grade on the script would be a Pass due to the over-worn
medical genre and that there's so much of this on TV that I wouldn't
think audiences would pay at a theatre to see it on screen. The
same goes for when I would read "police procedural" feature
scripts. Which is not to say I’m the great box-office predictor,
but I always felt it was my job to find the story that hadn't been
told. And if it was an overly familiar story with strong writing
then I'd make sure to note that clearly in the coverage, so ultimately
I’d hope it would benefit the writer and get them a meeting or at least
a phone call and a new contact.
I know this may not be the ideal thing you wanted to hear, but as you
know my style is to be direct and honest and since you’re paying me
good money, I owe you no less!
Thanks again F and good
luck! Thanks for the script, I enjoyed it and there’s many notes
on the way.
-Daniel Calvisi.
www.actfourscreenplays.com
copyright © Daniel Calvisi 2005-2006
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