What happens to my characters if --

[Jonathan Spear]

Hey,

 

 

I know this may not be the appropriate place to post this question but I'm stuck and I could use some good advice from experienced members of the forum.

 

3 years ago I embarked on a writing journey that took me to hell and back. It was exhausting and emotionaly strenuous.

It started off as a collection of drawings and a tremendous muse thanks to Mozart, Steve Vai and Walt Disney that quickly molded itself into a full length spec sript. It was written during a very difficult period of my life and I think I may have opened a few doors in my mind which should've remained locked.

 

Anyway, my question is this:

 

My screenplay is currently in the hands of a Pixar executive and I was asked to do another rewrite.

I've been reading TONS of scripts, screenwriting books -- the whole nine yards.

The rewrite is due in 2.5 months and only then I'll find out if I've reached second base.

 

BUT WHAT HAPPENS IF THEY SAY "PASS"?

WHAT'S THE BEST WAY TO HANDLE REJECTION?

 

I know rejection is a -huge- part of the filmmaking industry, but after living with the same characters for three years and knowing them inside and out, they've become closer to me than some of my "real" friends. I am part of their world; they are the accumulation of who I am. It feels like someone saying 'no, we don't like it' may feel like someone looking me in the eyes and telling me 'no, we don't like YOU'.

 

Sheesh. No wonder people break down and cry when they win Oscars.

 

As always, your wisdom will be greatly appreciated.

 

Thanks,

 

Jon

[Phil Rhodes]

Hi,

 

Well, let's face it - they're going to pass. They probably only asked you to rewrite it to get you off their backs for a few months, unless they're actually paying you to do it. Get used to the idea now, and it won't hurt so much when the inevitable happens.

 

Anyway, I was listening to the commentary track to "SWAT" (what a movie, good grief, Hollywood, you know not what you do) the other day, and that damn thnig was being written and rewritten by a dozen people for about four years before getting anywhere near production. What sort of chances does that give one guy on his first rewrite?

 

Phil

[Jonathan Spear]

Good point, Phil.

 

In no way do I plan on giving up or not giving 110% of myself to rewrite the d-mn thing (for the experience), but I see what you're saying.

 

When it's out of my hands I'll distance myself from the story and move on to something else. Maybe this whole experience and learning from all of the mistakes I made on draft #1 will help my next screenplay.

 

Thanks.

 

 

P.S. - I won't watch SWAT cause I'm afraid it might kill my filmmaking hard on.

I'm still recovering from 'XXX'.

[Jonathan Spear]

Anyway, I was listening to the commentary track to "SWAT" (what a movie, good grief, Hollywood, you know not what you do) the other day, and that damn thnig was being written and rewritten by a dozen people for about four years before getting anywhere near production. What sort of chances does that give one guy on his first rewrite?

 

Phil

<{POST_SNAPBACK}>

 

---------------------------------------------------------------------------------------------

 

I saw the 'making of' Second-hand Lions the other day.

It took 10 years to get the greenlight to shoot.

10 YEARS! :o

 

(ACHTUNG!! Cliche Alert! Cliche Alert!!!)

 

But hey, I guess that's proof that if you truly (key word = truly) believe in yourself anything can happen.

 

-Jon

[Mark Allen]

My screenplay is currently in the hands of a Pixar executive and I was asked to do another rewrite.

<{POST_SNAPBACK}>

 

Well congratulations! That's great progress! And of all the great studios to get story comments from! Pixar would be tops!

 

Okay - had to counterbalance Phil for a moment there.

 

I will say that if they were sold on your script - as in they thought they were likely to want it - they'd have optioned it - even if for a dollar, they would have secured the option. Since they didn't they are probably thinking it's a big maybe - so perhaps a 3 percent chance.

 

So take their notes and learn and make a kick ass rewrite. If they don't want it.... What do you do? Well, you take it over to Dreamworks. Then Disney, then whoever else makes sense. (I'm assuming it's animated). You realize how many FX houses are starting animation divisions because of Pixar's massive sucess? So - there are tons of studios out there dying for great stories. Once you've gone through the big boys - you can look around some more - would it make a good TV show? Maybe a guy like me was and might still be looking for a good animated TV show. Etc. etc. etc.

 

And while you do that... what do you do? You write another one. One script (even a great one) does not a writing career make.

[Jonathan Spear]

Hey Mark,

 

""I will say that if they were sold on your script - as in they thought they were likely to want it - they'd have optioned it - even if for a dollar, they would have secured the option. Since they didn't they are probably thinking it's a big maybe - so perhaps a 3 percent chance""

 

Thing is, being only my 3rd screenplay, structure and form still need work.

The Pixar guy's instructions were pretty clear:

 

1. Omit 90% of the words (the 1st draft was 136 pages and almost 40,000 words on Courrier 10...a script reader's nightmare...it needs to be cut down to around 120-125 pages and I have to use Courrier 12 instead)

2. Omit all camera directions (another huge mistake I made on draft #1)

3. DON'T TELL me HOW to feel. Show me WHY. (the most valuable lesson I learned from his comments)

 

""And while you do that... what do you do? You write another one. One script (even a great one) does not a writing career make.""

 

Couldn't agree more.

But like most film junkies my age (23) i of course "have to" write, direct -and- make shadows.

And edit of course.

 

:D

 

-JonS

[Guest Frank Gossimier]

Well no matter what happens you can sell the contact info for this Pixar exec to other writers for BIG money.

 

Regardless of what Phil says, to make a contact and get notes back is a huge step forward. Of course that doesn't pay the rent at this stage, but it can down the road.

 

My opening bid for this Pixar execs name and contact info is, $1000.00.

 

Frank

[Rob Belics]

This doesn't sound like a rewrite request. This sounds like you had a friend at Pixar reviewing what you wrote. If Pixar requested a rewrite you would have been paid for it including the option.

 

I say that because all three of the notes he gave you back are reasons why scripts are immediately thrown in the trash. So is this a buddy of yours or a friend of a friend?

[Jonathan Spear]

""This doesn't sound like a rewrite request. This sounds like you had a friend at Pixar reviewing what you wrote. If Pixar requested a rewrite you would have been paid for it including the option.

 

I say that because all three of the notes he gave you back are reasons why scripts are immediately thrown in the trash. So is this a buddy of yours or a friend of a friend?""

 

-------------

 

Hey Rob,

 

I'm definately not getting paid nor are there any contracts or agents involved at the moment. The 'deal' is that I take a few months off to learn the craft and hone my writing skills, read plenty of screenplays and edit edit edit. By the end of spring or early summer, if I keep my end of the bargain and give him a finished product (a professional first draft) -- he'll read the rewrite. In other words, I have one more chance to send him my screenplay. It has to be perfect. Literaly.

 

Is he a buddy of mine or a friend of a friend? No. I wish my friends were into filmmaking. Truth is I've never even spoken to him over the phone...just e-mails.

 

He is however a very kind man, very generous with his time and I have tremendous respect for him and his work. His advice can be somewhat blunt and harsh at times but I consider myself lucky as all h-ll because FINALLY i'm getting some honest feedback on my craft and hopefully one day maybe even an opinion or two about the story and characters themselves -- which, to me, is the greatest gift an aspiring writer could ask for.

 

-JonS

[Alex Ellerman]

With all respect to some of the opinions posted here... Pixar certainly wouldn't hold off on hurting your feelings by telling you to go spend a couple months on a rewrite. They are, however, outmaneuvering you by getting what is termed a "free rewrite."

 

I think one of the posters hit the nail on the head when he questioned your exact relationship with Pixar at this point. It sounds as i you are somewhat overmatched in that you don't have a keen grasp on the screenwriting biz, and i'm guessing didn't submit via an agent nor a lawyer. You had a friend at Pixar - he looked at your work, and may or may not have gotten input from someone else on his notes for you. in essence, a friend at Pixar has "hip pocketed" your script, meaning no money nor ownership has changed hands, and he is actively working with you on your script.

 

you're in a good position, have a good script, etc. it's an important time. a script with interest that 'has not yet been passed on' has some heat & potential. you could use this interest to gain the services/interest of an agent or a lawyer. that person could get Disney or some other animation player interested. hedge your bet.

 

But more importantly than any and all maneuvering at this point is the script... it sounds like you are not ready - you have not necessarily put together the most amazing script you possibly can. And make no mistake, you want to show people your most amazing work. This is more competitive than you can possibly imagine. Buy a copy of "Finding Nemo," "The Incredibles," and whatever other recent animation films that kicked ass and may or may not resemble your script. READ THEM!

 

That will be the fastest and easiest way to figure out the formatting issues. Never fake fonts or change formatting - this doesn't fool readers. Scripts from newbies should be 120 pgs or less. Show don't tell. These are the most basic tenets (which you have voilated) and it gets more complicated from there. But read the scripts - it will help you immensely.

 

And don't fret. there are wildly successful screenwriters who write on assignment and have NEVER sold a spec script (that's what you are trying to do.)

best,

theturnaround

[Jonathan Spear]

Hey Alex,

 

""I think one of the posters hit the nail on the head when he questioned your exact relationship with Pixar at this point. It sounds as i you are somewhat overmatched in that you don't have a keen grasp on the screenwriting biz, and i'm guessing didn't submit via an agent nor a lawyer. ""

 

you're definately right about my grasp on the screenwriting biz.

that is why for the past 6 months i've been spending 100% of my free time reading screenwriting/cinematography/lighting books, watching countless movies, reading TONS of made scripts, camera manuels, Mckee's "Story" -- you name it.

 

i've never been under so much pressure, emotional and mental strain in my entire life. and i love it.

 

how do I know the Pixar guy?

 

let's put it this way. for once in my life, i happened to be in the right place at the right time.

 

:)

 

-Jon

[Keith Mottram]

Jon,

 

you spoke of mistakes with type size etc, a problem I had until I started using final draft. It will format and keep you in check. It works like a simple word processor but will cover your back so that you know that when you hand your next script in, it will at least physically feel like a script. I dont know wether you can get a student discount, but if not there are plenty of um..er.. how can i put this...unofficial copies on the net.

 

Keith

[Jonathan Spear]

Hey Keith,

 

That's a great idea, I'll definately pick up a copy. Thanks for the advice.

 

 

-Jon

[Landon D. Parks]

This sounds awfule sketchy too me.... You say you have only talked to him through e-mails then how do you know he is even from pixar and not some scammer? Although I dont know what he would be scamming, maybee the Idea if its not copyrighted under law.

[Jonathan Spear]

"This sounds awfule sketchy too me.... You say you have only talked to him through e-mails then how do you know he is even from pixar and not some scammer? Although I dont know what he would be scamming, maybee the Idea if its not copyrighted under law."

 

Hey Landon,

 

I met a family member of his by chance. Said family member generously gave me his address and we've been emailing each other on and off for the past 6-7 months.

 

<*NOTE* I should have done more research about the screenplay market and pitching screenplays before bothering this guy. One of the things I learned from him was the importance of "knowing the field".>

 

The screenplay is copyrighted (WGA)... but if the "idea" does leak out -- well, let's just hope whoever turns it into a film won't F it up too bad.

 

Thing is, i've "seen" my screenplay over and over in my head so many times it's no longer a matter of wanting it to get "made" as it is already playing in my cerebral ciniplex -- for free!

 

:D

 

:)

[Landon D. Parks]

Ah I see, well in that case you may have something, although I still would'nt 100% beleive it until I was sitting in his exec office @ pixar.

 

Thing is, i've "seen" my screenplay over and over in my head so many times it's no longer a matter of wanting it to get "made" as it is already playing in my cerebral ciniplex -- for free!

I know what you mean, I have been working on my screenplay for so long, its already made... In my head.

 

I can and have sit in a dark room and play the entire film out in my head from start to finnish, even though the script not done yet!

[Jonathan Spear]

"I can and have sit in a dark room and play the entire film out in my head from start to finnish, even though the script not done yet!"

 

definately, man.

 

i do that too only i can't seem to "see" the actual faces of my characters.

and if i do catch a glimpse, i have a brain fart and forget what i just saw.

 

how Freud... :D

[Alex Ellerman]

FYI (www.copyright.gov):

 

WHO CAN CLAIM COPYRIGHT

 

Copyright protection subsists from the time the work is created in fixed form. The copyright in the work of authorship immediately becomes the property of the author who created the work. Only the author or those deriving their rights through the author can rightfully claim copyright.

 

What does copyright protect?

Copyright, a form of intellectual property law, protects original works of authorship including literary, dramatic, musical, and artistic works, such as poetry, novels, movies, songs, computer software, and architecture. Copyright does not protect facts, ideas, systems, or methods of operation, although it may protect the way these things are expressed.

 

Do I have to register with your office to be protected?

No. In general, registration is voluntary. Copyright exists from the moment the work is created. You will have to register, however, if you wish to bring a lawsuit for infringement of a U.S. work.

 

Why should I register my work if copyright protection is automatic?

Registration is recommended for a number of reasons. Many choose to register their works because they wish to have the facts of their copyright on the public record and have a certificate of registration. Registered works may be eligible for statutory damages and attorney's fees in successful litigation. Finally, if registration occurs within 5 years of publication, it is considered prima facie evidence in a court of law.

 

WGA is not LOC copyright, but it does establish a legitimate record of your work. Copyright with the LOC is the most powerful, see prima facie above.

Best,

theturnaround

[Mark Allen]

Well no matter what happens you can sell the contact info for this Pixar exec to other writers for BIG money.

<{POST_SNAPBACK}>

 

I know you're grinning with this post - but because this mentality does exist, I would just point out - you would be amazed at who you can reach if you just pick up the phone. Write a letter to their agent, their manager, call the company ask to speak with them. Unless they are mega stars who are sick of being hunted down - people aren't that resistant to being shown respect and offering help often.

 

Speaking of offering help - The original poster here should definitely check out this website written by one of the guys who wrote "Shrek" - it's probably the single best writing instruction website I've ever seen.

 

www.wordplayer.com

[Jonathan Spear]

Hey Mark

 

Cool site. Very helpful.

 

 

Thanks,

Jon