A Script Writer

[Guest Daniel J. Ashley-Smith]

Ok, so I have a one of a kind, master project planned in my head. A real Hollywood blockbuster. Trouble is, no damn script. Ideas and plans for the entire film down to cinematography to characters, just no script.

 

Basically my plan is to build this project up, and then find funding and have cast and crew lining up on my doorstep to do it.

 

A feature length film lasting 2 hours, do I pay a script writer to do the script for me, or is it down to me?

 

How much would a script writer charge for a full out blown feature length film? I'm not looking for someone high up in the ranks, just someone good.

 

Thanks.

Dan.

[Guest Roman]

WGA minimum wages for "A real Hollywood blockbuster" (High-Budget) are:

Treatment: $38,981.00

First Draft: $38,981.00

Rewrite: $25,989.00

Polish: $12,992.00

 

add agent's fee, guild's pension and health fees etc., you'll have to come up with more than $70K :D

 

So this looks like you may want to chose a non WGA writer and pay him or her $500.00 , $600.00 whatever he or she would accept for a week and give him / her four to six weeks to write you a first draft. Two more for a second draft and voila!!, if you have chosen right, you have your "real Hollywood blockbuster".

 

 

On the other hand, if you write it by yourself it would cost you $0.00 :D + $20.00 to register your screenplay with the WGA or $30.00 with the Copyright Office.

 

Good luck,

Roman

[Guest Daniel J. Ashley-Smith]

AHH right... Why do I suddenly feel disappointed?

 

Yeh well, a non-WGA writer will have to do for now I think.

 

I mean, how do people do this kind of stuff? Do people get funding BEFORE hand for the script?

 

I mean if I'm going to go show this idea to some big'ol film company, there going to want to see the whole shebang. Not some sketch pad with a few character bio's and some rough plans.

 

Really, if I was to pay the writer out of my own pocket I was thinking more £7,000. Trouble is, for a start that's bloody expensive for me, secondly what if it all goes wrong and no one takes it in? I have a very expensive ornament sitting in my study.

 

Ah well, thanks for you info Roman, at least that's now given me a rough idea as to how much it costs (i.e. how much I have to re-mortgage my Dad's house by)

 

Damn I wish I was a rich kid. Someone I knew owned a 7 million pound air conditioning company, and my friend owns a 2 million pound health company with 600,000 in his bank. Sods.

 

Time to start playing the lottery.

Edited February 25, 2005 by Daniel J. Ashley-Smith

[Guest Roman]

You?re not going to get to talk to some big ol' film company about your idea just like that! Each year there are about 300,000 screenplays written in the USA (estimate) and more than 50,000 registered with the WGA each year!

 

How many movies they are making a year? 300 ? 500? Go figure. Knowing that most of ideas for movies came from the insiders your chances are even slimmer. However, with such an unique story all you have to do is to work on it until your movie is done, finished, edited, sold and shown during the ?Oscar??s night as one of nominated features :D

[Guest Daniel J. Ashley-Smith]

You?re not going to get to talk to some big ol' film company about your idea just like that! Each year there are about 300,000 screenplays written in the USA (estimate) and more than 50,000 registered with the WGA each year!

 

How many movies they are making a year? 300 ? 500? Go figure. Knowing that most of ideas for movies came from the insiders your chances are even slimmer. However, with such an unique story all you have to do is to work on it until your movie is done, finished, edited, sold and shown during the ?Oscar??s night as one of nominated features  :D

<{POST_SNAPBACK}>

Oh how my night just gets better and better...

 

Well it's a good idea and I know it would definitely make a great film, but in the end it's getting it noticed.

 

I've seriously got to start thinking how the hell I am going to make it big in this industry. Maybe I should start off my own air conditioning company.

 

Can I rely on a unique and brilliant idea?

 

 

Not to disrespect the WBA or any writers, but if 50,000 scripts are being made each year and what we are getting at the cinemas at the moment is the cream of it all, then it makes me wonder what the other scripts are like and how my idea actually has a good chance.

Edited February 25, 2005 by Daniel J. Ashley-Smith

[RookieGeek]

Daniel:

 

My highest recommendation is to read every word in the Columns section of this web site. And the Indy Pros section. Ah, just read the whole thing, but save the Forums for last.

 

http://www.wordplayer.com

 

It is a fascinating look into the life and times of a screenwriter in Hollywood. And these guys are among the best - in my humble opinion.

 

All the best in your journey.

[Guest Daniel J. Ashley-Smith]

Daniel: 

 

My highest recommendation is to read every word in the Columns section of this web site.  And the Indy Pros section.  Ah, just read the whole thing, but save the Forums for last.

 

http://www.wordplayer.com

 

It is a fascinating look into the life and times of a screenwriter in Hollywood.  And these guys are among the best - in my humble opinion.

 

All the best in your journey.

<{POST_SNAPBACK}>

Ah thanks Rookie. Thats somewhat encouraging. I'll take a look.

[Alex Ellerman]

The best scripts and script ideas aren't necessarily getting made. Film studios (and there are seven now that MGM got bought out, I think) are not in the business of necessarily making amazing films; they are in the business of making profits. That's why you see remakes and sequels. Built in audiences, measurable results, and profits.

 

You take one big chance and the film flops, then people get fired, and you don't get to make another movie. First time screenwriters don't even get shots at blockbuster/tentpole type movies. You have to start out much lower on the totem pole. I think something like 90% of the writing work in Hollywood is assignment, not spec. So if you want to write a tentpole that gets made by a major studio, they'll ask you to do it, most likely.

 

Best,

theturnaround

[Bob Hayes]

Having and idea with out a script is like dreaming of flight with out an airplane. It?s like looking at a Playboy centerfold and imagining what a great date you?d be. It?s like watching your favorite rock band and saying to yourself you?d be a great lead guitar player for them with out ever picking up a guitar. It?s air guitar. The script is everything in film making. Buy some screen writing books read em and start writing. At worst it will make you better at communicating your ideas to a writer. You might end up with something of value.

[Guest Daniel J. Ashley-Smith]

I am playing it safe with this film to a degree, being that at the end of the day it's based around an action film. Although it has a quality side to it as well, like Gladiator in a way. It has some clever ideas behind it which make it more than just an average shoot-em up and the cinematography will be slightly upper key.

 

So overall it should be quite big because it entertains a wide audience, the average movie goers and the film enthusiasts who love a smart unique story.

 

Shot on 35mm, optical print, anamorphic ratio, a real traditional yet modern piece of art. As well as a blockbuster shoot-em up that will keep the kids happy, and investors.

[Guest Daniel J. Ashley-Smith]

Having and idea with out a script is like dreaming of flight with out an airplane.  It?s like looking at a Playboy centerfold and imagining what a great date you?d be.  It?s like watching your favorite rock band and saying to yourself you?d be a great lead guitar player for them with out ever picking up a guitar.  It?s air guitar.  The script is everything in film making.  Buy some screen writing books read em and start writing.  At worst it will make you better at communicating your ideas to a writer.  You might end up with something of value.

<{POST_SNAPBACK}>

Yeh, well I'm really going for DOP at the end of the day, but this could be of some use. At least I might have some chance at writing the script myself. I always used to be good at writing stories, not sure about now though. Not sure if I have the patience to sit here and write a feature length film.

 

Cheers.

[Jonathan Spear]

"It?s like looking at a Playboy centerfold and imagining what a great date you?d be."

 

Nailed it.

 

----

 

Write the d-mn thing Daniel. Think about it... you have this GREAT idea in your head -- it's YOUR idea....but your VISION of your idea is what makes it great to you.

If you really believe in this idea of yours that much -- you'll be willing to draw the blueprints.

And come on... it ain't that hard to write a good ("Story"/R. Mckee for starters) screenplay.

 

Good luck.

[Guest Daniel J. Ashley-Smith]

"It?s like looking at a Playboy centerfold and imagining what a great date you?d be."

 

Nailed it.

 

----

 

Write the d-mn thing Daniel. Think about it... you have this GREAT idea in your head -- it's YOUR idea....but your VISION of your idea is what makes it great to you.

If you really believe in this idea of yours that much -- you'll be willing to draw the blueprints.

And come on... it ain't that hard to write a good ("Story"/R. Mckee for starters) screenplay.

 

Good luck.

<{POST_SNAPBACK}>

Well, I can only hope your right in saying it's not that hard in writing it. As a matter of fact I am writing it now (Or atleast attempting)

 

Thanks for your input.

Edited February 25, 2005 by Daniel J. Ashley-Smith

[Jonathan Spear]

this may help a bit...

 

-what i learned from the mistakes i made on my first draft-

 

1. READ SCREENPLAYS - download and read. tons of them. you can read one in a couple of hours.

 

2. never tell the reader what to feel - make him understand how and why through your writing

 

3. write it the way you see it in your head but use elements, noises, ambience, dialogue and action - NO CAMERA DIRECTIONS.

 

4. Courrier 12 format. 120 pages = 120 minute movie (+/-)

 

5. It's YOUR idea but you're writing it for the whole world. that was my biggest mistake. in other words, aim for a commercial movie with a profound idea behind it -- and don't sell out in the process. No cheating. Give it time... it really does have to be perfect.

 

6. Read books on screenwriting and filmmaking, visit screenwriting sites and forums.

 

Sounds like a biyotch, but don't worry - "prepping" for your first draft (write an outline of story and characters, =plot=...READ SCREENPLAYS) won't take as long as you think.

 

I'm not trying to give advice - more like telling you what I did wrong. I broke every single rule of hollywood formula screenwriting on my first draft.

 

=DON'T BREAK THE RULES YET=

 

good luck.

 

-JonS

[Guest Daniel J. Ashley-Smith]

Actually I was thinking about constructing a rough draft of the intro scene. Anyone know where to get miscellaneous war video clips from? (Ones that don't have olgrish.com in the corner, for obvious reasons)

 

Ok, I might as well spill the beans for the intro. It may sound crap but it looks good in my head.

 

Complete black. Intro credits start rolling, a slow and soft bass line is played. After a couple of bass riffs, the credits and music stop. A radio distorted voice is heard. Suddenly a huge strobe flash brings it from complete black into showing various war clips. (modern war clips) A real explosive and powerful intro. The war clips are separated by white strobe flashes.

 

In the real thing we won't use war clips made by ourselves, they will be various war clips collected from different places, actual real events. If I can somehow get hold of some war clips I could probably build a first draft of the opening sequence. (Along with a music track I have chosen, should be proper boe. i.e. good)

[Guest Daniel J. Ashley-Smith]

this may help a bit...

 

-what i learned from the mistakes i made on my first draft-

 

1. READ SCREENPLAYS - download and read. tons of them. you can read one in a couple of hours.

 

2. never tell the reader what to feel - make him understand how and why through your writing

 

3. write it the way you see it in your head but use elements, noises, ambience, dialogue and action - NO CAMERA DIRECTIONS.

 

4. Courrier 12 format. 120 pages = 120 minute movie (+/-)

 

5. It's YOUR idea but you're writing it for the whole world. that was my biggest mistake. in other words, aim for a commercial movie with a profound idea behind it -- and don't sell out in the process. No cheating. Give it time... it really does have to be perfect.

 

6. Read books on screenwriting and filmmaking, visit screenwriting sites and forums.

 

Sounds like a biyotch, but don't worry - "prepping" for your first draft (write an outline of story and characters, =plot=...READ SCREENPLAYS) won't take as long as you think.

 

I'm not trying to give advice - more like telling you what I did wrong. I broke every single rule of hollywood formula screenwriting on my first draft.

 

=DON'T BREAK THE RULES YET=

 

good luck.

 

-JonS

<{POST_SNAPBACK}>

Ahh thanks JonS. Yeh I've just been looking at other scripts and basically copying the format and styles over, looking at what they include and don't include.

 

Shame it's a crap script mind you. Although it is written well by a pro, so I can;t knock it, even though I don't like it.

[Guest Roman]

I'm not trying to give advice - more like telling you what I did wrong. I broke every single rule of hollywood formula screenwriting on my first draft.

 

<{POST_SNAPBACK}>

 

another nail :D

 

you have to know the rules, to be the master of the rules in order to be able to break them, to play with them, to twist them...

[Mark Allen]

How much would a script writer charge for a full out blown feature length film? I'm not looking for someone high up in the ranks, just someone good.

<{POST_SNAPBACK}>

 

Back to your original question.

 

It all comes down to if you've come upon the main turn around which makes your idea into something really special. Quite often great ideas are not fully realized. If you can tell your friends this idea and they (being hopefully reasonably intelligent folks) are rivetted by your one paragraph telling of the events of this story - then you may actually have something. Normally people with great ideas for movies really have great ideas for characters or moments or stunts - but the movie is the great twist - the great unfolding.

 

So - let's say you genuinely have that. You do have options. Writers who are hungry and maybe have even sold some scripts but haven't had any made might be willing to write your idea out based on the following information:

 

1 - do you have any well known or well established elements attached (that's a posiitive)

2 - do you have any unwellknown or unwell established elements attached (like an unproven director's first film - very negative)

 

Then lets say nothing is attached except for you producing this.... next, they may either do it for a couple thousand dollars against a six figure plus return on project sale OR they might even write the idea for free on some negotiation like "I'll write it and if you cannot produce it in 1 or 2 years from the day it is completed, then I own it."

 

Four years ago I wrote a script on that agreement for someone and they never got it made, this year, two companies offered to purchase it. A great premise does make the writing much easier.

 

So there are options is my point if you're unable to write it yourself.

 

If you want to compare your movie idea to those which are selling - you can track most every script sale here: http://www.scriptsales.com/DDScriptSales.htm

 

However - keep in mind that many of these will never be made and also if it doesn't make sense why it got purchased for a million dollars - look down at who is attached.

 

 

Anyway - truly great movie stories are rare. Exceptionally rare. If you really do have one and it is realized... then stick to it.

Edited February 26, 2005 by Mark Douglas

[Jonathan Spear]

Daniel,

 

Pace and rhythm are everything as well. The story needs it's own unique pace -- that's why "copying" formats of made screenplays can be a HUGE mistake.

 

What I did was use a classical musical peice I knew I could listen to over and over and over and over and over and over and over and, yes, over again. Find a peice that suits the beat of your story.

 

For example, the movements and structure of Mozart's Requiem are PERFECT for what I was writing. The slow buildup(requiem aeternum), the inciting incident (dies irae) -------> ending (sanctus).

 

Be creative. Artists shouldn't restrict themselves to one medium at a time. You'll be surprised to find out how listening to the right kind of music can put you in "the zone" - and how much more emotional, profound and true your writing will be because of it.

 

(Just don't forget to read what you write without listening to music. You need to be your own editor and apply a critical eye to your work, because at the moment noone else will)