Storm Catchers

[Landon D. Parks]

Ok, guys. I have started to write the screenplay based on my favorite book, Storm Catchers by Tim Bowler. I thought it would be cool to paste a single page of it here so that you guys can read it and give me feedback on it. While its not in screenplay format, for the most part anyway, because this forum cant do the screenplay format. But anyway, this is just a sample of what I have done so fare, and I think its pretty impressive. If you have ever read the story, you know how close I am to the authors actual words and way of things happening. If you have not read it, I suggest going to your local Library! It's a very good book... anyways, he goes:

 

INT. BEDROOM. -- STORMY NIGHT.

13 year old Ella is sitting on the edge of a bed. In the bed lay 3 year old Sammy, or Sam for short.

Ella is stroking Sammy?s hair, and it is apparent that he is sleeping.

She continues to stroke his hair, until she hears a loud ?Clink? downstairs.

She chooses the ignore it, seconds later she hears it again. She is now starting to worry, what if someone was downstairs?

 

ELLA

I sure wish FIN where here...

 

She is unsure of what to do. So she besides to go to the Landing at least to see if anything, or, anyone is there.

 

INT. HALLWAY OUTSIDE BEDROOM. -- SAME TME.

Ella steps out into the hallway. The hallway is very dark, lit only by 4 candles spread among the left wall. At the end of the hall, she see?s the landing that leads to the downstairs.

She walks slowly to the landing, and looks down. She see?s nothing but a dark and forboding looking entrance way.

She decides to go on down the stairs, just in investigate some. After all, if FIN where here, he?d do it.

 

ELLA

Man, why do I have to be a chicken all the time?

 

So she starts down the stairs.

 

INT. BOTTOM OF LANDING. -- SAME TIME.

Ella walks down the stairs and into the hall. She walks really slow, as if afraid any second something would jump out and get her.

She walks through a large open space in the wall.

 

INT. SITTING ROOM. -- SAME TIME.

Ella first examines the room from the doorway, she see the same old room she has seen thousands of time before. This room has not lights on however, and everything in shadows. 

She hears the same sound again, ?Clink?. She now hears it coming from the large window.

She walks over and flings open the curtains. She is surprised by what she see?s and is glade to find that it is simply the chain from a large plant box that hangs over the window, beating against the window.

 

She now walks over to the room and turns on a light, the room lights up, although not by much.

She thinks she see?s something from the corner of her eye. She turns around and is confronted by a large, beefy man staring at her.

 

He looks at her with pure evil. Ella is so frightened she backs into a corner.

 

ELLA

What do you want?

 

The man says nothing.

 

ELLA

Who are you?

 

The man still said nothing. Ella once again repeats herself;

 

ELLA

What do you want?

 

INTRUDER

You....

 

He said in a deep, very scary voice.

 

There is it. Its not much, and its hard to judge a screenplay by a single page, but I dont wanna give to much away.

 

Comments, suggestions, ect are welcome!

 

PS) For those that are interested, im using Final Daft? software to write the screenplay.

 

PSS) Sorry for any Spelling errors or typos, but I have not run the spell check on it yet, or read over it enough times to find all the errors.

Edited May 19, 2005 by Landon D. Parks

[Alex Ellerman]

Landon -

 

I'm going to give you some unsolicited advice, on your pages, and then on your decision to adapt a published work to which you do not own the rights. I realize you are but a youngster, so I give this advice freely and without malice.

 

1. Visually, your pages do not work. If an agent were to look at your work, they would likely skim the big blocks of descriptive text in order to read the dialogue passages for clues to something exciting happening. This is the reality of a Hollywood reader, probably not too important to you as you are hoping to direct your own work, but you should know the rules before you break them. The more white space you can create (shorter slug lines, less verbiage, stronger word choices) the better the pages.

 

2. You use helping verbs, e.g. "is sitting," when active verbs are stronger (sits). Example: instead of saying runs fast, say sprints. Not a big deal in conversation, but when trying to distill a 300 pg. book into a 100pg script, it's crucial. Plus it reads better.

 

a. You also use weak adjectives e.g. "very." These are dead giveaways to a (very) weak screenplay. Adjectives should be used sparingly and with precision.

 

3. You don't have time to spell check / grammar check one page for which you are seeking comment? If you don't have time to make it the best read possible, why should I take my time to give you comments? You're eventually going to be asking someone to give you several hours of their time. Show them that you value it.

 

4. These pages are very 'tell' (it is apparent he is sleeping). They need to be more 'show' (he snores.)

 

5. Read screenplays, good ones, bad ones, and recent ones. You will notice the difference between a pro script and your pages, and it will help you immensely.

 

There are other comments I would normally make on your pages, but you are not ready. I can't recommend #5 strongly enough to you.

 

Now, almost as importantly as the above, I want to caution you about adapting another's work. It is almost universally a bad idea. It can be an exercise in learning if you are completely devoid of ideas, but that is about it. An unsolicited adaptation has no leverage. The author does not have to give you permission, and if you show them the work, they can freely use it without your permission or recompense b/c IT IS BASED ON THEIR WORK. You can't sue them. Most likely, nothing will ever come of it. Your best bet is to approach the author as a fan, talk to them about their work, and hope that they might give you some type of time sensitive option.

 

That being said, I do know someone who did adapt, showed the author, and got an option. But that is the exception, not the rule, nor the likelihood. You have much to learn, but the journey of 1,000 miles is begun with the first step. You are on the way.

Best,

theturnaround

[Landon D. Parks]

Now, almost as importantly as the above, I want to caution you about adapting another's work. It is almost universally a bad idea. It can be an exercise in learning if you are completely devoid of ideas, but that is about it. An unsolicited adaptation has no leverage. The author does not have to give you permission, and if you show them the work, they can freely use it without your permission or recompense b/c IT IS BASED ON THEIR WORK. You can't sue them. Most likely, nothing will ever come of it. Your best bet is to approach the author as a fan, talk to them about their work, and hope that they might give you some type of time sensitive option.

 

That being said, I do know someone who did adapt, showed the author, and got an option. But that is the exception, not the rule, nor the likelihood. You have much to learn, but the journey of 1,000 miles is begun with the first step. You are on the way.

Best,

theturnaround

Dont mean to break your bubble, but I know that already. Thats why I only put 1 page here. I have no intention of showing anyone the screenplay till I can option the rights to it, Im just starting on the screenplay in private. Then if nothing ever comes of it (i.e cant get an option), then I'll just trash the screenplay.

 

As to your comments about the to much telling whats going on, thats the way the book starts. There is no way around it. You have tell what is happening, becuase for the mosty part there is not dialog for the first 12 pages of the book.

 

Thanks for the advice though, all good points and I'll take them as strong advice.

 

PS) Yes, im out of ideas for movie. This book looks like it would make a good one, and who better to do it but me? :rolleyes:

 

This is a first draft too, no where near the finnished result...

 

Plus, the rights will probly be pretty easy to get, costly maybe, but fairly easy. Its not that famous of a book, and on top of that, i cant seem to find much about it on the internet, so its not that populare either.

Edited May 19, 2005 by Landon D. Parks

[David Mullen ASC]

I'd also minimize the acting directions. If you write it well enough, you don't need too many of those. Same with any camera directions. If you are precise and evocative enough, these things will become clear enough. What matters more is the dramatic set-up and if it is strong enough.

 

Don't take too long to get into the dramatic hook of the scene and the overall story.

 

In most good scripts, each scene starts in the middle of the action, and ends on unfinished business or an unanswered question, which propels the viewer/reader to find out what happens next.

 

Anyway, do you have a plot synopsis and story outline? You should make that as tight as possible before tackling the script, unless this is just some slice-of-life character study and not something plot-driven.

 

Scripts are generally written in the present tense, i.e. "the man says nothing" not "the man said nothing".

[Landon D. Parks]

Anyway, do you have a plot synopsis and story outline?

Yes and no. I wrote a story out-line directly from the book, since for the most part I want to make "Word for Word" just like the book.

 

Im at the library now, checking published screenplays. Just to see how there written, to give a better since of how i should write this.'

 

Thanks, as always, for the advice David and theturnaround.

[Jonathan Spear]

Landon,

 

This is just my opinion and I'm in no way trying to be rude or disrespectful.

I'm young myself so I won't pretend to be experienced enough to be handing out advice, but:

 

It looks like you are in no way ready to direct a 19,000$ film. The only reason I'm telling you this is because whoever seems to be "helping" you (i.e. your producers, etc.) is/are probably out to scam you. The reason I didn't say anything earlier is because I thought your posts were just half assed and written quickly.

Dude, you're young. Really young.

There's seriously no reason to rush into this until you really know what you're doing.

 

Your screenplay excerpt proves to me that you have a great imagination. But it also shows that you need to READ more -- screenplays included, but mostly books. Good books. They'll expand your vocabulary and even give you fantastic ideas for future projects.

 

One step at a time bro. You'll definately get there, but it won't happen overnight and you need to hone your skills and master the crafts of screenwriting, directing and cinematography.

 

If I were you, I'd be focusing my energy on school, reading tons of books, learning the ABC's of photography (exposure/light/color theory), watching movies, hanging out with friends, etc.

 

Be the best student you can be. In all subjects. Learn as much as you can about filmmaking through books, school, the internet and by watching movies (over and over again).

Then, and only then, will you be ready to write, direct and shoot the movie that will knock ALL of our socks off.

 

Just my $0.02. Good luck either way!!! B)

 

-Jonathan

[Landon D. Parks]

to upease some of you, I ill past 2 more pages from the script!

 

Here goes:

 

EXT. SEASIDE CLIFF. ? MID-DAY.

 

For some reason, they all knew Sammy was dead?

 

FIN

This is all my fault! Everything is my fault!

 

ELLA

(Snapping at him)

It is not your fault! None of it is your fault! It?s all HIS fault!

 

She was now pointed to her dad, Peter.

 

MOM

(Scornfully)

What did you say Ella?

 

Ignoring her mother;

 

ELLA

(With anger in her voice)

Tell them dad, tell them everything!

 

PETER

I don?t know what you?re talking about!

 

Ella, now impressively mad, stood up square to her father.

 

ELLA

Tell them the truth!

 

PETER

I Don?t know..

 

ELLA

You do know!

 

Her voice was getting very angry now.

 

ELLA

It?s punishment! I was meant to die, but Sammy pays the price instead!

 

MOM

(very worried)

Ella, what are you saying?

 

ELLA

Tell them the whole truth dad!

 

Peter, seeing that his daughter was not going to give up, finally gave into her demands.

 

PETER

I?m so sorry Susan, Referring to the kids mother.

 

SUSAN

What are you talking about peter?

 

PETER

Lindy Prescott was the check-out girl at our super-store. I had____.

 

He went silent.

 

SUSAN

You had what?

 

PETER

I had an affair with her!

 

SUSAN

Your so sick, I cant believe I trusted you!

 

Thats all you get! lol. Not perfect, but not bad for a first draft either!

 

There's seriously no reason to rush into this until you really know what you're doing.

TSM, how is one gonna know what there doing unless you do it? It ain't gonna come to you in a dream one night when you 30! Even I know hat filmmaking is somthing you have to learn! How are you ever gonna learn it if you have to wait till you "Know what your doing?". You gotta just take a chance sometime, and hope it works! After all, Everyone was a "First time director" at one time. In the case here, a first time cinematographer.

 

Im not trying to attack you TSM, I just dont agree with you. Im not wanting start a fight, so for the sake of god, just drop it. It's only a pet project im working on, if it turns out fine, if not, thats ok too.

 

Im gonna rule hollywood by 20, or dye trying!!!!!! :rolleyes: (That was a joke by the way, some what of one i guess)

Edited May 19, 2005 by Landon D. Parks

[Jonathan Spear]

No worries Landon.

 

If you feel like you're ready then go for it.

 

"""How are you ever gonna learn it if you have to wait till you "Know what your doing?"."""

 

If and when you find the answer to that question, you'll understand what I'm talking abut. :)

 

"""After all, Everyone was a "First time director" at one time. In the case here, a first time cinematographer."""

 

True, but that 'first time' was also the ending result of a journey which you haven't taken yet.

I've been playing guitar for 12 years. You don't just pick up a guitar and automatically know how to play because you idolize a certain band or guitarist.

No one in the history of mankind has ever picked up an instrument and played it perfectly without practicing it first -- including Mozart, Beethoven, Paganini, Slash, Yo Yo Ma, etc...

 

Cinematography, screenwriting and filmmaking in general is ultimately a form of art.

You need to give it the respect it deserves by studying it, researching it and getting all the experience you can -- so that one day, your art will pay YOU back for all of your hard work.

 

The more studying time, hard work and practice you put into this -- the better the results will be.

 

-Jonathan

[Landon D. Parks]

No worries Landon.

 

If you feel like you're ready then go for it.

Im ready to write the screenplay anyway... lol.

 

You really dont think im just gonna jump right into this 20+ million dollar project do you? How nuts would one have to be to walk into a studio with a package have them say, nice package. Now who are you? Im Landon. Oh, what have you directed before? Nothing.... I can see them laughing me out the door now!

 

Before this project ever gets done with development, I'll have somthing to show the producer and or studio that I can direct a film.

 

After all, a 16 year old director that has proven that he can direct a film is one thing, but a 16 year old coming into a studio with no experiance and saying, heres my project, now hand over the 40 mill is kinda dumb. Even to dumb for me..... Hope that makes since. If not, I'll make it simple.

 

This project is something I wanna do *One day*, not tomrrow, maybe not a year from now, maybe 10 years from now. The point is, when i posted the screenplay, I dont recal saying "Yep, tomorrow we start shooting too!" ;)

 

It looks like you are in no way ready to direct a 19,000$ film. The only reason I'm telling you this is because whoever seems to be "helping" you (i.e. your producers, etc.) is/are probably out to scam you.

Sorry dude, your a day late and dollar short. I already quit. B)

 

As you say, No worries though.... your still cool, in my book anyway.

Edited May 19, 2005 by Landon D. Parks

[Guest Daniel J. Ashley-Smith]

Like Jonathon I'm not trying to attack here, afterall, us young ones are supposed to stick together. But I don't quite understand why you don't try doing some smaller stuff first. Like I said ealier, by actually making films, even small ones, you will learn things that *NO* book will tell you. Your probably thinking what things, but, you won't care about them because you're not aware of them. Once you 'do know them, you'l think, damn, that could have made a serious mess up in my big film.

 

You gotta just take a chance sometime, and hope it works!

Yeh but, just say it doesn't work, you've screwed up a 19 thousand dollar feature, and theres no way those investors are ever going to come back to you again. But if you do things right, those investors will be happy to come back to you, because they know they'l get something back out of it.

 

That's the beauty of small short films, the fact that, it's safe to screw them up. If things go wrong, it's not such a disaster, and you will learn from that mistake and hopefully be smart enough to never let it happen again.

 

 

Screwing up a film of that size, won't just result in you thinking, damn, messed that one up, better luck next time. Because with things like that, there isn't a *next time*.

Edited May 19, 2005 by Daniel J. Ashley-Smith

[Landon D. Parks]

did everyone ignore my post? I said right aove that I have no intention of making this film soon, as I do intend to start on smaller projects first to work my way up to something like this. After all, Hollywood ain't just gonna hand me $20,000,000 to make a movie. They have to have proof I can do it first!

 

Daniel, TSM you both cool dudes, but your blowing things WAY out of perportion.

 

AND, as I said, there is no $19,000 feature anymore. Its over, I quit today.

 

You can tell im in a bad mood today, Sorry if im grouchy.

Edited May 19, 2005 by Landon D. Parks

[Landon D. Parks]

Screwing up a film of that size, won't just result in you thinking, damn, messed that one up, better luck next time. Because with things like that, there isn't a *next time*.

There is no such thing as a bad director, only a bad screenplay. I might be attacking myself on that one, i dunno.

 

Very few directors can screw up a good screenplay, but very few directors can make abad screenplay good either.

 

I never did understand the whole "This dude cant direct a film" thing. It all comes down to the writing.

 

Like, lets use Harry Potter as an example. EVeryone though "Oh no, Chris left, and they let a mexican dude direct the film! Its toast!. Well, it was good. Same with movies 1 2 and 3...And now after the trailer im sure #4 will be just as good if not better. And you know, this person who directed #4 directed 1 featrure that was even remotly successful, and people said it sucked.

 

IT all comes to down to Steve Kloves, he is a good writer, so with a good writer, its hard to screw up any film!

[Alex Ellerman]

I say this not so much to Landon, but for others who may actually benefit from the advice;

 

The studio won't laugh you out of the building because the studio would never let you on their lot in the first place. It is that simple. The gatekeepers (producers, agents, etc.) would not view your work in this state. And once you have (prematurely) used up a contact in Hollywood, that contact may be gone.

 

There are plenty of seven figure scripts that A list writers worked on that end horribly for a variety of reasons, but the initial script was great. Had a lot of heat. People fought over it. Boards tracked it. And the end movie is bad. Your hypothesis about good/bad scripts does not make sense to me, and probably not to Stephen King either. Or John McTiernan (Last Action Hero was considered a great script with a huge star attached which Shane Black worked on).

 

Just as it would be wrong to undervalue the importance of lighting on a film, it would be wrong to think you can fluff together a script b/c you are working off a book.

 

It takes guts to put yourself out here, post your work, talk about your funding falling through, so i commend you on that. Hopefully you can gameplan a short for this summer break since you were already working on it... Perhaps it's time to buckle down, sit in the chair, and bleed through some really hard work.

Best,

theturnaround

[Max Jacoby]

There is no such thing as a bad director, only a bad screenplay.

 

Well I could name a couple. :ph34r:

 

Actually I've come accross more bad directors than good ones. Unfortunately.

[Landon D. Parks]

Max, how old are you anyway... From the way you talk, you seem older than that picture in your prfile..... just curiouse.

[Guest Daniel J. Ashley-Smith]

There is no such thing as a bad director, only a bad screenplay

I'd be interested to know where you got that from. From my experience I've worked with some good directors, some bad. I mean, if there was no such thing as good or bad, then my little sister could become a director. You can't always tell bad directing from good, because the actors direct themselves a lot.

 

Good screenplay or not, actors still need directing.

 

Take a look at this video:

 

The directing was fantastic, it certainly wasn't anything the actors thought of by themselves. I saw a behind the scenes to this video, the director was amazing, he was direct and to the point all the time, knew exactly what he wanted.

Video

 

I have no idea what your capabilities are, but whilst watching this, ask yourself *could* you create something like this. Just something to aim for. I'll just worry about the cinematography.

 

I'm not trying to sound like some expert at this, but on the other hand I'm speaking from the experience I *have* had. 5 shorts and 1 promo.

Edited May 19, 2005 by Daniel J. Ashley-Smith

[Mark Allen]

Landon - I'm gonig to skip over makng any comments and just take the opportunity to share my list of favorite screenwriting resources:

 

 

www.wordplayer.com - read every article there (this site is incredible for free information - it's written by the author of Shrek and some other films.)

 

The rest are books:

 

Adventures in the Screentrade - if adapting books is your thing, you must absolutely read this. And it's absolutely entertaining as well.

 

Story - Robert McKee (best book on story I've ever read)

 

How to Make a Good Screenplay Great (helps to point out common problems... having been a reader myself, i found it right on and insightful.)

 

_______

 

Those are absolutely must reads - if not for the knowledge for the vernacular. These books are the language that people (in Hollywood at least) use and if you are familiar with it, it doesn't bode well and it will show in your work.

 

Here are a couple other next in line albiet more difficult reads:

 

Poetics - Aristotle (people reference this a lot)

 

Art of Dramatic Writing - Lejos Egri (Frankly I think this book is poorly written, but the information is good to have read at least once)

 

Writing with Style - John R. Trimble (I've never seen other people recommend this one - but for me, it was really the book that turned my writing from pedestrian to something which conveyed an idea successfully. It is about writing, not screenplays.)

 

______

 

Then - if you want to expand from there I will recommend some more screenwriting books.

 

The book by Richard Walter

The book by Lew Hunter

The book by Syd Field

 

They all have their own gems of knowledge.

 

Then... read read read read screenplays with this knowledge and see how it works and doesn't work. After about 50 screenplayes, you will be in the rythm of it. I had my frist script option at 19 and I totally attribute that to the fact that I was a reader for a production company while I was 18 and read all the good and bad scripts and watched a few of them get turned into features along the way and watched how the page translated).

[J. Lamar King IMPOSTOR]

Landon why don't you make a few short films and get them into festivals in order to practice your craft? Maybe then with a bit of a reel you could snag a few gigs directing local commercials or industrials. You really should put some work into learning how and what a director does. A director does practice a craft you know, he isn't just a guy that gets all the fame for directing a popular feature.

[Guest Daniel J. Ashley-Smith]

I think having excellent social skills plays a big part of directing. Because your speaking to everyone all day, you need to have versatile social skills with all kinds of people.

 

You need to be very confident.

 

A few years ago I wasn't very confident, but then I got a full time summer job and from then on I've been fine with anyone I encounter. It's practicing your social skills.

Edited May 20, 2005 by Daniel J. Ashley-Smith

[Landon D. Parks]

Landon why don't you make a few short films and get them into festivals in order to practice your craft?

You have to understand. I dont like Short Films. I can't stand to watch'em, which is a good sign the I probly should not be making them.

 

I'm VERY picky about the movie I like, most movies I HATE. There are very few movies I actually like and some that are OK< but not somthing I'd buy.

 

While I have a hard time coming up woth a good story, its easy for me to think of 5 hours of content for it. Even reducing it to 1hr 40min for a feature is VERY difficult. I doubt there is anyway I could ever make a 15 minute film, at least about anything I wanted to make a film about.

 

And if your not in love with the film your making, why make it?

Edited May 20, 2005 by Landon D. Parks

[Jonathan Spear]

""You have to understand. I dont like Short Films. I can't stand to watch'em, which is a good sign the I probly should not be making them. ""

 

:blink:

 

""I'm VERY picky about the movie I like, most movies I HATE. There are very few movies I actually like and some that are OK< but not somthing I'd buy.""

 

:(

 

Landon, you really need to open your eyes. There's a whole subculture of quality films which you think you hate but are probably just too young to understand and appreciate.

 

Just out of curiousity, which movies DO you like?

[David Mullen ASC]

Sorry, but that's silly. It's like saying you only like novels, so you refuse to write ANYTHING shorter than a novel as a way of improving your writing!

 

It would be like me not shooting anything as a DP until I shot my first feature. Can you imagine what a lousy job I would have done on my first feature if I followed that plan?

 

The best way to learn is by DOING. If you want to learn to be a director, you have to DIRECT: block actors, cover scenes, learn to edit them, etc. and you will learn a LOT MORE and FASTER in a series of shorts rather than saving all your mistakes for your first feature!!!

 

It's like you think you're too good to waste your time on anything less than a feature...

 

And you wonder why so many first-time directors make such bad movies. It's EXACTLY that sort of attitude towards learning their own craft. They are more interested in the title of director than actually mastering the job.

 

Can you imagine ANY craft that does not involve learning through incremental steps? Does a marathon runner never run less than 26 miles? Does a chef start out only making the most elaborate dishes? Does a carpenter start out only building an entire house?

 

Not to mention that you've chosen an artform to work in that you generally dislike most of what's made??? What's up with that? Is it just to get your ego stroked that you've decided to become a director? Cause it doesn't seem to be a love of cinema...

 

I honestly don't understand you at all.

[Guest Daniel J. Ashley-Smith]

I've seen many short films which have been a lot better than most of the features I've seen.

 

At the moment, I don't think it's because Landon is young, I think it's because of his inexperience. Once you've made a few films you begin to see more clearly. I know I did. Before I started DP'ing films, I was all confident that I would be the next Conrad L. Hall e.t.c. ha! load of bull that was...

 

Even reducing it to 1hr 40min for a feature is VERY difficult. I doubt there is anyway I could ever make a 15 minute film, at least about anything I wanted to make a film about.

To start with, you don't exactly get to *choose* all the time what you do. Me I'd jump at anything.

 

Don't take this offensively, but theres a member on here called "Matt808" or something, he's apparently done a lot of TV work e.t.c. And he's 16. And I still doubt he has a chance at walking into a huge studio and asking for a 20 million dollar budget. So far I've done about 5 shorts and 1 promo, sodall has hit TV though. What is it that makes you so confident you'l be able to direct a feature length film, and get it distributed world wide? I was confident that I could shoot a fantastic feature length film, but now that I have experience, I see how hard it actually is.

 

Just do some shorts, see how it goes. They're a lot more enjoyable than making long feature length films put it that way, no stress, descent sleep the night before, you can really have a good experience. Shooting feature length films at 16 might burn you out too quickly.

Edited May 20, 2005 by Daniel J. Ashley-Smith

[Landon D. Parks]

I honestly don't understand you at all.

Yeah, very few people do. So your not alone in that area! On top of that, Im a very complicated person...

 

And you wonder why so many first-time directors make such bad movies.

I don't wonder that at all. IMHO more first time directors make better movies than the seasoned directors.

 

Sorry, but that's silly. It's like saying you only like novels, so you refuse to write ANYTHING shorter than a novel as a way of improving your writing!

Thats a little different. #1 because I have no intention of writing a novel in the future.

 

Just out of curiousity, which movies DO you like?

When I said very few movies I like, I didnt mean 5. Im not going to list them all here, its to much work and its pointless, because you'll just tell me how my list lacks the old classic b&w films from the "*Great" directors of the time.

 

*= My opinion of great, must be different than most people.

 

 

I will however, list my top 10 favorite movies to date:

 

1. The Wizard of Oz

2. A little Princess

3. Harry Potter and the Chamber of Secrets

4. Fidning Nemo

5. Harry Potter and the Prisoner of Azkaban

6. Hide and seek (2005)

7. Titanic ;)

8. Bambi

9. House on Haunted Hill (Original) - Remake was OK.

10. Harry Potter and the Sorcerers Stone

 

There are a few more that I LOVE, and 100's more that I like. But dont even ask me to list them!

 

Before I started DP'ing films

Dan, no offense to you, and I think your a cool dude, but when did you DP 5 shorts? You dont talk about it much on here.

 

he's apparently done a lot of TV work e.t.c.

What klind of work? P.A? Of couirse just working on 30 feature films are no promis you can direct one. They have to see what you can direct, not what you can work on. If I wanted to, im sure I could get a job as a PA on a $100 million hollywood flick, that does not mean I can direct, or DP one.

 

And if this kid said he has Diorected or DP'ed a lot of TV stuff, then I highly doubt hes telling the truth.

 

He would have had to have started @ 12 to have done a lot of stuff.

Edited May 20, 2005 by Landon D. Parks

[Guest]

Dare I get into this thread? Or stay in retirement?

 

R.