elvworks

The number of drafts depends. It differs if you're working with someone or once you realize how your mind works, you learn to cut alot of steps. Anywhere from 3-5 times, for me anyway. There is something to be said when you put the script down and pick it up in 6 months or more. Then you really see the core story and chop off the excess and add anything relating to that core. Rick

I grew up? Nooooooooooooooooooooooooooooooo! :o When did that happen, I was trying to hold that back for as long as I could. You're right. Best regards to everyone, Rick

Not to belabor the subject but this is really a tough industry. "theturnaround" made alot of great points. And I do believe your script has to be awesome. But it takes more than just hard work, you have to work smart along with have a great deal of passion for what you're doing. You may want to keep in mind that if you really want to be a screenwriter, you will have to be in it for the long haul. If something doesn't happen in five years, you're still going to be pressing forward full throttle regardless. There are some good books available as well as good sites you can scour, so take the time to educate yourself. Never stop writing, once your done with this one, start on the next one, then later you might come back to this one with fresh eyes and make some changes. You really have to ask yourself what the budget is for your movie. Then, once you determine a pretty close number, you ask yourself, "If I had 30 million, and it's my last 30 million, would I invest in my own screenplay to make this movie? Do I believe in it that much?" Hmmm......if we wouldn't invest out money, how can we expect others to. I know our job is different from the producers but I'm just trying to make a point. This isn't to give you cold feet, just to let you know it could be a long journey. But I hope to see your movie on the screen. All the best, Rick , and hopefully we'll see your movie on the screen.

Yes, thanks again. :D

Well, my point was more of what they are shot on, but how they look as well as many appear overexposed. I used the word camcorder as an exageration and I certainly didn't want to ruffle anyone's feathers who have done or are doing music videos. As a whole, I just don't find as much enjoyment as I used to in them. Many look the same, without distinction. Maybe it's the music, I don't know. Rick

Maybe this is just me venting. Music Videos (MTV/VH1, whatever) used to be the place where you have some of your most cutting edge stuff. Now, almost all the videos are saturated and overexposed. They look really horrible, and most of them look the same. It appears now anyone can have a music video. Just get your camcorder, saturate your whites so they bleed right through the screen onto the viewer's living room floor and get a bunch of people dancing in someone's backyard. Or under a bridge. I know saturating the white color spectrum is partly style, but I think many use it to hide the fact that their using video. But I do have to say, once in a WHILE, I still do come upon a nice music video that is really creative and visually appealing. And they stand out more because of all the other crap that is on there. Rick

The script could be awesome, but if it doesn't pass the many firewalls set up to screen out amateurs, then it will stay awesome but end up in the "later" or "never" pile. If you're are sending it to a friend in the business, proper protocol may not be that necessary. But if you are like most other screenwriters, you really will have to have a professional image. And surprisingly, what people think is professional, is not always the case when it comes to submitting your writing. Here is what I suggest: Paper - I suggest paper around the brightness of 92, you can get it any staples. Clips - The clips you can get at Staples as well. I suggest two, not three. Title Page - Title should be centered almost half way down. Title of Screenplay by John Doe Actual screenplay - Should be in the courier or new courier font in screenplay formatting. I suggest using a screenwriting program. Also, make sure the pages are numbered. Make sure it doesn't pass 120 pages. Trust me. If they get a bunch in, they take all the ones that are over 120 pages and put them in the "later" pile. Mailing - Mail in a plain o brown paper envelope and send it book rate (media rate), nice and slow. This doesn't sound professional, but it is. Do not send it registered, insured, nothing. You can get the electronic certification if you like as long as there is no inconvenience to them. Some people even put a post card in there for a recipient to put in their outgoing mail letting you know they received it. Packaging - Do not use fancy anything. It should be plain. Do not use padded envelopes because they make a mess when opening. Use a bubble envelope if you feel the need to have it padded (which is hardly necessary). Also, make sure you have a release form when you mail it, no matter who you are sending it to. You can find these online. Cover Letter - Cover letter is important with your info (arial font size 11 or 12). Make it short and sweet. Just let them know they requested the screenplay and the simple log line (short summary). On cover letter, also state "contents need not be returned" this way you don't have to put a return envelope in there. You're better off printing a new script up anyway. I also suggest that you do not say it is copyrighted and or WGA certified because it's a given if you are a professional. They will ask later, then you can give them the registry numbers. (You want to show you're easy to work with and you are not thinking they are going to steal it.) Outside of Package - Write, "Requested Material" in an open space (not obtrusively). The basic idea is, the emphasis should be on your writing. I'm sure you can bypass some of these steps and still get your script read, but it's too much of a risk. If you send your stuff professionally, then while they are reading it, it sits in the back of their mind that you are professional. They won't have any initial judgements against you or your writing when they do read your stuff. In this industry, you need all the help you can get. I hope this helps. You only get one time to show yourself a professional. If this seems like alot, don't worry, after the 50th time, it just becomes second nature. All the best to you and your project, :D Rick

I would say go back to the script. I don't know if you wrote it or not, but maybe the script isn't painting enough of a visual picture for you, whether in the dialogue or the action. Alot of people don't realize how visual words really are. So try going back to the script, rework it if necessary and when you can see the scene play out in your mind as you read it, then you have the picture inside you, then you will have the picture outside of you. The script is the blueprint. All the best, Rick

Wow, this is a serious question. I'm so glad I asked. Thank you everyone for your input. I will definitely consult an entertainment lawyer for specifics. I certainly would not want any surprises down the road. Have a great day! :D Rick

Thanks Brian for shedding more light on the subject. That settles it, contracts across the board, instead of to a select few. Regards, Rick

So it seems this is another good reason to have contracts all in place. To avoid any surprises. Rick

If you shoot a movie, is it the owner of the camera (or whoever paid for the rental) that owns the what was shot? (film/tape)? Thanks! :D

Great info Thomas, Yeah, the flickering was something I heard about. Now that you mentioned it, it did have to do with a problem with the shutter speed. 24pa is the way to go!!! Hey, thanks alot for your help, I really appreciate it. All the best, Rick

Thank you Gordon and Thomas, (Note: Originally this was supposed to be shot on super 16) I much rather have 24pa for a theatrical frame rate and for all the things you mentioned, but I was wondering about flickering. Do you encounter much flickering on the DVX when finishing to DVD? Thanks, Rick

(Thank you all...) The low budget feature I will be working on involves a really (supposedly fast car). It will be filmed in DV, most likely the DVX. I don't have the option of over or under cranking with this camera to create a smooth slow or fast motion, so what are other ways to simulate speed? I mostly will be using perception to show speed to keep things safe (fake speedometer, camera angles, etc.) . I don't forsee any real driving passed 85 mph, but the speeds in question are between 110-185 miles per hour. So I was curious if anyone else have dealt with this same issue or have any ideas. Also, the end result of this movie is DVD, so would 30p be the best bet for this best picture? I guess to at least have slow motion, I could shoot the possible slow motion shots in 60i and slow it down in post , would it mix nicely with the 30p? Thank you in advance for your time and insight, :D Rick

Your link didn't work, not for me anyway. Rick

Thanks for the interesting replies. :D

Thank you for your informative reply. That's what I wondered, I'm going to conduct tests soon, but just in what I've learned and people's feedback, I believe I'm better off using wide/long lenses which you can change during the movie as opposed to the anamorphic adapter that you have to stick with through the whole movie and deal with lighting and focusing issues. All the best, Rick

I understand the anamorphic adapter makes a non-native 16/9 camera into the real deal. But besides being 1.78 now, does the picture look any better? It's not like film where it has the capacity to absorb the wide angle picture being sent to it, it's a chip, so can it really absorb the extra detail so when it's played back, it actually is noticably different? Better? Thanks, Rick

Hi Phil, I'm wedded to the movie, not the idea of making a pre-trailer. I would rather get out of that if I can. As far as the trailer, sometimes things sound good in my mind so that's why I started this thread, to see if it really is a viable move. So now I have alot more options, this thread has been indispensable. Thanks, Rick

Ah Mr. Mullen, that's a good point. Just for the record, I am not against digital. In certain respects, I like it and feel it has definite practical use. I'm more after creating a mood which I feel digital can't do (not for what I'm trying to do anyway). It's almost like you're watching Jerry Seinfeld or the late news and you see a commercial for a movie that's coming out that you would like to see (shot with film). Even if it's the first time you've even heard about it, it creates a mood. And visually, it stands out so much from the usual stuff on tv. So I would like this trailer. Also, a trailer for investors is different than those you see before your main feature. They want to know the beginning, middle and ending. The purposes of the trailer is as follows: 1. To generate funding from investors, along with the script, storyboarding, locations already scouted, etc. 2. To give an idea of how the movie will look and style of shooting. 3. To show them I can do it (more of a director's hat here). 4. To stand out from the rest. I'm sure producers see everything under the sun. You really have to have something different. 5. The movie will be filmed in AZ and the scenery will be incredible. HD may not do it justice. It doesn't have the color latitude. But I am open, if the trailer is not an effective idea, I'll scrap it. If it is not cost effective with film and it is with HD, then I'll do it in HD. If I have to shoot the whole movie digitally, I'll do it. I realized the main thing is shooting the movie, getting your stuff out there. Maybe on the second movie it won't be such a battle. And I certainly don't want to waste time. Thanks for your posts, :D Rick

------------------------------------------------------------------------ But just so you know I haven't lost total grips on reality, if I have to shoot the movie on HD, I'll be thankful for it and do my best with it. Rick

hmmm....yes. Being able to keep their attention for a short. That sounds like it's hot off the press. Thanks for your enthusiasm. I really, really, really want to film with film, so much so that it hurts. I was just watching Star Wars I and Star Wars II and really comparing the two, and I really don't want video, or a soap opera look which is what Star Wars II looks like. I've written alot of screenplays already, never sold any, almost sold one to Artisan before they were bought out (or whatever happened to them). The contracts were going back and forth, I was real excited, then BAM, they were bought out. Bottom fell through, but I recovered though. But this screenplay I have now blows all the others away ten times over. I've been waiting for the right movie to direct as that is what I wanted to move into. I finally found it. I even thought of filming it with 16mm or super 16mm and doing alot of the dialogue in ADR. Whatever it takes. And worst case scenerio, for whatever reason, if I can't transfer to 35mm ($$$) or can't distribution, then I know it will look awesome on DVD. Thanks Jag, All the best, Rick

Thanks Oliver S. After thinking about it, yeah, 16mm is starting to look really good since it just will be viewed on DVD. It being far less in cost is very attractive as well. And true, they will be looking at your talent. I love this forum. Rick

Great input Matt Frank & Phil Rhodes!!! Thanks!!!!! :D