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Any SCREENWRITERS out there?

There be WRITERS here…

And judging by a bunch of the posted MW annual submissions that I’ve read, some pretty good ones too.

I’m curious if anybody out there dabbles in the SCREENPLAY form, as it’s not terribly unlike writing for comics.

If so…

What are you working on?

Got HOLLYWOOD in your sights?

Successes? Ever SELL or come close to selling anything?

What have you done with the finished works, if any? (Contests, queries, hosting sites, etc…)

Have you tried making a FILM yourself?

Got a cool LOGLINE to share or workshop?

Or do you just wanna talk about good screenplays you’ve read? (Didn’t see the movie, but I just read the script for EX MACHINA and it made me want to quit writing forever it was so good.)

All screenwriting/hollywood talk welcome!

I did a tiny bit of script doctoring in the distant past, which I do not consider screenwriting at all. That’s just bandages.

And I was born in Hollywood - quite literally. It was not as near show-biz as imagined.

Stories are easy. Scripts are hard!

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Never tried it, but I’d like to give it a go at some point.
I reckon I could crack out a decent script. :stuck_out_tongue_winking_eye:

Agreed. They are hard, but I kinda fell for them after spinning my wheels with prose.

What kind of doctoring work? Punching up dialogue or story?

I’ve script doctored for friends who’ve had the material produced. Haven’t done it for years though. Much more interested in standard fiction/short story writing.

Had one pitch that got some attention, but no takers.

SIDEWINDER

Nate Mada, an IT professional in Brooklyn, comes home from yet another online dating bust to discover police in his apartment. They are as surprised to see him as he is to see them. Turns out, they found his corpse shot dead in a fleabag hotel in the Bronx the night before. When Nate is taken to see the body, it looks like him, but there are significant differences. First, Nate is overweight, but the dead man is as emaciated as a heroin addict. Also, he’s covered with strange tattoos that depict nearly indecipherable and advance physics equations. They identified the body from his fingerprints, and this is the biggest mystery. Even if the dead man were a long lost identical twin, he wouldn’t share Nate’s fingerprints. Besides, Nate only had one brother, Galen, who was two years his elder, but he died when he tried to rob a pawn shop back when Nate was just a teenager.

Intrigued and disturbed, Nate goes to the hotel room where the body was discovered. There, he’s abducted by a group of men in masks. He’s knocked out and wakes up in a Manhattan penthouse where one of the men takes off his mask. This is Galen, but older, as if he never died in the botched hold-up twenty years before.

Galen tells Nate that he’s not really his brother, but he is the brother of the man who was murdered. Galen and the dead Nate are “sidewinders” They are essentially smugglers who take valuable commodities from one reality and sell it in another.

“Ever wonder what happens to stolen art that never reappears or how all of a sudden a Picasso or Rembrandt shows up no one knew about? Or when a whole box of unreleased studio sessions is found in a warehouse after some famous old rock star dies? We make those transactions possible and it makes us rich wherever we go.”

Nate thinks this sounds like a confidence scam of some kind. Galen tells him he didn’t expect him to believe him right away, so he asks him to just look out the window. Outside, Nate seed the twin towers of the World Trade Center still standing unharmed. In this reality, 9/11 never happened.

Now convinced, Nate wants to know what his alternate brother wants.

“I want to find your killer.”

Galen needs Nate to pretend to be his real brother so he can find out who killed him and why. To do this, they need to change Nate to look like his alternate and operate like a Sidewinder. In return, they’ll send him back to his world with millions in a Swiss Account.

Of course, the truth turns out to be a lot darker and more complicated when Nate finds out about the “If’s” and the “Regrets Business” his brother really runs.

That’s the basic set up though. Unfortunately it’s dark “Ex Machina” tone doesn’t mesh with the “Matrix” size budget it needs, so I’m working it toward a novel than a screenplay.

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You should!

Flexes a different set of muscles, I think.

And reinforces word economy which is great for comics too.

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dude. you got me and a large popcorn.

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I’ve a few screenplays for British TV knocking about, a hospital drama and a crime drama, but I’m not really in the place to pitch them right now. Same goes with my film scripts, I don’t really have enough clout or contacts in that area at the moment.

I was hoping at some point to make a low key, cheap short film with some local crew, lots of talent where I’m from coming off the back of Game Of Thrones but it’s very much a case of not having the time to put into that area right now and not wanting to do anything half arsed.

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After my initial foray into the comic book industry failed, I turned to film/video. I worked at it for a long time but nothing really came out of it. I spent the last 7 years in China and wrote a few China-centric screenplays that got a little interest over there. The main thing was that they led to me meeting a low-budget producer who paid me to write a screenplay based on his basic concept. So, I can at least say that I am a professional screenwriter since I was paid for my work. But that movie will probably never get made so it doesn’t really matter.

I do think that screenplays are fairly close to comic book scripts so it can help more than writing novels, for example. But that’s just my opinion.

And I stopped trying to do anything with film because it’s an industry so focused on appealing to the widest audience since it costs so much to make anything. That kills a lot of creativity and leads to stuff being made by committee and whatnot. This is why I’ve come back to trying to get stuff done via the comics industry. You can tell your story for a few thousands dollars, if you have to pay an artist. Of course, if you can do the art yourself, then it’s free. And you can tell whatever story you want.

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MY friend is a producer and he encouraged me to give screen writing a try. I have been trying to get a good story for him to read but i’m a nut, nothing is good enough right now. He asked me what my goals are, I said I would like to write a monthly comic book series. I got the impression he might think me nuts, I do not want to be a Hollywood anything. But I have found screen writing to be a bit fun.

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Not a bad position to be in if you ever do come through with that great screenplay. It’s nice to have a friend in the biz, let alone a friend willing to read your work.

I have a project called ‘Sidestep’ about interdimensional thieves who steal valuable things from one worl…

DAMN YOU HENNING!

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Here is a trailer to a feature length film I wrote and directed, Between the Devil and the Deep Blue Sea: https://www.youtube.com/watch?v=qZpXFXqDt5Q

Here is a trailer to another feature film I wrote and directed, The Victory Lounge: https://www.youtube.com/watch?v=9kpwVwi7GLo

The production value on each of them is on the low side. They were shot for under $20k each. They are both in Post-Production, and about to hit the cycle of festival rejections.

Here is a trailer to a film I directed, but did NOT write, The Jack of Spades: https://www.youtube.com/watch?v=EM4XHZoHp00

Not a great movie, but I did get to direct Jennifer Coolidge (Stifler’s Mom,) and a few other fun actors. Only movie of mine that I actually got distribution on. Hopefully that will change soon.

Another trailer for a film that I wrote, and partially directed, Bye Bye Betsy: https://www.youtube.com/watch?v=EYSaX9eOC-0

The producer pulled the plug on this one after a week of shooting. A shame, as it was one of the projects I was doing that I liked more.

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I spent a few years scripting for animation shorts as part of an independent studio out of college. It was totally by accident that I ended up doing so (basically I was the only one who’d sit in front of the computer long enough to type them up) There’s not a ton of it left on the web to see as the studio shut it’s doors a few years back and we all went on to other pursuits.

But there is at least one sample still online:
Grey Justice Puncher of Men Due to time constraints (48 hours of total production time) the three of us on the story team had about 4-5 hours total from nailing down a concept to final draft of the script. So it’s maybe not the most polished piece of writing I’ve been a part of. But it ended up being pretty fun in the end.

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They look great!

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Yes, I am thankful for him, he has helped me so much with my ideas great dude. I hope to give him something soon.

Whoa man, these are really cool! Keep swinging. Only a matter of time before you crack one.

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Thank you! Much appreciated!!

Thanks!! That’s the trick isn’t it? Maintaining the endurance and will to keep swinging.

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I’m working on a script for a movie right now. I’ve managed to write and direct a short, and have another one almost ready to shoot. They’re all in portuguese (I’m Brazilian). I’m writing some things in english (mostly comics), but still have a lot to learn. I’ve been working as an assistant director for the past 6 years, and only started writing for real on the past 2. I’m doing okay I guess, never had any sort of study or preparation for it (doing that now). Advice would be greatly appreciated.

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