Author: Maximum Z

Yay for me

Maximum Z Godzilla, Movie of the Moment, screenwriting, Thor, writing gigs

I finally heard back from the person needing help rewriting their script.  Yep.  I gots me a writin’ project.  Technically, a rewrite, but work’s work.

I’m still having trouble with the directive to fix what needs fixing in the wide margins and leaving the dialogue alone. I’m also to leave in certain descriptions so they serve as a reminder of what the scene is supposed to look like.

But you’re the director! Shouldn’t you already know that?  I try to keep the descriptions as condensed as possible.

Oh well. Nothing else to do but forge ahead.  Based on what I’ve read so far, I’m steeling myself against the strong possibility of working on a poorly-written script.  At least before I get my hands on it.

After I filled out my part of the agreement and sent it back, I realized this is the same person I dealt with last fall who was looking for someone to write a 120-page Bollywood script.  That crashed and burned for me before I even got started. Wonder if it eventually worked out?

-Didn’t realize it’s been a while since the last Movie of the Moment. Nothing so far – been too busy, but hopefully soon.

-V wants to see THOR, but it’s PG-13.  I have no problem taking her, but K says it may be rated that because some parts may be too intense, especially for V.  V says she wouldn’t be scared, but when somebody whimpers and buries her face against your chest during her very first glimpse of Godzilla popping his head over the Japanese countryside, it kind of makes you re-evaluate the situation.

I think I’d make a good hyphen

Maximum Z directing, screenwriting, writing gigs
The under-appreciated Preston Sturges

I heard back from the person looking for help with their script. They’ve made two shorts and now want to expand into something a bit longer.

They sent 6 pages for me to work on the wide margin material with the instruction to leave the dialogue alone.

Suffice to say, there was a lot I could take out with no impact whatsoever and the editor in me couldn’t help but work on some of the dialogue.

What was surprising was the large amount of Screenwriting 101 mistakes: Telling the reader how somebody feels. Capitalizing a character’s name almost every time they appear in a scene. Repetitive and on-the-nose dialogue.

I have no idea how much formal training this person has had, or even if they went to film school, but this is the second director I’ve dealt with who is woefully misinformed about how to write a script. Shouldn’t that be necessary anyway?

For example, there was way too much information in the set-up for each scene.  I don’t need to know in extensive detail how exquisitely beautiful this summer day in the countryside is. One sentence will suffice.

Years ago, I attended a few seminars by Richard Walter of UCLA’s Screenwriting Department.  Among his many gems of wisdom was “Write as if ink cost $1000 an ounce.”  Every writer should post that above their workspace and consult it daily.  The more white on the page, the better.

The more I look at scripts written by directors (and there are some good ones out there), I can’t help but wonder “Could I do that?” Granted, I don’t know the first thing about setting up a shot, or what the proper lighting should be in a particular setting, but sometimes when I’m watching a ‘major motion picture’ and I get bored with how the story’s developing, I start paying attention to what the camera’s doing. Did they film this scene from this angle, and then from a different one, and then put them together in editing?  How did they manage that shot?

Once I’m able to get things going with the writing, I wonder if anybody will ask “So would you want to eventually direct?” Right now, no.

But down the road? Maybe.

Does whatever a spider can

Maximum Z comic books, Kick-Ass, screenwriting, Spider-Man, Wondercon

I’m trying to figure out a couple of major story details on DREAMSHIP, so the rewrite is on hold.  No way this thing will be done for the Nicholl, which I’ve come to terms with.  But the way things are developing now, this is going to be all kinds of awesome.

So while the creative side of my brain works things out, the analytic side has also been busy.

Like writers are supposed to, I try to read as much as I can. Granted, most of my most recent stuff has been comics-related, partially due to going to WonderCon a few weeks ago.

Since money isn’t exactly free-flowing, I splurged and spent $20 for the hardcover edition of KICK-ASS. I saw the movie when it was in theatres, and enjoyed it. Not a lot, but just enough. I knew it wouldn’t be a huge hit. The target audience was too small, and comic nerds are notoriously picky.

But the book itself is great.  The story for the most part is the same, but a few of the subplots are completely different, which actually works in its favor.  For example, in the movie, Dave hooks up with the girl. Not here.  And most likely to placate Nicolas Cage, Big Daddy’s part in the movie is much bigger, which also works.

Basically, I have no problem reading the book again, but not much desire to see the movie again.

The first issue of the second miniseries, KICK-ASS: BALLS TO THE WALL, was available at WC, but I’m opting to wait until the whole thing’s collected in a book again.

I’m more a DC guy than Marvel, but a few years ago, I picked up the first two volumes of THE ESSENTIAL SPIDER-MAN, which are basically small phone book-sized tomes reprinting approximately 20-some issues of said title in black and white.  And this one company is always selling them for half price, which is usually about eight bucks a book, which is a bargain.

I’d seen reprints of the first issue, and introductions of some of the classic villains in reprints and on TV, but this was my first chance to really take a look at the original source material.  Only drawback – no color. But still…

Stan Lee and Steve Ditko caught lightning in a bottle.  Once you get past some of the corny dialogue, the stories overall are a thrill to read.  The first issues have a raw quality, both in terms of character and execution.  But everything slowly becomes more refined as the issues progress.  Especially the art, but more on that in a second.

Lee seems to live for hyperbole, but in a weird way it really fits here.  The combination of Peter’s everyday life and Spidey’s adventures mesh really well (but the Peter-lamenting-the-hard-life-of-being-a-superhero routine does get a little repetitive after a while.).  It would be great to know how much planning went into character development before the writing and art were combined.

I’d also add that Spidey’s rogues gallery is definitely one of the best, comparable only to Batman’s. The Green Goblin (always one my faves), Doctor Octopus, the Sandman, Kraven the Hunter. Each one original and unique.

I read somewhere that Steve Ditko said a hero’s costume should have some kind of true uniqueness so you can always recognize who it is, no matter how small a part of the costume you see.  Definitely holds true for Spidey.

I wouldn’t call it a problem, but Ditko’s art in those first issues is almost too hard to take.  It seems almost rough and unrefined, but gets better and more details as it goes along.  It’s a world of difference between those issues from the mid-sixties and the smooth lines of John Romita into the early seventies.

When I was in college, people would often ask why I read comics. My standard answer was pretty simple: it’s good storytelling.

Screenwriting is kind of similar. I’m creating a totally unique and original world, just in a different medium. And having a blast in the process.

We can rebuild him

Maximum Z Dreamship, Nicholl Fellowship, rewrite, screenwriting

Some good progress on the rewrite today. I’m getting closer to the page 45 twist, and may have also come up with a few ideas on how to fix a few glaring plot holes.  Always nice when that happens.

While I do the work, I usually have a piece of paper in case of sudden inspiration, the word document containing the current outline, and the original script open in a separate window.  All three slowly working together, hopefully to result in something good.

Looking over my previous draft, I can’t help but notice how slow parts of it are. Here’s hoping this rewrite will avoid that.  When other writers start a page one rewrite, how much do they refer back to the previous draft?  Do you start completely from scratch, or take what you have and see if a little tweaking would do the trick?  Just askin’.

-My Nicholl-deadline-reaching may yet again be in jeopardy, but not because of the rewrite.  I’m waiting to hear back about a project involving punching up somebody’s script, at least in terms of the action lines.  One of the instructions was basically “do NOT touch the dialogue”.  It’ll be interesting to see what the writer says regarding making changes (read: fixing), if necessary, to the story.

Don’t count me out just yet

Maximum Z Black List, Dreamship, screenwriting

Really nice progress on the DREAMSHIP rewrite today. While I like what I had to begin with, what I came up with today is quite an improvement.

I also realized I was taking my ScriptQuack notes too literally.  I don’t have to accept everything they suggest.  While some of their comments definitely have merit, it’s ultimately MY script, and I can pick and choose which of their suggestions to use.

If I can keep up this kind of pace between now and the end of the month, I may make that deadline after all.  I’m not saying it’s definitely doable, but the odds are slowly working their way back in my favor.

-The stats feature for WordPress tells me what categories are leading readers here.  Several of the more recent ones are connected with some of the Black List scripts I reviewed earlier this year.  This reminded me I have about another 12-15 to check out.

I’d forgotten what great reads they can be, but they’ll have to wait until after the rewrite.  Time for a nice cup of GET BACK TO YOUR SCRIPT.