movies

Could it get made today?

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psycho-house
“Another “boy and his mother” story? Pass.”

Originally, this post was going to be about the multiple changing of protagonists in PSYCHO (which is another great potential future topic), but the more I read about the film and thought about the impact it’s had since being released way back in 1960, it triggered a totally different train of thought.

Every once in a while, when a classic film is brought up in some context or another, the phrase “That could never get made today” will get thrown in. After the recent death of Gene Wilder, his talent was lauded via the mention of several of his most well-known roles. Willy Wonka. The Waco Kid. Victor Frankenstein (“That’s Fronken-steen.”). His performances were vital parts of each film, which no doubt contributed to making them “classics”.

But, as always, it starts with the script. (Incidentally, I don’t think Wilder gets enough credit for co-writing YOUNG FRANKENSTEIN.)

Examining the stories being told, each one has something truly unique about it, and then some. The writer (and subsequently the filmmaker) wasn’t afraid to take a chance and try something completely new and different. Sadly, the studios today aren’t as open to it. Better to play it safe then take too big a chance, which is why we’re seeing so many remakes and re-imaginings. Of course, that doesn’t always work out either (e.g. 2015’s PAN, the recent BEN-HUR remake).

While there are always original and innovative scripts floating around, it’s a lot of time, effort and money to make a film. The only recent original film I can think of is SWISS ARMY MAN, which I admit I haven’t seen yet.

Who hasn’t read a “truly original” script or about one getting a lot of attention, but a lot of the time the writer will go on to work on other projects while the script that started the whole thing gathers dust?

The best exception to this that I know of is Travis Beacham’s spec A KILLING ON CARNIVAL ROW, which drew a lot of heat when it sold in 2005, then continued to garner praise while it languished in development for years before ultimately becoming an upcoming series on Amazon – at last check, anyway.

Budgets are getting higher, and the gap continues to grow between microbudget features and mega-budget tentpoles. It’s getting harder for original material to get noticed, let alone something that screams out “NEW!” It also doesn’t help that the chances decrease if the script isn’t based on pre-existing material. This could be why today you’re more likely to see an original film that’s a low-budget independent, probably written by the filmmaker themselves.

Before that, your best bet of seeing something groundbreaking would have been at the hands of established filmmakers, only because they had that kind of leverage (and the budget) to get their projects made. An unknown writer doesn’t have that kind of luxury. All we can hope for is to connect with somebody who likes the script (and our writing) so much that they’re actually excited to help us take things beyond the “Sure, I’ll read it” stage.

That’s our objective as writers: to write something that’s not only compelling and involving, but so eye-openingly original that the reader is compelled to the point that they need to see this as a movie. Doable, but definitely not easy.

Homework time! Part one – find a script you really consider a game-changer for the same genre as yours and give it a read. Can you identify what made it so unique? What really stands out for you? Plot? Story? Characters? A little of everything? Another option is if that script has been produced, then watch the film and follow along with the script. Are they the same? Totally different? Do you think the changes add or take away from the script?

Part two – without blatantly copying the style of that script, work on applying a similar originality to yours. Did reading that script inspire ways for you to make yours really stand out?

Don’t be afraid to take chances. Strive to offer up something we’ve never seen before. The results might surprise you, too.

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Big net still at the ready

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net
It’s all in the wrist

The current work slate involves a few story ideas, a fair mix of new and old, and all of them appeal to me as far as being “I’d want to see this” and “that sounds like fun” types of material.

As they should.

But it’s easy to forget that while you may be crazy about your story and totally get it, others might need a little more convincing.

It’s one thing to have a built-in audience already clamoring for your material, but what about trying to appeal to everybody else?

That can be a little tricky, but it’s not totally impossible.

This line of thinking reminded me of a post I wrote a little over two years ago, and I believe it’s still relevant.

Enjoy.

“As you work your way through the various stages of assembling your story, how much do you take the audience’s needs and wants into account?

You’re obviously writing something you would want to see, but do you ever consider the viewing tastes of someone who’s not like you whatsoever?

While I may write high-concept tales of adventure that would definitely appeal to 12-year-old me, it’s also my objective to try to craft those stories in such a way so they could entertain anybody of any age.

(Strong examples of this kind of storytelling? Most of the Pixar catalog.)

Here are just a few things to take into consideration:

-Are you treating the reader/audience the way they should be treated? Which means with intelligence. I’ve always hated when a story feels dumbed down, and suspect most other moviegoers do as well.

-That being said, is your story simple enough to the point that anybody could understand what’s going on, or at least have a general understanding of it?

-Regardless of what genre your story falls into, how much are you taking advantage of the elements of that genre? Since you’re most likely already a fan and probably have a good idea of what’s expected, this is your golden opportunity to show the rest of us what’s so appealing about it. Play on those strengths.

-With modern audiences more knowledgeable and movie-savvy than most writers realize, it’s more important than ever to come up with material that’s really new and original. What is it about your story that really sets it apart? What can you offer that we haven’t seen before?

As we start with an idea, develop it into a story that will eventually end up as a script, a lot of us daydream about the resulting movie, and how totally awesome it would be for it to be a big hit.

We can just picture the tremendous box office, rave reviews, non-stop awards, a king’s ransom of a paycheck, being begged to pick from a smorgasbord of new projects, all stemming from this story we cranked out with our own little hands, now practically guaranteed a place in the pantheon of pop culture.

“Everybody’s going to love it!” you imagine.

The reality is – they’re not, and a lot of that stuff won’t happen. But don’t let that stop you from trying.

The best we can do is write a solid, entertaining story populated with interesting characters who find themselves in unique situations, and hope people like it.”

Q & A with Babz Bitela

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Babz Bitela

Barbara “Babz” Bitela is a literary manager operating out of northern California, a “hired gun” editor for fiction writers, and hosts the Babzbuzz internet radio show “because folks were nice to me and helped me, so I’m trying to pay it forward, and believe me, I’m keeping it real.”

“We want voice on the page. We KNOW it when we ‘hear’ it.”

Her book Story of a Rock Singer is currently being adapted as a Broadway musical.

What’s the last thing you watched/read that you thought was incredibly well-written?

Justified and Bates Motel are my top two. Joss Whedon is by far one of my favorite writers. Buffy the TV series –  WOW!  You can youtube his interviews: it’s like an AA degree in writing and it’s free to anyone.

How’d you get your start doing representation?

I pitched a semi-retired agent named Ed Silver on a book I wrote. He was Lee Marvin’s manager and finance guy, also for James Coburn and many others. The guy’s ‘seen’ stuff, man – Hitchcock napping, for one. He loved my style and offered me a gig to take over and he’d mentor. We clicked big time. He’s Jewish, I’m Italian. As Sebastian Maniscalco says, “Same corporation, different division.” That’s us.

Is recognizing good writing something you believe can be taught or learned?

You for sure can learn it IF you want to. Here’s why – bad writing obviously sucks. It just does. How do you know that? By reading GREAT (not just good) scripts. I read so much so often I can now tell what’s going to go and what MAY go but here’s the rub: in the absence of money behind it, it may not matter. And I may love it and another may say “meh”. So pov does matter.  So you can learn and pitch but Lady Luck is no lady: she’s a tramp in cheap shoes and she’s fickle. We press on because we believe in the story/writer we hawk. If it goes, it goes, if it doesn’t, well, I’ve had the benefit of “seeing” incredible “movies” and the only down side is, so few others will see that. THE WRITER however, benefits. Why? Job well done. And if you don’t write for the JOY of the craft, there’s no point. Write for the sale? That’s an industry sucker punch. I’ve learned to find great scripts and I’ve learned it can be like screaming in space once you do.

What are the components of a good script?

VOICE, RISING ACTION and TWISTS.  What is voice: it’s a lot like porn – I know it when I see it but it’s hard to describe. Think of it this way: you open a novel, settle in and by page two you’re thinking “Ugh, this just sucks”, but you press on and by page ten you know it’s not the book for you so you donate it to Goodwill. It’s the same with a script. I once read a tv pilot by my client that I couldn’t read it fast enough. Why? I WAS DYING TO SEE WHERE IT WOULD LEAD. The action and characters were alive on the page. That is what makes a good script: I call it NARRATIVE TUG.

What are some of the most common mistakes you see?

Where to start? Typos, for sure. It’s a speed bump.

Wrylies. Just don’t. UGH! Makes me crazy. There’s only one time I’ve seen it used where it worked. ONCE. And that writer is a five-figure-income writer.

Novels posing as scripts. The writer MUST understand the economy of words and do VISUAL storytelling. Telling a story with pictures is a movie. Telling a story with talking is a soap opera.

Avoid using “ing” words – slows narrative, slows the readers eyes.

Avoid “very”. Just find what IT IS. Don’t say “very smart”, say “bright”  – just pick! Not kidding. You’ll thank me. Rodale’s The Synonym Finder is invaluable for writers.

And never fall in love with your stuff. It’s gonna get cut.

What story tropes are you tired of seeing?

Well, many work. Some don’t. My favorite recently was probably in draft form: “Fire all phasers!” But instead he said “Fire everything!” Love it!

But I say write bad and cliché in the draft, leave it there, then go back and rewrite it.

Lots of folks say “Not my first rodeo.” I say “Not my first rocket launch.” Anything to WAKE UP the reader.

What are the three most important rules every writer should know?

I’ve got more than three.

-Don’t enter a script contest pitching a word doc.

-Don’t send a script unless invited.

-Don’t ask me what I think if you don’t want to know.

-Don’t go past 120 pages. I mean it. Try to stay around 100 if you can.

More rules? I think it’s just wise to do 12pt Courier font as it’s tradition. The Coen Brothers don’t use Courier. But they’re already famous, so when you’re famous do what you want. In the meantime, stick to tradition.

What do you look for when it comes to potential clients, both personally and professionally?

No dope. No booze. No drama.

Feet on the ground, and committed to spending tons of time doing what you love, regardless of the outcome.

My clients pitch themselves. They must. If that’s not for you, then I’m not the agent for you, and also, you’re in the wrong business.

Yes, the agent makes inroads, but you must pitch you and build relationships. When you do; AVOID using “I” and ask the person “What do you do, and how do you do it?” Ask about them. We’re people FIRST. That’s why I do Babzbuzz. People like me. They helped me. So I take what they tell me and mush it up with what I’ve learned, and talk about it on my show to try to help.

I’m a small company: I’m WGA.

Meh. Folks hang up on me all the time.

Why?

“Babz, love the script! Who’s funding?”

Crickets.

“Babz, baby. Call us back when you have the dough and I’ll show my client. He may want to star in it.”

EEEK!

What happened to love of story?

Hell, that left the building and moved to an island the actor/director owns. He’s got to feed his family too, ya know. So bring the bricks.

EEEK!

Lightning can and does strike. That’s what I do. I’m really a stormchaser who looks for folks with money who want to buy.

Readers of this blog are more than familiar with my love and appreciation of pie. What’s your favorite kind?

Oh man, you had me at the fridge door. Dutch apple. Key lime. Rhubarb when you can find it. And pretty much any clever use of chocolate.

Leaving an indelible impression

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footprint
Not expecting it to last millions of years, but wouldn’t complain about it either

As an avid fan of summer movies, this year has been one big disappointment after another. Granted, I haven’t seen a few of the latest releases yet (STAR TREK BEYOND, SUICIDE SQUAD), but barely remember anything since CAPTAIN AMERICA: CIVIL WAR, and that came out in early May.

Remember all the hoopla preceding the GHOSTBUSTERS reboot? Kind of died off quickly, didn’t it? We saw it opening weekend, mostly because V wanted to, and it was…okay. I don’t attribute it’s lack of success to angry fans of the original, but because it just wasn’t that great a movie.

Was anything from this summer truly memorable? So far, not really (although I’m still holding out hope for the exquisite-looking KUBO AND THE TWO STRINGS).

It honestly seemed like everything simply wasn’t up to standard. Despite what the various marketing assaults might indicate, the end products felt too slapdash and that too many projects were focused on being ready for the release date rather than making sure the script was rock-solid.

Based on this and almost-daily reports of forthcoming reboots, remakes, and overall more of the same-ness, breaking in as a writer of original material suddenly seems significantly harder. Not only does your script have to really wow ’em, but it better pack a significant wallop on several levels.

A great, new story with phenomenal characters, all told in the most captivating way possible. Simple, no? I realize that a lot of films start with great scripts, but the process that leads up to the film being unleashed on the public can drastically affect it – too many times not for the better.

I’ve always seen my objective as to not only tell you a story that hasn’t been told before (or at least tell an old one in a totally new way), but to tell it in the most entertaining way possible. I want you to not be able to get those images out of your head (in a good way, as opposed to a dear-God-please-make-the-nightmares-stop kind of way).

I’ll be the first to admit that I’d love for one of my scripts to be one of the surprise hits of a summer season, but if recent releases are typical of what kind of material I’m up against, my work is more than cut out for me, if not potentially impossible.

It wouldn’t surprise me if somewhere down the line, my script got turned down because it was deemed “too original”.

A scary, sobering, and all-too-possible thought.

 

An education most painful

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scared
Please don’t make me watch that again!

Once again, your stalwart author makes the necessary sacrifices so you don’t have to.

This time around, I had the misfortune of watching an extremely bad large-budget movie from the semi-recent past. It was painfully obvious that a larger percentage of the budget should have been diverted to hiring quality writers, rather than on everything else. A pipe dream, I know.

But trust me. It was bad.

What made it so bad, you may ask?

Oh, where to begin.

My biggest problem was that too much of the story felt glossed over, with vital elements explained in a very lazy and haphazard way, if they were even explained at all. It felt like they were trying to force events to match how they wanted the story to play out, rather than deftly setting things up.

Reasons why something would happen, or were supposed to have happened, seemed to have simply been thrown against the wall, and whatever stuck, that’s what they went with. Did it matter if it fit within the context of the story?

Nosireebob.

Once again, there were too many questions raised that were never sufficiently answered. When this happens, it simply takes away from the movie-watching experience. The only reason I knew the film had to have been around the midpoint area was because of its running time, and NOT because of what had transpired over the course of the story.

I could say I had a vague inkling of what was supposedly going on, but was just never sure, since the story was being told in a very sloppy and unorganized way. It irked me to no end to be see such terrible writing so prominently displayed. And apparently I wasn’t alone in my opinions. The film was a major flop at the box office.

So what silver linings can we extract from this pitch-black cumulonimbus that stole away just under two hours of my life?

-Write a story that’s easy to understand. Keep it simple. This doesn’t mean dumb it down. Keep us informed, unless withholding that information is absolutely necessary.

-Let the story play out organically. Don’t try to force it because that’s what you want to happen. It’s easy to tell when that happens, and it ain’t pretty. If you didn’t put in the effort to figure it out, why should we?

-Have things happen for a reason. “Because it looks cool” is not one of them. Would it drastically change things if it didn’t?

-Set up, pay off. If something happens, we want to see what happens as a result. Don’t leave us hanging. And counter to that, don’t suddenly spring something on us out of thin air. It reeks of desperation. Audiences don’t like that, either.

One of the things I always strive for in my scripts, be they big or small budget, is to respect the intelligence of the intended audience. That is one lesson I believe the writers of this abomination should have kept in mind.