Q & A with Jeff Buitenveld of ScriptArsenal

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Jeff Buitenveld of ScriptArsenal is an independent producer and former development executive with over 15 years of experience on some of Hollywood’s biggest films. He is currently a producer on the upcoming thriller The Kimberlite Process. After graduating with an MFA from UCLA’s Producers Program, Jeff worked in various capacities on numerous productions for Tom Cruise and Paula Wagner including The Last Samurai, Mission Impossible 3, Jack Reacher, Valkyrie, Lions for Lambs starring Robert Redford and Meryl Streep, Ask the Dust starring Colin Farrell and Salma Hayek, Death Race starring Jason Statham, The Eye starring Jessica Alba, Suspect Zero starring Aaron Eckhart and Ben Kingsley and many more.

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

Spider-Man: Into the Spider-Verse was a blast. HBO’s Barry is a funny and oddly haunting series. I recently re-watched/re-read Hell or High Water, which is a deceptively simple, sad, and suspenseful story with rich, complicated characters. Netflix’s The Haunting of Hill House delivered the goods on scares and family dysfunction for me. Issa Rae (“Insecure,”) Jill Soloway (“Transparent,”) Amy Sherman-Palladino (“The Marvelous Mrs. Maisel,”) and Andrea Savage (“I’m Sorry,”) all have unique, exciting, and powerful voices.

How’d you get your start in the industry?

I didn’t know anyone in LA when I first moved here but developed a sci-fi project that was quickly optioned by an Academy Award-winning producer (and never made). During that time, I was also accepted into UCLA’s Producers Program where I took Meg Le Fauve’s (“Inside Out” “Captain Marvel”) Development class, which was instrumental to my growth and understanding of cinematic storytelling and how to work effectively with screenwriters. I started cold-calling various companies for internships and was lucky enough to land positions at both Artisan Entertainment and Mike Medavoy’s Phoenix Pictures. Back then, Artisan had a deal with Marvel and I was immediately thrown into pitch meetings with various notable writers/directors on properties like Thor, Hulk, The Punisher, Black Widow, and Iron Fist, etc. I was also taking pitches at Phoenix – it was an incredible learning experience. I eventually became an assistant briefly to a Hong Kong action director and then used those experiences to land a job with Tom Cruise and Paula Wagner once I graduated from UCLA.

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

Though having an eye for quality material can be a natural instinct, it needs to be honed. I ultimately feel that recognizing good writing can be learned and taught.

What do you consider the components of a good script?

Generally speaking, a good script maintains a captivating concept, and a flawed but likeable hero with a concrete objective attached to grave stakes (whether intimate or epic). The hero’s emotional flaw is often rectified as a result of him/her achieving their practical goal (he/she should also be active, resourceful, and exhibit a range of change). It’s helpful if the hero’s goal is time-sensitive and somehow socially relevant. Lastly, if the script is a feature, it should adhere to a three-act structure.

What are some of the most common screenwriting mistakes you see?

Too much description, on-the-nose dialogue, flimsy structure, and the lack of a flawed hero with a concrete objective, attached to grave stakes.

What story tropes are you just tired of seeing?

I’m not at all opposed to writers using things like “one last job,” “a reluctant hero who can save the world,” “a family in peril,” or “a fish out of water,” etc. The familiar can be very accessible and., if used effectively, can lure a reader into the story. The trick, however, is to infuse that story with other unique and complex qualities so that it unfolds in fresh and unexpected ways. What can make your story different or set it apart? I always urge writers to challenge the reader’s expectations or preconceived notions as to what type of story they’re entering!

What are some key rules/guidelines every writer should know?

-Use Final Draft.

-Study the most notable screenwriting books and authors.

-Read every script you can get your hands on whether good, bad, or mediocre.

-Have conviction but be open to ideas – ultimately this is a collaborative industry.

-Don’t be afraid of genre and don’t be afraid to push the boundaries on the tenets of said genre (but know what those tenets are).

-Actively seek feedback and don’t be precious.

-Strive to be both clear and complex in your writing and understand the difference between the two.

-Don’t be a hater – watch all kinds of movies and TV shows, and be mindful of those that are both commercially and critically successful as well as those that aren’t.

-Read the trades to better understand the marketplace.

-Don’t chase trends – write from the heart.

Have you ever read a spec script that was an absolute, without-a-doubt “recommend”? If so, what were the reasons why?

“Recommends” are a rare breed. Those that do qualify show a master of the craft, are usually somewhat familiar but also somehow unique, tend to maintain complex characters, rich themes, and have an easily identifiable position in the marketplace (you can visualize the poster, trailer, audience, etc.) That being said, most of the scripts I’ve read, even from the most notable A-list writers in the industry, still needed some further development.

How do you feel about screenwriting contests? Worth it or not?

I think it can be incredibly important and worthwhile, particularly for young writers, to enter screenwriting contests. However, I would also encourage writers to do some homework on which ones are notable and relevant so as to not waste too much money and time.

How can people find out more about you and the services you provide?

Go to www.scriptarsenal.com and follow us on FaceBook and Twitter to get updates on upcoming sales and weekly helpful screenwriting tips.

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

Given my mid-section I generally try to stay away from sweets, but a few years ago, I had some homemade pecan pie (numerous pieces actually) for Thanksgiving and it was an absolutely transformative experience…a chemical portal to another dimension that somehow transcended the time-space continuum…okay, maybe I’m being a bit dramatic but damn, it was good!

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Q & A with Peter Russell

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Peter Russell is a screenwriter who sold two television pilots in 2018 – a crime procedural and a biographical mini-series. He is also a long-time story doctor in Hollywood whose clients include Imagine, HBO, Participant, Viacom, CBS Television and many more. Peter is in demand for his legendary seminars and master classes on film and TV story. Peter’s charismatic speaking style won him UCLA Teacher of the Year in 2009.

Peter ghostwrites for both new and established film and television writers and producers. He has consulted on many TV shows, including GENIUS (National Geographic series 2017-present) MR. ROBOT (Emmy for Best New Television Drama 2015), Chronicles Of Narnia (Lion, Witch & Wardrobe), The Da Vinci Code (Imagine Films) and many others.

Peter privately collaborates with producers, writers, and actors on film and TV story from treatments to pilots and full story development. He teaches his own classes online at: http://peterrussellscriptdoctor.com/, and live at major universities, including UCLA.

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

SNOWFALL. Fantastic writing. The way both the showrunner and the staff-written eps broke the beats in every ep was insanely good. They used every trick in the book to surprise you. The beat almost NEVER went where you thought it was gonna go. Surprises, reversals, ticking clocks, raising stakes – I admire the craftsmanship of that TV writing wonderfully. SNEAKY PETE – the storylines – my god, the storylines! Sometimes 12 in a single episode! And they were wonderful. THE DEUCE – again, with the beats and the storylines! Such amazing juggling. My hats off to them. My tv eps have five storylines max, and even then it’s hard to get those to mesh.

Also just saw McQueen’s WIDOWS. Mystery thrillers are so hard to do. He probably wanted to take a swing at a commercial story. He really hit a home run. It’s such a relief, in a way, to watch a movie these days when you work in TV. The form feels so much simpler. It’s not any easier, but it is simpler. I adore McQueen. If you want to see how I talk about to do what they do, go to my newest TV lecture on creating a great story beat: https://peterrussellscriptdoctor.com/course/creating-the-great-tv-beats/

How’d you get your start in the industry?

Script reading. I read scripts for CBS and then for companies like Imagine. I learned so much from Brian Grazer and Ron Howard. I read scripts for seven years – waaaay too long for anybody in their right mind – it’s suppose to be a year and then you become a supersuccessful industry DYNAMO! LOL. I loooved it, though – I learned so, so much about story, sooo much about every genre. Brian and Ron taught me that a zeal and excitement for the WORLD you wanted to write about was everything.

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

You can definitely learn how to recognize good writing for sure – just read tons and tons of great scripts. Watch any great story and read along with the script. You can learn it; it just takes a while. Learning how to write? That’s a LOT harder than learning how to recognize great story. It takes a shit-ton more time to do that. I only feel like I’ve done that in the last few years, since I started selling my own stuff. But it took for-fucking-ever! LOL. That’s what you gotta know. And I’m no smarter than anybody – here’s a tip – just watch the movie or tv show 50 times! I’m not kidding. Watch the same show fifty times! You’ll see EVERY device behind the curtain. Don’t take my class, don’t listen to me, never buy a thing from me – just WATCH ONE TV SHOW or one movie FIFTY TIMES.

What do you consider the components of a good script?

Scripts are the most amazingly complex devices on the planet — far more so than an algorithm. It’s a bit like asking me to explain differential equations in a sentence. Okay, I’ll try. In a movie, a hero is a wounded person given a chance to heal (or bleed out.) In TV, it’s a wounded hero with a fascinating objective and fascinating obstacles in his way. You want more? Right here: peterrussellscriptdoctor.com. Okay, I lied. I DO want you to look at my stuff.

What are some of the most common screenwriting mistakes you see?

Characters who don’t have great core wounds. A great core wound (whether in film or TV) is the basis for 90 percent of how good a story is, especially in the first act. Bleed him (or her, or it). BLEED THEM! Show their pain! Instantly!

What story tropes are you just tired of seeing?

I can’t watch 90 percent of network television, simply because the grooves of most of the genres are worn out for me. I loathe seeing hero-worshipping stories about superhero cops and superhero lawyers and superhero doctors – all the old, straight from radio shows (Blue Bloods, CSI, stuff like that.)

None of those professions are worthy of such praise – in fact those professions contain a higher than average proportion of assholes – probably far higher than most professions, and it makes me gag to see the hagiography. But audiences looove to see the make-believe that these people are gods on earth. It depresses the hell out of me.

I realize network TV is a factory and I honor how hard these folks work and the high level of professional product they turn out on an incredibly tight schedule – but that doesn’t mean the product interests me at all. The TALENT involved – both in front of and behind the camera – is insanely great! The level of competence and extraordinary grace under pressure is heroic. Everybody who works in TV has to have extraordinary abilities, or they don’t get on staff. I mean that. The writers I know personally who work in TV – both in writer’s rooms and out – my god, they are sooo talented! It’s just that I find the product godawful. Dick Wolf is a genius, but his product makes me despair.

I do think dark heroes are popular because most people have realized the world is a lot more like a Russian novel than a comic book. Speaking of which, fantasy superheroes, played straight, especially in the DC story world (which suffers from execs who don’t know what they’re doing), are also monumentally boring to me now. Twist the genre – DEADPOOL is genius, THOR: RAGNAROK, too, and the first GUARDIANS OF THE GALAXY – they are FUNNY. My god, that’s the greatest thing on earth to be.

What are some important rules every writer should know?

-Know your craft.

-Know you’ll never really know your craft and that you’ll write a lot of crap. Write anyway.

-Know that you’ve picked a profession that requires either – a) genius-level talent, or b) an enormous work ethic and persistence far beyond what you’ve imagined and that will take you far longer than you believed possible.

-None of these rules apply to a true genius. They can do anything.

-If you have neither genius nor an enormous work ethic, you will absolutely fail. Writing in Hollywood is a job for people who are as smart, or smarter, than nuclear physicists or mathematicians. It’s far harder than, say, brain surgery. I’ve never met smarter, or more mercilessly competitive people, than people in Hollywood. By the way, most of them are also massively unhealthy. This isn’t a business for well-balanced people, in the main.

-The best way forward is to LEARN how to write.

Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, what were the reasons why?

In my entire scriptreading life, the number of scripts I have fully recommended is a grand total of two. That’s not unusual, by the way. 95 percent of scripts you read are not good (and this is from the very best screenwriters in the biz). But the big secret is – you don’t have to be very good. You just have to be better than most people.

How do you feel about screenwriting contests? Worth it or not?

If they motivate you to write, great. Most screenwriting contests are run by mercenary assholes who are making their money by taking your contest fees. There are a couple of big ‘screenwriting’ websites who do nothing but that – they’ve turned it into a marketing algorithm. That’s okay – if they honor their pact with you and legitimately judge your work and then publicize it if you win or place. Some do, some don’t. Most just want your money. Not saying that’s dishonorable. But it’s true and they’re very, very smart in how they market.

How can people can get in touch with you to find out more about the services you provide?

Just e-mail me at: russell310@mac.com, or go to peterrussellscriptdoctor.com. Mention  this interview, and I’ll give you a ten percent discount.

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

There is nothing better than true key lime pie. Not the type that is mostly white froth. The kind with a dense, green, wonderful pie stuffing, and under that – a buttery, flaky, heart attack-inducing crust.

key lime pie