Want to eventually become a writer/directory

JRy said:

I'm actually considering selling everything I own and making my move out to Hollywood.

Click to expand...

I'd say that's a good start. You should have no problem getting work as a programmer, which will keep food on the table while you try and build relationships and learn as much as you can about filmmaking.

JRy said:

if it means I have to start at rock bottom and work my way up, I'm more than willing to do it.

Click to expand...

That what it means. You will have to start at the rock bottom. Other
than legacy directors (Coppola, Casavetes, Kasdan) every director did.

I live all the way across the country from Hollywood -- I'm actually considering selling everything I own and making my move out to Hollywood.

Click to expand...

Not a bad idea. While "Hollywood" isn't the only place you can make movies,
it is where a lot of movies are being made. And where movies are being made,
connections can be made.

So, what is the right route? !

Click to expand...

There isn't one. Except the one that works, I guess.

Ask 20 established directors what route they took and you'll get 20 different
answers. And each one was the right one. But are any of them right for you?
I do know that the ONE thing that every director did is they directed movies.

You have zero directing experience. Time to change that. And you don't need
to move to Hollywood to get some experience. Have you considered making
some short films? How about finding some bands and doing a few music
videos? Those are pretty good for getting experience?

Start at the rock bottom and direct several short films. That's a pretty good route.

directorik said:

Ask 20 established directors what route they took and you'll get 20 different
answers. And each one was the right one. But are any of them right for you?
I do know that the ONE thing that every director did is they directed movies.

Click to expand...

That really makes more sense than anything else I've ever heard in my life. I really appreciate you saying that.

directorik said:

You have zero directing experience. Time to change that. And you don't need
to move to Hollywood to get some experience. Have you considered making
some short films? How about finding some bands and doing a few music
videos? Those are pretty good for getting experience?

Click to expand...

That's definitely an idea, I guess I've been stuck in the whole "it's not what you know -- it's who you know" mentality. I've been so consumed with figuring out how to get my connections established that I've overlooked the obvious.

I've thought about gathering funds and shooting a short from a section of one of my screenplays... Actually, maybe I should do that for a few of my screenplays -- of the 6 I still have, I've got really great feedback on the last 3 I've written.

I could make those short films, get a little directing experience and maybe start looking for an agent? It would at least be a place to start, and it wouldn't hurt to take a chance and of course; if things go well, I could always move to LA.

Doing music videos for bands is a great idea too, I read about how Michael Bay, Francis Lawrence, and Guy Ritchie all got their start in music videos. I already have an idea of a band I could work I with.

Thanks a lot, Rik! I think you gave me the push that I needed!

JRy said:

I guess I've been stuck in the whole "it's not what you know -- it's who you know" mentality.

Click to expand...

That certainly is true.. Especially in this industry, but unless you know what you're doing when those people you know help you get a gig, it well may be your ONLY gig.

Rik's right, there isn't a definitive right answer to this question... but, I'm prepared to put my two cents in, for what it's worth.

From my point of view the industry is just that, an industry. Like any industry its ability to make money is linked to the quality of its products... but unlike say a car company who can churn out the same model year after year, this industry has to design and build the whole thing from scratch with every single product. This is just a long way of saying... the film industry depends on finding talented people to exploit.

The real question you're asking is, how do they find those people?

I think the bottom line on this is both writers and directors get hired by producers... so in real terms your career goal is to find a producer who believes your script and your directing ability will earn him or her money.

The very real answer to being able to work as a writer/director in the industry is: prove to the industry you can make money and they will chase you all over town.

In your situation I'd be doing two things:

1) I'd be trying to build a career in the industry as a screenwriter by putting my best script onto the market via a good agent
2) I'd be getting a group of actor mates together, reading every book on film making I could find and knocking out some short films.

Basically, I'd use my writing ability to open the door and at the same time increase my production skill levels... so, when I actually found myself with a good relationship with a producer, because I've made her big bucks with my screenplay, I'd be able to say... "Well, I've got another two scripts... one I want to sell and one I want to direct. Here's my showreel."

There are a lot of good reasons for going down this route... one of which is you'll find out pretty quickly if your scripts are anywhere near industry standards.

My experience is that there are two major difficulties in getting the break you're looking for... the first is there are hundreds of thousands of wannabee writer/directors out there all trying to get themselves noticed and the industry protects itself from that onslaught pretty effectively. The second difficulty is the vast majority of the wannabees are completely deluded about their abilities.

The trick in getting there, in my opinion, is to make sure that you actually do have something to offer the industry. Don't just think your scripts are up to it... get to the point where you actually know.

Clive, you know what -- That makes a lot of sense. In fact, a whole lot of sense. I'm going to go that route. Thank you so, so much!

I need to look into getting an agent, that's going to take some time to find someone with credibility and good connections. There are some agents around here, but none of them have been apart of anything worth mentioning.

Is is possible/plausible for me to have an agent in LA while I live almost 3,000 miles away?

If you're planning to sell in LA, then your agent needs to be in LA. An out of town agent is going to absolutely no use to you. They may need you around to take meetings... but that is several steps down the line, first find out if your product is ready to pitch in the big league.

What you absolutely must avoid is any online agency... any agency that is advertising for scripts to read... any agency that asks for money at any stage of the process. Real agents already see more scripts than they can handle, don't advertise online and really don't need your $200.

If you're ever unsure about a potential agent the rule of thumb is this: if they rave about your script, but don't mention any specific details; if they offer a contract before a meeting; if they suggest a "professional" script reader should read your project to give everyone an objective view... then they are bogus.

If it isn't, then you can do the next stages of your development from anywhere... and it's easier to be an indie anywhere that isn't LA, for all kinds of reasons.

One thing to consider before you start chasing an agent is this... is your script ready?

It's a hard question to answer... but here's some questions you ought to be able to answer YES to, before you send a script out:

1) Have you reduced your concept to 40 words... and is the concept strong enough to sell the film on those 40 words alone?
2) Can you say absolutely what genre your script is?
3) Can your plot be laid out in ten pages... and can the basic elements of three act structure be identified in that plot?
4) Is your script laid out in current Hollywood standard formatting? (having typed it out in Final Draft is NOT enough)... so, for instance how would you use the script instruction INTERCUT:?
5) Does the script have a 2:1 action to dialogue ratio?

and finally... has anyone IN the industry read it and given you positive feedback?

If you can answer all of those questions with a resounding YES... then here are 61 more for you to wrestle with

Script Reader's Checklist

Timing is everything in this business... and the worst thing you can do is start slinging out scripts before you KNOW they are industry standard.

The truth is 98% of the scripts sent to agents and producers in Hollywood fail to meet the basic requirements for competence.... (I got this figure from a Hollywood Producer whose job it is to read spec scripts)

Now, when I started writing screenplays I was already an international award winning writer... and yet as people like Rik can tell you, I was woefully unprepared for requirements of the industry. I'd developed my own way of laying out scripts that was fine for when I was making films, but worst than hopeless at selling my ideas to the industry.

There is so more to this industry than having some good ideas and a few lines of smart dialogue... but the great news is all the information you need to bring your writing up to scratch is out there... and, once you've nailed it, it puts you streets ahead of the competition.

clive said:

If you're planning to sell in LA, then your agent needs to be in LA. An out of town agent is going to absolutely no use to you. They may need you around to take meetings... but that several steps down the line, first find out if your product is ready to pitch in the big league.

What you absolutely must avoid is any online agency... any agency that is advertising for scripts to read... any agency that asks for money at any stage of the process. Real agents already see more scripts than they can handle, don't advertise online and really don't need your $200.

If you're ever unsure about a potential agent the rule of thumb is this: if they rave about your script, but don't mention any specific details; if they offer a contract before a meeting; if they suggest a "professional" script reader should read your project to give everyone an objective view... then they are bogus.

If it isn't, then you can do the next stages of your development from anywhere... and it's easier to be an indie anywhere that isn't LA, for all kinds of reasons.

One thing to consider before you start chasing an agent is this... is your script ready?

It's a hard question to answer... but here's some questions you ought to be able to answer YES to, before you send a script out:

1) Have you reduced your concept to 40 words... and is the concept strong enough to sell the film on those 40 words alone?
2) Can you say absolutely what genre your script is?
3) Can your plot be laid out in ten pages... and can the basic elements of three act structure be identified in that plot?
4) Is your script laid out in current Hollywood standard formatting? (having typed it out in Final Draft is NOT enough)... so, for instance how would you use the script instruction INTERCUT:?
5) Does the script have a 2:1 action to dialogue ratio?

and finally... has anyone IN the industry read it and given you positive feedback?

If you can answer all of those questions with a resounding YES... then here are 61 more for you to wrestle with

Script Reader's Checklist

Timing is everything in this business... and the worst thing you can do is start slinging out scripts before you KNOW they are industry standard.

The truth is 98% of the scripts sent to agents and producers in Hollywood fail to meet the basic requirements for competence.... (I got this figure from a Hollywood Producer whose job it is to read spec scripts)

Now, when I started writing screenplays I was already an international award winning writer... and yet as people like Rik can tell you, I was woefully unprepared for requirements of the industry. I'd developed my own way of laying out scripts that was fine for when I was making films, but worst than hopeless at selling my ideas to the industry.

There is so more to this industry than having some good ideas and a few lines of smart dialogue... but the great news is all the information you need to bring your writing up to scratch is out there... and, once you've nailed it, it puts you streets ahead of the competition.

Click to expand...

Clive, once again -- a huge thank you for all of your help. I am most appreciative.

I believe that my last two screenplays are very close to being ready. I'm considering hiring a professional writer to go over my work and provide a detailed overview of what they think needs work. Has anyone here ever done that before, what was your experience?

As for your checklist:

1. I have not written a 40 word concept as of yet for any of my screenplays. As you can tell, I'm just getting into learning about the business side of things. I believe that's something I'll work on today.

2. The last 3 screenplays I've written I'd classify as:
a. Action/Drama/Thriller
b. Adventure/Crime/Horror/Mystery
c. Action/Adventure/Thriller

3. I haven't actually laid them out in ten pages (yet). Adding it to the list of things to do today and maybe tomorrow as well.

4. I use Final Draft to write, and as a formatting guide; I use the formatting reference guide from ScriptBuddy (http://store.scriptbuddy.com/products/Screenplay-Format-Guide/78440/).
Using INTERCUT would be when you want to switch between multiple scenes/shots where a full header would be overkill ... or if two or more characters are exchanging dialog at the same time.

5. Absolutely! I'm big on getting dialog that sounds natural... I actually have actor friends work out dialog in front of me if I think anything my be questionable... but I'm also a firm believer in having your characters shut their mouths when dialog won't add anything to the story. Dialog primarily exists to progress the story, not waste time.



I've had a few local indie filmmakers read my scripts, no one major....So I'd say that's a no.
However, I've entrusted these friends to give me honest feedback, so as I said before -- I received great feedback on my last three screenplays... and let's just say horrible feedback on the first 3 (omitting my very first screenplay... which I sold to a very crappy indie filmmaker).
I really believe I've learned from my previous writing mistakes and improve with each subsequent screenplay ...which explains why I've wrote so many in such a short amount of time... after all, I can ALWAYS go back and rewrite as many times as needed before putting it on the market. I more or less want to get the ideas from my head to the computer as soon as I can and see if it develops into anything promising. Most ideas don't. I'm incredibly picky about what I choose to develop, I suppose most writers are.

I have 4 other screenplays that are each probably anywhere from 45-75% completed, but I just dropped them because I lost faith in developing them into something I would want to see made.


I actually started reading your Script Readers Checklist article earlier, I really enjoy your blog. Just bookmarked it.

I know I'm pretty much at point zero right now, and my lack of experience shows; but everyone has to start somewhere! I'm determined to learn and make it to the top no matter how long it takes me. I already feel like I wasted too many years on deciding to follow my dream.

I just finished reading the Script Readers Checklist, definitely gives me some ideas of where I can go back and do a few rewrites. Clive, and everyone else -- you guys have no idea grateful I am to get this information and advice from all of you. Thank you all, very, very much. I think I've found a new home around here.

Some outstanding recommendations and observations from the group here....

My 2 cents...

Since you say you're already writing screenplays, I'd have to go along with Clive on this one... Screenwriting is already a skill that you have and trust me, if you keep honing and develop it into a professional level, it will definitely take you places you've never dreamed of.

It sounded like "maybe" you might have a problem SACRIFICING one of your babies for the purpose of getting you into the business...

Don't have one. There will be other stories and other screenplays... Take your very best screenplay -- rip it apart and build it back together piece by piece... Really learn everything you can about screenwriting -- especially structure. Know structure backwards and forwards.

The nice thing about this advice is that even as a director, you'll need to know this stuff... The more you know, the easier it's going to be.

Take that screenplay and parlay it into a career...

Contact producers and prodcos -- query them via email and phone. Send your screenplay to those producers that have already made movies within your genre.

Start building a networking/contact list with this first screenplay. Be prepared to have everyone PASS on it but when they do, also be prepared to have 3 to 5 other scripts ready to send out.

If you don't have those 3 to 5 scripts, the next best thing (in my opinion) is to have 3 to 5 high concept ideas/pitches to pitch to these same producers.

If you treat them with respect (especially the secretaries and assistants), you can have a real networking contact list within a year with as many as 30 to 40 REAL producers who will be interested in your work even though they may have passed on earlier stuff.

Cultivate this list... i.e., find out when birthdays and anniversaries are. Send cards and gifts... Nothing extravagant but just little classy reminders to let them all know you're out there and you're hungry.

If you work the list correctly, then many of these producers will give you an OPEN DOOR to contact them with your new material as you complete it i.e., they will be genuinely interested in your writing.

Parlay the writing into a producer gig unless of course, you get real lucky and your writing is so outstanding that a producer allows you to direct... Not impossible but not likely.

Get on a movie you wrote as a producer and now you're making your own industry contacts when it comes to financing and a myriad of other elements.

Keep writing specs no matter what... As I've said here before, a well written spec is like a piece of valuable real estate -- it never really loses value and you can always pull them out once you've stepped up a few rungs on the industry ladder.

If you keep thinking you might want to move to Los Angeles, here's my heartfelt recommendation to make all the above happen even quicker...

Save up at least a year and a half's worth of living expenses... Yeah, I know -- hard as hell but here's the thing...

Every month, too many non-paying intern jobs pop up with some real players within the industry... Very carefully pick one of these intern jobs with just the right player and you can, within a year (assuming you're writing a lot), parlay that intern job into producing gig with a sold screenplay.

This assumes of course that YOUR WRITING is in fact up to snuff.

If you don't know if it's up to snuff (which is usually the case), then you need to get enough industry types to read it and tell you where it's at... If you can't do that, the next best thing is to pay several reputable script analysts to analyze your best script to see where it stands.

The important thing here is that your screenwriting is at a pro level.

Good luck with it!

filmy

I've just reread this thread --- Heck, I wish someone had told me all of this when I was twenty-three... there is a staggering amount of hard won, high qulity information in this thread.

No

clive said:

I've just reread this thread --- Heck, I wish someone had told me all of this when I was twenty-three... there is a staggering amount of hard won, high qulity information in this thread.

Click to expand...

shit, huh? LOL.

filmy

EDIT: Kinda makes one wish he were 23 again...

EDIT: Kinda makes one wish he were 23 again...

Click to expand...

No, I just wish I could spell the word "quality" LOL

JRy said:

To give a little background on myself: I'm 23 years old, I've written 7 screenplays, sold one to an indie filmmaker (long story, big mistake -- I was young and naive). I absolutely love writing, but ever since I was 6 years old, watching the first Tim Burton Batman movie, I've known I wanted to be a director.

I've finally came to the point in my life where I've decided to stop dreaming and make it happen. I'm going to do whatever it takes, if it means I have to start at rock bottom and work my way up, I'm more than willing to do it.

I haven't put any of my other work "on the market" so-to-speak, since I want to at least hold onto it long enough to see if there's a chance I can direct them one day.

I have zero directing or film experience, but quite a good bit of acting and stage experience. I consider myself a good actor, but I hate appearing on camera, I'd rather be the one behind it.

I'm torn between the idea of going to film school, some people say it's worth it, some say it's better to avoid it. If it's possible to get into film without a paying for a ~$50 - 150 thousand dollar education, I'd much rather prefer that route.

I live all the way across the country from Hollywood -- I'm actually considering selling everything I own and making my move out to Hollywood.

Currently, as a profession, I work as a freelance programmer. So, I have plenty to fall back on if it takes awhile for things to get started in LA, or I'm out of work for awhile.

I've looked into becoming a production assistant, but a lot of people say that's not the route to go if you're looking to work your way up as a writer or director.

So, what is the right route? I know it's going to be a long process, but I want to one day write and direct my feature film own movies on a major distribution (don't we all).

Any help anyone can give me is more than appreciated. Thanks!

Click to expand...

So, with zero experience in the industry, you want to sell everything and move across the country?

And you guys are saying that's a good idea???

1. Housing alone is going to kill you out there. Any possible room mates?

2. Your friends, like your Mom, are going to like your scripts. Not saying they're bad (I of course never read them), just saying, you need to show them to someone who really wouldn't care less about hurting your feelings.

3. You need experience, before someone will even look at you to be anything over a PA. There are thousands of kids with the same dream as you, moving to Hollywood all the time. I went to film school. I have a bunch of class mates that moved out there. 4 or 5 of them would live together, and not much really happen for them. A few PA jobs...one guy worked up to being a 2nd AC, and then I guess he went back to college for a business degree. Writing might be different, I don't really know much of that aspect.

4. You will have to work hard. Real hard. Networking will make or break you.

I have to admit that I kind of agree with DeceptionA here.

Why do you need an agent when you have nothing to really show him yet? I would be hard pressed to believe that any agent would just take your word for how great a writer/director you are if you don't have anything produced.

You say IF you have to work your way up. Well, I would submit that working your way up starts with you getting with a friend or two and getting a short made. Unless you do know someone, you will be working from rock bottom. And even here in Michigan, knowing someone will get you in the door, but it sure won't keep you there.

I remember a discussion on this site about not going out to CA unless you have something really good to show. I don't know anything about getting an agent. So, after reading this thread my question to this forum is this:
Is it realistic for an untried, unproven writer to be able to expect to get an agent in Los Angeles with no work on tape and nothing to show?

You can begin your career anywhere. That is the cool thing about being independent. You say you are all the way across the country. So what? I'm in Michigan. Every state has a large metropolitan city. Start there. The larger the city, the better the chances you will find people who are trying to be the starving artist just as you are. Try to start where you are.

This is not to discourage you. But if you didn't get the opposing side to your idea of selling everything and going out to CA, you might end up...well, I don't know how you might end up. There is a saying: luck is being in the right place, at the right time, and being completely prepared. From what I am seeing, you are not quite ready yet.

Get yourself involved with some filmmakers in your state. Get some shorts made. Who knows, maybe you are the next big thing. But have something to prove that you are to back up what you say. Then an agent will have a reason to take you on....

-- spinner

@FilmJumper: Awesome advice! Thank you, thank you, thank you!

DeceptionA said:

So, with zero experience in the industry, you want to sell everything and move across the country?

And you guys are saying that's a good idea???

1. Housing alone is going to kill you out there. Any possible room mates?

2. Your friends, like your Mom, are going to like your scripts. Not saying they're bad (I of course never read them), just saying, you need to show them to someone who really wouldn't care less about hurting your feelings.

3. You need experience, before someone will even look at you to be anything over a PA. There are thousands of kids with the same dream as you, moving to Hollywood all the time. I went to film school. I have a bunch of class mates that moved out there. 4 or 5 of them would live together, and not much really happen for them. A few PA jobs...one guy worked up to being a 2nd AC, and then I guess he went back to college for a business degree. Writing might be different, I don't really know much of that aspect.

4. You will have to work hard. Real hard. Networking will make or break you.

Click to expand...

1. I actually pull down a really good income and have a lot of money saved up. I've changed my mind about moving, but if I absolutely had to for some reason -- I have enough finances saved up to last at least 10 months in LA.
Since I freelance, I can ultimately work anywhere in the world at any time of the day. If the need arose, I could always fall back on programming to pay my living expenses if times got touogh.

2. Off the top of my head, I can think of 12 people that have read my work -- possibly more. The only people I ever allow to read my work are those whom I consider mentors or have a reputation of being brutally honest. I've never asked any family or really close friends to read my screenplays and provide feedback.... And did you notice the part where I mentioned that I've received horrible feedback on my first 3 real screenplays?

I've been through times where I felt like giving up ... The first time I received overwhelmingly bad feedback from several people -- I was ok, I figured it happens to everyone when starting out, so I tried again... and I failed.... I got back up -- failed a second time.
It was then I decided to never give up, I started figuring out my previous mistakes, I got better, wrote one more and while it was much better than my previous efforts, overall it was still a boring failure.

I took several months off from writing, studied all the feedback I got and came out swinging. Of course I still get negative criticisms (that can easily be corrected), but the overall reactions to my latest works have been very positive.

Today it's strange for me to go back and look at work that I wrote as little as a year ago and see how much my style has changed and how much my writing has improved.

It's still hard for me to believe that I sold my very first screenplay, looking back on it now, it's a total piece of crap. I think I wrote it when I was maybe 17. I was young, naive and beyond desperate for cash -- so when a local indie filmmaker offered me $5,000 for the full writes to the script (he wanted to rewrite it and claim ownership) , I took the money and ran. I don't think that guy is even making films anymore, I've never heard from him again and my work has never been made.

3. I'm planning on getting some experience really soon. Rik inspired me to get out and start shooting short films.

4. I'm more than willing to work hard. I've worked hard as hell to get where I am in the programming industry, I'm sure I'm in for a whole new world of networking -- but I'm really good at meeting with people and establishing new connections. I wouldn't be even close to where I am at my age in the programming industry if not for that.
I mean, I'm 23 years old and I have zero formal training with programming -- completely self taught, yet I've networked enough to get to a point where I've worked directly with companies like Yahoo!, Microsoft, Discovery Channel, Oracle and Zend Technologies.

My point is, I know the networking won't be easy, but I'm pretty sure I can handle it.

spinner said:

Why do you need an agent when you have nothing to really show him yet? I would be hard pressed to believe that any agent would just take your word for how great a writer/director you are if you don't have anything produced.

Click to expand...

That was sort of one of the things I came here to find out. Now I know I don't need an agent at the moment.

spinner said:

I would submit that working your way up starts with you getting with a friend or two and getting a short made.

Click to expand...

Already made the calls today to get that in the works next month. Thankfully, I'll be able to borrow some really nice equipment and won't have to pay rental fees.

spinner said:

I remember a discussion on this site about not going out to CA unless you have something really good to show. I don't know anything about getting an agent. So, after reading this thread my question to this forum is this:
Is it realistic for an untried, unproven writer to be able to expect to get an agent in Los Angeles with no work on tape and nothing to show?

Click to expand...

I'll say my own opinion of the matter after reading the thread is a definitive NO. I came here to learn and I'm really glad I did before making a jump before I was ready.
When I was asking about getting an agent in LA (while not living in LA) I should have worded that differently, I didn't mean that I was ready to do that right now. I was asking more in general so I would know if the time comes.

spinner said:

This is not to discourage you. But if you didn't get the opposing side to your idea of selling everything and going out to CA, you might end up...well, I don't know how you might end up. There is a saying: luck is being in the right place, at the right time, and being completely prepared. From what I am seeing, you are not quite ready yet.

Click to expand...

I came here to get that opposing side, and I'm glad I did
I never thought I was ready to be the next big thing right now, I was more-or-less thinking of moving to LA and working on my connections and networking while building up my screenplays.

spinner said:

Get yourself involved with some filmmakers in your state. Get some shorts made. Who knows, maybe you are the next big thing. But have something to prove that you are to back up what you say. Then an agent will have a reason to take you on....

Click to expand...

That's exactly what I'm going to do! I'm going to try to do as many shorts as possible and release the best work online. Who knows, maybe I get lucky and create a buzz and have agents calling me... It's not likely, but anything is possible.




And I just want to say, all of you guys absolutely rock. I can't begin to tell all of you how much I appreciate the advice. I'm so glad I came here.

You got inspired to make movies from Batman? That's so cool.

My advice: You've got the right attitude... now make some films. Write shorts, produce them, direct them, act in them (if so inclined) and edit them. Do as MUCH as possible on them to learn what every aspect/perspective of a film crew has and needs, and then you'll be better able to delegate. Slowly start replacing your jobs with crew and cast through a few shorts and then try out a feature. Keep it simple, write it well (spend more time writing than THINKING about shooting) and then blow it out of the water for no-budget. Submit to festivals, get some press, maybe a distribution deal (but don't count on it) and then begin round 2.... rinse, lather, repeat until one day you wake up and Spielberg is standing at the foot of your bed staring at you while you sleep. This could be either a very good thing or a very bad thing depending on is he is wearing pants.

OH yeah- listen to Clive and Unk. They are very old, erg, ... wise.

Spatula said:

You got inspired to make movies from Batman? That's so cool.

Click to expand...

Yeah, like I said; I watched the first Tim Burton Batman movie when I was 6 years old. At the time, I don't think I had a complete grasp on the fact that movies where not real. I had no idea that people "acted" when my dad explained it to me, I knew that was what I wanted to do.
All the other kids in school that were asked what they wanted to be when they grew up answered "Fireman" or "Policeman", I said I wanted to make movies.

The thing was, my family was really poor growing up, or else my dad probably would have got me a video camera. Throughout high school I fell into doing programming -- I've never loved doing it, but it pays really well. I do regret that it did somewhat sidetrack me from making films through.

Back to Batman -- Watching the movie today, it's still such an awesome film, but it's full of faults. It's hard to explain, on one hand, I consider it a great movie, and on the other... well, not so much. I will say that I think Burton managed to capture a much more "epic" feeling in Batman and Batman Returns than Christopher Nolan managed to pull off with Batman Begins. I'm hoping the new Dark Night movie will bring in a little of that "epic" feeling.

Spatula said:

My advice: You've got the right attitude... now make some films. Write shorts, produce them, direct them, act in them (if so inclined) and edit them. Do as MUCH as possible on them to learn what every aspect/perspective of a film crew has and needs, and then you'll be better able to delegate. Slowly start replacing your jobs with crew and cast through a few shorts and then try out a feature. Keep it simple, write it well (spend more time writing than THINKING about shooting) and then blow it out of the water for no-budget. Submit to festivals, get some press, maybe a distribution deal (but don't count on it) and then begin round 2.... rinse, lather, repeat until one day you wake up and Spielberg is standing at the foot of your bed staring at you while you sleep. This could be either a very good thing or a very bad thing depending on is he is wearing pants.

OH yeah- listen to Clive and Unk. They are very old, erg, ... wise.

Click to expand...

Thank you so much! I made a few calls today, and have it arranged to borrow some equipment for very late next month/early February. I'm going to use a section from my last screenplay, probably make about a 10 minute short. I have a lot to work on between now and then, lots of preparation. Got to find actors too... I'm excited.

LOL at the Spielberg thing, I admire his work a lot... so I may be tempted. Haha, j/k.

I'm going to keep writing, but also focus on creating at least 8 shorts during 2008, I'm going to release them online and see what kind of feedback I get.

Maybe he'll be the next Tim Burton.


-- spinner