Now do it another way

I'm right in the middle of rewrites at the moment. My main script project is going into draft five -- and as such is reallly starting to shape up.

One thing I've really noticed on this rewrite is that a simple change to how I write, is making massive differences to the final outcome.

In the past I'd sit with my notes, look at what the next sequences was to go to paper and then write the scene the way I visualised it. [nothing unusual there]. That scene done, I'd move on.

The only problem with this is that although the scene may "work" or even work well, that doesn't mean that it's the BEST way to write the sequence.

So, now I write the sequence and then ask myself -- How could I tell this part of the story in another way? I force myself to write a completely different version of the sequence, tackled in a completely new way.

For instance -- Could I move this scene to a new, more interesting, location? Could I alter my use of time, so that the sequence is less linear? Who else could be in the scene to change the dynamic? Or, conversely who could I remove and put somewhere else, intercut with this sequence.

Of all of these, I think the shifting the location is the most useful in reframing the action.

So, two characters need to have a conversation about a body in a suitcase -- I write the scene set in thier apartment -- then I go back and try writing the scene again -- only this time they're on the subway -- the dynamic changes because now they have to worry about being overheard. Already the scene runs better -- now I add in the factor that they are being followed by the detective -- they still have to talk, but now the stakes are even higher.

My experience of doing this is it radically transfoms the writing process, partly because it means each scene has had twice as much work, but more importantly it makes me ask of every single sequence "is this the best way to write this?" whilst at the same time also re-enforcing the idea that every single sequence can be written in hundreds of different ways.
 
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I've been working on a script for about 5 years (not continuously, mind you), and after a while, you can't see the forest for the trees.

I agree with all you wrote, but also think that taking a new look or fresh approach makes you whittle down the scene to it's essence (what's it goal? how does it advance the story, etc...?). Makes it easier to cut out stuff that doesn't need to be in there.
 
A great exercise, Clive. Now when you think about changing locations, think about selecting a location that might say something (albeit subtle) about your theme, subtext or characters - if you haven't already. I love engaging in these kinds of exercises. It often makes the difference between an 'okay' scene and something that's really really great. Good luck!
 
Just a thought here.. we all know that converting script to visual might be possible, but sometimes, a location needed in the script is not feasible during the actual production... So, the script gets re-write or adjusted to accomodate the new location, it can work, it can't work, but yet, it helps the writer (if needed to re-write) to look at a different perspective in how to make the new location work within the script.

This has happened to me right now, we needed a warehouse, but we got a gymnastic facility, the premise of the scene originally starts with swat members running (montage style) and approaching the subject, however, due to the change of location, we have to modify to make it work within the story, and it becomes very apparent that the new location actually helped increase the story/plot and the production value (more interesting premise than just an empty warehouse). However, the opening of that scene changed dramastically to a different perspective so it would actually make sense when the movie is over...

I think this is the price to pay being an indie filmmaker :)
 
That's good advice. I was actually just starting to do that with a couple scenes in my script. Originally, I had the filmmakers in the script premiering thier movie at a lush, packed theatre. The crowd was huge and the excitement high... then I realized it was the beginning of the movie, and there'd be no way to raise the stakes. So I changed the location to a run down theatre (or school gymnasium... still thinking on it), with a scattered crowd of nerds. I rewrote the scene and the entire script improved. The story of the struggle to successfully make it in the inde film market became a nice backdrop for all the other chaos, and made the idea much more realistic. Such a good idea to play with this concept.
 
So I changed the location to a run down theatre (or school gymnasium... still thinking on it), with a scattered crowd of nerds. I rewrote the scene and the entire script improved. The story of the struggle to successfully make it in the inde film market became a nice backdrop for all the other chaos,

That's exactly what I meant -- but what if you pushed them even further down -- so they screen their film by projecting it on the outside wall of a cinema from home made equipment in their rotten old camper van -- the sound from a couple tanoys.

You could easily raise the stakes by having them constantly struggling to keep their equipment running and by the chance that they'll be moved on by the police.

In fact it gives you a great gag at the start -- they roll up to the cinema in rented tuxedos -- LARRRY "You ready for the premiere" -- MICK "Sure am" -- they then roll right past the cues of people waiting to see the Da Vinci Code and set up in the car park.

The thing about resetting the scene is that it always allows you to pump up the stakes.

but sometimes, a location needed in the script is not feasible during the actual production... So, the script gets re-write or adjusted to accomodate the new location,

I've been down the "adapt this to suit the location" route a few times and sometimes you get great results because the location adds new dimension, but the converse is also true and I've had films ruined by compromising on a location.

However, saying that, one my favorite ways to write a script that I intend to make myself, is to start by scouting locations and then fit a story to the landscape. For an indie this can be an incredibly rewarding way to work, because you start by having your locations locked -- plus my experience is that great locations can elevate films from the "dud" indie video to something that looks more filmic.

The other thing that is worth mentioning is that if the script is strong enough, the locations should never be an issue, because a strong script will gather the financial support necessary to provide them -- This something I've really taken to heart this year -- the actual process of writing to the limitations of a perceived budget can keep the writing small.

By writing the script to the size it needs to be to be great, then there is more chance of attracting name interest in the project and with that the funding to make the film the way it should be -- being indie doesn't mean "I have no money to make films and have to do it on a camcorder" it can just mean "independent of the studios."
 
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clive said:
The other thing that is worth mentioning is that if the script is strong enough, the locations should never be an issue, because a strong script will gather the financial support necessary to provide them -- This something I've really taken to heart this year -- the actual process of writing to the limitations of a percieved budget can keep the writing small.
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This might be true... I also think, even if you have the biggest funds in the world, you can't get the location because the owner might had died or the building was sold, then you can always 're-create' the location yourself with all the money you can get :) It's not about the budget, it's more about the timing... I've videotaped all my scouted locations, wrote/adjusted script around it but you always ended up at last minute due to politics, personal issues, family concernt, or any outside forces, you are 'forced' to change location, even with the best backing you can have, locations might not be available, and you'll have to do your best to adjust/accomodate and adapt. It's something we all have to go through, re-write, re-plan, re-set, re-dress to make it happen. :)
 
I think the point I was trying to make is that it's traditional for indies to write with a specific budget in mind -- so they are unlikey to write a scene that needs to be shot at the Eiffel Tower in Paris or set on a sheep ranch in New Zealand (unless they live on a sheep ranch in New Zealand).

This concept of writing the script to the imagined budget is what I've given up.

Of course, no matter what the budget, you can't get every single location you want (I can't tell you the number of times I've had to rewrite scenes set in the Pope toilet!) -- But, "V for Vendetta" got the streets of London for three nights to shoot the Parliment scene -- a task thought impossible -- money did play a large part in that decision.

Daring to write big is what I'm suggesting is lacking from a lot of indie projects.
 
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clive that is wonderful advice. I think though that when it comes down to decision time, don't make it too outlandish of a change just for the point of adding spice to it. Sometimes you look at a location in a movie and just say "what the hell are they doing there?"
 
clive said:
Daring to write big is what I'm suggesting is lacking from a lot of indie projects.

I agree. Making things feasable and fun or profitable for the person that owns the location never hurt either. And dont be afraid to make your locations practical but beautiful! So much beautiful natural settings out there but practically every film plays out indoors!
 
All that's really seen in a given frame is subjects in front of backgrounds. Big locations are easy to fake at a medium shot or closer. I've seen lots of indie stuff that suffers from single/indistiguishible locations. I think Clive hits it right on the head (that's why he's a guru after all), as an indy filmmaker, some of us think small. There's a fear of success. We can fail on small projects and the failure is private. If a larger, big budget thing tanks...we're up the river when we're just starting out. The distinction now between independant filmmaking and studio is no longer where the money comes from...it's becoming more of a 3 tiered structure. There is INDIE filmmaking (more guerilla/beginner mindsets), Independant filmmaking (Napolean Dynamite, Primer) and Studio (popcorn and fluff, more geared toward mass audience appeal than original stories).

I think there is a natural progression and we tend to have folks on this board mostly toward the lower (learning/hobbyist) to middle (successful, but not quite confident enough yet) end of the spectrum. The high end still feels a bit out of reach to most of us (I'm mostly speaking to what I've read over the last year on this board, I may have it totally wrong).

I would love to get to the top end of this spectrum. For now, however, I have to work a day job until I'm able to afford to chase my dreams...I have a family to support, so this can't be a years long gamble. Until that point, I have to continue to write for the locations I think I can get...I don't necessarily think eiffel tower in scope, but I don't see it as difficult to approach businesses to act as a location. Most of them are happy to pitch in if you work around their schedule. So:

YES! Change up locations to see if you can find a better fit...don't limit yourself in the writing stage.

YES! Go out of your way to find these locations...if this includes seeking funding, find a producer with experience in that area, or tackle it yourself. YOU ARE A FILMMAKER!

YES! Change the script if necessary (it won't get made if the problems aren't dealt with quickly).

ALSO! Change whatever else about your scene could bring spice to it. Different dialog, different goal for a line or a dialog piece, different time of day...whatever you can think of, see if something better comes along...If you aren't the strongest writer...find someone stronger than you and get them excited about the story...analyze and critically tear apart every scene as it comes to you...brutal honesty makes the best script.

Turn that script into movie or money...either way, your name is out there and you're one step closer to the top of the spectrum.
 
If you can afford production insurance, then that will allow you to pretty much go anywhere. For short films it's not that much money for 30 days of insurance covering any number of locations. Having production insurance, I found that I could pretty much get any location I wanted. But I had to be a little aggressive and find the right people to talk nice to. And I started working on getting the locations I wanted a couple of months in advance, which was critical. And even then, sometimes it came right down to the wire. But having insurance in place was critical.
 
I think there is a natural progression and we tend to have folks on this board mostly toward the lower (learning/hobbyist) to middle (successful, but not quite confident enough yet) end of the spectrum. The high end still feels a bit out of reach to most of us (I'm mostly speaking to what I've read over the last year on this board, I may have it totally wrong).

I would love to get to the top end of this spectrum. For now, however, I have to work a day job until I'm able to afford to chase my dreams...I have a family to support, so this can't be a years long gamble. Until that point, I have to continue to write for the locations I think I can get...I don't necessarily think eiffel tower in scope, but I don't see it as difficult to approach businesses to act as a location. Most of them are happy to pitch in if you work around their schedule.

I completely agree -- Financially I'm still at the point where I'm living from hand to mouth -- this means that if I limit my scripts to what I believe I can self fund I'm going to write "more guerilla/beginner mindsets" films.

However, if I discard the idea that I have to self fund everything I write, and that as a writer I can do business at ANY level, then a lot of things change.

In the first place it means I can write the scripts I want to write now, instead of telling myself "Oh, I'll write that when I make it."

The great thing about doing this, is that if means that if the project is too big for me to handle from a production POV, I can then put the script out in the market place and use it to generate income. Just knowing that you're writing to sell sharpens your screenwriting by about 200%, simply because it forces you to communicate your ideas clearly and also format them to industry standards. You can't get away with the lazy writing that you do for yourself, where because you know the story and you're directing it doesn't matter if the scene doesn't completely make it on to the page.

But where this change in thinking about writing gets really interesting, is it then means that when you do have an idea that can be self funded, it more likely that you'll have written a film where the lack of budget isn't compromising the end product. In other words, suddenly there is no difference between the top end independent films and your "absolutely no budget" film simply because the script perfectly matches the budget.

Where the vast majority of indie film makers fail, is that they really want to make fairly big budget pictures, but they try to make them on shoestring budgets. When indie films do the best business is when the concept fits the way it was made.

If I use myself as an example.

You would be hard pressed to find a film maker with less money than me -- therefore any feature film I self fund would have to come in at under $1000 -- this has been true for nearly eighteen months now. So, instead of making "no budget films" I've concentrated on writing and acquiring key bits and pieces of kit -- I'm not in a hurry to get into production.

Currently I've got four script projects on the go -- one of which is a full on Hollywood style action movie, exaclty what you'd expect to see in your average multi-plex -- one is a high end indie film with $3M + budget requirement -- one is a film that I could probably do with my $1000 budget, but may well find me a $200,000 budget from a group interested in producing it -- and the last is my African film, which now looks like it will go into production at the end of this year/beginning of next and that film is my only currently self funded project.

If I was still only writing what I could afford to make, I wouldn't have written either of my top two projects and it's by writing these, that I learned how to get the low end projects right.

The one that really tells me that I'm on the right track, is the project that's attracting production funding.

I'd decided to develop a production project and found a story idea I was confident I could sell, and started the story development. I'd intended to make it for $1000 and at the same time write a book about how I'd done it. Because of all the information that I had on indietalk from Filmy about script development, I applied exaclty the same critera to this film as I have to my big budget Spec Script projects. What was interesting about this was before I'd even got the script development process to the first draft stage, someone got wind of what I was working on and wanted in on it -- my $1000 budget movie was transformed overnight into one with a potential $200,000 budget.

The truth is that as indies the biggest advantage we have is the time and effort we put into writing -- and it's the one where we so often fail.
 
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Re: writing locations to fit a budget.

I'm purely a writer and, for better or for worse, I usually write with no deference to budget. It is in my mind, but usually ignored. I have one script that is about two high school kids that is character driven with minimal locations. Then literally the last scene of the film would call for FX work, probably green screen (or is it blue) and some CG work. A good excercise for myself would be to go back and try and write that scene with the assumption of a "guerrilla" budget... not sure if I could...

Another script calls for a guy running on the track at the Daytona 500 during the race. Pretty much resigned to the fact that a major studio would have to buy that one.
 
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