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Looking for opinions on a web series idea
- Thread starter megslice
- Start date
I would gladly help. If you wanted a collaborator/guest writer I'm here as well. 
I'm also new, and I haven't done a film. But I understand a producer has to get a team with varying skill sets, as in actors, directors, managers, and so on.
Sounds like a great project! Unfortunately I've got several of my own in the works right now, so I dont think that I have the time to take on another. Obviously the success of this project will hinge on two things, your writing, and whoever does the cinematography. Both have to be done just right in order to play off this ghost interacting with a living person. As for the team that people above are describing, usually that is the producers job (though you may not need all of those people) to find them, but it seems to me that you are taking 50% producer and 100% writer, leaving the rest of the production tasks (casting, financing, ect.) to whomever you give your script to, which makes sense. I like your structure, both of business and of story, and I regret not being able to come work with you.
EDIT:
I forgot to say that if you need any help or advice let me know, I'd be glad to do whatever I can to help out.
EDIT:
I forgot to say that if you need any help or advice let me know, I'd be glad to do whatever I can to help out.
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Thank you for the tips! You're right, I'd like to handle mostly just the writing and marketing for this particular project with someone else handling the production... but we'll see how that goes.
Has anyone else read the brief? Any ideas or notes for me? I like the idea of getting some writers together to collaborate once I've got the pilot set up.
Has anyone else read the brief? Any ideas or notes for me? I like the idea of getting some writers together to collaborate once I've got the pilot set up.
I like the basic idea. Several things occurred to me as I read your brief.
1. Comedy is a mode of telling the story (genre), not a plot element. I mention that because you need to be clear about the reason for the series. What is the series storyline as opposed to the season storyline as opposed to the episode storyline?
Example:
Friends (Series) - Six friends from high school and college room in the same building. (generic)
Friends (Season) - Rachel/Ross fall in/out of love
Friends (Episode) - Joey gets a hernia and needs to act to get his insurance reinstated.
A complex series may have multiple season storylines running.
2. Your title says "Dead Friend". While to limit post-production costs, it may make sense to limit special effects, as a director (and writer) I would disagree with making it ambiguous. Personally, I would make it clear that Dustin is a ghost from the get-go. It gives more freedom to the script as well. There's no reason to make the audience guess rather than jump into the meat of the comedy. And comedy is a very difficult genre to write. It's best to keep everything obvious so it carries itself.
3. Most webisodes, depending on where they're posted will be 10-25 minutes long. The scripts should be may 10-25 pages at most. Writing for TV (or webisodes) requires discipline in writing closely to page count. If you write it with a cliffhanger at page 11, you can easily break your longer script if needed.
4. How many other supporting characters will be in the series? Who is the love interest? Who is the competition? Who is the naive friend for Brandon? Dustin may have a ghost-mentor. This kind of series works best with 4-6 characters.
5. What can Dustin do? It could be funny if Dustin can take over when Brandon is asleep or passed out. That could add some interesting twists. He's dead so the audience will expect him to do ghostly things. He may need to learn about the abilities. I'd think through Dustin's character, as he will tend to be pivotal in setting up the situations. I'd also create a series bible if you plan to invite other writers to contribute.
6. My suggestion is that you figure out how to conclude your first season in 6 to 9 episodes. Write them up and then share the pilot draft to see who might be interested. While a concept may sound interesting, many producers want a script in hand before deciding on a project. Since it's easier to shoot a 10 minute episode, I might start with a 10 page script. Or you could go with a 25 page pilot but it may be harder to find someone willing to shoot a half hour show. It will be easier to get actors to commit if there is a clear idea of how many episodes will be shot.
7. I'm only trying to be realistic from the production side. As a writer, I love to see my work transformed. As tech/actor/AD I see the investment of time and resources it takes. Most production companies or filmmakers have their own websites to market their productions. Personally, I would feel a bit used as a producer following your business model. You write and market my production and investment as your product. As a writer myself, I do understand that it's your story idea, not theirs. That's the delicate dance that writers and producers go through. Optioning/buying a script versus being a writer/director of one's own efforts.
A very rough rule of thumb is that 1 minute screen time is 1.25 hour of shoot time. That assumes set up, lighting, sound, multiple shots, screwed up lines, etc. In some cases more, others less. Then there's the editing and post-production work (credits, special effects, etc.). For most industry formatted scripts, one page is close to one minute screen time. So a 10 page script will require roughly 12.5 hours to shoot. That's pretty doable in a day. A 25 page script would be about 36 hours or three 12 hr days. That's quite a commitment from actors, crew, director, and editor for just one episode and not being paid (except perhaps water and meals).
8. If you don't shoot it yourself, you don't have alot of say about how it gets directed and shot. There are very real costs in actually producing a script. It's all fine to write and market, but the big bucks come in the production. Just be aware of that. Avoid getting angry with a collaborator if they say something needs to be changed or doesn't work as written. Money drives decisions. They likely have sunk thousands of dollars into a Sony HDR, Tascam sound recorder, lighting, camera rigs, computer and editing software (Final Cut Pro/Sony Vegas are still pricey!). Then add to that there are permits, rents, insurance (if shot legit). For the filmmaker, they have a substantial investment. I respect that and, as a writer, I appreciate when an indie filmmaker works with me to film my script, I will work with them--on the set and off. Or are you also putting money towards this project?
Overall I think "Dead Friend" is a cool concept. I'd only suggest that, as a writer, you will need to be very flexible. Even though electrons are cheap, even guerrilla filming tactics take time and resources. And sometimes it takes a lot of compromise to realize a script within a reasonable budget. While a short might be easily arranged, an ongoing series requires more commitment. Beyond writing and marketing by social media, what financial and other resources can you contribute? You may find a local indie director who is willing to work with you if you help out on the set--some sweat equity. It's also a good way to learn about movie making. It's good to see the actors working with your script.
I want to encourage you to partner up locally and get involved with local indie filmmakers. Not only is it fun to be on the set and help out, but it helps you network with people who can help you. Craigslist Gigs, TV/Film/Radio, and Creative are good places to see who's shooting what locally. Also look to see what's happening at the local college(s). Obviously be safe but be willing to roll up your sleeves. Often filmmakers are looking for good ideas to shoot locally. And a 10-20 page webseries may be just the ticket for both of you!
Good luck!
1. Comedy is a mode of telling the story (genre), not a plot element. I mention that because you need to be clear about the reason for the series. What is the series storyline as opposed to the season storyline as opposed to the episode storyline?
Example:
Friends (Series) - Six friends from high school and college room in the same building. (generic)
Friends (Season) - Rachel/Ross fall in/out of love
Friends (Episode) - Joey gets a hernia and needs to act to get his insurance reinstated.
A complex series may have multiple season storylines running.
2. Your title says "Dead Friend". While to limit post-production costs, it may make sense to limit special effects, as a director (and writer) I would disagree with making it ambiguous. Personally, I would make it clear that Dustin is a ghost from the get-go. It gives more freedom to the script as well. There's no reason to make the audience guess rather than jump into the meat of the comedy. And comedy is a very difficult genre to write. It's best to keep everything obvious so it carries itself.
3. Most webisodes, depending on where they're posted will be 10-25 minutes long. The scripts should be may 10-25 pages at most. Writing for TV (or webisodes) requires discipline in writing closely to page count. If you write it with a cliffhanger at page 11, you can easily break your longer script if needed.
4. How many other supporting characters will be in the series? Who is the love interest? Who is the competition? Who is the naive friend for Brandon? Dustin may have a ghost-mentor. This kind of series works best with 4-6 characters.
5. What can Dustin do? It could be funny if Dustin can take over when Brandon is asleep or passed out. That could add some interesting twists. He's dead so the audience will expect him to do ghostly things. He may need to learn about the abilities. I'd think through Dustin's character, as he will tend to be pivotal in setting up the situations. I'd also create a series bible if you plan to invite other writers to contribute.
6. My suggestion is that you figure out how to conclude your first season in 6 to 9 episodes. Write them up and then share the pilot draft to see who might be interested. While a concept may sound interesting, many producers want a script in hand before deciding on a project. Since it's easier to shoot a 10 minute episode, I might start with a 10 page script. Or you could go with a 25 page pilot but it may be harder to find someone willing to shoot a half hour show. It will be easier to get actors to commit if there is a clear idea of how many episodes will be shot.
7. I'm only trying to be realistic from the production side. As a writer, I love to see my work transformed. As tech/actor/AD I see the investment of time and resources it takes. Most production companies or filmmakers have their own websites to market their productions. Personally, I would feel a bit used as a producer following your business model. You write and market my production and investment as your product. As a writer myself, I do understand that it's your story idea, not theirs. That's the delicate dance that writers and producers go through. Optioning/buying a script versus being a writer/director of one's own efforts.
A very rough rule of thumb is that 1 minute screen time is 1.25 hour of shoot time. That assumes set up, lighting, sound, multiple shots, screwed up lines, etc. In some cases more, others less. Then there's the editing and post-production work (credits, special effects, etc.). For most industry formatted scripts, one page is close to one minute screen time. So a 10 page script will require roughly 12.5 hours to shoot. That's pretty doable in a day. A 25 page script would be about 36 hours or three 12 hr days. That's quite a commitment from actors, crew, director, and editor for just one episode and not being paid (except perhaps water and meals).
8. If you don't shoot it yourself, you don't have alot of say about how it gets directed and shot. There are very real costs in actually producing a script. It's all fine to write and market, but the big bucks come in the production. Just be aware of that. Avoid getting angry with a collaborator if they say something needs to be changed or doesn't work as written. Money drives decisions. They likely have sunk thousands of dollars into a Sony HDR, Tascam sound recorder, lighting, camera rigs, computer and editing software (Final Cut Pro/Sony Vegas are still pricey!). Then add to that there are permits, rents, insurance (if shot legit). For the filmmaker, they have a substantial investment. I respect that and, as a writer, I appreciate when an indie filmmaker works with me to film my script, I will work with them--on the set and off. Or are you also putting money towards this project?
Overall I think "Dead Friend" is a cool concept. I'd only suggest that, as a writer, you will need to be very flexible. Even though electrons are cheap, even guerrilla filming tactics take time and resources. And sometimes it takes a lot of compromise to realize a script within a reasonable budget. While a short might be easily arranged, an ongoing series requires more commitment. Beyond writing and marketing by social media, what financial and other resources can you contribute? You may find a local indie director who is willing to work with you if you help out on the set--some sweat equity. It's also a good way to learn about movie making. It's good to see the actors working with your script.
I want to encourage you to partner up locally and get involved with local indie filmmakers. Not only is it fun to be on the set and help out, but it helps you network with people who can help you. Craigslist Gigs, TV/Film/Radio, and Creative are good places to see who's shooting what locally. Also look to see what's happening at the local college(s). Obviously be safe but be willing to roll up your sleeves. Often filmmakers are looking for good ideas to shoot locally. And a 10-20 page webseries may be just the ticket for both of you!
Good luck!
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I like the idea a lot. I see lots of potential here. I am currently working on setting up a film making collaborative here. A guy I know is a DP and has a decent camera and access to a green screen studio. I'm networking with drama students from the area colleges and universities. I would be very interested to see the script for the pilot when you're done with it.