You just finished writing a script or a screenplay, so what do you do with it now? Whether it’s a screenplay for a movie, a pilot for a new TV series, or a spec script for an existing TV show, you need to prepare your script to be read and noticed by the right people.

The first thing you will want to do is prepare your script for presentation to studios and production companies. The Writers Guild of America (WGA) website has a wonderful formatting guide you can use to make sure that your script is properly formatted. Once it is formatted properly and you’ve checked for typos and spelling mistakes, make copies of your screenplay. You may also want to have your script read by a professional script consultant who can point out problems and suggest solutions. But before sending your script out to anyone, it’s a good idea to register it with the WGA script registration service (get instructions at wga.org).

The next step, getting your script noticed by the right people, can be a bit more challenging. If you have an agent, your agent will handle this for you; if not, you may want to start thinking about trying to find someone to represent you. Finding an agent is an important step because most studios and large production companies are prohibited from receiving unsolicited material from screenwriters. They will only take scripts from entertainment professionals; such as agents, lawyers and producers.

The best way to find a qualified agent who will represent you is through a personal referral from another writer. You can find an agent on your own by researching the Hollywood Directory and on the WGA website. You will probably have to make a lot of phone calls and send a lot of query letters to find an agent who will be willing to read your work. Most agents want to work with writers who have a portfolio that proves the writer is talented, creative, diverse, and productive.

If you’re like many first time writers and are unable to find a qualified agent that is willing to represent you, there are other ways to get your work noticed.  You can make contacts at writers’ conferences and pitch festivals; or you can enter your script in competitions and fellowships. If you are among the finalist for one of the more respected competitions (eg, those organized by Sundance, Project Greenlight, and the Academy), you may attract the attention of an agent, or you may even get an invitation to meet directly with the studios or production companies.

If you are lucky enough to get an agent to read your script and take you on as a client, your agent will send your script out to the appropriate studios and production companies for their consideration. Then, a “reader” at these companies will read your script and determine if it is a “recommend” or “pass.” If the reader recommends that your script be given further consideration, it will be read by decision makers at the company, and if they like the script or your writing style, they may request a meeting. This meeting may be a chance to pitch your script idea, or it may be a meeting to get to know you. They may be looking for freelance writers to write scripts for an existing TV show or a freelance writer to work on another writer’s movie screenplay. If you are successful in either selling your script or being hired as a freelancer or writing staff member, you agent will negotiate the deal, set up the contract, and receive ten percent of either your writing fees and/or salary.

Even if you try all these things and and are still not able to generate interest in your new screenplay, you must understand that most screenwriters do not find success with their first screenplay. This doesn’t mean that the effort is a waste of time. With each attempt at writing a screenplay and trying to get it noticed by the right people, an aspiring screenwriter learns new techniques and skills that will make it more likely they will succeed in the future. Agents, studios, and production companies are all looking for writers who have a lot of great ideas and are passionate about their writing. The more you write and the more screenplays you produce, the better you’ll be able to demonstrate your talent and passion. The important thing is to keep learning, keep trying to get the attention your work deserves, and above all else, keep writing.

What to do With a Script
o   Crafty TV Writing —by Alex Epstein
o   The Script Selling Game—by Kathie Fong Yoneda

Weekend plans for residents of the Pittsburgh area can be somewhat unpredictable (other than watching the Steelers).  But, on the weekend of December 14th, area residents can scribble “Attend Tom Cruise Premiere!!” on their kitchen calendar.

According to the Pittsburgh Post-Gazette, “Mr. Cruise, along with fellow actors Robert Duvall, Rosamund Pike and David Oyelowo, are expected in Pittsburgh on Saturday, December 15th for the U.S. premiere of ‘Jack Reacher,’ known as ‘One Shot’ during filming here in fall 2011 and early 2012.

“Also scheduled to attend the Saturday afternoon event are director Christopher McQuarrie and novelist Lee Child, whose presence should confirm his stamp of approval of Mr. Cruise as the ex-military investigator Jack Reacher. Paramount Pictures plans to take over the SouthSide Works Cinema — all 10 screens and 1,659 seats — for the 2 p.m. showing on December 15th.”

Tickets will not be sold for the screening, but there will be chances to win tickets from local media outlets, including one from the Post-Gazette on Thursday, December 6th.

For those not able to attend the film, media events and interactive activities will surround the red carpet festivities outside of SouthSide Works Cinema.

“Jack Reacher” (previously titled “One Shot”) is an upcoming film adaptation of Lee Child‘s 2005 novel One Shot. Written and directed by Christopher McQuarrie, the film stars Tom Cruise as the title character. The film entered production in October 2011, and concluded in January 2012.

It’s great to see Pittsburgh get a chance to showcase its Rustbelt Renaissance to major media channels. Beyond its newfound glory as home to a variety of blockbuster films, Pittsburgh has reinvented itself from a town that once relied on the steel industry to a city that leads the nation in healthcare and robotics research.

In today’s hectic world of TV production, most new show creators use what is known as a “sizzle reel” to pitch a new show idea to studio and production company executives (the buyers). The biggest names in TV can still get a greenlight for a new show by simply describing their idea; but for most show creators the sizzle reel is a critically important part of their pitch presentations.

So what exactly is a sizzle reel and why is it so important?

First, a sizzle reel–also known as a promo video, demo reel or show concept package–is a short, fast-paced video that clearly and concisely demonstrates the creator’s concept for the show and can provide information on setting, character and plot. It doesn’t need to go into great detail and answer every question; it just needs to generate excitement about your show idea. It can give just enough information to create an image that will capture the buyer’s attention and encourage them to listen more intently to the rest of your pitch.

A sizzle reel is an important part of a pitch presentation because when a new show idea is pitched using words alone, the show’s creators and the potential buyers may have very different ideas of what the show really is and what it will look like. A sizzle real not only makes sure that the show creator and the buyers are on the same page, it also demonstrates the tone and feel of the show.

There are different types of sizzle reels that can be used to give buyers a clear vision of what your show is all about. The type of reel that works best will depend on the type of show you are creating, where you are pitching your show, and the amount of time you expect to have at the meeting. You may even edit different versions for different buyers. When considering what type of sizzle reel is right for your project, keep in mind that most pitch meetings are usually short and you may have little time to actually show the reel.

The following are a few types of sizzle reels you may want to consider:

Standard Sizzle Reel: A standard sizzle reel is like an extended movie trailer. It showcases the talent, provides an overview of the show, and gives a sense of the creative vision. These sizzle reals are usually two to seven minutes long.

Teaser Sizzle Reel: A teaser sizzle reel is more of a fast-paced promo, and doesn’t try to outline the elements of the show or demonstrate how the show will be structured. They are usually one to two minutes long.

Talent Sizzle Reel:  A talent sizzle reel is almost completely focused on the talent. Instead of pitching the show, this kind of reel focuses exclusively on the people in the show. It shows the talent doing the types of things they would be doing on the show, and may include interview segments. These reels are usually one to five minutes long.

Presentation Tape: A presentation tape is like a standard sizzle reel, but has full scenes that demonstrate how the show will look on TV. They are usually seven to twenty minutes long. This can even be a full length version of the show, allowing executives to get a better sense of what the audience would see on TV.

Before creating your sizzle reel, research and watch shows that are similar to your idea and see how they look, how they are structured and how they solved certain problems. This is important because you don’t want to waste time, money and effort creating a sizzle real that has major flaws. Practice the pitch in front of other people and make sure there aren’t any holes in your presentation that should be addressed visually on the screen. Your sizzle reels should only be included in your presentation if its production quality is extremely high and if it provides an accurate representation of your concept.

When you pitch with a high quality show concept package or sizzle reel, you are not only better prepared to share your concept with the potential buyer, you are also demonstrating your professionalism. You are showing that you have a good idea, that your vision of that idea is compelling, and that you have the talent and resources to develop the concept. The sizzle reel makes it clear that you have thought through all the logistical aspects of creating the show, and allows you to present your new show idea in the clearest, most entertaining way possible.

Source: http://www.producersguild.org/?sizzle

So you just had an idea for a movie and you want to try to write a movie script, but where do you start?

Do you sit down with a blank page and type “FADE IN:” and start working on a document that looks like a professional movie script. Luckily the answer is no. That would be nearly impossible even for the most experienced writer. Fortunately, there are many interesting steps that can prepare you to face that blank page and help you turn your movie idea into a professional looking movie script.

The first thing you will want to do is get your idea down on paper. Start by writing down what made you think of the idea in the first place, and what you love about your idea. This will help you stay focused and motivated through the long process of writing a movie script. Then write down everything you know about your idea, including any details you have about plot, action, locations, and characters. Next, take all that information and try to lay it out as a story. Don’t worry about dialogue at this point, unless it is important to the plot, just focus on telling the story.

Once you have the story on paper, you should start keeping a notebook to add details and new information that you gather as you go through the rest of the steps outlined below. Make sure you write everything down. You think you will remember something because it was such a great thought, but chances are, you will forget. You can also use a smaller notebooks or a voice recorder in the car or next to your bed to capture interesting thoughts that pop into your head any time of day or night. You can then transfer these ideas to your larger notebook so that everything is in one place when it comes time to write the movie script.

Another important step is learning more about the art of writing a movie script. Scripts are very different from the type of writing you may have done in the past. Film involves the senses of sight and hearing, so when you write, you must focus on what that audience sees and hears. That doesn’t mean you aren’t concerned with how your characters feel, it just means that your tools for expressing those feelings are visual and auditory. In film, a simple shot of a far-away stare by the main character can express as much meaning as a two paragraph description of a character’s innermost feelings in a novel.

Two of the best ways to learn about writing a script are to watch a lot of movies and read many screenplays.

When you are watching the movies, focus on how the screenwriter used images or sound to give you a hint of what was going to happen next, or how a subtle look between characters lets you know what they were thinking. When you read screenplays, you can learn both the technical aspects of how to format a script and how the screenwriter uses description and dialogue to tell the story. These steps can be greatly enhanced by reading books on screenwriting that explain what you are seeing on the screen.

Once you have learned more about the screenwriting process, re-read your story and look for any holes in the information. This is where research comes in. You can do research online, or with books, magazines and newspapers, or by going out to gather information on locations, professions, or anything that would give you details and insights that would make your story more believable and complete.

Once you understand how a screenplay is structured, and have a strong sense of what your story is about, then you can sit down and start writing an outline of the story’s action. When that is complete, you can begin writing your movie script.

Because this script will be the first of many drafts, don’t worry about trying to make it perfect. You can worry about spelling and grammar when you do revisions.

By taking the process one step at a time and giving yourself the opportunity to get comfortable with your story, it will be much easier to begin writing and much more likely that you will be—with great pride and relief– typing the words “FADE OUT” and “THE END.”

If you are like most aspiring screenwriters, you have an idea that you think would make a great movie or TV show, you have a notebook or two filled with everything you know about the idea, and you may have even written your idea out in story form; but how do you turn that story into a screenplay? The art of screenwriting is very different from other forms of writing. Film is a visual and auditory medium, so screenwriters must tell their stories using images and sound. And, since the medium of film is about action, with one action leading to another, all of the meaningful actions in the story must also be described in your screenplay.

If you are unfamiliar with the artistic and technical aspects of writing a screenplay, there are many easy steps you can take to learn the process. Reading screenplays (many of which are available online) can help you understand the language used in descriptions, and help you learn the technical aspects of formatting a screenplay. Once you have read a few screenplays, you can watch movies and try to think about the words you would use to describe the action on the screen. There are also wonderful books on screenwriting that walk you step by step through the process of developing your story and turning it into a screenplay.

When you read the screenplays of your favorite movies or TV shows, you will probable notice that all of them have the same look, including the typewriter-like font. This is because production companies and agents have strict requirements on how a screenplay is presented.  This helps their “readers” focus on the story and not waste time trying to learn a writer’s personal style. If you want a professional reader to read past the cover page of your screenplay, you need to learn and use this format. There is software that can do the formatting for you, and some versions are even available online, but there are advantages in learning how to format a screenplay on your own.

For example, almost all screenplays are written in Courier font, 12 point. Using this font helps the readers get a good idea of the run time for your potential movie. Each page of a script written in this font equals approximately one minute on screen. So a 120 page screenplay would be approximately two hours long. You will also learn some common mistakes that you should avoid, such as including technical jargon that is usually added to the shooting script by the director or cinematographer. Once you learn the technical rules of writing a screenplay, you can easily set up your own template with shortcuts that allow you to quickly and accurately get your thoughts down on paper.

As you read screenplays and watch movies you may also notice other common elements shared by most films. For example, the films have a very distinct beginning, middle and end. The beginning of the film, or Act I, is approximately one quarter of the running time of the film, so for a two hour film, it would be the first 30 minutes. In Act I, the characters are introduced, the routines of their lives are established, and some form of conflict that disrupts that routine is suggested. Act II is the longest section of the film and is filled with obstacles that the main characters must overcome if they are going to reach their ultimate destination. Act III, which is often the shortest section, contains the climax of the film and the final resolution. Books on screenwriting can help you work through your story idea step by step so that it is presented in this traditional form, and help you develop characters and describe action so that the audience stays interested in your characters and story from the beginning of Act I all the way through the end of Act III.

Once you think you really know your story and characters, you can begin to turn it into a screenplay. The first step is to write an outline. At this point, you are only going to write about the action (only include dialogue if it is very important to moving the action forward). You can do this as a sentence outline, where each action is written out in a sentence or two, or as a step outline that describes events in more detail. Write all action in the present tense, even if the event happened in the past. By using your outline to keep track the story progression, it will be much easier to sit down and write the first draft of your screenplay. With an outline, you will be able to write faster, be less likely to get stuck trying to figure out what comes next, and be focused to on creating believable dialogue.

When you get a great idea for a movie or TV show, you may be tempted to jump right in and start writing a screenplay, but as you can see, there is a lot more to the process than you may have thought. If you take the time to really develop your idea and learn more about that process, you will have a much better chance of creating a quality screenplay.

Pittsburgh has been a hotbed of filmmaking in recent years, and the region’s appeal for film crews isn’t slowing down. Tom Cruise’s “Jack Reacher,” Christopher Nolan’s “The Dark Knight Rises” and Emma Watson’s “The Perks of Being a Wallflower” have all graced the shores of Pittsburgh’s three rivers, which are now playing host to Channing Tatum & Steve Carell’s “Foxcatcher”

“Foxcatcher,” which is being shot in the suburbs of McKeesport, Sewickley Heights, West Mifflin and other locations in the Greater Pittsburgh area, is a true crime drama starring Steve Carell as John du Pont, heir to the du Pont chemical fortune who ended up shooting and killing his longtime friend, Olympic gold medalist David Shultz (played by Mark Ruffalo).

As the story goes, John du Pont graduated from Haverford School in 1957 and attended college in Miami, Florida, where he studied under and was mentored by scientist Oscar T. Owre. He graduated from the University of Miami in 1965 with a Bachelor of Science degree in zoology. Mr. du Pont went on to complete a doctorate in natural science from Villanova University in 1973.

In the 1990s, he established a wrestling facility at his Foxcatcher Farm, after becoming interested in that and the pentathlon events. He became a prominent supporter for amateur sports in the United States and a sponsor for USA Wrestling. Soon after, his friends and acquaintances became concerned about his erratic behavior.

In January 1996, John du Pont shot and killed David Schultz, a 1984 gold medal winner who came to live and train at the state-of-the-art Foxcatcher National Training Center that Mr. du Pont had built on his 800-acre property in Newtown Square, Pa.

“Foxcatcher” will be filming throughout the Pittsburgh area through Thanksgiving and was most recently spotted shooting south of Pittsburgh proper in the borough of West Mifflin. Film crews also utilized historic Wilpen Hall (built in 1899), which is located in Sewickley Heights, as the Foxcatcher National Training Center. Wilpen – a contraction of “William” and “Penn” — is the former summer home of Pig Iron magnates Mr. and Mrs. William Penn Snyder.

“Foxcatcher” stars Steve Carell, Channing Tatum, Mark Ruffalo, Sienna Miller, Vanessa Redgrave and Anthony Michael Hall and is being directed by Oscar nominee Bennett Miller, who directed “Capote” and “Moneyball.”  The movie will be released in 2013.

Additional Photos (http://www.onlocationvacations.com/2012/11/03/channing-tatum-mark-ruffalo-take-a-break-from-shooting-foxcatcher-to-greet-fans-in-pennsylvania/)

Featureflash / Shutterstock.com

OK. That’s not true.

But, now that Lucasfilm and Disney are under the same creative umbrella, who knows what the next editions of the franchise will look like?

This purchase went from maintaining the interest of Wall Street’s pocket books to grabbing the hearts and minds of “Star Wars” fanboys and girls everywhere, as the additional announcement was made that “Star Wars Episode VII” is slated for a 2015 release date.

Joal Ryan of E! Online recommends, “Immediately Expel Episodes 1-3 From the Canon: While many ‘Star Wars’ fans presumably have already implemented this proposal, thusly stated in a tweet by blogger Benjamin Morris of Skeptical Sports Analysis, in their own homes and personal movie collections, imagine the epic cathartic release of Disney actually removing the adventures of Qui-Gon Jinn, Jar Jar Binks and Halloween-mask favorite Darth Maul from the official Hollywood film vault, which doesn’t exist, but should.”

The “Star Wars” canon is so extensive that it is almost impossible to predict what the new episodes will consist of in the way of plot. But, having so many heavy-hitter directors (who have worked with both Lucas and Disney) is sure to provide some intense speculation on creative direction.

With Halloween quickly approaching, many Americans will flock to films “Nightmare On Elm Street,” “Friday the 13^th” or one of the 23 “Saw” movies to satisfy their abject autumns. But much like your pillowcase needs to be brimming with more than Mallo Cups, this season’s film selection could use some foreign flavors as well.

_________

“Martyrs” – France, 2008

A blood-filled éclair is not an appetizing French horror offering. But Pascal Laugier’s 2008 “Martyrs” sure is. “Martyrs”’s main character Anna stumbles across a woman know only as Mademoiselle, who explains that she belongs to a secret society that seeks to discover the secrets of the afterlife through the creation of martyrs — torturing young women until they transcend this world. Why do we watch this stuff?

 _________

“Audition” – Japan, 1999

According to the Wikipedia entry for “Audition”: “Among filmmakers featured on US-TV channel Bravo‘s “100 Scariest Movie Moments” (on which the film appeared at number 11), notable horror directors Eli Roth, John Landis and Rob Zombie claimed to have found the film very difficult to watch, given its grisly content; Landis said that the film was so disturbing that he couldn’t enjoy it at all. Curious?

 _________

“Let the Right One In” – Sweden, 2008

Utilizing Sweden’s wintry landscape and the faded look of a 1980s setting to eerie effect, “Let the Right One In” chronicles a genuinely moving tale of first love between a bullied, troubled child (Kåre Hedebrant) and the girl who moves in next door (Lina Leandersson) who isn’t exactly a girl (a vampire, maybe?) – Indy Week

 _________

“Suspiria” – Italy, 1977

“Suspiria” is one of Italian Director Dario Argento’s most successful feature films and falls into the “giallo” genre, which is characterized as crime fiction and mystery and is credited as a major influence on the slasher genre. “Suspiria” follows American ballet student Suzy Banyo, who transfers to a prestigious dance academy in Germany, only to discover that it is controlled by a coven of witches. Enjoy the visuals and the soundtrack.

 _________

“The Plague of the Zombies” – England, 1966

If you’ve never seen a film produced by legendary English horror mavens Hammer, give this precursor to “Night of the Living Dead” a try. Hammer Films was founded in 1934 and is best known for a series of Gothic “Hammer Horror” films made from the mid-1950s until the 1970s.

 _________

“Ringu” – Japan, 1998

Everybody likes “The Ring,” right? “Ringu” is the Japanese movie that the American version was based off of. So, if you’re looking for a titillating horror experience, try “Ringu” – it’s in there!

 _________

“Diabolique” – France, 1955

“Before ‘Psycho,’ ‘Peeping Tom,’ and ‘Repulsion,’ there was ‘Diabolique.’ This thriller from Henri‑Georges Clouzot, which shocked audiences in Europe and the U.S., is the story of two women — the fragile wife and the willful mistress of the sadistic headmaster of a boys’ boarding school — who hatch a daring revenge plot.” – The Criterion Collection

 _________

“The Wicker Man” – England, 1973

Before Nicolas Cage ruined the title for American audiences, Christopher Lee enchanted viewers with a strange blend of crime drama, Wiccan hocus pocus and the spritely music of Paul Giovanni. Plot: A detective journeys to a remote island to investigate a missing girl and may or may not end up on the losing end of a gigantic burning idol.

 _________

“The Devil’s Backbone” – Mexico, 2001

Guillermo del Toro, who brought us “Pan’s Labrynth” introduces 12-year-old Carlos, who is sent to an ominous boy’s orphanage after the death of his father, which he discovers is haunted and has many dark secrets that he must uncover.

 _________

“Repulsion” – England, 1965

Roman Polanski’s first English-language film. ‘Nuff said. 

HAPPY HALLOWEEN!

An icon, an institution, a lifestyle, a genre…how do you describe this character and these films in an accurate and complete manner exactly?

How?

As the man, the myth, the legend and the series celebrate their 50^th anniversary; the article below gives a nice overview of its significance. I suppose the point being that a series and an epic hero with legs and way more than nine lives can successfully capture the collective imagination of viewers over the long haul.

Is it a testament to our connection to an actor? No. Bond has had many faces over the years. Is it excellence in scripts? No. There have been flops.

As the article points to, its lasting success is really attributable to the source material: Ian Fleming’s novels. As well as the series’ ability to reinvent itself and capture a loyal fan base that comes back for more.

Oh, and those Bond Girls probably don’t hurt either.

On a more serious note, the cultural phenomenon of the series is fascinating. Here is this guy who every woman wants and every man wants to be. He oozes sophistication and never goes out of style.

Twenty-two films…$5 billion at the global box office…50 years…

Quite a resume.

Sure, the series has had its detractors. It has been called sexist and various Bond films have been panned by critics and bombed at the box office, but nobody has been able to keep this guy down for very long. Not even the Russians during the Cold War.

The Bond series has captured and capitalized on a kind of movie magic and formula for success that is pretty much unparalleled. Will Bond continue to shake and stir us for another 50 years…?

Article Source; Daniel Craig Image Source: digitalsport-photoagency / Shutterstock.com; Pierce Brosnan Image Source: Featureflash / Shutterstock.com

“They just don’t make them like they used to!”

You’ve heard your grandpa and dad say it about cars and calculators before, and if you are a fan of original filmmaking, there’s a good chance you might keep the cliché alive by passing it along to your kin.

Short of the Week recently released an info-graphic (see below) that proves Hollywood may have given up on new ideas, and has committed to the cash cow that is franchising.

Can we blame Hollywood? People are still paying money to see these movies. And the studios know it.

According to a press release, Viacom’s CEO said that Paramount is working on a Nickelodeon-branded “Teenage Mutant Ninja Turtles” film, while J.J. Abrams is developing a “Star Trek” sequel for a potential 2013 release and is developing ideas for “Paranormal Activity 4″ and a fourth(!) “Transformers.”

But films are art, right? Not just blank checks.

Most film fans would agree. That’s not to say there is no artistic credence in reboots or franchises. “Bond,” “Indiana Jones” and “Batman” franchises all incorporate a high level of artistic touches.

And if you want to judge film value based on awards — not advisable, but a decent litmus test for the sake of argument – in the 84-year history of the Academy Awards, only five sequels have been nominated for Best Picture: “The Godfather Part II,” “The Godfather Part III,” “The Lord of the Rings: The Two Towers,” “Toy Story 3” and “The Lord of the Rings: The Return of the King,” which won the Oscar in 2003.

Although we all enjoy sequels to our favorite movies, it’s important for film as an art form to develop more original screenplays and even adaptations.

We encourage filmmakers of all walks of life to bring the world the next “Citizen Kane” or “The Godfather.”

Infographic Source:  Short of the Week