I have finished a half hour comedy pilot. I’m from the UK so the pilot is based here also. Has anyone had any experience with script coverage? I have read a lot of reviews and it doesn’t seem too good. Can anyone help? Thank you.
I have finished a half hour comedy pilot. I’m from the UK so the pilot is based here also. Has anyone had any experience with script coverage? I have read a lot of reviews and it doesn’t seem too good. Can anyone help? Thank you.
Hi to all,
Does it make sence to put the trailer of a short film online when there is now guarantee that there will be any real (not) online) filmfestivals this year -- or ever again?! Cannes gone down the drain etc. The French team and lost Dutch guy - me -wanted to wait untill marketing wise it is...
Expand postHi to all,
Does it make sence to put the trailer of a short film online when there is now guarantee that there will be any real (not) online) filmfestivals this year -- or ever again?! Cannes gone down the drain etc. The French team and lost Dutch guy - me -wanted to wait untill marketing wise it is smart to put the trailer of our short movie online.. But now I feel we can wait for ever... Stay of the boose, stay safe... stay home... if you have one.
Hello Rutger, I have a short film that has transitioned from onsite festival screenings to online fests, despite lockdown. I encourage you to consider your motivations and goals for each scenario, on...
Expand commentHello Rutger, I have a short film that has transitioned from onsite festival screenings to online fests, despite lockdown. I encourage you to consider your motivations and goals for each scenario, onsite vs. online.
Online options can potentially transcend geographic boundaries and could very well mean a much larger audience for your work. Is the short meant to be a calling card for other work or a feature, which would mean that the increased exposure would benefit your network, brand, etc.? Or distribution? So geoblocking and pay-wall enforced elements are a higher priority, for example. Perhaps an outline of your reasoning for holding back?
Many online fests have pay-walls in place, are honouring geoblocking, upholding premiere status, and employing other initiatives to ensure the fairest treatment possible. However, despite a Film Festival Survival Pledge movement (including “temporarily waive policies limiting screening and competition eligibility of films produced within a specific timeframe to include films that were eligible in the previous festival cycle.”), some of next year’s festivals may not consider 2020 films when there are 100s or 1000s of current year films to consider.
As a programmer for festivals and organizations, I anticipate that your short will have even more competition during the next festival season, as current films and the films held back from this period vie for screening slots. There’s also the very real possibility that festivals’ next editions will be presented on a smaller scale, reducing the overall number of screenings slots or duration of the festival, with hopes of financially recovering from revenue losses. It's a moving target... Ultimately, it comes down to strategy and what you most want for you and your work. Good luck!
As Richard "RB" Botto says, the time is now! Check out yesterday's Deadline article: https://deadline.com/2020/04/swsw-stage-32-maggie-gyllenhall-festivals-c......
Expand commentAs Richard "RB" Botto says, the time is now! Check out yesterday's Deadline article: https://deadline.com/2020/04/swsw-stage-32-maggie-gyllenhall-festivals-c...
Great opportunity, but Cannes was the first we festival. Never heard of them again. Slight changes we got into the official festival anyways. End you have to be qualified for at least one festival if...
Expand commentGreat opportunity, but Cannes was the first we festival. Never heard of them again. Slight changes we got into the official festival anyways. End you have to be qualified for at least one festival if I read it correctly? Bu great for people who already qualified for a festival that got canceled!!
This is my first post on Stage32, soooo, hello!
I'm deep into the second draft of my first 'earnest' attempt at writing a screenplay. I have several others in varying stages but this one says "fade out" and is being polished. So now I'm curious about something and would like to hear your thoughts.
I a...
Expand postThis is my first post on Stage32, soooo, hello!
I'm deep into the second draft of my first 'earnest' attempt at writing a screenplay. I have several others in varying stages but this one says "fade out" and is being polished. So now I'm curious about something and would like to hear your thoughts.
I am trying to best craft a screenplay that is true to my own vision but also doesn't push too hard against conventions regarding structure and readability. I feel like as I go through my second draft and slice and trim I am losing my voice in the action.
How do I ride the line of simplifying my work so it will be read easily/quickly, understood (and hopefully enjoyed) while not stepping on the toes of actors/directors/cinematographers who will hopefully be using it as their map in the future?
I feel like my ability to turn a phrase is one of my strengths. I don't want to lose that. I can only make someone "melt" into a chair instead of "sit" or "bolt" instead of "run" so many times before I feel like more needs to be said.
I want to be professional and readable but I want to be myself.
Where do you folks draw the line?
Any thoughts?
Thanks for that advice Dan Guardino and good question Quinn Butterfield.
Your voice will not be lost.
There are no two words in the English language that mean the same thing, they come close, but never the same thing. If your character melts into a chair, they melt into a c...
Expand commentYour voice will not be lost.
There are no two words in the English language that mean the same thing, they come close, but never the same thing. If your character melts into a chair, they melt into a chair (sounds like summer in Sydney).
The most important thing I have learned from reading a lot of scripts. The more clever you try and be, the worse you look. People don't want to see your writing, they want to see your movie. Don't use words that send people diving for a thesaurus. That will instantly break their connection to your work. They should never look away from your pages.
The structure your story takes is up to you. Start at the end, jump around, tell it backward. If it works it works. If it doesn't, well... you know the outcome.
Readability is something completely different. I am reading a script for someone. It is nearly unreadable. It is a collection of words that read all interesting and spooky but mean nothing from a film point of view. It would probably be a better novel. It is not a story to be told visually.
Lastly, if you are going to do something unusual. I am a big fan. Do it well and you will look like a master. Do it poorly and you'll look like a gymnast that face plants. Don't try the backflip till you know you can stick the landing (that is correct, I have no idea about gymnastics).
Your voice is the screenplay, without you the story would not have been written. Unfortunately, if you plan on submitting your work to someone else to possibly produce it, then they will ultimately pi...
Expand commentYour voice is the screenplay, without you the story would not have been written. Unfortunately, if you plan on submitting your work to someone else to possibly produce it, then they will ultimately pick your script apart anyway. Reason being is that you had a vision to write the script, when the Director and or Producer gets the script they will adjust your vision on paper to line up with their vision for filming the story. In many cases if it is a big Production company your script will get up to at least 5 revisions before the first frame is filmed. So, unless you plan on filming your own script you must be prepared to accept the changes the Production Company makes. When you submit your script you need to be able to sell it to a Production company and negotiate whatever you can up front concerning the creativity within your script and just walk away (this is a harsh but true reality), unless you negotiate with the company to be a part of the Script revisions. I learned this myself while writing my first Screen Play. I hope this helps.
How is everyone? It has been a very tough 3 weeks for everyone I'm sure and I hope that this time is used wisely for some new creative content.
Currently, we have just finished a 30 minute TV Comedy Pilot. We will be submitting to BBC writers room next week. After this, I am looking for the most rel...
Expand postHow is everyone? It has been a very tough 3 weeks for everyone I'm sure and I hope that this time is used wisely for some new creative content.
Currently, we have just finished a 30 minute TV Comedy Pilot. We will be submitting to BBC writers room next week. After this, I am looking for the most relevant Industry Reader/Producer to provide me with feedback.
Stay safe and stay at home.
Hi Everyone. My name is Lorenc. I listen to the Indie Film Hustle podcast, thats how I found stage32. Me and my co-writer have a few projects on the go, short films and TV Pilots. I look forward to hearing from anyone and everyone. Cheers guys and gals
Hi Enzo and welcome to the Stage! :)
Welcome!
Welcome Enzo. I would say this is by far the most informative platform. Hope to work with you sometime, sir.
Hi Enzo. I'm RB, Founder and CEO of Stage 32. As a screenwriter, producer, actor and filmmaker, I know first-hand the challenges all creatives face finding work, landing representation, launching projects, securing funding and simply making the connections that will make a difference in their careers. That's why I created Stage 32. Since our launch in September of 2011, the community has grown to 1,000,000+ members representing every country on the planet making Stage 32 the social network uniquely populated with the most creative people on Earth.
This is a network for you, built by you. Like m...
Expand postHi Enzo. I'm RB, Founder and CEO of Stage 32. As a screenwriter, producer, actor and filmmaker, I know first-hand the challenges all creatives face finding work, landing representation, launching projects, securing funding and simply making the connections that will make a difference in their careers. That's why I created Stage 32. Since our launch in September of 2011, the community has grown to 1,000,000+ members representing every country on the planet making Stage 32 the social network uniquely populated with the most creative people on Earth.
This is a network for you, built by you. Like most things in life, the more you participate, the greater the rewards. We ask all new members to pay it forward by inviting 5 fellow creatives to the network and by spreading the word of Stage 32 through other social media sites such as Facebook, LinkedIn, and Twitter. The more creatives, the stronger the network. The stronger the network, the more opportunities.
Thanks for joining the movement and for being a part of this most talented and inspiring community. I very much look forward to your contributions.
Thanks, and have a creative day!
RB
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Hello Enzo -
Welcome to the community! I'm Amanda Toney, the Managing Director at Stage 32. Since 2013 I've been proud to oversee Stage 32's Next Level Education, which provides you the most up-to-date tools necessary to become a better creative.
Over the years Stage 32 has worked with over 500 industry executives and professionals to teach online webinars, classes and intensive labs exclusively for you - our Stage 32 community. We bring you instructors who have worked directly on some of your favorite films, TV shows or theater productions to teach you in-the-trenches information that you won...
Expand postHello Enzo -
Welcome to the community! I'm Amanda Toney, the Managing Director at Stage 32. Since 2013 I've been proud to oversee Stage 32's Next Level Education, which provides you the most up-to-date tools necessary to become a better creative.
Over the years Stage 32 has worked with over 500 industry executives and professionals to teach online webinars, classes and intensive labs exclusively for you - our Stage 32 community. We bring you instructors who have worked directly on some of your favorite films, TV shows or theater productions to teach you in-the-trenches information that you won't find anywhere else on producing, directing, financing, writing, packaging, acting and more.
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Amanda
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Share it with a colleague first. Coverage isn’t meant to help you look for mistakes or story problems. Coverage is for producers and talent managers to see if the script is ready to shop around.
1 person likes this
Welcome, Enzo! This is what we do. Look for SCRIPT SERVICES on your top bar. Scroll to see options. Or post your pages and offer feedback for feedback. You'll read their story, they read yours. You'll get all the feedback you can handle.