I quit my job back in February to dedicate myself fulltime to my writing efforts, among some other activities I deemed more important than going to work somewhere where I felt like practically killing myself.

As odd circumstance, or maybe fortuitous serendipity would have it, I was myself in the process of writing a screenplay with the ‘crazy notion’ of trying to get it in front of Matt Damon and Ben Affleck PRIOR to any public information about project greenlight. A roommate of mine in San Francisco was best friend’s with a friend of their posse apparently, growing up in Boston.

A bit about my experience that anyone COULD possibly benefit from: Like I said, I quit my job for many reasons, but the main one was to try and turn this story/idea I had for a film into a reality. I had gone ‘down the road’ with this experience with no notion of the contest mind you. This really is a lesson like in the film/play “Six Degrees”. Like anyone who wanted to do something - - I picked up the phone and started pushing buttons. To make a LONG story short, although it was only about 7 weeks, I actually had a friend of a friend mention my idea to a friend of his. Like I said this was all “pre-greenlight”. THAT friend of the friend of a friend of mine was, believe it or not – Chris Moore. (you hopefully all know who that is by now)
Anyway I did know who he was as a result of learning about the story behind GWH. And through a long crazy story, like I’m sure it always is – I was trying to get in front of this guy to give him my pitch. That’s apparently how it CAN work down there in LA.

Anyway to cut to the chase – I never took the meeting because the mere existence of the contest was announced. I was afraid even taking that meeting might disqualify me.(at the time, no rules had been announced) It turned out that the guy who I didn’t really know that got the meeting for me actually turned down a job with Kevin Spacey and now works in Seattle for Paul Allen, a buddy of Billy boy’s – true story I swear. Why would I lie? Anyway I was never really on Chris’ “radar” anyway I’m sure. I was just a faceless no one with a name I doubt he would even recall.

My point: I have been reading some of the messages out there and I want to say to all of those who have never done this before, and I say this with all the respect to those who HAVE studied in film school(I admit – these people were SMART enough and brave enough to admit how much they like film, unlike me) – I HAVE NO EXPERIENCE and I had NO CONNECTIONS and in less than two months someone who knew someone I knew, was talking to someone we all wish eventually knows who we are. (i.e. Chris Moore as the executive producer on our first film)

You don’t NEED to do anything to be able to write other than write. Let’s face it, a screenplay is words on a page. Granted there had better be some underlying vision that is compelling and yadda yadda yadda but let’s face it – its - words on a page. Ask yourself this: Have you seen great movies? Of course you have. Can you tell when a movie is great? Sure you can. When people are honest with themselves they can tell if they have SOMEthing that will push people’s buttons in the way people’s buttons are being pushed these days – its not that hard to TELL. Definitely harder to do, me thinks.

Anyway – remember I was like EVERYone out there back in February. I had a story, plus a good portion of a manuscript. I just think there is no reason that anyone can’t at least try and do what I was doing/am doing. Since backing off of the people at Miramax specifically because of the Greenlight announcement – I have made similar inroads with MGM. Maybe you will have more or less “breaks” as I think they always eventually call them. Really, though that's just who you happen to know. I swear to God, I didn’t even know it, but I just happen to know a VP of production at one of MGM’s production companies. Who doesn’t know someone who knows someone in LA?

My plan now: Finish this rewrite and hope for the best with the greenlight competition but then go right to trying to get an offer from another studio/production company. Why not, right? The rules don’t prohibit it and in no way is this an act AGAINST Miramax. Personally, if I can manage to do this, this will be my way of showing them how much I DO want to do this movie with them. (I’m a huge Miramax fan, who isn’t right?) I specifically have waited all this time to ensure that I didn’t break the rules.

Plus look at it this way – if you are fortunate enough to make it to the round of 30 – a screenplay that has an outstanding offer from another company is going to get some attention, and rightfully so, no? It has already made a case for its commercial viability and as much as I’m sure that these guys want to make an artistically pleasing film, let’s not kid each other – this IS a business, right? The “winner” or as I like to think the ‘first’ film collectively recognized by the group will be a film that does both, don’t you think?

To sum it up – let’s face it, what greenlight is doing is not THAT innovative. They are just making us the readers for them, for ourselves. This IS a great idea and I am participating whole heartedly. The REALITY is the first screenplay I review will be the second entire screenplay I have EVER read I swear. (after mine of course) But God knows I’ve seen tons...who hasn’t right? Anyway, my hope, and I’m guessin’ they MUST be thinking something like this – is that they could create their own Sundance type brand in the emerging film market. You know – nurturing, mentoring and incubating new talent. Miramax would LOVE this, no?

Back to the point: We all know people, people who know people and so on and so on... If you’ve finished your screenplay, see if you can get it out there to some of the OTHER professional readers – there are people who do this for a living... i.e. look for great movies, movie ideas. I mean the way I see what they are setting up for themselves, for us – be honest, would you be surprised if 10 or more deals come out of this first time go around. I wouldn’t. I can’t wait to see what everyone else has written, well at least the three I review.
Realistically though, as far as what happens with greenligt - I don’t know who they are, and I swear I’m not being cheesy or kissing up, but I imagine that an interesting group of new thinkers in film will emerge from this thing... and I just hope I’m part of it.

I don’t believe in luck per se, but I hope that everyone feels that they are happy with their submissions. If you have that and you are a submitter you’ve already won – by trying to 'win' Don’t stop there though if things don't go "well" with the contest.

God knows no one knows if they will make the 250 – there are a lot of variables. I know that I won’t be stopping if I don’t make it…

Take care
Frank

PS – This is supposed to be a community. As far as I know there are no rules against fraternization. Anything anyone wants to know, if anyone wants to try and leverage anything or one I know – by all means drop me a line… I make this offer to people everywhere all the time, I don’t see why I wouldn’t make it here, especially.

quote:

---

Originally posted by noonespecial2310:
Just a thought for those of you having already submitted or are about to do so. Its long, but I promise, its worth it, if you really care about this contest.

I quit my job back in February to dedicate myself fulltime to my writing efforts, among some other activities I deemed more important than going to work somewhere where I felt like practically killing myself.

As odd circumstance, or maybe fortuitous serendipity would have it, I was myself in the process of writing a screenplay with the ‘crazy notion’ of trying to get it in front of Matt Damon and Ben Affleck PRIOR to any public information about project greenlight. A roommate of mine in San Francisco was best friend’s with a friend of their posse apparently, growing up in Boston.

A bit about my experience that anyone COULD possibly benefit from: Like I said, I quit my job for many reasons, but the main one was to try and turn this story/idea I had for a film into a reality. I had gone ‘down the road’ with this experience with no notion of the contest mind you. This really is a lesson like in the film/play “Six Degrees”. Like anyone who wanted to do something - - I picked up the phone and started pushing buttons. To make a LONG story short, although it was only about 7 weeks, I actually had a friend of a friend mention my idea to a friend of his. Like I said this was all “pre-greenlight”. THAT friend of the friend of a friend of mine was, believe it or not – Chris Moore. (you hopefully all know who that is by now)
Anyway I did know who he was as a result of learning about the story behind GWH. And through a long crazy story, like I’m sure it always is – I was trying to get in front of this guy to give him my pitch. That’s apparently how it CAN work down there in LA.

Anyway to cut to the chase – I never took the meeting because the mere existence of the contest was announced. I was afraid even taking that meeting might disqualify me.(at the time, no rules had been announced) It turned out that the guy who I didn’t really know that got the meeting for me actually turned down a job with Kevin Spacey and now works in Seattle for Paul Allen, a buddy of Billy boy’s – true story I swear. Why would I lie? Anyway I was never really on Chris’ “radar” anyway I’m sure. I was just a faceless no one with a name I doubt he would even recall.

My point: I have been reading some of the messages out there and I want to say to all of those who have never done this before, and I say this with all the respect to those who HAVE studied in film school(I admit – these people were SMART enough and brave enough to admit how much they like film, unlike me) – I HAVE NO EXPERIENCE and I had NO CONNECTIONS and in less than two months someone who knew someone I knew, was talking to someone we all wish eventually knows who we are. (i.e. Chris Moore as the executive producer on our first film)

You don’t NEED to do anything to be able to write other than write. Let’s face it, a screenplay is words on a page. Granted there had better be some underlying vision that is compelling and yadda yadda yadda but let’s face it – its - words on a page. Ask yourself this: Have you seen great movies? Of course you have. Can you tell when a movie is great? Sure you can. When people are honest with themselves they can tell if they have SOMEthing that will push people’s buttons in the way people’s buttons are being pushed these days – its not that hard to TELL. Definitely harder to do, me thinks.

Anyway – remember I was like EVERYone out there back in February. I had a story, plus a good portion of a manuscript. I just think there is no reason that anyone can’t at least try and do what I was doing/am doing. Since backing off of the people at Miramax specifically because of the Greenlight announcement – I have made similar inroads with MGM. Maybe you will have more or less “breaks” as I think they always eventually call them. Really, though that's just who you happen to know. I swear to God, I didn’t even know it, but I just happen to know a VP of production at one of MGM’s production companies. Who doesn’t know someone who knows someone in LA?

My plan now: Finish this rewrite and hope for the best with the greenlight competition but then go right to trying to get an offer from another studio/production company. Why not, right? The rules don’t prohibit it and in no way is this an act AGAINST Miramax. Personally, if I can manage to do this, this will be my way of showing them how much I DO want to do this movie with them. (I’m a huge Miramax fan, who isn’t right?) I specifically have waited all this time to ensure that I didn’t break the rules.

Plus look at it this way – if you are fortunate enough to make it to the round of 30 – a screenplay that has an outstanding offer from another company is going to get some attention, and rightfully so, no? It has already made a case for its commercial viability and as much as I’m sure that these guys want to make an artistically pleasing film, let’s not kid each other – this IS a business, right? The “winner” or as I like to think the ‘first’ film collectively recognized by the group will be a film that does both, don’t you think?

To sum it up – let’s face it, what greenlight is doing is not THAT innovative. They are just making us the readers for them, for ourselves. This IS a great idea and I am participating whole heartedly. The REALITY is the first screenplay I review will be the second entire screenplay I have EVER read I swear. (after mine of course) But God knows I’ve seen tons...who hasn’t right? Anyway, my hope, and I’m guessin’ they MUST be thinking something like this – is that they could create their own Sundance type brand in the emerging film market. You know – nurturing, mentoring and incubating new talent. Miramax would LOVE this, no?

Back to the point: We all know people, people who know people and so on and so on... If you’ve finished your screenplay, see if you can get it out there to some of the OTHER professional readers – there are people who do this for a living... i.e. look for great movies, movie ideas. I mean the way I see what they are setting up for themselves, for us – be honest, would you be surprised if 10 or more deals come out of this first time go around. I wouldn’t. I can’t wait to see what everyone else has written, well at least the three I review.
Realistically though, as far as what happens with greenligt - I don’t know who they are, and I swear I’m not being cheesy or kissing up, but I imagine that an interesting group of new thinkers in film will emerge from this thing... and I just hope I’m part of it.

I don’t believe in luck per se, but I hope that everyone feels that they are happy with their submissions. If you have that and you are a submitter you’ve already won – by trying to 'win' Don’t stop there though if things don't go "well" with the contest.

God knows no one knows if they will make the 250 – there are a lot of variables. I know that I won’t be stopping if I don’t make it…

Take care
Frank

PS – This is supposed to be a community. As far as I know there are no rules against fraternization. Anything anyone wants to know, if anyone wants to try and leverage anything or one I know – by all means drop me a line… I make this offer to people everywhere all the time, I don’t see why I wouldn’t make it here, especially.

---

Hi there!

In my spare time I've written a manuscript for a film. It's not a
script
> yet as I haven't started with dialogues, etc... However in a couple
of
> weeks I'm going to LA and I thought of "moving" the manuscipt around
to
> see if anyone would be interested to buy the story.
> Now do you think you could share some advice on this? I'd appreciate
any
> comments, any names... from you.
> Thank you in advance for your help. Looking forward to hearing from
you.
>Take care.

Zparki

Yes I did. Hard to believe, huh? Well, like someone before me wrote - some things are true whether you believe them or not. Sometimes I question my own choices back then too, but the reality is these contacts that I have made aren't going anywhere.

Plus, writing is rewriting so the additional time has definitely benefited my work, and let's face it now that the contest is underway AND all of the rules are known, I am planning another LA trip after I complete this rewrite.

By the by, I don't live in LA either - my experience has been contrary to what everyone else says - i.e. you have to live in LA to get anything done. If people like your ideas, like you're writing, they DO call - you don't know until you try...

Anyway - all the best to you.

I think its interesting that you would suggest that I would have to have read a great number of ENTIRE screenplays in order to be effective in rating them.

That way of thinking seems to imply that no one could have a natural propensity or maybe even talent or ability to understand something they don't have a "great deal" of experience with. Wait a minute - isn't that every single one of US when it comes to directing a feature film? If this were true, would anyone be worthy of 'winning' this contest?

Don't worry Roxbury - I have read portions of several "well-respected" screenplays and more importantly, as I'm sure most people involved here would say, I have seen/heard LITERALLY countless others in the theatre and otherwise.

And if you still think that's a cop out, my suggestion would be for you to listen to the Director's Commentary on PT Anderson's first film, Hard Eight. This guy's insight to breaking into the business is brilliant.

At the end of the day, if your screenplay is 'solid' things will go your way. Like I said before, I may not make the round of 250 for the very reasons you're mentioning - someone misunderstanding this or that... The reality is, that is something you CAN'T control, so worry about what you can - your own writing.

I don't think its necessarily true that the cream will rise to the top in greenlight, but whether it rises to the top or not, its still cream, if you and the 'right' people believe it is.

all the best,
frank

quote:

---

Originally posted by Roxbury24:
To Noonespecial,

Re your comment <<The REALITY is the first screenplay I review will be the second entire screenplay I have EVER read I swear. (after mine of course>>, that's really scary. There's so much that goes into seeing how a script works on its feet. I'm not saying you have to be an expert. But, it's really discouraging to know that my script may be read by someone who hasn't read any of the respected script. Not even Butch Cassidy and the Sundance Kid. Or Norma Rae? It's like having a doctor perform heart surgery after watching episodes of ER.

---

I have to disagree with that. A good writer has to be able to envision their story in their mind...and a good reader can always envision any story in his or her mind. Writers are usually good readers, and I like to think that any writer worth their salt can get a good grasp of any story in his/her mind, regardless of how it's written...so long as it's written well. It can be a novel, a short story, a screenplay...if the writing is solid, and the writer attempts to bring their vision to life in text, the reader should be able to see that vision in their own mind.

As an example: I've been a Net fiction writer for almost five years now. My specialty is writing fight scenes. Not gunfights, not brawls...martial arts, which is NOT easy to convey in text media. My friends and colleagues in the online fiction community read the fight sequences I write, and they are impressed, because they always say they can see my fights coming to life. Now, I'm not trying to say I'm the best writer there is, or even that I'm more than some hack with an impossible dream, but it's given me quite a perspective on how things work, and when reading screenplays, I look for, above all else, the ability of the dialogue to sound in my head, the scenery to be visible to me as I read, and the action to come to life in my mind.

I've always lived in LA. Lots of people live here. It's a nice city, but would be much better with a subway and a few less suburbs.

Thanks for the post. It was encouraging for me. I'm one of the fools who left his title page on his screenplay (and thus disqualified himself.)

But the more I thought about it, the more I know my screenplay is a good one. It's a true story, a romantic comedy/action comedy.

So, I really want to shop it around.

I hate to think I went to all the trouble of writing it for nothing.

Also, no disrespect to the others submitting, but good screenplays will do well in this contest. They really will stand out. (But of course, we all think OUR screenplay is the good one.)

Anyway, Special, if you get a literary agent or somebody who can help you pitch your screenplay (or if you make it), I'd appreciate it if you could give a leg-up to somebody else who is doing what you're doing.

If you'd like to read my screenplay, directly (no harm, now, my submission didn't conform to the rules here, and will be disqualified, no doubt), please e-mail me at

surfnrun@yahoo.com

Anyways....I wanted 2 send in a screenplay but all I have is ideas in my head .Ideas I had 4 the last 2 years...I don't know how 2 write a script...but I was wondering if anyone out there would like 2 join up, get 2gether and write....

I'm a 22 year old Male from california. I'm starting a Entertainment company up soon... just 2 build a name 4 now....Why you might ask...well here's the flat out truth....I work at burger king....Not a very good job..but I moved 2 this town of Los Banos 2 years ago..and it does'nt have any good jobs...b4 Burger king I worked at IBM on the line (In san Jose, ca)...So I know I can get a better job....*thinks*..hold on...What am I say'in..Nobody reading this gives a sh!t about my job...*laughs*...I'm just a 22 year old, underground rap artist, single ..yeah I say it...S.I.N.G.L.E...in other words..I don't get laid...plain and simple....*laughs* that what I think the true meaning on being single is....Think about it...When you ask somebody .....

So are you single?

Nope...

Oh! ...and in your head you think...I knew it..

but if he/she says yup....theres a reason 4 that...they don't put out...

*laughs*..I'm just playin with you people..

*thinks*..I wonder if anyone is reading this?

Ok...well anyways...if anyone wants 2 know more 411 on me..then hit up (go 2) my site http://www.taguerrero.com

and if you like it (no fingers crossed) Please sign the guestbook and join the mailing list....
~

HAVE A SWELL DAY
-T.A.GUERRERO

P.s. By using "Swell" It was just me being stupid...don't think I walk up and down the street saying "swell" all fu**in day ~

SW - Listen, this has gone entirely the wrong way. And by the by, just to be clear, I do think, my screenplay is "great" I would hope that everyone else thinks the same. Otherwise why would they be submitting right? I mean, if even YOU yourself don't think your screenplay is great, do you think you have much of a chance of getting much positive attention?

AND PLEASE don't make the mistake of thinking that I think that because I think my screenplay is 'great' that that means a DAMN thing. I am aware of this. Similarly, I don't really believe in words like "better or worse" - I mean I really think things are just different. Good, bad, better, worse - these are all COMPLETELY subjective value judgements. (and yes, i do mean that in more of a philosophical way and not so much so practically - all though that too is quite true.)

If on the other hand you are suggesting that I mean to brag or am exaggerating my story, you are honestly mis-taking me. I mean what I'm trying to tell people here, which apparently some others have picked up on...

I am trying to offer REAL encouragement to anybody who may be about to say the HELL WITH IT and quit their job, take a break from it all and chase a dream. - i.e. pursue getting a screenplay made into a movie via other means if greenlight doesn't pan out - i'm basically telling people that I'm GOING FOR IT - contest or no - I'm trying as we speak. I guess I'm just looking for company. And mind you I'm not the former film school student or someone otherwise trying to get into the business in some way.(not that that is a bad thing, of course - we all make our own road) Hell - prior to February this year I was an 8 year veteran of the information technology field, travelling all over the world building systems. Now I'm a social worker in San Fran, literally trying to save lives everyday AS WELL AS working towards a career as a screenwriter, director. We've all got our own stories right?)

I know it sounds corny, but that's all I'm trying to do here.

I just happen to have things fall into place rather quickly as far as getting some real traction with my writing down in LA. And trust me what I did regarding greenlight specifically is very understandable, just maybe not when explained over email.

Trust me you would have done the same thing - I'd be willing to bet on that. (in a friendly way - seriously)

Like I was saying I'm NOT bullshitting so seriously - drop me a line at noonespecial2310@yahoo.com and I will give you my digits. Trust me, the fact that we are both 'out here' doing this, we will have a great deal in common - at least about movies anyway...

realistically - i would like to talk to another greenlight submitter, in a 'good' way, whatever that means, right?

be the one, well first one at least. drop me a line.

You fucked up. It happens. "Man RUNNING: What's that? shit?. FORREST: Sometimes."

Who DOESN'T!!!

But realistically, I just like the tone of your messsage. I can't see us NOT getting along.

I will send you an email with my digits where you can reach me, to see if we can help each other help ourselves...

I just signed on with this project green light stuff, and read your massive opening message. My advice to you is simple, if you want to make it in this industry, don't be so honest, and don't be so forthcoming about your mistakes. You probably don't want to go around calling yourself "NO ONE SPECIAL" either.

Also, if your screenplay is written anything like that opening diatribe, have it proof read for grammatical errors. Some of your sentences were structured poorly, they didn't make sense.

Good luck.

NJC

PS- One thing that gets me about this competition. It IS a competition, yet your competitors are "grading" your work. Your all in line to win, but only one person WILL win, why would you help someone else win?

I appreciate your advice although I will say that when I offer MY advice, I usually say something like, if I were you I would - I try to avoid saying things like - 'you should'.

That's kind of a presumptuous thing to say, isn't it? All you know about me, not to mention this specific situation is what you've read here - which let's face it. Isn't much. I mean, I'm the one who experienced it, I know what I did to get that opportunity, and trust me this stuff does feed on itself. I waited. But I'm not waiting anymore and for obvious reasons, a meeting with Chris Moore would certainly mean you couldn't be the greenlight winner - which is not to say you couldn't possibly get him to produce something. I WANT to try and win this contest, just like everybody else. All's I'm saying here is that the traditional means to get something in Hollywood aren't going anywhere. And for very specific and real reasons, (which if you read my submission you'd understand) I want to see if I can go this way. If not, oh well. Life goes on.

Regarding your comments about me getting a proofreader for my script - thanks as well, this is obviously sound advice. But really, do you think that I'm spending time caring about what I'm writing here, in that way? Come on - we're writers aren't we? I'm just my two cenputting in my two cents. I think what I have to say, to tell, is at least AS interesting as anything else I've read out here.

And as far as your comments about competition - you're attitude is different than mine. I think more like Falcon, also in this thread. And I will be as bold to say I think I think like PT Anderson, when it comes to 'talent' and competition. I've already mentioned this, but I'll mention this again - check out the director's commentary on Hard Eight - this man has a lot to offer for unknown screenwriters like ourselves.

Finally, the no one special handle, well that was an attempt at irony. Its okay with me if you don't like it... its actually kind of clever given my personal story, which I won't bore you with...

About pitch meetings: It is wiser not to attend a pitch meeting (even if it has to be with Steven Spielberg) rather than going to a pitch meeting and not be ready.

I believe noone did a good move in not attending that meeting if he wasn't comfortable enough with his work. He will (I believe) get more experience from this contest (like us all) and will get the chance to perfect his oeuvre. Then, perhaps next spring, I don't know, he'll be ready to just go for it and approach Chris.

One thing I found about pitching: Keep it short and to the point. Open with a simple and concise logline that covers your protagonist's journey. Then elaborate only with the presentation of the key characters and key events.

About pitch meetings: It is wiser not to attend a pitch meeting (even if it has to be with Steven Spielberg) rather than going to a pitch meeting and not be ready."

THANK YOU so much for that. That was definitely part of the story - I KNEW I wasn't really "ready". Some of the details were this: I was afraid the story as I had it and manuscript was clearly marketable but as a NOBODY - people giving me advice said - they might look past me and try and get a more accomplished writer to do the screenplay. And as far as directing it myself - are you kidding me? That is almost outlandish to try and negotiate. THIS CONTEST IS SPECIAL in that regard.

Thank again, and all the best to you.

Everyone out here is a producer of sorts. And I'll admit, I AM a fast talker. I was in "business" for eight years - bullshitting and managing my way to the 'top'. But where the fuck was I headed.

I swear on my grandfather's soul, my namesake - I have never been happier. If this is struggling - and it is... I can deal with this for quite awhile. I'm havin' too much fun. But face it, I don't have shit yet. I do have some attention from interesting people to know, but what is that really? Its chance or potential - we ALL have that.

Just so you know - I already have notions of doing exactly what you are saying. I know when I like what I see, artistically, and that usually has more to do with the artist and the attitude than their art necessarily.

I have over a hundred emails and some phone numbers of 'aspiring artists' that I have met since breaking out of the Matrix.

The cool thing, is I DON'T think of this as 'networking' like I used to do (and hate doing in the 'business world') Rather, when it comes to art and film especially, its just me talking with someone whom I share a similar passion, in some way.

All the best to you going forward...
frank

ps - please feel free to drop me a line - my email's in the thread above I think

Just to clarify what you read and apparently forgot - I quit prior to the existence of greenlight. this was a coicidence.

Plus, funny you mention it, but I actually have two jvc digitals, a G4 and Final Cut Pro. I'm working on all sorts of things. Its all technically 'hobby' though, and a little free lance video editing to pay a few bills, whatever it takes you know.

I guess my message isn't for you. I'm trying to encourage people that are sitting in a job that they say they like - but the reality is they'd rather be doing something else if it wasn't for blah blah blah blah... Its all bullshit - do what you want and don't complain. i.e. if you 'lose' this contest and don't do anything else about it, you were never THAT serious about pursuing it anyway right? well if you WERE I am saying go with it... that's all.

this is why i like falcon - he put his fuckin' name on his submission disqualifying himself, yet he's upbeat about it. (and we're talking about meeting next time we're both in LA to see if I can get him hooked up with the people I know) THIS IS what this is supposed to happen here, no?

i think that everyone should forget about the competition for one second and think of the word - collaboration. They should have called this a collaboation, not a contest. Just change the name - it would have changed the whole feel I think. Whatever, who cares...

Anyway you ARE right, and I do see you point to 'some' extent, but what the fuck, isn't that what artists are supposed to do, especially writers? dramatized reality. cool title... maybe not...

This is how revolutions get started. Screw the so-called system. Hollywood is made up of a group of cottage industries. (Meaning a bunch of crafters with a good art gallery)
But that doesn't say that I wouldn't eagerly take whatever funding and paycheck that I can get from them (and put up with the big guys cleaning up on my royalties). Even if I was to do it once and then take my money and go Indie. Gorrillas have more fun anyway and they have a better chance of keeping the profits.

i support all revolution, disguished as ambitious evolution...

anyway - i hear you on the 'if people want to buy what's in my head' so be it and more power to me... i.e. this is the proverbial icing on the cake, no?

about the gross point revenue clause term condition blah blah blah... i really don't REALLY care... (and i'm guessin' you don't really either...)

keep this in mind - personally, i look at what i'm submitting as my first film. i've got plenty behind it - i mean the tree has some nice grapefruits on it. if the impossible happens and something blows up - know this - mr sixth sense contracted for about 3 million bones. after his flick pulled down some 600 and some million i think i heard they gave him 10 million after the fact, BEFORE negotiating his next deal - i.e. they wanted MORE... is this true?

like i even give a shit!!!!! if you're worried about money when you've got one of those rare really cool films that just blows up.... really i think your definition of 'problem' changes drastically, no? and what the hell is money anyway... paper with symbols on it. just like a screenplay, write?

my email as requested:

Hiya! Do you come here often

J/k but where are you from?

quote:

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Originally posted by RickDeckard:
C'mon guys, this is a little too over dramatic. I have to give a lot of kudos to those Will Hunting guys. I think it's a great idea. And I think it will be fun to compete. But don't quit your day job. None of us are really "writers" that's why we're here. I mean seriously if you lose or win why not invest in an iMac, Final Cut Pro, a cheep DV cam, grab some friends and make your movie as well.

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*choke*
We're not really "writers"?
Speak for yourself.
I *am* a writer.
Just not a published writer...

Since this is a screenwriting forum, our view is upheld by acclaimation. I'm sure you'll get a different opinon on the unemployed poets' forum. Perhaps you could hang out there with the "real" writers.

Geez, dude, listen to yourself: "screenwriting isn't really writing to begin with".

What makes screenwriting any less 'real' than writing a novel? Or a textbook? Or a newspaper article?

nice segue into the latest topic of discussion here:

some solid points here i think, lining up on the other side of the fence that rick 'seems' to be on.

and this is by no way meant to be seen as 'piling on'... but honestly i always tell people that EVERYONE is a writer - simply by the fact that they say "what do you mean?" i annoyingly answer the question with a question - who the hell wrote that line?.

my point - who's writing for you when you speak in an 'unplanned way'? its all you, right? you really write everything in your own life. And Rick don't take this the wrong way - but i'm 'afraid' that your response to these words COULD read something like - oh great even MORE "drama" here from noone.... let me guess your screenplay is about something in your own life...etc."

my point: i'm not tryin' to be cute here, i'm being more literal than people think probably. what we think and then say and/or do is, more or less 'determined' by us - this is free will right? those things we think, then do or say (and hell say is just a specific do) IS 'writing your life' TO me. whether its the 'mundane bullshit' someone is blabbing about on the corner as he drinks his coffee or its a postal worker deciding to take the uzzi (sp?) to work today to have a 'talk' with his boss... its all writing to me.

WE ALL create and "direct" the world around us... some think life happens to them and are usually REACTING to the world and some think they make life happen and realize they own the world... in a manner of speaking. And of course there is every combination and permutation (sp?) in between.

writing, write, writer - these are just words, labels for general ideas. they can be used 'literally' and/or metaphorically/symobilically... in fact writers do that shit all the time don't they? arrange words in a funny way. i think some people call that... poetry right? whatever... who really cares about any of this?

i think its a silly debate. OF course screenwriting is "REAL" writing, whatever the hell real is... right.

i apologize for the ramble and realistically i'm not even sure that i really understand rick's point fully - so by all means... feel free to enlighten me. seriously - i might not disagree with you at all... ("not that that's a bad thing of course") - larry and jerry, those guys can write, no?

ps rick - i read another post of yours i missed before. i am 'with you to some extent' - EVERYTHING is plagarism. my entire screenplay is plagarized - i got every single word from Webster... I think his name was mary or something...

i'm playing here, but my point is serious. i honestly don't even believe in the notion of originality i think. everything 'thing' whatever that is an idea or word is 'borrowed'. i think you give a little too much credit to the 'names' you know. you know about them because someone before you read them and told a bunch of people.. blah blah blah, we all know what 'fame' is. but i do NOT agree that anyone here 'should' not call themselves a writer. but i DO see your point. and don't kid yourself, i BET you many of the 'greats' of before would have done film. the ancient greeks... shit they woulda been all over screenplays. and shakespeare - undeniably... i think anyway... (that's actually a treatment i have worked up for another idea... who care's right?)