Review: Pan Am

Really enjoyed Pan Am, on ABC last night.

I have always been fascinated by the Golden Age of Flying.  I think the setting is perfect for a TV show.  The Mad Men era style, the international intrigue, the fascinating stories...

I'm diggin' it.

After I watched the show, I watched a Travel Channel special on real Pan Am and other airline Stewartesses at during the 1950's - 1970's.  Some of those woman had such amazing life experiences.  It must have been so cool to be a part of such an amazing time in our nation's history.

The show was well written.  The cast all seemed well fitted and the production value was top end.

Record season!  

Man with a plan.

I have a plan.

I plan everything.

I always have. I can't help it. When I was six I dreamed of being a movie star. By age eight I had determined that I wanted to work in Hollywood and be a movie star. I started to plan how to make that happen...

I took acting lessons as a kid, did musical theater, and was cast in starring roles in local theater productions. I was the Prince in a production of "The Little Mermaid" -- I have video of it somewhere... (embarrassing video).

When I got older, I finally got a video camera. I became obsessed with it. I loved it. I made tons of home movies, and shot lots of family video. In high school I took more video production classes, including classes at the local University, Chico State. I shot and edited music videos, news stories, and short films.

I had always loved learning, and was drawn to reading and studying science and technology, as well as Science fiction, religion and the humanities.  I always enjoyed school.  I enjoyed being social and learning about people, making friends.  Growing up I rode horses, I skied, I snowboarded, surfed, rock climbed, mountain-biked...  I love the outdoors.   I love to be challenged, physically and intellectually.  I love to learn new things.  For a while wanted to be a scientist.  I was amazed how people like Einstein were able to come up with the Theories of Relativity.   I love Philosophy, social theory and discourse about science, laws, people and past and future empires.  I realize today, what I love most is the creative theoretical aspects, more than the math. In the end I was more into Art than math, so I knew I didn't want to be a scientist.  But I definitely knew I wanted to go to college.

 I was accepted into the University of California, Santa Barbara Film & Media Studies program in 2000. It was in college that I was really pressed to write more than I was used to, and better than I was used to.  To make the grade I was forced to read about and write papers about all kinds of subjects.  Mostly centered around film history.  I took a class on acting and directing, worked on student films, and was the marketing director for the Reel Loud Film Festival. Because UCSB's Film Studies program was all about film history and film theory -- production classes were elective -- it was all writing. I learned that I loved to write, I loved film theory (and social theory like postmodernism) and I was told I was good at it. I took screenwriting classes on a whim and found my calling...

After college I moved to my Dad's house in the Bay Area and worked for a hotel in San Francisco. I continued my education by buying and reading books, by keeping up with the media business, and by learning about the world -- the world of finance, economics, art, politics, religion and science. I met people from all over the world, rekindled my love of art, and art shows, painted, flirted with a career in modeling, and then produced and starred in a micro-budget independent film. It was called "Devotion" (2005). I truly enjoyed the experience.   After helping produce the film, I realized I wanted to learn all about major studio (big budget) film production.  I decided to finally move to LA...

My sister was already living in West Hollywood when I moved to LA, which very much helped my transition into the SoCal / LA lifestyle.  I started going on auditions, got into the background circuit.  It was fun at first.  I watched and learned how production works.  How directors, DPs, PA's and writers and Producers operate.  I made new friends and had a blast working on HBO's Entourage as an Agent in Ari's boardroom, and as a British Solider in Pirates of the Caribbean 2 & 3.   I quickly decided I didn't want to be an extra, and that I was going to be put acting on hold.  I wanted to work in production.  I wanted to work on the show I decided...

The next year I was working on Entourage as an Office PA. I liked working in the office, rather than on set, because I could work on my writing in the down time.  Plus I was well trained in computers and administrative work.  In the office I you still get to interact with the directors, actors, writers and producers and crew.  I liked the office because it was like the nerve center of the operation.  Working in the Production office, you see it all get put together, and how.  I loved working on Entourage but really wanted to work on another big feature -- Pirates was a mega-budget blast.  I really enjoyed it.  During the last episode of Entourage, I was hired as a special 'assistant to the producers' on Indiana Jones Four.   It was the chance of a lifetime.  Literally a dream come true...

I interviewed with one of Hollywood's biggest producers, was given the okay, and then interviewed by Spielberg's assistant.  I was hired on the spot.  Truly one of the best days of my life.  I was flown to New Mexico three days later and directly assisted and tended to many well known Hollywood billionaires and millionaires. It was incredible. The whole time I was basically on the clock 18 hours a day, with so much going on, I didn't have much time to sit back, reflect and enjoy it.  After IJ4 I went on to assist several other producers and work on several other globally successful hit shows.   I most recently worked on the seventh season of HOUSE, with Hugh Laurie. I took the job as an Office Production assistant, knowing I was over qualified, because I new I could learn from the experience.  I knew production was changing quite rapidly even in the last couple years, and I knew working for NBCU on HOUSE would be a great opportunity to I learned and grow.  It watched interesting, subtle and major changes to the Hollywood landscape -- NBCU being bought by Comcast, digital distribution platform creations, App creations as marketing strategy, all unfold in real time, day by day, from inside the machine.   Because I went into the job with so much background insight into production, I was about to extrapolate and get a lot (of understanding and growth) out of the experience...  I know what the job and function of every person on set is, how they play into and create "the big picture".  I understand how Agencies, Managers and talent must coordinate and get along to get things done.  Hollywood is ultimately a business.  Knowing and understanding business, how business works and gets done, helps tremendously.  I have have a multifaceted understanding of the film business, and how it interacts with the tech business, the news & media business, telecom and so on...  I understand the complex market forces that are dismantling and building the 21st century film business, driving the digital shift, and social media plays into this.

As I reflect on my life and career thus far, I realize I met many of my childhood plans and goals.  I wanted to star in a film and I did.  Even if it was only one film, and it was micro-budget, I still consider it a dream come true.  A goal I planned and met.  Next I planned (how) to work on major studio productions and I did.  I made the connections and made it happen.  I learned how Hollywood works, which was the plan...

Today, I have so many plans and dreams... it's plan overload.  There is so much I want to see and do, there is no way I can do it all.  I need to pic a direction, and manage my priorities effectively.  You don't want to spread yourself so thin you never get truly great at at least one thing.

Plans and dreams I have now include being a Show-runner, writing and producing shows, indy films, and big budget features.  I can see myself as a Creative Executive, and I dream of owning and running my own Film-Media-Design-Art company.  I want to have a weekly or monthly podcast...

One day I will own a restaurant and a farm.  It'll be small, intimate, and it's limited menu will serve only the highest quality, local, loved organic food, and culinary creations.  I would love to meet a good chef with a similar vision for the menu, travel to Europe and Asia for spices, food and culinary inspiration periodically, and create amazing food for people.    I'm an unashamed food snob.  I love good food and I love the restaurant business.

As I head into 2012, I'm excited about my future, and ready to achieve my new goals...

I transitioned from the creative side (acting) to the production side three years ago, and now am feeling it's time for me to transition to something new.  Something that is either creative on production, writing, assisting writers, or something with more normal hours like a studio, assisting an executive.  Something with lots of room to grow, and something that allows me to develop my business skills.

If you follow the media and tech business trends and developments closely, you can make connections in the developments, and position yourself in the best and most profitable way.  I bring keen insight into business, technology and popular-culture, as well as an understanding of all the moving parts that make Hollywood possible.  I offer an understanding of Hollywood history, the major players past and present, and insights on the future of the business based on models and technology and social trends.  I  offer an inside perspective on working in production, having met many players, and seeing it all go down, I am comfortable talking about it and how to improve it.  I am able to offer analysis and insight into the economics, business, and trajectory of the current or hypothetical media models. How the pieces of global media conglomerates, have positioned themselves, and what that means for the business as a whole.  It's a "New Hollywood" -- a Global Hollywood -- out there today.

The 21st century economy is a model that is in flux. It is in the middle of profound change, upheaval and creation. Because the new model for Hollywood and America (and the world) is under construction.   Being an active participant in this construction, and having ideas, insights and plans for it, or how it could work, this is the time to act.

This is the time where the creative planners shine. Where the people that can see through the clutter to the reality, will shine. These days, it's all about creating sustainable models, which can grow into paying (creative) dividends.

As an adult -- almost 30 -- I am slowly formulating my new, grander plans for the New Hollywood, and for my place in it.

It starts with knowing what you want. With a dream, a goal or a plan.

After that, it's all about the end game.

Sept 11th, 2011

I can't believe it's been ten years since Sept. 11, 2001.

I remember the day well. I was living in Isla Vista, going to UCSB. I watched the towers fall on CNN with my roommates. One of my roommates struggled for hours to get a hold of his family in New York City. The restaurant I was working at decided to close for the day, as did many of my friends places of work. I called and talked to my family about it, and what they thought it meant for us, and for America in the bigger picture... I realized the world had changed. But only now, ten years later, am I beginning to see just how much the world had changed.

The world has continued to change ever more, ever faster every year since then. Back in Sept 11, 2001 we didn't even have Facebook or Twitter! Or even smart-phones. On Sept 11, 2011, ten years later, I have come to realize just how amazing and strong America is, and how brave and innovative it's people are. America isn't perfect, and has been a victim of it's success in many ways, but I believe it's America's amazing power for good, can heal it, heal it's people and the victims of horrible terrorism. I believe that America's amazing power for good can create a brighter day. A safer, more prosperous world requires work, compassion, creativity and awareness. It requires America to reach out to the world, and to look inside itself -- collectively and individually -- for the answers to our greatest problems. America can help create a better brighter future not just for Americans, but for the whole world as well.

America, being American, gives me -- and people from all over the world -- the opportunity to truly make the world a better place through innovation, creativity and collective awareness. For me, the lesson of Sept 11th is that we are truly one world, that America is not immune to the dangers in the outside world, and that in fact the world needs our help. The dangers and horror of Terrorism around the world must be combatted and healed with a deeper understanding of the human experience, with education and understanding of just how amazing and wonderful the world can be.

Sept 11th for me, is a day to think about this. It's a day to remember and honor those that lost their life, and to remember that the best way to honor that loss of life, is to learn from it. To make the world a better place because of it. We must rebuild, better and stronger, inside ourselves, in New York, in our whole country, and in the world at large.

Pre-Braggers & Post-Braggers

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Postmodernist I am.

Postmodernism?

An Artist's fool, and muse, a fool's errand and crapshoot, a wise man's (or woman's) conundrum, a rich person's luxury and indulgence, an architect's context and environmental aesthetic, a businessman's algorithm...

A writer's exercise in/around/through Art's nature and futility.

A screenwriter's play time thread.

Don't be fooled by the postmodernism that I got, I'm still --

I'm still learning a lot.

Just a kid from California, who dreams big.

Living that Hollywood dream.

Playing the game.

Getting my game on.

Blazing my own trail. Doing the "Artist thing" as best I can.

It's never about being better than anyone else, it's always about being true to yourself; original.

Following your heart. Finding happiness and inspiration, and sharing it. Making Art.

I love Art, and love the business of Art. So of course I live in La la Land.

You can follow me on Twitter here: http://www.twitter.com/JulianTyler

-- I tweet about screenwriting, and my slow transition from wanna be model, to wanna be chef, to Professional writer and Artist.

I created a Facebook fanpage to supplement my Twitter page, and connect the two. Synergy.

Are you a fan? >> http://www.facebook.com/juliantylerfans

-- I try and post a quip, quote or pic at least once a day, rarely more.

Postmodernism is my obsession. Ever since Film School, where I was introduced to it, and it's theories/ideas/discourse.

Postmodernism connects to virtually everything.

I pride myself on being somewhat of a connoisseur, on the topic/theory.

Are you a fan of postmodernism? >> http://www.facebook.com/postmodernisms

More people "like" my postmodernisms than like me. Funny huh?

I just like to write.

And I love to connect with other writers.

Screenwriting forums are so postmodern.

Which is why I'm (what I) write/right here.

The PHARAOH effect

The PHARAOH effect...

People learn about the story, and it interests them.

They want to know more.

Secrets, mystery, myth, legend and science... it all resonates with people.

PHARAOH has something for everyone.

Comic-book and 'superhero appeal for kids.

Religious and intellectual depth for adults.

Fast, fun and spectacular action sequences for teens.

Hollywood needs films that can tap the growing global markets.

Films that transcend cultures, and appeal to everyone on a human level.

Hollywood needs films that can really explore the potential of 3-D technology, and push it to the edge.

PHARAOH is a multi-dimesional story, that draws you in, making it perfect to explore the potential of 3-D

Sequences of dreams, where characters fall through space and time. Like a worm-hole in 3-D

Action sequences where characters are in Virtual worlds (like the Matrix) where they 'manifest' weapons and battle robot and machines.

Exploring the mind, and dreams gives it the feel of 'Inception' by Chris Nolan, but with an esoteric twist and a 3-D edge.

PHARAOH has something for everyone, and the story is so universal it penetrates the mind like a catchy-toon...

It tickles the brain, and stirs the heart. It keeps the neurons humming with wonder.

The script PHARAOH makes you think, in a fun, stimulating way...

The movie it would leave you wanting more, wanting to see it again.

It's the PHARAOH effect.

It just feels right.

Dear Jim Cameron...

Dear Jim Cameron,

I'm easily one of your biggest fans. Love your style, and I love your work. I'm almost embarrassed to say I saw Titanic like 10 times. It's a fantastic piece of cinematic art.

I like people that think big, dream big, people that go for the gusto and shoot for the moon. Like you did with Titanic and Avatar. I remember watching Terminator as a kid, and was blown away by it. You are one of my idols, because you write, you direct, you produce and you are strong. You have a vision, and you follow it. You believe in yourself, and you prove your worth. Your work speaks for you. That's the kind of person I see myself as.

When I first had the idea for my script PHARAOH, I knew it was big. It's a big idea. It took me three years to write it. It pulls from the most universal themes in science, religion and the human experience. It dives into the world of dreams, and explores the singularity -- the point where machines become smarter than humans -- with characters connecting their brains to machines and fighting wars in a virtual world. PHARAOH goes into what it is to be human. It ventures into that wonderful, controversial world of Ancient secrets. It taps that hidden undercurrent of gnosis and brings it bubbling to the surface in a way that no film has yet to do...

PHARAOH pulls together Holy Blood, the Ark of the Covenant, 2012, Nanotechnology, Aliens, Ancient Egypt, the Vatican, Secret Societies, Shambala and Artificial Intelligence into one mind bending epic adventure.

It's big. Really big.

So big, it's almost too large for many people in Hollywood.

But it's not too large for you. People want large!

You can change the world (again) with this script. Not many people can steer a 'Titanic' size story, but you can, you have.

You see the power of 3-D film technology, and you know how to make this story as mind blowing effects wise, as it is story wise. With your skills and this story... Which has built in appeal in all the worlds major film markets (since it's such a universal story, pulling from all cultures), this film could be huge. Really huge.

I hope you'll find a way to read it. You'll see exactly what I mean.

Sincerely,

Julian Tyler

Guerilla Marketing

I had some pretty "big" screenwriters offer me feedback on my script (on a screenplay forum), for which I am grateful and humbled. Not all of them liked my style, or liked me -- so they said -- but they all seemed to agree the premise of PHARAOH is solid.

They all read a script part I posted. Which is all I wanted. Some read it with the intention of trying to bring me down, or to try and make my writing look bad, but all that really matters is that they read it! They were interested enough to read it, which is what's important.

I'm not some major Hollywood insider or writer, but everyone has to start somewhere, right?

What makes me happy is that I was able to hold my own with some top screenwriters in Hollywood, and that they now know who I am. I love that they read my script, and that had interest in me. What more can you ask for?

I know my methods are unorthodox -- or unknown to some -- and sometimes I get people riled up, or upset with my *postmodern* guerilla marketing strategies, but just remember one thing:

It worked! Lot's of people -- several Pro Hollywood screenwriters -- read my script PHARAOH!

"People that like Howard Stern listen for 1 hour. People that hate Howard Stern listen for 3 hours" -- as the saying goes.

I didn't hurt anyone, or insult anyone in my marketing, as some people did me. I didn't ask or tell anyone to read it. All I did was tell people about my script, put myself and my thoughts about it out there. People could take it or leave it.

Lots of people took it, and partook. That's all that matters. Even if they say they hated it. What matters to me is that they read it. That they were interested, and that it's in their head now...

It's like selling a house. I had an open house -- open script! -- and lots of people came and looked. That's what you want! You want lots of people to come and look. Even if they aren't in the market. It's the buzz that's important! If you have an open house and tons of people roll through, that's a good thing!! That means your marketing is working!

I put my 'PHARAOH' algorithm into the Hollywood/Screenwriters 'consciousness network' and after I did, it took on a life of it's own. I quickly realized the script is far FAR bigger than me, and it's going to take someone really big to helm it.

PHARAOH is so big -- story wise, 3-D production wise -- only someone big like Chris Nolan, or James Cameron can get it made. Only someone big can do a really big story justice.

Therein lies the problem for me, because it's really hard to get someone like them interested in a script from a 'baby-writer' like me -- since they can have any script they want. I have to show them why they want PHARAOH.

All I can do hope my "ethereal algorithms" do what they are written to do. If they don't, I'll just write more, until one does!

If you are wondering how do you get people to read your script...

Be creative! Whatever works! Just be yourself and have fun!

That's what I did. That's what it's all about.

For an (unsold) writer like me, you need to get people to read your stuff. That's the only way to get someone interested in you, and wanting to buy your work. No one will buy a house/script they (or someone they trust) don't see/read. Getting people to read it and give you feedback will help/make you grow and learn. That's what I want to to do, grow and learn.

I know my script isn't perfect -- no script is -- and my formatting is avant-garde. I don't expect it to meet the wildly varied expectations of everyone, or every "Pro" or that reads it. What script could?

How many "Pros" scripts could do that? Not many.

How many of the scripts that sell every year could do that? Even fewer.

I'm not saying PHARAOH did/does, all I'm saying is let's be realistic about our expectations. Some people will tell you: "It has to be perfect or it will never sell!" -- even though they know this to be false.

Good scripts can make bad movies, and bad scripts can make good movies. There is plenty of room for excellence if the underlying story is solid, and the talent attached sees the vision.

The "bones" of PHARAOH are solid. The story is profound. The concept has universal appeal.

It just has to work. The vast majority of the movie going public just want a good story. They just want to be entertained!

And entertaining people is what I do best!

I'm obviously not the best screenwriter to enter Hollywood. I'm just getting started, after all. But at least I'm here, putting stuff out there, ready to learn, and willing to engage. Hopefully entertaining! I keep it civil and don't insult people or go around trying to tear people down. That's not my style. I want to learn, and I want to help people... or at least have fun trying!

Playing (postmodern) games, and changing/challenging perspectives, making people look at thing differently is my style. Sure I can be defensive sometimes, but that's all part of the game/fun.

If you don't think it's fun, don't play! No need to get defensive about it!

I never play anyone for a fool, and I never assumed anyone is a fool. I don't think anyone should do so with me either.

I assure you, I'm no fool. I'm simply inventing/exploring was to play the Hollywood game, which is what it's all about.

Shifting of the Hollywood Model

Re: Current Studio Model Will Fall Away (written 07-27-2010)

In one sense 'the model will fall away'. But the studios are not going anywhere, and tent-pole filmmaking is not going anywhere. They will change with the market, as all good businesses do.

'The Calculator' is on the right track, but seems to have missed the how and why.

The studios are not going to be like the Record Labels -- virtually dissolve -- they are going to be like the Networks (ABC, NBC, CBS, etc) and diversify -- embrace cable (new models), and "buy into the change."

The Studios (and networks) are all part of massive media conglomerates so they change their models/strategies often, and the media business is booming like never before. People consume more media today than imagined possible 10 or 20 years ago. Smart phones, iPads and emerging markets like China and India will provide ever increasing patrons and opportunities, which will often require ever more 'models' and strategies to tap into these markets. But the demand for big films is there.

If you ask me, looking forward, studios are better suited to look at more universal themes -- not just known American remakes -- for making tent-pole films because those will play better in a global market place.

Original ideas about science, religion, the mind, and the human experience have potential to sell in a global market, and we are fast transitioning into a totally global market place for films. America's big cities are very much 'a diverse global market' - hence a lack of interest in 'established American brands'.

The diversification of the studios into video games, web & cable programing allows for the funding of synergized 'tent-poles' projects. But idea of TV shows and video games becoming tent-poles is a model that I think is not as viable as once thought... It's already become stale. I think people prefer smart, original entertainment if they are going to pay a premium; which makes perfect sense when you think about it.

Even 3-D is in it's infancy. The recent abuse of calling films 3-D, when they really converted, not shot in 3-D, is really annoying though. It's a waste if you ask me. If it is not filmed as 3-D >> IT'S NOT 3-D.

3-D as a way of filmmaking is bursting with mind blowing potential, as the technology rapidly improves, creative geniuses will find ways to tap this and pair it with powerful stories, and thus will be able to top even Avatar - which had universal appeal - box office numbers.

Because of this, it is my belief that the 'tent-pole' box office has the potential to get even bigger.

Superhero tent-poles that tap ever improving film technology, is a model is not going anywhere either. I just hope they don't skimp on the writing. Chris Nolan can't oversee them all...

Media is one of America's largest/greatest export products. No other economy in the world is capable of funding 20-30 $200 million motion pictures a year, but even America has it's limits. Which is why the studios have cut back the 'irrational exuberance'. That should not be confused with the breakdown of the studio system. The costs are up, so fewer are made.

It cost about $30-$60 million -- so it needs to be worth it -- just to market a film these days, so it's either go all-in-big, or go the indie route. The studios are going big.

But the indie world is also going strong. Technology that was once only available to the studios is now available to anyone with a laptop. Hence the pressure for the studios to go big and make 'tent-pole'.

The markets are changing very fast, so the studios are also cutting the lag time in development so that they don't miss the market/mark. That is why the recent duds have happened. People were over the trend even before it was able to set in. The market changed before the films even came out...

Try and keep up!

The beauty is that anyone can make movies these days, and market them virtually for free on the internet. If it catches on -- Justin Beiber effect -- it can work out real nice. If not, try again!

It's an exciting time to be in media.

And if you keep up, it is very exciting.

Screenwriting chat about PHARAOH...

Originally Posted by Hilario113
I actually think it's a pretty cool setup. I know you won't listen, but your format is a little tough on the eyes. Too much underlining, caps, and ->/ type business. Some of the dialogue feels rushed as well, but that's an easy fix.

Thanks Hilario, I appreciate that.

It's a very rushed, and "hush-hush" type of story, so the dialogue has to rushed and hush-hush as well, to feel real. Plus, I'm over my (ideal) page count, so the story's gotta move fast!

The formatting I played with a lot. Too much. It almost made me crazy trying to settle on a style. I know it's a little chaotic at first, but this format is what I thought worked best for the entire script. It has to be super consistent (and efficient) to guide the reader through the rapidly unfolding plot and story.

I first saw the underlining format idea from reading the "Safe House" (2012) script by David Guggenheim. It helped me read his script, and I instantly adopted it as my own. Gave it my own spin.

I understand what Guggenheim was going for, with it. "Safe House" is getting made, so other people must as well...

Underlining, for some scripts, is exactly the type of focus required to keep a fast moving story moving fast, unfolding fast and staying cohesive.

The underlining and key words also really helped me in the writing process as well.

-- Thinking like a producer -- I tried to format the script is such a way as to make it easy for directors, producer or accountants to break down. When you clearly lay out the visuals that guide the story it helps for things like budgeting, pre-viz, props, locations and stuff.

I think you'll like how it unfolds.

Originally Posted by Patrick Sweeney
Cut all the camera directions. That ought to reduce your page count by 10%. Seriously. Way too much "panning scanning zooming pulling back closing in revealing" going on in just the first couple of pages.

I include camera directions only when they move the story forward. And trust me, you need them to move the story forward and to "see the movie".

Using this sort of format is the most efficient for the reader, and is not done in such a way as to limit the imagination of the shots, but rather the opposite. I specifically tailored the formatting to stir the imagination, open shot/angle possibilities for a potential Director.

Again, if you can get used to the format/coding, so you don't see it, but rather see the story that it sets up, you have a much deeper and more enjoyable experience.
__________________

Quote:
Originally Posted by Joe Unidos
I think this is where Randy Jackson would ask leadingly, "How do you think you did?"
I'm feeling good about it.

So far, no one seems to have any issues with the story, which is the most important part. The dialogue can be worked easily (before or during production), the script formatting can be changed easily, as well. The story itself cannot be changed easily, that's the part that must be solid. No easy task. I think it is solid.

Do you?

Not everyone has the depth of mind, and/or attention capacity (span) to get into this story. PHARAOH gets really deep, let me tell you...

Some people will only get a couple pages in before they max/fade out. I'm most interested in hearing from the people that can read it, that are able to see the story, and that see what I'm going for with it.

It took me years just to wrap my brain around the story myself, to map it out and see it as a whole. It took another year or so to distill it into something that can be extrapolated quickly and easily by the average (normal attention span) reader

A lot of people in Hollywood are not big on reading, so you need to hook them fast, with the minimum words (reading exertion time) possible, for maximum results.

I think that I have done this with PHARAOH, but I guess we'll see.

Originally Posted by Patrick Sweeney
If I were writing the script of Pharaoh's Big Hollywood Adventure, next I'd have Julian post that he's heard from reliable inside sources that Spielberg, Cameron, Scott, Bruckheimer, Bay, etc., love the script and think it's a sure-fire box-office hit ... but the big-money insiders are quashing the project because it's such a paradigm-changer it will upset the Hollywood applecart. Too daring, too risky ... too far ahead of its time.

Who are these "big-money insiders" you speak of? Banks?

What kind of "paradigm change" could/would/might PHARAOH bring is "too daring, too risky ... too far ahead of it's time" as to make these "big-money insiders" want to quash it? Rather than profit from it?

I may write the script of "Pharaoh's Big Hollywood Adventure" so I would love to hear an elaboration on this perspective.

Originally Posted by Joe Unidos
I have to wonder whether you realize how much your attitude is potentially off-putting ("Not everyone has the depth of mind, and/or attention capacity (span) to get into this story. PHARAOH gets really deep, let me tell you...", etc) and just don't care, or whether maybe you might think that you are presenting yourself as just a really enthusiastic guy. If it's the latter, I would suggest that you could get a lot more mileage if you tempered your enthusiasm with a little more humility and maybe scaled back to salesman sh1t a little.

Also, definitely re-evaulate the website because it is DEFINITELY not showing you in the manner you think it is. Seriously. Good luck.
"If people can't handle the truth, it's really not my problem" -- Ramona Singer

I am a really enthusiastic guy. I'm also very passionate about my Art, and I put myself out there with it. That is what Artists do. I do it for the people that like Art, not for the people that never will because "I don't like your attitude."

Hollywood doesn't give a sh*t about your attitude as long as you can or are making money. Trust me. That I know first hand.

I'm a very confident person, I always have been. I have learned that some people will resent you for your confidence, or success (and for whatever it comes from) and there is nothing you can do about. Worrying about it is not productive, and will "temper" your Art.

All you can/must do is back up what you say. Put your writing where your mouth is. That's what I'm doing.

Quote:
“Here's to the crazy ones, the misfits, the rebels, the troublemakers, the round pegs in the square holes... the ones who see things differently -- they're not fond of rules... You can quote them, disagree with them, glorify or vilify them, but the only thing you can't do is ignore them because they change things... they push the human race forward, and while some may see them as the crazy ones, we see genius, because the ones who are crazy enough to think that they can change the world, are the ones who do.”

-- Steve Jobs

Originally Posted by Patrick Sweeney
When this script doesn't sell, I highly doubt you're going to come back here saying, "Well, I guess you all were right, I got so caught up in my own hype that I took the script out before I'd really honed my craft." I'm sure it's going to be another fairy tale about how all your big important director friends loved loved loved it but couldn't buy it because x y z.
If the script doesn't sell, I'll be okay with that. That may sound strange, but it's the truth. I can always write another one, right?

My time will come, that I have no doubt about.

I've learned so much, and grown so much in writing it, that I feel I have already won. No amount of money could give me the feelings I got from the journey of writing and finishing this script. And nothing can take that away from me.

Writing PHARAOH was never about the money for me. It was always about following my heart, personal growth, and self discovery, everything else is secondary. But as I developed it, I have really come to realize just how big the market potential for PHARAOH is. HUGE. There are billions of people around the world with similar interests as me, who would pay to see PHARAOH as a movie. Or buy stock in the PHARAOH IPO...

One of my goals in developing my writing, was to get to the day when I could write a script and post it on a Screenwriter forum and it would stand up. No easy task, as anyone who's been around knows. Many scripts that are getting made would be ripped to shreds if posted on a screenwriting forum. So on that front, I'm making progress... I know I'm on the right path.

I believe this script will sell. The interest in it is real, and growing by the day.

Quote:
Originally Posted by Patrick Sweeney
But you already knew that's what I meant - you're just so deep into your own hype now that you have to pretend not to understand anyone who's not playing along.
You are playing along my friend, just by joining in! And for that, I thank you.

I was honestly confused by what you were saying, but I think I have a better understanding now, where you are coming from.

Originally Posted by AJ_FIN
You haven't made enough money for anyone to have wrong attitude.
I don't have "wrong attitude".

If you think: "standing up for what you believe" = "wrong attitude"

...then we must agree to disagree. Because we never will, my friend.

If you won't stand up for your work, if you don't truly believe in it, and can't defend it against attacks, why/how should anyone else? Why should anyone invest millions in something you can't defend?

It's a classic ad hominem argument, to try and talk about me and my "attitude" rather than focus the discourse on my script.

...or for Patrick Sweeney to elaborate : )

People that go looking for a bad attitude, often find a bad attitude. People that go looking for something good, often find something good. That's how the world works.

I'm totally addicted to this, and I really should stop. I will, once I follow this thread through. To it's end game.

In the mean time, I think having too much fun...

Part one is coming down tomorrow. Get it now, or you'll have to get it from someone who did.

Part two is coming!

This thread is for people that want to learn and grow with me, and that are interested in my script and in bettering themselves and their writing, as I am.

If you can't separate and compartmentalize (if necessary) whatever you think of someone personally, from the market potential and intrigue of their script, or their acting, or directing, or partake in a learning experience with them, then I don't know what you are doing here.

This thread is to develop my story, after all.

Alex Pettyfer

I just read an article on Alex Pettyfer, and realized he is perfect for my script PHARAOH.

It hit me as I was reading the article that I had changed the name -- the part he's perfect for -- to ALEXANDER. It's too perfect. I liked the name Alexander, because I was thinking of Alexander the Great, and his struggles with his father that are sort of echoed in Pharaoh -- for that neo-real feel.

The Alexander character in PHARAOH is the only child of the second most rich and powerful man in world. He's the worlds most spoiled brat. But he's a technology genius that lives in a cut throat, high stakes world. In end he redeems himself when he rises to the call, to save the world...

He'd love the script.

He won't be alone.

it's the perfect role for an up and comer. It's franchise ready. The paydays would grow, if the performance is there...

$$$

Review: Transformers 3

Epic.

Intense action.

Digital effects indulgent.

Forty minutes too long.

Top-notch cinematography and sequences.

While it was a bit long, it was fast moving and engaging. I loved the conspiratorial angle, linking the robots to conspiracies about the Moon landing. For me that gave the movie a neo-real depth and edge that really fit perfectly into the franchise story.

If I could, I would have cut out most of the scenes with the annoying little robots -- they were like Jar Jar Binks all over again. The excessively juvenile and 'ghetto' rambling of the little robots takes away from the movie, for me. I understand what they are trying to do, I just don't think it helps the movie... Just my opinion.

While I enjoyed the film, I'm still on the fence about how I feel about Michael Bay as a Director. I actually think there are many other Directors who, with the resources available to them, could have made a much better movie.

>>> SPOILER <<<

Many parts of the film were very 'clunky' and didn't really make sense or just totally contradicted what the story had established previously. For example there is a point when the main girl, talks to Megatron and convinces him to go attack 'Sentinel Prime' the once good robot who has gone bad...

Megatron has killed every human he can for the past couple hours, but for some reason decides to not kill, and even listen to this girl? >> Forced, clunky

Also the soldiers who parachute in to the epic battle with the winged suits, and miraculously are able to avoid being shot by robots that can hit mach-3? >> poorly executed.

Obviously the producers and director know people will just get over it if they even ever catch it. I'm just being picky.

Most of the time I was marveling at the film technology available to us today. Nobody can make movies like Hollywood. It's pretty awesome.

PHARAOH Update

Today I finished my new script PHARAOH. Super excited about it.

It has been a labor of love. It pushed me to my creative edge -- consistantly, every time I worked on it.

I feel I've grown so much as a writer, a screenwriter and especially a person, in researching, and writing this script. It forced me to read and learn about so many things. Topics like: Holy Blood, Ancient Egypt, Secret Societies, Computers, Artificial Intelligence, DNA, Crop Circles, the human brain, 2012, and Hollywood...

I know there are millions of people out there, just like me, who are so interested in these things and how they fit and affect the world. They are the ideal fodder for 2012 spec feature script. This story would play well -- find an audience -- in all major film markets, foriegn and domestic. It's very exciting.

It's going to sell. I can tell.

Review: Super 8

Charming. Action packed. Heart felt. Well done. Dichotomous...

I enjoyed Super 8, it was very well done, for sure. But it's dichotomy comes from walking the line between being a kids movie and an adults movie and, it seems to want to be both, but I felt it ends up being neither. 'Goonies' (1985) was a kids movie, it had some adult elements, but ultimately it was a (great) kids movie. Super 8 had a noticeable amount of f-bombs, not too graphic but significant violence, and a slightly more complex/adult story and plot. The kid movie comes during the credits, it's the actual 'super 8' film the kids in the movie made. It was really cute. Great production value -- which will be funny once you see the movie.

'Super 8' for me was a cross between 'Goonies' and 'War of the Worlds'. It works. It's very well done. All the kids do a great job. The look of the film is top notch. The action is great. JJ Abrams also goes for a Jaws / Godzilla motif by not revealing the alien until deep into the movie... I have to admit, I was a little disappointed by the alien. It was overhyped for me, and the look of it didn't work for me.

In the end, it's a good movie. My expectations were really high -- because of all the hype -- and I have to say, I'm not quite sure if they were met. While I liked the movie, I was not "blown away" or walking away saying it was a 'cinematic achievement' or instant classic.

I'm a big fan of JJ Abrams and Steven Spielberg and, with all that said, they know how to make a fun summer movie.

Enlightenment: Going to the Movies

Why screenwriting? If it's writing you love, why not become a novelist, journalist, or copywriter? What is it about screenwriting that pulls you like ambrosia?

If the answer comes down to making interesting sums of money while gaining fame and glory... well, then I pity you. You will most certainly suffer. And I say, stop. Please. Do not write one more solitary script word.

But if your soul-searching answer reaches the honest conclusion that you can do nothing else but write movies – and when I say that I mean in your desire, want, and need - then you are a screenwriter. Stay the course. It takes ten years to have overnight success. So keep writing, and arm yourself with fortitude – it will be your Excalibur.

But now ask yourself: "Why is it that I can do nothing else but write movies?" And if you look deep enough, the answer will reach the root core of everything. You need to write movies because, simply put, YOU LOVE THE MOVIES.

Going to the movies – in so many ways – is your spiritual center. It's not just the visual cinematic medium you love. It's the whole package: the popcorn, the soda, the seats, the audience, the lights dimming, the previews... the entire communal experience. And you can remember times – maybe as a kid or even just last week – where the clarity of that movie experience reinforces why you do it. Why you write that screenplay, and the next one, and the next one after that.

It's true you may never be a financial success as a Hollywood screenwriter, but if you have the insight as to why you write, then you've already won.

Via:
http://thescriptlab.com/

I would just like to add to this, that going to the movies can and should be more "enlightening" as an experience. Wether it be emotionally, mentally or spiritually enlightening, it's a movie because it should "move you".

The best and most successful movies of the next decade will no doubt be the ones that are able to "enlighten" all different kinds of people, in all different parts of the world.

Movie Review: THOR

Epic. Religious. Scientific. Emotional. Fun.

I really enjoyed this movie. It was everything I hoped it would be, and maybe even a little more. Great cast. Great Art Direction. Great script. It all came together for me and worked well. And also key it left me wanting more...

I am a huge fan of this new wave of superhero movies -- specifically the ones that take the 'fantastic' elements about them, and ground them in reality. THOR takes the premise of Norse mythology (which I love) and combined it with science (worm-holes, Einstein-Rosen Bridge) for a story that truly works. Sure it has a few holes in it, but overall it worked for me. I really liked the world of the gods that Thor came from. I loved it's 'Atlantis' feel and how they even used a sort of scientific grounding for that world. I also liked the reference to "Tony Stark" a very subtle plug of Paramount's Iron-man.

What really got me about this film, was also it's emotional grounding. It set up a great dynamic between the characters, the struggle for power, and the relationships at the core of the story all really gave the story another kind of depth.

As a huge fan of Marvel, I feel this film did it great justice. It set itself up for a franchise with lots of potential.

This film is exactly the kind of thing/feeling/aesthetic I am going for with my script PHARAOH.

Well done!

Medicare and the Budget Debate

I am glad the debate over fixing Medicare has begun. It's an important debate with profound consequences for every American. But in mind, the proposal announced yesterday by Paul Ryan is just a jumping off point.

Never accept a first offer.

Medicare serves mostly people 65 and older, which is about 10%-12% of the population.

It eats up about 23-30% of the total Federal Budget. In the range of: $4,000,000,000,000 per year.

About 30% of the cost of the program is for patient care in the last year of their life: $1.33 trillion

Some people wonder if it's worth $1.33 trillion dollars to extend a terminal patient's life for a year, but it's a tricky situation that is always dealt with on a case by case basis, and people understandably always want as much care and time for/with their loved one as possible. But if you remove the personal emotion from the equation, it does not make economic sense to spend $1.3 trillion dollars on something that provides no return, and only puts of the inevitable for a very short time. It seems harsh, but it's important to understand the reality of the situation. $1.3 trillion dollars would be enough to pay the FULL college tuition of every American with billions left to spare; just to put it in perspective. Extend the life of terminal/elderly by one year, or have free college for every American?

But then again, kids don't get to vote and the elderly do...

Everyone knows its a dicey situation for politicians to tackle, which is why it has taken so long to confront. No one wants to be the one to take away benefits, or do the ACTUAL WORK of fixing the broken system. Many people that try, just end up getting "hurt" by it. But we no longer have the luxury or financial ability to not do anything...

One of the MAJOR problems with Medicare is it audits LESS than 5% of the claims. It literally pays anything and EVERYTHING no questions asked. The rampant fraud and abuse of Medicare is costing America billions, hundreds of billions. This process and way of handling claims must be corrected immediately. It's not even that hard to do.

No one in America should be allowed to suffer. There is just no reason for that. But on the other hand, it doesn't make sense and is not good for the country to spend 30% of of the revenue the Federal Gov collects on healthcare for 10% of the population. Just reducing that to 20%, and shifting that 10% to young people, maybe healthy programs to make them healthier would dramatically and profoundly change America for the better.

The idea of leaving Medicare as it is for some, but basically gutting it for the rest is an idea that does not sit well with me at all. It would also do NOTHING to correct the waste, fraud and abuse mentioned above.

The whole program, the way it is run for everyone needs to be fixed. Some older Americans might not like it, but this is about what is best for the country, FOR ALL AMERICANS. And ultimately, there is plenty of money to give people all the care they need, this is not about taking away benefits, it's about correcting inefficiency and waste.

There needs to be more involvement from people in their healthcare. I think there should be a small fee assessed for all treatments and procedures, and that people should have to sign off on all items that Medicare is billed for. This would prevent a lot of waste, and make people think about treatments, rather than have the Gov just pay them, without knowing anything.

Another idea I have is giving people a health savings account. They have a specific amount of money deposited into their healthcare account -- only for use in healthcare -- and it is up to them to save it up or spend it. If they need more money they will have to apply for it, and have it be reviewed. Again, adding personal accountability will control costs and improve care.

It's time to take the politics out of the debate, and inject real solutions. This is not about what's best for politicians, the healthcare industry, or certain demographics over others, this is about what is best for America, as a whole.

Lets keep it that way.

I also think that

Review: Limitless

Original. Fast. Smart. Cerebral. Well done.

Really enjoyed this film.

Bradley Cooper did great. The direction was great. The style was well done. The script was quality. A few plot holes, but nothing that kept me from getting into and enjoying the story.

I love the premise. "A pill that allows you to use your whole brain, to have a super-IQ"... so postmodern. It's interesting because such medications/research are no doubt in development, somewhere in the world already. Essentially, once humans link their brains with computers, it will have the same effect as the pill in this movie.

I kept thinking about it for about a week after going to see it, so that's when you know it was good.

The movie was made for under $30 million too, I heard. Very impressive.

Definitely reccommend it.

Twitter

Twitter is a very interesting social paradigm. It's more fluid and free flowing than Facebook, but not really a competitor to Facebook. Twitter and Facebook actually synergize well with each other.

Twitter is more about sharing and spreading information broadly, globally. Facebook is more about sharing private information with those you know. Twitter allows people to follow you, learn from you, without you needing to do anything in return. It ends the 'friend' connection, by letting people you don't know, or would not be 'friends' with on Facebook, get to know you.

Twitter can help you get news fast. It can help you find a job. Learn about your chosen career field. Share your thoughts, and influence the world.

The more you use it, the more you see how it can be used. It's like a game. But when you play it, it has real consequence -- good consequence if you are smart, don't tweet what you would not stand in front of a crowd and say.

When you play the Twitter game, ask yourself: What is my end game?

Then go play.

PHARAOH... the recent developments:

I have yet to approach any firms or prod-cos with the new draft, I'm actually still refining it with -- the help of my little circle. I don't actually think that any management firm or prod-co would sign any sort of confidentiality agreement from an unknown writer. I am well aware most would not find it worth the liability/risk. They would no doubt prefer to be free to share submissions they receive to whomever they choose. Often that’s how they find affirmation of it’s worthiness, or potential interested parties, as I understand it.

It's a tough place to be when you want to protect the details of your story/script and concepts, but also get it out there (to the right person)... It's a very difficult balance.

Because I am still just starting out -- still establishing myself as a screenwriter, trying to compete with the pros -- I don't really have the luxury (or ability) of keeping my script "under wraps" until it can be put into production. By the nature of the business when you are "unsold/unproven" you have to put your work "out there" before it can be bought/made. Only well established people who can set up projects based on past works, or via a studio, have the luxury of keeping projects secret until they hit the screen.

I sent out tons of queries for PHARAOH in 2009, and had interest from some major management firms, but the script just wasn't at the level, or developed enough yet. I wasn't seasoned enough yet. They all ultimately passed. But I could tell the concept and story was interesting to people; many people responded to it, some are still responding to it. So I wasn't going to give up on it, (I never will : ).

Then in 2010, I shared PHARAOH with people here on DDP and that really helped me take it to the next level. Special thanks to all of you who read it and gave me feedback, I truly appreciated it, and learned a great deal from it. Since then, I’ve met a bunch of established writers, creative execs, and film players and have been getting great advice and counsel, picking brains and really learning the craft; and the business.

Unfortunately, because I sent out early drafts, and people at firms/co’s read them, it’s definitely going to be an uphill battle to get it read again by some of them. However, I am increasingly confident in the story, and the global viability of the project. The more I talk with people in the biz about it, the more I come to see this as true. I am confident I will find the right home for it, in good time. I’m lucky that I work in the biz, and that I am able to meet new and connected people almost everyday.

A friend of mine told me the other day that John Milius was shopping around a project called "Pharaoh" -- a series -- and I sent me this article:

http://www.variety.com/article/VR1118017488?refCatId=19

I would be presumptuous to say he "stole" the idea from me. I’m not the first person to write a script about a Pharaoh, obviously. So, I know it doesn't really work that way. From what I understand he doesn’t have a script, so I do worry that they will try and use subject matter I plan on using however. But our projects are very different. His project is a series like ‘Rome’ set in ancient times, mine is a feature Sci-Fi /Thriller set in modern times. It is annoying however when people latch onto a title and idea that you put out there first – I sent out tons of queries talking about the marketability and promise of Ancient Egyptian lore -- and in my mind are trying to steal/borrow or use my thunder. I know it happens all the time and is just the nature of the biz, but it’s still a bit frustrating.

Ultimately, I see it as confirmation that I am on to something; that I am right. If people are going out with, and developing projects about pharaohs, sounds like people see it as viable... I take comfort in knowing I was out there with my PHARAOH project first (a year earlier), and I have the emails and meetings to prove it. I simply do not yet have the ability to go out with my PHARAOH in the way that a well established screenwriter like Milius does/has – just yet.

I’m currently doing one more pass at on PHARAOH, and then I think I am going to post it here again, in it’s entirety, because I think it’s going to be that good. Good enough that it can stand. Good enough that it should be read and shared. No one has read the new draft yet, but I think/hope it will live up to the hype.

My PHARAOH – set in modern times and the future, part 3 of the trilogy will go into the past – is a very convoluted story, with a very deep and complex (controversial?) underpinning, so making it work, flow smoothly and easily, is difficult. But I knew it would be going into it. Recent successes like ‘Inception’ and even ‘Limitless’ & ‘The Adjustment Bureau’ have shown that there is a real market for cerebral concepts.

Because I am still growing as a writer (hopefully I will always be) I am finding that my script/story is also constantly growing with me. I have had several epiphanies as to how to improve and solidify the story. I keep finding and reading books on certain topics for research and clarification, and continue to make the story ever more simple and concise without sacrificing story. I can’t expect that someone else will understand a story that I did not fully understand myself! This is changing fast. I have come a long way already, and now I can see the light at the end of the tunnel.

PHARAOH is a massive project and would easily cost $100 million to make, which makes the task of getting it sold and green-lit by an “unknown” writer even more difficult. But certainly not impossible. If people gave up on projects they believed in so easily, nothing in Hollywood would ever get made. Right?

I know PHARAOH is great/solid concept. People are interested in it. It would play well in emerging markets (like China and India), with youth, and with older audiences. I have been developing PHARAOH for over five years now, and am finally getting it to where it needs to be:

KNOWN