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.