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.

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.

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

Egypt

Egypt will rise from the ashes of oppression. It will eventually flower into something great. Following in the footsteps of Turkey, with the support of the US and Israel, it can become an amazing and wonderful place once more.

Egypt is filled with well educated, worldly and interesting people. I've never been, but I know people who have, and I have read a lot of articles and stories in the last couple weeks. The country is filled with potential, and promise. I look forward to going.

Change can happen fast, as is well demonstrated. The world wants Egypt to be engaged, strong, and a beautiful place to be. This is possible. This is what the people want.

It will ripple through the Middle East.

Ah, the power of social media.

Welcome to 2011.

Making it in LA

Los Angeles is certianly one of the hardest cities to "make it" in.

It's very big, very spread out, and totally decentralized. The mass transit is poor, on it's way to being 'fair'. You will need a car to have a decent quality of life in LA.

LA is also very clicky. People here are very clicky and are not easy to warm up too. Most people spend a lot of time isolated in their cars, they don't interact with strangers as much as other cities. Unlike, say New York where most people travel packed together in subways, or walk on the streets side by side. LA people are not forced to interact with anyone they don't specifically want to, unless it's at places they specifically go to.


I think this is why Europeans (at least my European friends) don't really like LA that much. They don't understand it, and have trouble navigating it. They like SF so much better because you can stay anywhere and go anywhere in the city easily. Some Europeans I met in Europe said of their time in LA, that they never met any LA/CA natives. It takes a while to find your 'spots' or your mix in LA, because it is so spread out.


People love to bash LA, and I def come from the camp of, shut up or ship out. LA is awesome. If you don't like it, or can't handle it. Leave. One less car on the road slowing everything down.

Some of my friends always say how LA is dirty, and gross. Parts are, sure, but LA also has parts that are really amazing and really nice. It's just that they are harder to find than in most cities.

I love LA, it is actually a truly amazing city. Built on dreams, full of dreamers. A truly postmodern place, on the edge of Western Civilization.

2011

What will happen in Hollywood in 2011?

The rich will get richer, but the spec (and media biz) is changed; if you don't see that, it will be far harder to crack for you in 2011 than it was in 2010. It's not going to get simpler, or go back to the way it was, that is for certain...

The rules have changed, they players have changed and the game has changed. Selling "projects" -- don't get stuck on spec screenplays, that is so 'first 10' as I call the 2000-2010 decade -- or getting them made and distributed is actually getting easier. It's getting $100 million cash to make a movie that has gotten harder in the last 5 years. This could be changing.

In my mind, social media, "crowd sourcing" and other tech driven innovations are going to make raising capital a whole lot different; in some ways, for some people/projects, a whole lot easier.

Once the studio distribution model for +$100 million Features is figured out, -- 2010 brought big changes to it -- and the Major studios find a method that works, the cash and economy of the film biz will kick into gear. 2011 will likely give rise to distribution models that can work for more than just "known brands".

2009 & 2010 was the virtual implosion of the old studio model:

Theater > DVD > HBO > TV

I'm not going to try and map what I think the new model looks like, but obviously the INTERNET has shattered the old model for good.

2011 -- as I see it -- will be about rebuilding. Better, bigger, faster, global, and more efficient means of distribution. This will free up money and a "New Wave" of cinema will be born.

That is my predictions for 2011 and 2012.

Review: Love & Other Drugs

Witty. Fun. Predictable. Sexy. Heartfelt.

I liked the story and script, both were good. I like concept of a promiscuous Drug rep, and his tribulations, and arc into a caring loving man. The idea of selling drugs and of Viagra makes for great plot devices. The story centers around a carefree man (Jake) who meets a woman (Anne) with Parkinsons, she doesn't want a relationship because she knows she will inevitably need to be taken care of, and will be huge burden as her disease worsens. But their casual sex, turns into love, which both of them struggle to deal with in their own way.

Fun insight and look/take on the Medical and Drug business.

Parts of the story seemed forced. The brother character, he's supposed to be super rich and yet he crashes on his brother's (Gyllenhaal) couch? Also some parts involving the doctor played by Hank Azaria, but all in all it worked well enough.

Jake Gyllenhaal gave an okay performance; nothing great, not bad in any particular way. Anne Hathaway had some great moments in it, but overall I found her performance unconvincing. I like her a lot, and she is great, and she pulls it out at all the right places, but I didn't really see her character most of the time, I saw her acting. I do like, and respect her desire to bare all in the film. It takes guts, but I feel like it kept her focus away from the scenes, and affected her performance somehow.

Jake, I think, likes to be naked in films. He is someone who has been working hard on his body for years now, and wants to show it off. That is how I see his performance. But he does have a good body, so it works.

A fun movie. Very watchable and warm.

Amazon.com and the New Hollywood 2

I think the best comparison to this deal is actually YouTube.

If you put something up, don't do it for the money, the odds are electron-microscope small. You should only be looking for recognition; and even those odds are micro. That said, some people have gotten six or seven figure deals from YouTube... Hence the allure.

However, what you post, will no doubt be rehashed and used by thousands of other people -- much like YouTube -- and your "credit" will be lost in that mix, and your chances for money are almost non-existent.

In my mind what Amazon Studios will become (or wants to become) is a searchable library of scripts, that writers -- maybe teams of writers hired by, or in cahoots with Amazon Studios -- use to find templates of script to rewrite. Or maybe even a diamond in the rough, with the right polish could be sellable.

Because the whole thing cost Amazon nothing, and they only (imagine to / might) pay out money when the real prospect of money is in sight -- i.e. when a studio or other party has actual interest in a project -- so the real coup for them is the library of material they will accumulate, and the traffic to the site / publicity. In essence, they have already won.

I can totally see Amazon hiring a writer, or rather a group of writers, to rewrite the best of the scripts on the site, also for pennies, and thus they have totally reduced to cost of getting a (strong?) piece of material for their studio at rock bottom cost. They are even looking to foster mass comment/contribution by the masses via a thread like this, giving notes/ideas for free, and who would thus likely go see the film even though they will get no credit or money...

-- See how this is all working? --

If they can get one feature film off the ground to make at least $50 million. It will be a massive profit for them, where as for a normal studio, it likely would not be.

"New Hollywood"

Amazon.com and the New Hollywood

Amazon is getting into the movie biz...

http://www.tomsguide.com/us/Amazon-Amazon-Studios-Warner-Bros,news-8920.html

You can upload your script for free, but they lock you into an 18 month option...

*

Did somebody say "New Hollywood"?

***

I finally got my script optioned! I'm like a professional screenwriter!

All I had to do was upload onto the website!

***

I'm joking. BTW

I would never accept such a contract. But I think it's funny how people in this thread are so surprised by it being offered.

If you are Amazon, it cost you virtually nothing. You do no work, and just *like that* you have a vast library of material at your disposal. All of it in contract, for up to three years. AND chances are people -- from anywhere in the world, likely not LA -- will rewrite it or make suggestions on it that could be helpful. So then Amazon -- or a studio they team up with -- can make content based on the script without paying the writer a cent.

It's genius, in many ways. Evil genius, but that's show biz!

Fast forward five years when Amazon has millions of scripts (no doubt the contract terms have changed to be more beneficial to Amazon) and is making them into content which it shows/sells on it's site.

Looks like someone just got into show biz in a big way!

I could even see them teaming up with major Hollywood studios to make films that they have locked in, acting as a sort of Agent/Manager of scripts/projects... It's very interesting, and how it will all unfold remains to be seen.

I see the potential for a Facebook, to this Myspace.

But these sort of "they're just using us!" deals are commonplace throughout all of show biz, so why people are so shocked is strange to me.

For instance, if you go onto a reality TV show, they pay you ONCE -- or for many they don't even pay you EVER -- and they have the right to air it as much as they want, re-edit and air it elsewhere, throughout all media, in perpetuity without paying you another cent. Don't like it?

Bye then! NEXT!

Look at the MTV 'Real World' cast members. MTV has made billions from reruns and reedits of those shows and they don't to pay any of the 'actors/people' another cent. It's simple supply and demand. Huge supply of people -- WRITERS -- with very low demands.

I don't have all facts, but I do know that many actors never specifically negotiated residuals from old shows like 'The Brady Bunch' and so they get nothing (or next to it) while the studios rake in money from these old shows still to this day. Same goes for the writers I am sure.

The point is, the Amazon Studio is just a new model based on an old system.

It's actually quite brilliant in it's Devilish sort of way.

On the flip side it could very well help people, like YouTube, it could launch people into the big time, at which point they could make sweet deals for themselves moving forward...

I do feel, however, the savvy writer should just avoid the Amazon model as well. If you are skilled writer with real talent (and especially if you can get yourself to LA) you can use the web to "crowd source" your work and refine it to perfection, while still holding onto all the rights. It's just a matter of tapping and find the right "crowd" of people.

Maybe you give up a few plot secrets in the process (never all if you are smart), but at least you retain power and control. And in the "New Hollywood" it's all about power and control.

Once you have something truly great, it's just a matter of getting it into the right hands.

That's my thoughts any who.

Postmodernism?

Pharaoh - The Pitch 2

"The most imaginative and potentially lucrative un-produced ‘Epic Trilogy’ since Star Wars for whoever decides to make it!"

Millions of people have diehard interest in exactly this subject matter.

It’s a story with global appeal and universal themes.

Super-hero style fantasy + History gives a feeling of realism, but the fun of being larger than life.

A story ahead of it’s time, that taps right into the lucrative pulse of controversy...

Connects science and religion. Controversial topics. Neutral yet incredible story.

PHARAOH is ground breaking and cutting edge in it’s detail, content and structure.
A classic hero's journey -- an outsider being brought in to save the world from the powers that be.

A PERFECT STORY TO UTILIZE 3-D TECHNOLOGY!

* * *
A trilogy in the vein of Star Wars -- set right here in our very own galaxy, our world -- in that at it's core is a powerful empire (a Secret Society in PHARAOH's case) and a generational power-struggle.

The story connects Holy Blood, 2012, Nano-technology, Artificial Intelligence and Secret societies with the great Mysteries of Egypt...

These are the subject-matter of many of the most successful films AND books ever produced. But no book or film has brought them together quite like PHARAOH.

It draws on some of the most basic and fundamentals of Hollywood Blockbusters but spices and shakes them so well they taste totally fresh and new.

It gets people talking, because it’s so interesting...
Much like “The Da Vince Code” and “Holy Blood, Holy Grail” did… But it’s not any farther ‘out there’ than what is already being shown on TV (the History Channel) and in other classic blockbusters.

Taps into popular culture’s religious symbolism and conjecture.
PHARAOH is full of symbolism, but neither promotes nor denounces any religion or science. Rather, it incorporates both as part of the human experience and part of the story...

A story about secrets… Secrets we are all dying to know. Secrets that millions of people all over the world love to hear, see and talk about. Making this script:

"The most imaginative and potentially lucrative un-produced ‘Epic Trilogy’ since Star Wars for whoever decides to make it!"

When you read the script and you realize it's true:

PEOPLE WILL LOVE THE STORY

“This script has all the ingredients of a blockbuster film.”

IT IS EXACTLY WHAT HOLLYWOOD IS LOOKING FOR.

Why?

Because it's what THE AUDIENCE is looking for.

Can you explain?

Well... What defines the success of many films today is: CULT FOLLOWING

Whether it's Twilight, Comic-Books, Sex and the City, or The Da Vinci Code.

Success comes from tapping into and drawing out that base, that "cult following". By creating a product that appeals to them, and they will buy. They go/buy because it's something that they know about, and they want to see and weigh in on, or be a part of...

PHARAOH has just that. Stuff people are interested in and follow with cult like dedication and interest.

How so?

An inherently multi-prong approach. It deals with, and taps some of the largest and most lucrative cult-followings that are consuming media products today. Comic-book and Fantasy appeal in the youth. Intellectual controversy, speculation and religious symbolism appeal in the adults. It taps the more discerning, the crowd that doesn't go out and see every movie, but they will when it's about something that interests them...

The subject matter of PHARAOH has been the interest of young, old, poor and royalty... for over a 1000 years. Global appeal today. It would play well in every world market, because it's subject matter is universal.

What subject matter?

Secrets • Ancient History • Humanity, Mortality and Eternal Life...

And more recently:

Ever wonder how “The Matrix” and Artificial Intelligence comes in to be?

What happens when computer intelligence becomes greater that human intelligence "the Singularity"?

PHARAOH actually connects all these questions and answers into a thrill ride of 119 pages. As they say: You think you know... but you have no idea…

Okay... Huge cult following of those subjects. Lots of movies. Millions of books on those subjects are sold annually. Got it. But how does that translate into these 'cult-followings' buying into your script?

PHARAOH offers fascinating and fantastic answers to these questions. Questions people are paying money to read, hear and see answers too. As a film it becomes a powerful new kind of entertainment, a kind of postmodern religious experience. Something people pay good money for.

PHARAOH is a mythos of our (neo) real world, in the way that Lord of the Rings is a mythos of pre-industrial Europe.

A world where fantasy is the reality...

Visually and intellectually stimulating --perfect to be made in and utilize 3-D -- which makes it stronger cinematically, and more moving / enjoyable.
'The Dark Knight' was deep and engrossing because it felt plausible, realistic -- intellectually stimulating.

With the rate the world is changing, we are confronted daily with concepts and ideas that seem crazy, but we are learning are actually becoming real. FAST. Things like AI, cloning, and Secret Societies... Hence a new reality.

Neo-realism > "new-realism" > new way of looking at and projecting reality

IT SELLS. PEOPLE EAT IT UP.

Think AVATAR. It pretends to be the real world -- our actual future -- and it uses the story to take this "real world" or neo-real-world to a place of fantasy. The fantasy is the reality, the reality where we are exploring other realities... Get it? Doesn't matter, because the point is:

PEOPLE LOVE IT

Why do they love it? Because it's a deeper movie going experience when you connect to it. People feel they got more out of it when they connect -- like it was worth the money and they want to have the experience again... and also buy the DVD.

Some people say: "it was the cutting edge visual effects that got them in, not the subject matter."

True. But the effects are only as good as the story that employs them. Many films with the best visual effects but no story find little success. But the ones that can truly utilize and showcase cutting edge technology within the context of a great story find true Blockbuster "cult following" success. Think ‘The Matrix’ and the Renaissance in Super-hero movies it created in Hollywood. When a great story, can utilize great effects, the combined effect magnifies the profitability/marketability. The impact and selling power of it is much stronger.

It takes a good story to begin with...

PHARAOH is a good story.

Once you read it, you understand why it's

"The most imaginative and potentially lucrative un-produced ‘Epic Trilogy’ since Star Wars for whoever decides to make it!"

See Also: http://mr-postmodernistic.blogspot.com/2010/04/pharaoh-pitch.html

Be Creative!

Selling a ‘tent-pole spec’ screenplay in this day and age is no easy task, even for seasoned pros. It takes not just a brilliant idea, with global appeal, that is easily marketable to an ever more intelligent metropolitan population. But also a comprehensive understanding of how your idea fits into the current media (business) market.

How your film will make money must be quite clear. What is the market for it? Media Executives want to know: How do people respond to it? How does it fit into the market trend/trajectory.

Ultimately selling a ‘tent-pole’ spec script is about marketing. It’s about selling ideas and experiences, and the internet - social networking, web pages - is the future of this. The internet is where ideas and experiences are now made and shared. It is where 21st century commerce takes place. It's just the fact now.

Some people think that using the internet to market and sell a screenplay can make you look “desperate”. They could not be more off base. The truth is, not using the internet to market and sell your ideas will be like not using email today.

If you think creating web a page, social networking, Twittering, blogging, or in anyway being creative about reaching out / networking on the internet is "desperate", you do not understand the media business of today (and tomorrow). We are rapidly accelerating irreversibly into ‘The Digital Age’. Not using social media, being creative with it, and the internet is “media career suicide”. As ‘Hollywood/Media’ merges with ‘Silicon Valley/Computers’ the old business models of the entertainment business are falling apart faster than new ones are finding success. The game is changing. FAST. This change is giving Geeks more clout. The NextGen, tech savvy youth more advantage and hobbling the tech-challenged. It is changing the way we consume and create media, in new and exciting ways, often faster than anyone can keep up. What’s the best way to not get left behind?

Get creative.

Don’t worry about looking desperate to anyone. As long as you are being creative – trying new models, new ideas -- you are part of the future of the media business. Those that know how to use the internet to create experiences and new business models are the next wave. They are rapidly changing Hollywood.

How does this relate to screenwriting, you ask?

Well, if you are trying to market and sell a ‘tent-pole’ spec screenplay you are going to need to be aware of the market trends and developments. When it comes to studio specs:

“It is all about commercial viability.”

The financial success or “commercial viability” of a script, is based on the market. Getting a hit Studio film nowadays is like hitting a moving target, it takes great perception and skill to determine where the market will be once the film is released – where the target will be in the future. If you can aim right, i.e. know the market trend, you are far more likely to hit the target.

With the success of 'Inception' there is a realization in Hollywood that people want smart, ground breaking films that make us think. This is combined with a renewed interest in original material, and a diminished interest in “established” or “known/old” material. The numbers are clear; they don’t lie. Chris Nolan has the incredible and rare ability to take an established franchise like Batman and make it new; intelligent. He raised the bar via ‘Inception’ and the market likes it.

It’s about being intelligent and “Twitter-buzz-worthy. If it’s not original – at least made in an original or smart way -- it is unlikely to be intellectually stimulating or worth talking/tweeting about. But if it is both original and smart. The tweets will fly, the interest will soar and money will pour in.

The global film market is also rapidly changing. Because the amount of media we consume has gone way up - Netflix, HBO, Cable TV – we are beginning to demand more from our films, and box office movie going experiences. Combine this with the fact that the metropolitan film markets (the main source of ticket sales) are getting more ethnically diverse, more educated, and more selective. As people get smarter, more globally aware, higher in consciousness, they demand better entertainment.

Advertising fatigue has also made “word of mouth” more important than ever. The best way to get ‘word of mouth buzz’ is to make something smart that people want to talk about. It’s the best, most effective marketing, and it is free. The only catch is that you need to make a really good movie that people want to talk, tweet, and blog about...


Today the story/script and the marketing, are very much the same thing, two sides of one coin; inextricably connected. Because contests and competitions are not usually the best route for tent-pole, blockbuster films, you will need to find alternatives. Don’t avoid contests per say, but don’t rely on them either. Most ‘tent-pole’ films would not win a screenwriting contest. So assuming you have a great idea, that you truly believe in, and know would make a great film, you will need to get creative.

How well can your script/story be marketed – sell - commercially to a global marketplace? The first test starts with you the writer and the internet. How well can you market and sell your idea to people? To an agent, manager, director or producer? How do you stand out and get attention on your polished and market ready screenplay?

Be creative!

Test your idea. Your talent.

Make a website. Make a YouTube movie. Blog! Reach out.

Get exposure.

Get the story “pitch” out there to as many people as possible. Use your talent to showcase your “commercial viability”. This will get your script read; which is the first goal. Therefore a website, or connection for a script, has the sole purpose of GETTING THE SCRIPT READ. Like a headshot gets an actor an audition. Then your script will need to speak for itself; land the part.

You will never be considered if you are never seen/read. So how do you get your script read?

The rule is: “Whatever works”

“There are no rules.” Anyone who says differently is trying to sell you something, or keep you down.

Be creative.

Today, increasing amounts of the new talent, and development deals are coming from the internet. From YouTube obscurity, as was the case with Fede Alvarez who got a 7-figure deal with Sam Raimi (Director of Spider-Man) from a $500 budget YouTube video. It’s the ‘Justin Bieber effect.’ It started with bands and artist that have been given record deals from myspace pages, from virtual obscurity. Now it’s doing the same for the movie business. The internet has effectively intensified the competition in Hollywood; leveled the playing field in many ways. It’s now a global talent competition, running 24/7.

Bottom line: If you have the substance, the talent, showcase it as best you can, however you can. Don’t be afraid to put your work out there. Putting it out there – making web pages, YouTube videos, Blogging, or Band Pages -- is the name of the game.

1) Use the internet. 2) Be creative. 3) Get seen. 4) Get feedback. Get an audience. 5) Be able to back it up, in person, and for a writer, on paper. 6) Get a deal.

Hollywood is a creative industry/business. Get creative, or get (shut) out.

Worrying about “looking desperate” or being afraid are creativity killers. Was Justin Bieber desperate when he made YouTube Videos? No. Do what you love. Being innovative/creative is never desperate. You think it is, or won’t/can’t even try to create/innovate, then you are in the wrong business. If you can’t be creative – try new models, test new ideas -- you won’t make it in the New Hollywood. It goes for everyone. Screenwriters too.

Being negative is also a creativity killer. Before you say something sucks, or “no one has sold a screenplay from a website, or the internet”… Just remember, no one had gotten a 7-figure deal from a YouTube video… until one day: Someone did.

Is it possible to sell a screenplay with a website or social networking?

It most definitely is.

Maybe I’ll be the first. Maybe you will. Maybe someone reading this will. You could say that all the YouTube Videos / Web Pages you have seen suck, but that doesn’t mean someone isn’t posting one right now that is fantastic, and it will land them a meeting with a manager or executive. Rather than say they suck, you should try and make a better one…

Be creative.

That’s the game. That’s how it works.

Just wanted to share my thoughts. Hopefully this helps!

Best,

Julian Tyler

www.juliantyler.com

Review: Dinner for Schmucks

Over-the-top. Hilarious Moments. Contrived story. Inconsistent. Very funny.

While this movie had some great moments and at times it was really funny, over all it left me feeling very strange about it. It made 'Meet the Parents' seem realistic in that it was so over the top, so far from any sort of reality, but often acted like it was reality, that it left me with mixed feelings. They create all these huge problems and then wrap it up in the end with voice over, which I was not a fan of.

Steve Carell is very funny, but his character was inconsistent for me. I didn't understand him. He was crazy, and then not. Logical and then totally illogical. He basically ruins peoples lives in the movie and no one is upset with him, which made no sense to me.

Paul Rudd gave a moderately bland performance for me.

Zach Galifianakis was the highlight of the movie for me. He was awesome.

This film has the potential to be a sort of cult classic. It has some great lines and seriously memorable moments. But because the story is so slapstick, but many characters are played so dramatically, it doesn't quite come together. The Steve Carell character basically ruins the life of Paul Rudds character, and then the movie ends. It didn't really make sense to me.

That said, I do still laugh when I think about parts of it.

"Keeping up with the Media"

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.