Jeanne V. Bowerman (@JeanneVB) On Adaptations

Today we have the pleasure of chatting with Jeanne V. Bowerman co-founder of the #SCRIPTCHAT Twitter group for screenwriters. Jeanne calls herself a recovering insecureaholic, but if anyone has had the pleasure of chatting with her on Twitter, you quickly come to understand that @jeannevb is one of the most learned and helpful Tweeps you'll ever meet. Today we get to chat with her about her experience Adapting the Pulizer Prize winning Novel Slavery by Another Name - Douglas Blackmon.

GL) Adaptations are notoriously difficult to write, they’ve even made a movie about it! What drew you to this project?

JVB) First of all, I absolutely loved the film ADAPTATION. I watched it recently, just to see if there were any real-life similarities. I’m sure I laughed at all the wrong places, mostly because I’ve been to Robert McKee’s three-day seminar. I even follow author Susan Orleon on Twitter… though she doesn’t have a clue who I am. :)

As for what drew me to this particular project, I’ve given that a lot of thought. People often ask why a white girl from a small country town in Upstate New York would be interested in neoslavery. I wasn’t conscious of the answer until I was deep into writing the first draft. While writing, I realized I was more drawn to the brutal plantation scenes of the African Americans than I was the affluent world of the white Southerners. While I would never begin to compare my life to slavery, I will admit, there are times when I have felt trapped in a world or role I desperately wanted to free myself from. I related to that sense of helplessness and lack of control. More importantly, I want the truth of our nation’s history to be told. That responsibility weighs heavily on me. I want/need to do this story justice.

Beyond the personal draw, there was also a professional one. I wanted a challenge. I had written lighter romantic comedies prior to that, and in truth, I don’t even watch rom coms in theaters. I prefer foreign films, indies, dramas and subjects that move me to my core. I needed this challenge. I craved this. I knew the minute I found this book, I had to adapt it. Period. This was the one.

GL) What are some of the challenges you encountered along the way?

JVB) There were many, but the biggest was simply finding the story to tell. Yes, there was a book to work from, but this was no ordinary book. It covered 70 years of our nation’s grim history, with many examples of how African Americans were unjustly enslaved after the Civil War. We could have chosen any number of protagonists, but we had to find just the right one. I’m confident we did.

GL) Knowing that not everything can make it form page to screen. How do you make the hard decisions about what stays and what goes?

JVB) We used a combination of Doug’s expertise and my naiveté of the subject. The very first thing I did was scour the book, page by page, making a list of facts that emotionally moved me. There were so many to choose from that I literally broke the binding. Then we focused on the ones that would move the protagonist’s story forward. But, the biggest challenge was avoiding the temptation of making it a history lesson. The book will be a documentary on PBS in 2012, so that freed our minds a bit, knowing that was a platform where the history will be discussed. Our goal in this feature script was to tell the moving story of a the man who tried to stop slavery in 1903, bringing the very first white plantation owner to trial for holding slaves, forty years after the Civil War. If it didn’t fit in that spectrum, we cut it.

GL) You’re writing the screenplay for SLAVERY BY ANOTHER NAME with the author of the best seller, Douglas Blackmon. Novels and scripts are very different animals. How have you blended the two writing styles?

JVB) Doug was amazing. He has a background in theatre, so I could tell from reading his book, he already wrote in a visual way. He was also incredibly generous, and far more liberated than most authors in being open to changing the story. Oddly, I was the one who was more resistant to straying from the facts. Perhaps it’s because Doug had spent so many years writing it, he was ready to move on to a new way of storytelling, and I was stuck in the "oh my God, I can’t believe this happened" mode. But once I opened my mind, we went wild. Some of the best scenes in the script are ones we used creative license with.

As for blending styles, we made a decision after completing the 31-page outline that I would write the first draft. That way we had a consistent voice and a blue print to start from. When I finished it, I sent it to Doug, and he added his mark. His style is verbose, and mine, very tight. So our fit was perfect. He’d add; I’d cut. But he was never territorial about my editing his words or vice versa. We are a team, and more importantly, we are professionals. I’ve never worked so well with another writer before.

GL) What advantages are there to working with the Author? Any disadvantages?

JVB) In a story like this, Doug was my research man. He had spent 7 yrs in the basements of courthouses throughout the South, going through stacks of papers. If I had a technical question, I just called him. He is also the most humble man I’ve ever met. Here he is the senior national correspondent of The Wall Street Journal and a Pulitzer Prize winner, yet he never once pulled rank with me. This was our project from day one. I’m still amazed by that.

Honestly, the only disadvantage was his insanely busy schedule. WSJ responsibilities always came first, as did his speaking engagements, and of course, his family. But just to steal an hour here and there, I’d go to any town I could to hear his speeches. I wanted to watch the audience’s reaction to his words, making certain we were capturing what people were most curious about.

GL) How is writing with a partner of any kind different from writing a solo project? What are the good the bad and the ugly...?

JVB) Writing partners is a subject for an entirely separate interview. I have a lot to say about that, having had four, one being my teen daughter.

Good: someone to brainstorm with and feed off of. Film is a collaborative process, so why not start at step one? Writing with someone certainly gets you comfortable with compromise. The trick is to compromise without feeling compromised. Often, there’s a fine line.

Bad: you never have total control of your story. Egos can get in the way.

Advice: I always make a rule that the project comes first. If there’s a disagreement, we ask, "Is this what is best for me personally, or is this what is best for the project?" Writing partners are like a spouse. There will be days you love them, and days you want to smash their face in with a baseball bat. Having said that, I’d go the writing partner route again, but I don’t ever want to write with just one person as a permanent partner. My taste varies so much that I prefer to play the writer field. I would absolutely write with Doug again though. We recently discussed an idea for another historical drama that’s very graphic and violent with a strong female lead. When we mentioned it to Joshua Stecker, West Coast Editor of Script Magazine, he laughed and said, "Just wondering, do you guys have a comedy in you?" Love that guy. Actually, Doug is very funny. We might just have to try writing a comedy together someday.

GL) What makes a good adaptation? What should a new writer look for when scouting for gems?

JVB) Story, story, story. No matter what happens in the book, you have to find the story that would bring people into the theatre and keep them in their seats, preferably glued, for two hours. To do so often requires cutting major parts of the novel. I was once advised there was no point in doing an adaptation unless you were going to put your mark on it, and make it your own. I found that interesting, because as a reader, I’m always annoyed when the movie is so different from the book. The truth is, no matter how you slice it, an adaptation often doesn’t live up to the imagination of a reader. Some stories should stay on the page.

As for what to look for, author and screenwriter Chuck Wendig wrote a post recently advising choosing short stories to adapt instead of novels. When I read that, I had an "I should have had a V8" moment. He’s right. They’re certainly more prone to adaptation, since they’re already tight and concise. I’d also look for amazing characters, ones you can evolve and put through boatloads of conflict. Make sure there’s a moment in the story when your protagonist is on the bathroom floor (figuratively, of course) and has to make a choice that will make or break him. Push that sucker to the limits.

Also, don’t be afraid to pick up the phone and call an author. That’s what I did with Doug. Just called him out of the blue. Sometimes it works.

GL) How do you know you’ve done the material justice? When do you know you’re done?

JVB) I’m not sure there’s ever been a moment when I didn’t question if we did the material enough justice. It’s such a powerful piece. Every single day of writing the first draft, I cried. The tears were for the people who were enslaved and for their ancestors. Our number one goal in all of this was to speak the truth. That responsibility weighed heavily on us. Not a day went by when I didn’t ask myself "are we doing the African American community justice?"

It’s been six months since we officially "finished," and I’m in the middle of the latest polish, focusing solely on dialogue. Doug would agree that whenever we step away from the script for a month or more, we read it and see things we can change. The trick is knowing when to stop and put your baby out there. We have purposely not papered the town with the script, wanting it to shine to its full potential first.

GL) What can we look for from @jeannevb in the future?

JVB) This is my official announcement that I’ve been invited by Script Magazine to be a regular contributor to their website, discussing the life of an unproduced writer. I’m totally jazzed to share not only my own projects, but also those of other screenwriters, discussing various ways to break in. I want to focus on out-of-the-box personal stories to energize writers to get creative in their quest to be produced. It fits in perfectly with my Twitter Pimp Angel style. My goal: to get an email someday that one of my posts sparked the idea that helped a writer take another step forward. If we can’t support each other, what’s the point? I realize there are a lot of selfish people in this industry, but I do not intend on being one of them. Ever.

Beyond that, I’ll be writing my fingers to the bones. My business card reads "writer of things". I don’t care what it is, a short story, novel, screenplay, short film… if it can move you, I want to write it. Currently, I’m finishing up a quirky family comedy, purposely keeping it low budget. If I can’t find a production company to make it, I’ll do it as an indie. With all the talented creatives I know, I’m confident I will make this one happen with or without a studio’s help. As for the short film, director, Mike Bekemeyer, and I are working on one, inspired by a lover’s quarrel I tweeted out from Starbuck’s one day. Beyond the film world, I’m finishing up my first novel, THE RING THAT BINDS. It’s based on the true story of my friend who died of Lou Gehrig’s disease and the four women who cared for her. Don’t worry, it’s not all sappy and depressing. It’s full of humor. I have several agents waiting to read it and plan on adapting it for film as well. I have more irons in the fire I can’t speak about publicly yet, but my fingers and toes are crossed for my writing to finally bring in a steady paycheck.

GL) Any last words of advice and encouragement for new writers?

JVB) It sounds so cliché, but never give up, even if a tidal wave is drowning you. There’s no room for self-sabotage in this business. Wussies are the first to drown. So surround yourself with a writing support system that can be your life raft. For me, it’s all the writers of Scriptchat, especially the treefort: Jamie Livingston, Zac Sanford, Kim Garland and Mina Zaher. Seriously, I don’t know what I’d do without them. When any of us hit a wall, the email boxes ping back and forth until a solution is found. The support fuels me on. In truth, I’m not one who needs a lot of cheerleading. I have no problem hunkering down and doing the work. But when I hit a snag, having them to brainstorm solutions with is invaluable. Get a system like that of writers you respect and trust. Oh, and get a therapist :)

Also, don’t ever think you’re bigger than you are, and do not ever act out of desperation. Both are terribly unattractive. No matter where you are in your career, you have something to learn. If you’re feeling desperate, then that means your work isn’t good enough. Get your ass back in the chair and make it better.

Put forth positive energy, work hard, help others, and the karma will all come back to you.

GL) Thank you so much for taking part in this interview with The-GreenLight.com, it was an honour and a pleasure. See you on Sunday 8pm EST for #SCRIPTCHAT!

Weekend Update with Gord Rogerson

Ok... So I've been EXTREMELY busy trying to get the 2nd Annual Script contest sorted out for The website. We're absolutely ecstatic that we have 3 wonderful sponsors so far this year!!!

SellAScript.com
ScriptDelivery.net
BlakeSnyder.com

They are providing some amazing prizes for the contest that will provide our writers with some much sought after industry exposure.

I'm about 12hrs away from finally finishing the outline for the Pilot I've been working on. Having never written for TV before, there has been a bit of a learning curve. Although I have 30+ years of viewing experience I am finding it difficult to find the soul of the pilot. Thankfully, I have good friends who are not afraid to tell me when I suck (actually I think some enjoy it a little too much). So I've been listening and absorbing their comments and working with the ideas they are imparting in order to create something that is engaging, fun, exciting, and complete awesomeness made physical... Needless to say... its taking me a while to be awesome. BUT... I'm almost there. A few more hours tonight and tomorrow and I'll finally be able to start putting words in people's mouths.

I have also had the opportunity to get some more interviews for the site worked out. I am in the process of crafting some good questions for another interview that should be posted soon. Good times! Lots to do and keep me busy...

Meanwhile in my personal life... I'm moving! So now that I don't have any time at all to myself... ;) No it's good. The new place is huge, open, has multiple floors, and a basement I can turn into a video studio... I have an idea for a web series called FALLING. That's all you get... Just the title... and that its a one camera show that can be filmed in a basement. :)

Anyway... That's the update. Stop by the-GreenLight.com for more details on the 2nd Annual Script competition...

Peace!

- G

The-GreenLight.com 2nd Annual Script Contest

We are pleased to announce the 2nd Annual Script Contest

Deadline:
May 30th, 2010 (early); July 30th, 2010 (regular); September 30, 2010 (late)

Notification:
Semi-Finalists: October 30th, 2010; Finalists: November 30th; Winners: December 15th, 2010

Objective:
Our mission at the-GreenLight.com is to provide new writers with helpful insight and tools to make there writing better.

Eligibility:
Open to all writers 18 and over.

Entry Fee:
$25 (by May 30, 2010); $35 (by July 30, 2010); $50 (by September 30, 2010)

Rules:

* Open to all writers 18 and over.
* Limited to first 500 entries
* Screenplays must not have been previously optioned, produced, or purchased prior to submission.
* Screenplays must be original work of applicant(s).
* Winning screenplay submissions written by 2 or more writers require all awards to be divided equally among the writers.
* Screenplays must be in English.
* Entrants must submit a completed entry form containing a Synopsis and Logline, screenplay and the appropriate fee according to the posted deadlines.
* Multiple submissions are accepted but each submission requires a separate entry form and fee.
* Finalists must then submit the entire screenplay within 7 days of the posted Finals Announcement\Notification.
* Finalists screenplays must be between 85 - 120 pages and be copywritten or registered with WGA\WGC. - Writer(s) should retain 1 copy of original script.
* The-GreenLight.com is not responsible for screenplays lost in cyber space, or stolen. (but if you have paid, and your submission is lost we'll work it out if you can provide the payment details.)
* Judges decisions are final.
* Electronic submissions only via the online entry form and email.
* Prizes may not be substituted unless agreed upon by the writer(s) and the-GreenLight.com.
* The-GreenLight.com reserves the right to cancel the contest due to lack of interest. Any fees collected will be refunded promptly to the Writer(s). Notification of contest cancellation will be made on the day following the Final Deadline. (Threshold is 25 entries min.)
* Submission of entry form and fees implies explicit acceptance and consent to the contest rules as listed above.

Awards:

All Selected Finalists will received written feedback from the judges.

1st place

* $150 Cash Award
* Certificate of Achievement
* SellAScript.com Prize package
* Save the Cat! Story Outlining Software from BlakeSnyder.com
* Notes from the Contest Judges
* Dedicated Promotional Page on the-GreenLight.com
* More to come...

2nd Prize

* $100
* Certificate of Achievement
* SellAScript.com Prize package
* Copy of Crafty Screenwriting: Writing Movies That Get Made by Alex Epstein
* Notes from the Contest Judges
* More to come...

3rd Place

* $50 Cash Award
* Certificate of Achievement
* SellAScript.com Prize package
* Copy of Save The Cat! The Last Book on Screenwriting You'll Ever Need by Blake Snyder
* Notes from the Contest Judges

Honourable Mention

* Certificate of Achievement
* ScriptDelivery.net Prize Package
* Notes from the Contest Judges

The-GreenLight.com - An excellent chat with Writer\Director\Producer Justin McConnell

Today The-GreenLight.com has the pleasure of speaking with Justin McConnell Writer\Director and CEO of Unstable Ground a cutting edge Media company in Toronto, Canada.

Thank for joining us.

TGL - Tell us a bit about yourself. How did you get into the film industry? What first attracted you to writing and directing?

JMc - This may be a cliché answer to start an interview with, but film is in my blood. I may not come from a filmmaking family exactly, but they were a family of movie lovers. I both thank and blame my father for where I am today – had he not snuck the staple horror/edgy flicks past my mom from a relatively young age, I probably wouldn’t be doing what I’m doing. Thanks to him exposing me to “classic” (debatable, I’m aware) titles like Alien/Aliens, the Predator movies, Critters & Gremlins flicks, Argento (I wouldn’t recommend trying to watch “Phenomena aka Creepers” when you’re 12), and the first of it all, Monster Squad – the doors were opened that made me into the wonderfully twisted individual I am now.

From there it just became a mission – watch and study film (I mean really study it), make a bunch of cheapie shorts, film school, starting my own production/post company, and just working with the nose to the grindstone. If you want something bad enough, you just put everything you’ve got into it, and hopefully it works out.

TGL - A couple of years ago you wrote and directed a short called "Ending the Eternal" that tells the story of Samuel Gradius an ages old Vampire looking to put an end to his life. Since then it has spawned a Graphic Novel and you'll be shooting a feature length sequel called "The Eternal" later this year. Was that always part of the vision for Samuel Gradius? Did you intend to tell his story in three parts or did that evolve with the success of the short? Tell us a bit about the new project.

JMc - Samuel Gradius’ story was more an evolution than a solid plan. The first incarnation of that short I actually wrote back in high school (circa 1999-ish), as a short story called “Musings of an Ancient”. From there, the first draft of the script was written all the way back in 2003. Around that time I was shooting a feature-length documentary called “Working Class Rock Star”, and it pushed development of the idea to the backburner until 2007, when we finally said “Let’s just get the money together and make this bloody thing”. At that point my long-time writing partner Kevin Hutchinson and I sat down and started really breaking down and producing the short.

Waiting until then turned out great in a lot of ways – we had very little to make the short (less than $20K) – so it connected us with a strong team in it for not only money, but the art (special shout-out to our DOP Pasha Patriki). It introduced us to a great non-union (at the time) actor named Adam Kenneth Wilson. We first met him during the audition process, and he brought so much to the character from the get-go that we decided we had to expand Samuel’s story. We were so impressed with Adam once the short was finished that we asked him to join us as a co-writer.

From there it just grew and grew. The feature idea came first – we finished the first draft of the script in mid 2008, and started shopping for finance. At a certain point we realized just how difficult the indie market is right now, so decided we needed an edge – and the graphic novel idea, “The Eternal: Final Dawn”, was born.

Out of everything the graphic novel has been the most interesting for me from a writing perspective. We are writing it as the 500-year history of the character, a prequel of sorts. In doing so, we’ve managed to flesh out a really detailed world in which Samuel and “The Eternal” exist. I also got to put on my historian cap, and research a lot of myth/legend/history to weave into the narrative. The thing nobody knows yet is the other larger elements at play in Samuel’s story – elements that also weave through our other upcoming films “Deliver Us” and “New Generation”. We want people to be able to connect the universe in the same way one would Stephen King’s THE DARK TOWER, or a show like LOST. Give something more immersive to potential fans.

TGL - A lot of our readers have asked questions about making into production. Can you briefly walk us through the journey, like a timeline of how you made it from idea to completed project? Do you think short films are the place for people, who want to launch a career in the film industry, to start?

JMc - Making a film, even a short, is a long process – at least it is if you want it to be any good. You don’t want any weak links – in the end, one bad performance, a weird music cue, FX that don’t work, etc. – can sink the audience reaction to your work. In an industry as over-saturated as the film industry is now, and technology existing in which anyone can slap together something on a Handi-cam and call it a film, you need that edge.

Obviously it all starts with the idea and script. That needs to be developed fairly well – don’t just write a first draft and shoot that. Take some time with it. I’m not going to go into the financing side, since the next two questions talk about that – but you need to develop and figure out your budget next. How cheaply can you do it well? What is your ideal budget? Once you have that figured out, and you know how much money you have to play with, pre-production can begin.

The film itself is made in pre-production. If you slack here, your film will suffer greatly. The lower the budget, the more responsibility you’ll find yourself saddled with. I’ve worked on many things in which, as director/producer, I didn’t have the budget to pay a full crew – so you have to decide who you have room for, and what roles you can sacrifice. The hope is you’ll have enough money, but don’t feel bad if you are also up until 4am making craft-services for the next day, even as a director (which I’ve done on a number of occasions). Filmmaking isn’t glamorous, and a lot of my “success” came from the willingness to get my hands dirty.

You need to be organized from day one. Shot-lists, storyboards, and a good firm schedule can really help your film. I never show up on set without knowing exactly what I plan to shoot that day. The D.O.P. gets my shotlist days before we shoot so we’re on the same page and can discuss problems that may arise BEFORE we get to set. And most of all remember – even the highest skilled veterans like to work and create, so don’t be afraid to ask for professional help on deferral and reduced rates. I know that as a genre filmmaker, my product is only as good as my FX team and DP, so I never compromise there.

There is no set timeline to get a film done, but the key is efficiency. With “Ending the Eternal” we did a loose 1.5 months of pre-production (keeping in mind that with a full crew this pre-pro would be significantly shorter), 3 shoot days, and a couple of months of post (again, this isn’t work all the time – you need to let your cuts sit a bit, let friends watch and give feedback – you never know what can be improved if you don’t rush things). With a feature the schedules vary – a standard indie feature preps for approximately 10-20 days, and shoots for about the same. More money allows more time to play around and get everything perfect, so in an lot of ways the indie filmmaker has to be even more organized to make an impact.

As for short films, I’m of two minds. Dov S-S Simens would disagree with me, but I think they have a great deal of value. The “calling card” short is a great commodity to get your foot in the door - look at Neill Blomkamp, Jason Eisner or James Wan. However, you have to go into them knowing you probably won’t make your money back. Very few people buy shorts, and the licensing fees are very low. They are great “demos” for your abilities, especially on the festival circuit, but if you can take the same money and make an effective feature film out of it, then you may actually have a product that is worthy of distribution and decent revenue.

TGL - We also get a lot of questions about money. What kind of budget was there for Ending the Eternal? And how does it compare to the feature?

JMc - “Ending the Eternal” was very low budget (less than $20K), but everyone still got paid decently enough on set. However there was still a lot of donated work, so if everything cost what it should have, probably closer to $50K.

On a feature film things are different – sure, you could ask people to work for 15-20 days for little pay, but I really don’t like doing that. A paid crew is one that won’t screw you over in the 11^th hour. “The Eternal” was written and designed to be a proper film, with a proper budget and actual known (name) actors. Because of the cast we have attached (which can’t go public yet), we need a lot more money – and because we’re poised to make a Canadian indie feature with the intent of a limited theatrical release and worldwide sales appeal, we aren’t just going and shooting it. We’re raising a fairly sizeable chunk of money for an indie film made in the current industry.

However, as it stands I have multiple versions of “The Eternal” worked out – we have the “ideal” version, and then know we are able to make it for approximately half the money. This of course means less cast pedigree and more corners cut, but you need to have a contingency plan. Money is extremely hard to come by, and even more-so now. It’s out there, but it takes a lot of work (and don’t kid yourself, working capital) to put together. We still don’t have all of our goal finance on “The Eternal”, despite having shopped it and taken countless meetings over the last year and a half. The financial climate across the board is one of nervousness and very little risk-taking, so you have to be ready and put yourself in a position to keep swimming, if plan A doesn’t pan out.

What I’ve learned to do is play the game and diversify as much as possible. “The Eternal” may be our flagship film, and our highest budget (night and day compared to the short – but it is a much bigger story) – but you meet so many different kinds of financers that it’s good to be ready to take the discussion into multiple directions. Because of this we have three other properties packaged and ready to shoot, at varying lower budgets. If someone doesn’t want to invest in “The Eternal” but still wants to invest in something a little less financially heavy, we’ve got “Foster’s Bane” (thriller @ $500K), “Skull World” (doc/comedy @ $100K), and a new currently untitled project (dark comedy/thriller @ $100K).

TGL - What are some of the challenges you've faced in getting your work off the page and onto the screen? How did you overcome these challenges?

JMc - I’ll let you know when those challenges are entirely overcome. At the moment the financing game is a tall mountain to climb. We’re confident we’ll get our goal, but you have to be prepared for a lot of disappointment. You can meet and negotiate and plan out your project for months and then everything you worked toward can fall apart in a single phone call.

With indie film, a lot of financing structures are also built around the idea of co-production. A $2 million film might have 10 different financers, or two (each putting in half the money), etc. If one of those financers pulls out, goes bankrupt, or anything else, your project could sink. You need to be extremely careful in how you approach everything. I’ve thought we’ve had full greenlight twice already with “The Eternal”, and twice it’s fallen apart. It can be incredibly disheartening, but you keep going.

Another worry is creative control. The fact is – if someone is paying for your movie, unless you are very lucky, or David Lynch, it’s not going to be the same film you saw in your head. This is both good and bad – film is a collaborative art and other opinions are good. Notes and changes can sometimes be for the better. But not always. I haven’t hit the point yet in which I’ve had someone literally tell me to change something or it’s a deal-breaker, but I know it’s coming.

I think the only thing you can do as a filmmaker worth your salt is move forward carefully, and be ready to get screwed over. And when it happens, don’t let it kill the dream. You need thick skin, or you’ll get chewed up and spit out. Remember, there are a million other people just like you, at varying degrees of talent, all competing for the same dollar. All after the almighty “greenlight”. Talent is one thing, but unless you take the time to teach yourself the business and really know what goes on at markets like AFM, and how deals are made, you are just a dreamer. Even as a writer. You need to know these things in 2010. Everyone that “makes it” on an indie level does.

There are great resources out there to learn these things. Search online for producing tips and blogs (like Todd Farmer’s great writing blog), get an IMDbPro membership and read the message-boards, add filmmakers on Facebook and actually try and talk to them, pick their brain. People love to talk, love to pass on knowledge (well, most of them), so never feel shy. Your passion and sincerity will come through, and you can gain tons of valuable info. I also highly recommend Lloyd Kaufman’s book “Produce Your Own Damn Movie” and Dov S-S Simens “2-Day Film School” DVD collection.

Also, more than anything else, learn the pitfalls in the industry. Avoid the sharks and so-called producer’s reps/sales agents that are really only after conning you out of money. There are some great sales agents out there (most are IFTA members), but there are also fly-by-night con-men that will take you for every penny you’re worth if you give them the chance. Check everyone out. Being stupid will result in nothing but debt and shattered dreams (or thicker skin, if you have to learn the hard way). The sharks prey on your ambition and most young filmmakers aren’t grounded enough to realize that “too good to be true” usually is.

TGL - What is your writing process?

JMc - I generally write with my long-time creative partner Kevin Hutchinson (www.secondskincreations.net), but regardless it’s generally the same when it comes to screenplays. After the initial idea, or spark of an idea, we sit and discuss it, sometimes we’ll meet a few times just talking it back and forth. We come up with the general story, working out any plot holes or problems that may arise. The next, and most important step, is characters. Generally, we make up detailed character backgrounds for everyone in the story, even the minor ones. We make sure we’ve come up with who they are, where they’ve come from, their personalities, how they’d respond to a given situation. The audience will never know the detail we put in, but it’s that detail that dictates the story. It becomes much easier to write if we know what John Doe will do if a big monster jumps in front of him. If we know their every insecurity, their psychology, etc. For example, if a character has intense anxiety disorder, then a certain degree of suspense actually organically comes from that trait.

Next up is the rough outline – a point by point breakdown of the major beats in the story. We then take that outline and write it up, change things that need changing, and start hashing dialogue. Generally we know the entire story before we even start a draft (though in some cases a free-form script can be something powerful – just very rarely).

Finally, the first draft starts, which I usually end up writing on my own (with constant input from Kevin). After that, we revise together to second draft. Any subsequent drafts come with the benefit of time and reflection – over time ideas change, some things get thrown out, and the story becomes more solid.

TGL - A common question we get is about rewrites during the shoot. What we have on paper sometimes doesn't translate 100% to the screen... Did you find or do you expect that you'll have many re-writes during filming?

JMc - Rewriting during production is usually for practical reasons. A location will make the blocking impossible and it has to revised, or an effect or gag doesn’t work and you have to improvise, etc. As a writer and/or director you have to think on your feet, especially with low-budget. You may write your story for one way, but after casting your actors may have a different cadence to their speech patterns (ie. Dialogue changes needed), certain performances may seem weaker (character time cut), or you might just simply run out of money (which shouldn’t happen if you produce well).

I think the best moments and re-writes are the ones that come while making the film. You may have a great idea or a way to add another layer to the story easily, halfway through the shooting schedule. Or anyone might have made a great suggestion...... a film continues to be written while it’s shot, and it’s important to realize that it’s a good thing.

Which side of things do you prefer? Writing or Directing?

JMc - For me they are somewhat indistinguishable. I somewhat prescribe to the Auteur Theory, and am trying to shape a career as a writer/director.

When writing I’m actually breaking down the film, shots and all, in my head. I know the way I want the scene to play out – so when it comes to directing what is written not much gets lost in translation.

Even if I end up directing a script that isn’t mine, the director is still very much a writer in that case. The words and the story are one thing, but how that story is told on screen is just as much a part of the writing process. A reaction shot, decisions on how lines should be played – many things, both subtle and less so, dictate how the story is interpreted. Both roles are different sides of the same coin.

TGL - What advice would you give to someone looking to film their first short?

JMc - If it’s your first short – just shoot the bloody thing. Do a simple idea that doesn’t take a ton of effort, and shoot it. Aim to make it the best you can. Get this into your head now – if it’s your first short, chances are it isn’t going to be amazing. Do it anyway. The first short is all about experience.

My first short was “Retribution of the Meek”, which I made in high school. Cheap cameras, cheap blood, etc. But I learned things making it that still apply today. “Ending the Eternal” was actually my fifth short film, but the first to get any sort of actual notoriety. I made one after that, “Open Invitation”, and I think the growth as a filmmaker is clear between the two.

Just keep shooting – but don’t go to make your first short and sink $20K into it – because it’s a waste of money. Make sure you know what you’re doing before you really start putting cash into your career. A bad looking $20K short is just that – worthless. But a bad looking first time short is worth the experience. Who knows, you might be a genius who can pull off something amazing right out of the gate, but it’s unlikely. Film is a learned craft, a culmination of years of experience and knowledge. So take the time, and don’t worry if it takes longer than you expect – it will.

TGL - We see a lot or media online and everybody has a YouTube Channel these days. Has the Internet become a new tool for Indy writers/directors? How have you used this medium to get projects out there?

JMc - The internet has made me. I’ve got pages on Facebook, Vimeo, Youtube, Twitter, Google Video, Daily Motion, Pelime, Myspace, Imdb, etc. Embrace it. Never before has it been so easy to get your work out to the world. The networking sites have also allowed me to get to know the webmasters/editors at most major horror news sites, so they run my press releases. Whore yourself, but do it respectfully. Attach your uploaded videos to theme-driven groups. You never know who is going to see your stuff online. Enter in online film festivals, post links on message boards – go to where the fans of your type of film are, and get your buzz building. It’s worth the work.

The internet can also help you build your network and crew – Craigslist, Mandy.com, social networking sites – you may find everyone you need to get your film off the ground via these. Use it to make your name, to advertise your upcoming events, to make your presence known. And when you’re about to go into production, use the internet and approach Variety, Hollywood Reporter, and Baseline Studiosystems (who provide all film info for the New York Times, Yahoo, Fancast, and much more) – announce your project in the trades or production charts – people will come out of the woodwork inquiring about your film. Some great contacts can be made this way.

Be careful with short films though – if you want to make a festival impact, you can’t release on the internet first – as most major festivals require your film to be an exclusive premiere (or at least not available for free on the internet). We did pretty well at festivals with “Ending the Eternal”, but we didn’t get into some because I decided to give it an internet release first. I don’t mind – plenty of fans have been made online.

TGL - We've spoken about the Eternal Saga, what other projects are you working on? What can we look forward to in 2010?

JMc - 2010 is planned to be the year of “The Eternal”, but we have a number of other projects in varying stages of development. I’ve been shooting a new documentary called “Skull World” (www.skullworldmovie.com) for a little over a year now. That wraps in Fall 2010. In addition, we have two lower budget features, “Foster’s Bane” and a currently untitled one. Besides that, some music videos. Generally our main focus is on getting Samuel’s story out to the world.

TGL - Again, thank you for taking the time to speak with us.

JMc - You’re quite welcome. Hopefully I didn’t write too much.

Cold Calling

Ok... so in order to get your name out there and get your writing in front of people you need to master the art of Cold Calling. I... am not a master. But I do know the importance of the activity.

I get butterflies in my stomach as I'm dialing the phone. I sit and re-read and re-read and re-read email queries over and over until I'm satisfied that they are 100% perfect... Inevitably I go back to them a day later and BAM! Spelling mistake, or I've accidentally repeated a word a dozen times. I think even veterans have this issue. BUT! Its an exercise that needs to be done.

Most of my cold calls are for interviews for the Website. Contacted people I don't know or haven't spoken to in years is difficult and uncomfortable. So here's a couple of tricks I use to make it a little less like a job interview.

1) Know your stuff. If they ask a question of you, you need an answer. So if you're pitching a show, know your world. So when they ask you... Why do the Purple dragons eat only vegetables and the Green dragons only marshmallows you can easily answer with something that sound splausible.

2) Know who you're calling. Find out about them people, the company, their prod. history and make sure that what you're ptiching is something they'd be interested in. If you're pitching a Sci-Fi Epic to a Documentary company you'll look like an ass.

3) Remember the worste thing that can happen is they tell you they are not interested. You have nothing to lose.

4) Remember your stuff is GOOD! I mean really good... BE confident, and self assured... but don't be a jerk about it. People LOVE to offer opinions... and yes, I'm sure you put everything you have into your script or show, but remember. You going to them. Show them that you know your stuff. That you are confident that you can do the job and get results... but that you're open to their ideas and expertise.

5) MAKE SURE ITS READY... Don't make a single call until you have something polished to show them. It's really hard to rattle off a completely polished script in 24hrs. So be prepared for them to say... Can you send us a sample? Make sure its polished. Get some expert Coverage done. Make sure you've dotted you I's and crossed your T's. A sloppy script won't sell... an unfinished script... unless you're Paul Haggis or Quentin Tarantino won't sell either... They can sell concepts... We're not so lucky...

6) If its a phone cold call... Rehearse with a friend. Have them pretend to be the producer and go through your pitch. It sounds stupid, but at the end of the day the more you go over it the more you know what will work and what won't. You don't want to run at the mouth and sound like an idiot on the phone. You want your conversation to be as polished as your script.

7) FOR GOD SAKES keep it short. Don't linger. A query letter is a page. Be breif. Answer questions, be informative, but don't ramble. Again... you'll sound like a Noob!

I have rehearsed cold calls in front of a mirror before. Just to get an idea of what I would sound like. I've also recorded myself answering questions to make sure I'm not shooting myself in the foot.

At the end of the day, the best advice I can offer that has helped me is... be prepared.

Anyway... Time for a few more calls...

Cheers!

- G

2010 - The Year it all happens

Ok... I'm just going to throw this out there for ya... By the end of 2010 I will be a produced screenwriter. Period. There's really no question about it. Here's why... and please forgive me if this sounds egotistical... I don't mean it to be...

1) I'm good. I have a great imagination, and stories just come to me like farts to a fat man...
2) I've been told my dialog is "brilliant", "charming", "real", and "effortless"...
3) I know people... and they know people... ;)
4) Why not me? huh?
5) I work hard at it... (this is the real key)
6) I'm determined to make it happen (the second key...)
7) I am building a really nice library of material and it's going to pay off.
8) I listen to my critics. It's one thing to get coverage done and do a re-write... Its a little more difficult to listen to the message behind the comments and apply the theory.
9) See #1.
10) Because I look good in expensive suits and I have an acceptance speech prepared for my first Indy Spirit Award... :)

Really I think it boils down to #5,6,1,2... in that order. Writing is something you do because you have to, because you would be completely lost if you didn't have the outlet... BUT you also have to work at it. Every time you get a sharp comment from a reader you need to ask yourself. OK! How do I make this project better? You can't please everyone... but you have to...

Anyway. I have set some goals for 2010... Lofty ones... but with hard work they are attainable. Every month I will complete a script for a TV show I am currently watching to build my Library and exercises and develop my writing skills. I will finish and polish (to a fine porcelain sheen) my last script "Ghost Hunter" and my next Feature Project "Breakfast with Tiffany". My TV pilot will be complete by months' end and flawless by the end of February... Ready to flog to any and all who will listen... It will be a whirlwind... You won't know what hit you... I promise, I will do my best to entertain you, and when you read my work, I assure you you will walk away happy you took the time... Cheers!

Get ready... cause here I come...

All the best in 2010 my friends!

- G

Holiday season

Hello...

Ok... so I'm an awful blogger... I haven't had time to write anything here 'cause I've been super busy on other projects. So here's the update....

The-GreenLight.com 1st Annual Script Contest was a success. Our winner T.L. Lewis wrote a masterful piece entitled "REBIRTH" set in the days of the Huguenots. It's brilliant.

Also we're now running a monthly contest that is doing very well... We'll be announcing our 3rd winner at the end of the month! The quality of script submissions is amazing. There are a lot of really talented and creative people out there... Sooooooooooooo... I'm reading and reading and that's an awesome thing.

Now for me... I am on the 3rd draft of the outline for my Pilot. That doesn't really sound all that impressive (3rd draft of an outline)... But if the outline sucks so will the script... Everything should be worked out ahead of time so you don't end up doing what I did with Ghost Hunter (we'll get to that in a minute). Also... when you have a good outline the finished piece practically writes itself. By the end of the outlining stage you should know everything you need to know so that all you have to do is drop in some of your witty dialog and BAM! 1st draft is ready for polishing.

Now... Ghost Hunter... It's my 3rd feature script. Post-apocalyptic Earth... A world shrouded in darkness... Well... Let me just say... don't start the first RE-Write if you haven't finished the 1st draft. I found myself re-writing the script before I had even finished the 1st draft. This lead to a number of problems not the least of which was the fact that some of the things I re-wrote in the early stages didn't line up with anything on the back end... So you have these things that seem like major plot points that vanish into thin air... Needless to say I have a Major overhaul to do on it before its ready to be sent off for its first round of coverage... If I sent it now... I would get a two word report back "EPIC FAIL!" - It's all good... I know its a hot mess... But its done! and the foundation is solid... Soooooo writing is re-writing... and I will do a re-write.

So... between polishing off the 3rd feature, getting 3 drafts of the outline for my TV Pilot and all the fun stuff we're doing on The-GreenLight.com I've been a little busy... Too busy to blog... BUT once my vacation starts in about 5 hours and 57 min... I have nothing but time...

My goals for this vacation... Write an episode of Hotwheels: Battle Force 5, an American Dad, and outline an episode of Trauma... Also... finish the outline for the Pilot, and get the 1st draft of the script written! I only have 2 weeks... So I'll be happy with just getting the 1st draft of my pilot done... BUT you have to set goals! and the higher they are, the more you'll prove to yourself what you can actually accomplish if you set your mind to it.

Cheers! and have a safe and happy holiday season!

- G

Awesome Q&A with Canadian born Actor Noah Danby!!!

TGL - Today we have the pleasure of speaking with Noah Danby. Originally from Guelph, Ontario Canada (props to the hometown!), Noah has had an action packed career as a series lead on Painkiller Jane, as a regular on Stargate SG-1, and appearing on Sci-Fi hits like Smallville, The 4400, and Mutant X and in features like the upcoming release of Uwe Boll's Darfur. Thank you for taking the time to do an interview with us at The-GreenLight.com.

Writers often wonder what impact their words have on the people who bring them to life. As an actor, what makes a great script great? Is it well defined characters, good dialogue, or is it a script with more room for you to play?

ND - Well I think it’s all of the above but it all starts with a story. Dialogue can change according to the circumstances. Room to play is important but a lot of the time, trying to find what works with what is written is also challenging and fun. Well defined characters, is more like icing on the cake but at the very base of it all a story that people would take 2 hours out of their day to watch and listen to is what you want to go for. If you have that you’ve just up’d the anti for everyone working on the film and watching it.

TGL - It seems, at least from the sidelines that one of the major differences between TV and Features is that there is more collaboration between cast, crew, and the writers on a TV set. Have you ever have to opportunity to work with the writers to develop your characters and if so, what kinds of input can a writer expect from an actor?

ND - From my experience it all comes down to time. For feature films, there is a lot of time for development. So an actor can and should spend that time developing that character into something very different and unique. While with TV most of the casting is done the week before you go to camera so an actor is more inclined to spend his rehearsal time coming at the script from his or her own perspective rather than that of a fully developed and original point of view.

TGL - There was a really great episode of Painkiller Jane when your character Connor was suffering from hallucinations and almost took out the entire team in a hail of bullets. When you’re presented with material like that how do you take the written word and give it such emotion? Do you stick to the script word for word, or use it more as a guide and use your skill as an actor to provide the impact?

ND - I dare say that was some of the best material that Matt Hastings had ever shot. Those words came from his mouth not mine. After reading the script I had decided that I was going to bring everything I could to that particular scene and I did. We shot and shot and I went to that dark place for almost 16 hours. Wearing a body cam for 7 hours and then taking it off and shooting the rest of the material with the Vipers we had on set. But to answer your question. I don’t think anyone knew what was going to happen in this scene until they saw me do it for the first time. I ended up going above and beyond what was given to me in the script. We ended up shooting way past our time constraints for that day but Matt simply turned to the line producer who was questioning his decision and said “What do you want me to do, This is the best fucking footage I have ever shot. I have to keep rolling.” Out of all the work I did on that show that is definitely one moment that stands out.

TGL - You’ve done Sci-Fi, Action, Comedy, pretty much the entire spectrum. What type of script is your favourite? What captures your attention about it?

ND - My favorite material to work on, is the story that inspires. That, after watching, you think to yourself…”Yes I can!” Those were the movies that had the largest impact on my life and the least I can do, is return the favor.

TGL - If you could pick a role, any role from any movie or TV show ever made, what would it be? What aspects of the character, story line, and dialog makes that the role for you?

ND - My next role, is always the one I am most excited about playing because the possibilities are endless and it’s mine! ALL MINE!!!!!!

TGL - What advice would you give a screenwriter who’s just starting out in the biz? If you could offer any insight from an actor’s perspective what would it be?

ND - Work on your craft every day. Remain Disciplined with it. Like a workout or eating. LOL. Don’t sit and wait for inspiration because then it will pass you by.

TGL - What projects are you working on? Where can we catch up with you next?

ND - You can see me in the upcoming season of Flashpoint, The Bridge and in the Feature film Darfur. I am currently in preproduction on a reality TV show called Bounce set to start shooting this September.

TGL - Thank you again for taking part in this interview, we look forward to the release of Darfur, and talking with you again.