Imagine my surprise when my friend -- who works in screenwriting, production, and many others sectors of the craft and profession -- shared this bit of information concerning scene headings (sluglines) --
INT. JOHNSON HOUSE - LORI'S BEDROOM - NIGHT
A Slug Line gives information to 4 members of the production team: The lst Assistant Director, the Location Manager, the Set Decorator, and the Lighting Technician. In truth, it gives information to a multitude of crew members, but if you'll just remember the significance to these four key positions, you will never again write an incorrect Slug Line.
lst Assistant Director looks at the first piece of information in your Slug Line to see if this scene is to be shot INT. (interior) or EXT. (exterior). The lst A.D. does the scheduling.
The Location Manager looks at the second piece of information to determine what site must be secured for this scene.
The Set Decorator looks at the third piece of information to determine what room or area must be decorated ("dressed") by the time the crew arrives for filming.
The Lighting Technician looks at the last piece of information to know whether to set the scene for Day for for Night.
If you are among the, maybe majority, of screenwriters misled to the idea that a slugline is to give the reader -- the one that stands between you and Hollywood -- a vision as to where the scene is taking place, then you're only half misled, but still picking your jaw up off the floor.
Esther Luttrell is an accomplished screenwriter, director, producer, speaker, and author. She has worked for MGM and has a professional resume' that would make any scribe's mouth water. If you have ever watched T.V. or film, her name has crossed your line of sight.
What I most appreciate about Esther is her practical teaching methods and candid, yet sweet, way to deliver constructive criticism. After all, if you are paying someone for a read, coaching, advice, etc., you want them to tell the truth, not sugarcoat it.
I've spent a lot of time scouring the web for screenwriting info and writing -- in fact, it is my full time, unpaid job. In all of my online searches I could still not get to the true root of the slugline and Esther set me straight.
If your time is money and you want your script and skills to reach maximum potential, I'm more than proud to refer you to Esther Luttrell.
Learn more at her websites at the following link:
http://www.estherluttrell.net/home.html
Saturday, November 7, 2009
Friday, November 6, 2009
UP IN THE AIR - SCRIPT & TRAILER
UP IN THE AIR
Adapted & Directed by JASON REITMAN
Starring GEORGE CLOONEY
I just read the script for "Up in the Air", which is available at a link on Simply Scripts (click on the title at the beginning of the paragraph, PDF).
GO TO AND DOWNLOAD "UP IN THE AIR" SCRIPT
WATCH "UP IN THE AIR" TRAILER ON YOUTUBE
It's the story of a hatchet-man who terminates employees by contract, collecting frequent flyer miles all the way. It's a drama, not a horror-flick, he doesn't actually kill the people, he just fires them -- same thing, kinda.
Most of this was filmed in St. Louis, and much of that in my old stomping grounds of Maplewood, Missouri. The midwest offers a lot for a shoot -- it's economical, has diverse architecture, trees, rolling hills -- the only thing you won't find there is a desert, or an ocean, the latter being one of the reasons I moved away.
Main character Ryan is an interesting fellow. He doesn't talk, he "quips", and he "lives" in airports and planes. Ryan avoids relationships on every level, this frequent flyer could write a manual on the best techniques to use when speaking to an adjacent passenger on a flight -- keep it to small talk, then depart quickly.
Love interest Alex lives the same lifestyle, and when they cross paths it just might be a deal made in heaven -- which to them is Homestead Suites, a competitor to the Courtyard Marriot hotel chain. Observe --
INT. - HOTEL - BAR - NIGHT
Ryan and Alex have taken over a couch and have the contents of their wallets spread out - ALL MEMBERSHIP CARDS.
RYAN
Courtyard Marriott card? How dare you bring that into this palace.
ALEX
Homestead Suites offers equal value and better food - But the Marriott gives out warm cookies at check in.
RYAN
They got you with the cookies?
ALEX
I'm a sucker for simulated hospitality.
The script is a terrific read, plenty of sub-plot, twists. Clocks in at about 124 pages, it's a PDF scan so I can't be exact.
One of the basic themes is unemployment, or people just about to join the breadline when they get the news of being fired. With the economy the way it is, Clooney's appeal, Reitmann calling the shots, and people flying less these days therefore wanting to feel like they are, I predict a blockbuster sellout, put me on record for --
199 million dollars.
Could go higher, "Hangover" did the upper 200's, but I'll keep it modest.
Please support this film, there's a real story here and it reflects the times we're going through, it's deserving.
"UP IN THE AIR" OFFICIAL WEBSITE, TRAILER, CLIPS
"UP IN THE AIR" ON IMDB
Adapted & Directed by JASON REITMAN
Starring GEORGE CLOONEY
I just read the script for "Up in the Air", which is available at a link on Simply Scripts (click on the title at the beginning of the paragraph, PDF).
GO TO AND DOWNLOAD "UP IN THE AIR" SCRIPT
WATCH "UP IN THE AIR" TRAILER ON YOUTUBE
It's the story of a hatchet-man who terminates employees by contract, collecting frequent flyer miles all the way. It's a drama, not a horror-flick, he doesn't actually kill the people, he just fires them -- same thing, kinda.
Most of this was filmed in St. Louis, and much of that in my old stomping grounds of Maplewood, Missouri. The midwest offers a lot for a shoot -- it's economical, has diverse architecture, trees, rolling hills -- the only thing you won't find there is a desert, or an ocean, the latter being one of the reasons I moved away.
Main character Ryan is an interesting fellow. He doesn't talk, he "quips", and he "lives" in airports and planes. Ryan avoids relationships on every level, this frequent flyer could write a manual on the best techniques to use when speaking to an adjacent passenger on a flight -- keep it to small talk, then depart quickly.
Love interest Alex lives the same lifestyle, and when they cross paths it just might be a deal made in heaven -- which to them is Homestead Suites, a competitor to the Courtyard Marriot hotel chain. Observe --
INT. - HOTEL - BAR - NIGHT
Ryan and Alex have taken over a couch and have the contents of their wallets spread out - ALL MEMBERSHIP CARDS.
RYAN
Courtyard Marriott card? How dare you bring that into this palace.
ALEX
Homestead Suites offers equal value and better food - But the Marriott gives out warm cookies at check in.
RYAN
They got you with the cookies?
ALEX
I'm a sucker for simulated hospitality.
The script is a terrific read, plenty of sub-plot, twists. Clocks in at about 124 pages, it's a PDF scan so I can't be exact.
One of the basic themes is unemployment, or people just about to join the breadline when they get the news of being fired. With the economy the way it is, Clooney's appeal, Reitmann calling the shots, and people flying less these days therefore wanting to feel like they are, I predict a blockbuster sellout, put me on record for --
199 million dollars.
Could go higher, "Hangover" did the upper 200's, but I'll keep it modest.
Please support this film, there's a real story here and it reflects the times we're going through, it's deserving.
"UP IN THE AIR" OFFICIAL WEBSITE, TRAILER, CLIPS
"UP IN THE AIR" ON IMDB
Thursday, November 5, 2009
OP-ED: BRANDING A CITY
This is my latest op-ed column to be published in our local paper. In short, a branding firm decided that "The Right Size" would be our town's new moniker-- slaying ensues, lol...
Size Doesn't Matter
Greenwood's residents and businesses were no doubt excited to hear of a recent task force organized to "brand" the city. The brand is to "be conveyed in the signage throughout Greenwood and on literature and marketing material."
The branding-consulting firm of Arnett Muldrow and Associates was hired to achieve this goal, gathering feedback from the community, ultimately christening Greenwood with their new slogan:
"Greenwood - The Right Size"
Oh, my.
Three of seven proposed color logos and slogans adorning the morning paper had me doing a double-take. Was I being filmed by one of those spoof shows, with a camera in the bushes, waiting for my reaction?
First was "Greenwood - THE RIGHT SIZE", with "RIGHT" in glowing, bold emerald. The first thing that came to mind was the cliche', yet still funny, "Size doesn't matter." Looking at the word "RIGHT", it just reeked of a political ad: we're right, not on the left, not in between, this town knows its political orientation.
The next logo was "Uptown Greenwood - IT'S RIGHT UPTOWN." I know, I just take Grace Street and I'm right there. Oh, "RIGHT", as in "correct", or "in order". I agree, Uptown is in order, but outsiders would expect that -- a standard is something you adhere to, not brag about. Or did they mean that most of the business owners are Republicans?
The third one is "THE EMERALD TRIANGLE," which is eerie, in all capitals like that, and an elongated triangle that looks like a logo for a new hybrid vehicle. I can't help but associate anything with "triangle" in the name with the "Bermuda Triangle". To me it says "enter and you may never leave," which in itself is a great moniker for a city, unless you're planning a quick visit.
It's like a movie trailer: Grandma went shopping in Greenwood for the day, yet unbeknownst to her, between Thayer's and The Bootery, there exists a portal to the unknown, a place between space and time -- "THE EMERALD TRIANGLE."
I don't believe that one-line slogans work for any city, can you name one off the top of your head? Did you know that the City of Columbia, S.C., has the motto of "One Mission, One Message, One Columbia"? How about Charleston's "Where History Lives"?
Not saying that Greenwood should give up the idea of a label for the area with one dramatic line that will pull in new businesses, residents, and customers; that should be the goal of every community in the nation. Cities have to compete, states do, look at "Virgina is for Lovers," my favorite of all slogans.
After moving here last year, I took a visiting uncle to a local jewelry store because he wanted to buy an emerald ring. We met with local jeweler, Jeff, who showed us a velvet-lined case full of beautiful, loose gems. A discussion ensued about the stones, origins, and why the sign into Greenwood proclaimed it to be "The Emerald City".
He replied that it might have something to do with irish sailors that settled here, Ireland being the "Emerald Isle." I discarded that notion, not because it wasn't true, but I wanted to believe that it was dubbed so because of its beautiful green hues on surrounding golf courses, thick foliage growing in my backyard, and maybe that deep below the city there was an undiscovered vein of glowing, vitreous emeralds, waiting to be discovered.
Meanwhile, my uncle had a gold band on his finger, green gem propped atop, admiring it.
"Looks just the right size, Uncle Tom," I said.
"Size doesn't matter," he quipped.
Size Doesn't Matter
Greenwood's residents and businesses were no doubt excited to hear of a recent task force organized to "brand" the city. The brand is to "be conveyed in the signage throughout Greenwood and on literature and marketing material."
The branding-consulting firm of Arnett Muldrow and Associates was hired to achieve this goal, gathering feedback from the community, ultimately christening Greenwood with their new slogan:
"Greenwood - The Right Size"
Oh, my.
Three of seven proposed color logos and slogans adorning the morning paper had me doing a double-take. Was I being filmed by one of those spoof shows, with a camera in the bushes, waiting for my reaction?
First was "Greenwood - THE RIGHT SIZE", with "RIGHT" in glowing, bold emerald. The first thing that came to mind was the cliche', yet still funny, "Size doesn't matter." Looking at the word "RIGHT", it just reeked of a political ad: we're right, not on the left, not in between, this town knows its political orientation.
The next logo was "Uptown Greenwood - IT'S RIGHT UPTOWN." I know, I just take Grace Street and I'm right there. Oh, "RIGHT", as in "correct", or "in order". I agree, Uptown is in order, but outsiders would expect that -- a standard is something you adhere to, not brag about. Or did they mean that most of the business owners are Republicans?
The third one is "THE EMERALD TRIANGLE," which is eerie, in all capitals like that, and an elongated triangle that looks like a logo for a new hybrid vehicle. I can't help but associate anything with "triangle" in the name with the "Bermuda Triangle". To me it says "enter and you may never leave," which in itself is a great moniker for a city, unless you're planning a quick visit.
It's like a movie trailer: Grandma went shopping in Greenwood for the day, yet unbeknownst to her, between Thayer's and The Bootery, there exists a portal to the unknown, a place between space and time -- "THE EMERALD TRIANGLE."
I don't believe that one-line slogans work for any city, can you name one off the top of your head? Did you know that the City of Columbia, S.C., has the motto of "One Mission, One Message, One Columbia"? How about Charleston's "Where History Lives"?
Not saying that Greenwood should give up the idea of a label for the area with one dramatic line that will pull in new businesses, residents, and customers; that should be the goal of every community in the nation. Cities have to compete, states do, look at "Virgina is for Lovers," my favorite of all slogans.
After moving here last year, I took a visiting uncle to a local jewelry store because he wanted to buy an emerald ring. We met with local jeweler, Jeff, who showed us a velvet-lined case full of beautiful, loose gems. A discussion ensued about the stones, origins, and why the sign into Greenwood proclaimed it to be "The Emerald City".
He replied that it might have something to do with irish sailors that settled here, Ireland being the "Emerald Isle." I discarded that notion, not because it wasn't true, but I wanted to believe that it was dubbed so because of its beautiful green hues on surrounding golf courses, thick foliage growing in my backyard, and maybe that deep below the city there was an undiscovered vein of glowing, vitreous emeralds, waiting to be discovered.
Meanwhile, my uncle had a gold band on his finger, green gem propped atop, admiring it.
"Looks just the right size, Uncle Tom," I said.
"Size doesn't matter," he quipped.
Wednesday, November 4, 2009
CONFLICT OR CHALLENGE?
Is it a conflict, or a challenge?
CONFLICT:
1. A state of open, often prolonged fighting; a battle or war.
2. A state of disharmony between incompatible or antithetical persons, ideas, or interests; a clash.
3. A psychic struggle, often unconscious, resulting from the opposition or simultaneous functioning of mutually exclusive impulses, desires, or tendencies.
4. Opposition between characters or forces in a work of drama or fiction, especially opposition that motivates or shapes the action of the plot.
CHALLENGE
1.
a. A call to engage in a contest, fight, or competition.
b. An act or statement of defiance.
2. A demand for explanation or justification.
3. A sentry's call to an unknown party for proper identification.
4. A test of one's abilities or resources in a demanding but stimulating undertaking.
5. A claim that a vote is invalid or that a voter is unqualified.
6. A formal objection to the inclusion of a prospective juror in a jury.
7. The induction or evaluation of an immune response in an organism by administration of a specific antigen to which it has been sensitized.
All too often I hear the riddle behind a screenplay is the "conflict". I feel that is often too general of a categorization, especially across the board for all of the different genres.
I agree that conflict must be used, but challenge can be highly applicable, depending on who your antagonist is. I'm looking to explore a use of words specific to certain types of films.
For example: in a "coming of age" genre type film, depending on the antagonist, I might be more inclined to use the word "challenge" instead of "conflict".
Food for thought.
CONFLICT:
1. A state of open, often prolonged fighting; a battle or war.
2. A state of disharmony between incompatible or antithetical persons, ideas, or interests; a clash.
3. A psychic struggle, often unconscious, resulting from the opposition or simultaneous functioning of mutually exclusive impulses, desires, or tendencies.
4. Opposition between characters or forces in a work of drama or fiction, especially opposition that motivates or shapes the action of the plot.
CHALLENGE
1.
a. A call to engage in a contest, fight, or competition.
b. An act or statement of defiance.
2. A demand for explanation or justification.
3. A sentry's call to an unknown party for proper identification.
4. A test of one's abilities or resources in a demanding but stimulating undertaking.
5. A claim that a vote is invalid or that a voter is unqualified.
6. A formal objection to the inclusion of a prospective juror in a jury.
7. The induction or evaluation of an immune response in an organism by administration of a specific antigen to which it has been sensitized.
All too often I hear the riddle behind a screenplay is the "conflict". I feel that is often too general of a categorization, especially across the board for all of the different genres.
I agree that conflict must be used, but challenge can be highly applicable, depending on who your antagonist is. I'm looking to explore a use of words specific to certain types of films.
For example: in a "coming of age" genre type film, depending on the antagonist, I might be more inclined to use the word "challenge" instead of "conflict".
Food for thought.
Tuesday, November 3, 2009
CASTING YOUR SCRIPT
Searching the web led me to SIMPLYSCRIPTS.COM, where I downloaded my earliest reads. There is also a section for "unproduced" scripts, as they put it.
Yes, aspiring screenwriters willingly upload their scripts to public access. This might make sense if production companies trolled the site-- fact is, they don't.
It might also be an option if the readers who downloaded were actual Hollywood readers-- they're not. Their feedback doesn't even start to touch on what real readers are looking for such as a story with a structure, character traits, timing, format-- as Rossio puts it, a "strange attractor" that makes the whole thing unique.
Here's the funny thing, damn funny, to me at least: usually the reader's first question, posted on the public message board, is "who do you see being cast in that part?" From there it leads to a discussion between the poster and scribe as to whether Katherine Heigl or Reese Witherspoon is better suited for the role.
Sorry folks, but I find this hilarious!!
Okay, if you're new to screenwriting, let me explain that the question is as far off topic as whether the chicken or the egg came first. We scribes, we're just looking for a read, and hoping one day an executive will have to sit through a pitch or meeting where the topic is our screenplay. Considering casting for the part is like an amateur, home-guitarist pondering how many of his concert tour dates he can fit into one year!
Hunky male wiseguy? How about Gerard Butler, he seems to be accepting any role lately, as the "flavor of the month".
Sex siren? Can someone tip off Megan Fox or Angelina Jolie? Watch out, Hollywood agents, our script is "out there" now!
I could fill the pages-- oh my, hilarious!!
One more thing: any script with a pregnant female will be likened to "Knocked Up", as in "you probably got passed on by execs because the film is a lot like Knocked Up". Never mind it had camera shots, incorrect format, no structure-- it's because it's kind of like "Knocked Up".
Yep, I'm sure they read it and that's why they passed-- better luck next time!!
Okay, now it's your turn: cast your role, go for it, it's free, goofy, and fun!
I'm taking Steve Carell for my rom-com, I called it first!!
Yes, aspiring screenwriters willingly upload their scripts to public access. This might make sense if production companies trolled the site-- fact is, they don't.
It might also be an option if the readers who downloaded were actual Hollywood readers-- they're not. Their feedback doesn't even start to touch on what real readers are looking for such as a story with a structure, character traits, timing, format-- as Rossio puts it, a "strange attractor" that makes the whole thing unique.
Here's the funny thing, damn funny, to me at least: usually the reader's first question, posted on the public message board, is "who do you see being cast in that part?" From there it leads to a discussion between the poster and scribe as to whether Katherine Heigl or Reese Witherspoon is better suited for the role.
Sorry folks, but I find this hilarious!!
Okay, if you're new to screenwriting, let me explain that the question is as far off topic as whether the chicken or the egg came first. We scribes, we're just looking for a read, and hoping one day an executive will have to sit through a pitch or meeting where the topic is our screenplay. Considering casting for the part is like an amateur, home-guitarist pondering how many of his concert tour dates he can fit into one year!
Hunky male wiseguy? How about Gerard Butler, he seems to be accepting any role lately, as the "flavor of the month".
Sex siren? Can someone tip off Megan Fox or Angelina Jolie? Watch out, Hollywood agents, our script is "out there" now!
I could fill the pages-- oh my, hilarious!!
One more thing: any script with a pregnant female will be likened to "Knocked Up", as in "you probably got passed on by execs because the film is a lot like Knocked Up". Never mind it had camera shots, incorrect format, no structure-- it's because it's kind of like "Knocked Up".
Yep, I'm sure they read it and that's why they passed-- better luck next time!!
Okay, now it's your turn: cast your role, go for it, it's free, goofy, and fun!
I'm taking Steve Carell for my rom-com, I called it first!!
Monday, November 2, 2009
HOW TO WASTE TIME
When someone offers to read your script, whether it's a professional reader or just a friend, you should be thankful. What that means is foresight, not hindsight. They're spending an hour or so of their time helping you, don't expect them to clean up your junk.
When your screenplay has typos and camera angles you're telling me one thing: you don't care, so why should I? If I can tell that you didn't proofread the damn thing then why should I? What, is your time more important than mine? Doubt it, at least to me.
Last night I finally downloaded a script that people, on a message board, had been raving about. It's an unproduced script by someone with obvious talent, or so it seemed as I was reading it.
At the end of 117 pages I had annotated all in my head so I could do this person a favor and post notes, a review, whatever you like.
*one character typo
*address "mom" as "Mom"
*kill the camera angles
*use "filtered" instead of "V.O." for phone conversations
*why did that character disappear and come back way late?
*get to the point quicker in the first ten pages
*check the ethics and morals of the one character, dangerous move, maybe
So, I go on, ready to post that and some good suggestions on how to resolve the problems. Paging through other's feedback, I see the scribe posted this:
"Oh, that's not my latest version, I changed that, and got rid of that character, and..."...."an email so I can send the revised script".
What did I WANT to post??
"YOU ARE A COMPLETE DUMBASS"
What DID I post?
Nothing.
As much as I feel like getting the "latest" version and posting notes, I won't do this person the favor and waste MORE of my time... except for in this post, ranting about it.
So, to you, yes, that promising screenwriter that wasted my time, you know what's wrong with your script? NOTHING, nothing I care to share with you, except this tip--
always post the most recent version of your script so you don't waste my time!
When your screenplay has typos and camera angles you're telling me one thing: you don't care, so why should I? If I can tell that you didn't proofread the damn thing then why should I? What, is your time more important than mine? Doubt it, at least to me.
Last night I finally downloaded a script that people, on a message board, had been raving about. It's an unproduced script by someone with obvious talent, or so it seemed as I was reading it.
At the end of 117 pages I had annotated all in my head so I could do this person a favor and post notes, a review, whatever you like.
*one character typo
*address "mom" as "Mom"
*kill the camera angles
*use "filtered" instead of "V.O." for phone conversations
*why did that character disappear and come back way late?
*get to the point quicker in the first ten pages
*check the ethics and morals of the one character, dangerous move, maybe
So, I go on, ready to post that and some good suggestions on how to resolve the problems. Paging through other's feedback, I see the scribe posted this:
"Oh, that's not my latest version, I changed that, and got rid of that character, and..."...."an email so I can send the revised script".
What did I WANT to post??
"YOU ARE A COMPLETE DUMBASS"
What DID I post?
Nothing.
As much as I feel like getting the "latest" version and posting notes, I won't do this person the favor and waste MORE of my time... except for in this post, ranting about it.
So, to you, yes, that promising screenwriter that wasted my time, you know what's wrong with your script? NOTHING, nothing I care to share with you, except this tip--
always post the most recent version of your script so you don't waste my time!
Sunday, November 1, 2009
PUBLISH A BOOK
One of the ideas floating around the blogosphere is to self-publish a book in connection with your screenplay. Of course, techniques for writing novels are quite different than that of screenwriting, but if you have a good story it's not impossible.
LULU.COM has become one of the most popular sites and services to self-publish through. The size, format, and price is completely up to the author. Known as "pay per print", the book is published on demand, after each client order.
The advantage to having a book in print in connection with your script is multi-faceted: you can send it in with your script, possibly intriguing more interest; pester friends to buy copies online to increase sales; and who knows, maybe one of the big publishers will come at you with a book deal.
Or, a production company, who wants to do an adaptation, in which case you will whip out the script and say "got that too!"
LULU.COM has become one of the most popular sites and services to self-publish through. The size, format, and price is completely up to the author. Known as "pay per print", the book is published on demand, after each client order.
The advantage to having a book in print in connection with your script is multi-faceted: you can send it in with your script, possibly intriguing more interest; pester friends to buy copies online to increase sales; and who knows, maybe one of the big publishers will come at you with a book deal.
Or, a production company, who wants to do an adaptation, in which case you will whip out the script and say "got that too!"
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