Can you please post the budget for The Remnants in the vault? It would be great to see the line-by-line breakdown of all costs.

Thanks, keep up the great movies, and the great site!

Bob

I have noticed in reading, some scripts use Fade In/Fade Out within the script itself, while others only to begin and end.

Is there a benefit to having that in/out transition within a script rather than just having it begin and end the story? What is the difference between a ‘fade in/fade out’ within a script vs. a ‘dissolve to’?

Thank you!

Corky Thousand Oaks, CA

Thank you so much for this fantastic site!

So, I’m a playwright who has had an idea that takes place in outer space — a little too ambitious for the stage, so I’m turning it into either a screenplay or miniseries or something. Anyway, my question is about CGI design, specifically how much description I should be giving about what we see when it comes to the space ships and other larger pieces of futuristic technology. I don’t have much of a background in science fiction, so I’d be happy to leave the bulk of those types of visuals up to the designer, but I think I should probably include something a little more specific than “Huge Hulking Space Station”. On the other end of the spectrum, I’d rather get deeper into the story than delve into every nut, bolt and piece of metal that went into building the thing. Could you possibly give me an indication as to where industry standard would suggest I draw the line? Or just where you would draw the line?

Thanks very much, I really appreciate it!

Best, Jenny from NYC

Thanks, Ryan in Chicago

I saw the pilot for the Remnants and thought it looked great. I noticed there was quite a large “focus group” who seemed to think it was worth making. Considering you haven’t found funding, I thought I would throw an idea your way–a fundraising approach I’ve considered for my own next project. You might actually offer “early adopters” a profit sharing opportunity. You could pretty cheaply incorporate a limited liability company and then sell shares potential viewers. You can fairly easily keep a controlling amount of shares for yourself. The shareholders, or patrons, as it were, would obviously get first rights to own and view any material produced. Being invested in the project, some of them might be able to provide you with valuable information and feedback. It’s limited liability, but the shareholders are signing on with the knowledge that the project could go bust and they would be out their $50 or whatever amount, but they also might recoup their investment and a little more. I think mostly people would do it for the sense of excitement and privilege one gets from being involved in something they think highly of or enjoy. Consider that 500 people investing $50 is $25,000. I know that’s no real film budget but it might be enough to allow you to build more steam and momentum. You might even give some thought to tiered share plans–different returns for different investments.

Anyway, just my .02 on the matter, with the hopes that some creative plan might allow you to persue this neat idea for a show you have.

Russell W in Louisville, KY

This current discussion of post-modernism brought forth a question that has long been rattling around the back of my mind. How does the concept of the Auteur fit into a world of references and adaptations? I’ve been told many a time that “the bird always sings the same song”. Many of my film theory classes are predicated entirely on the concept that directors and writers basically produce the same product over and over, refining it to what is hopefully the best possible version of their “song”.

Do you think that the current climate of for-hire writing wherein a screenwriter such as yourself primarily produces work based upon previous material effects this concept?

Thanks in advance, Hunter D.

I’m trying to figure out how to write scene descriptions for movie set in a non-American country, with locations that are very cinematic, but not commonly known in the US. Any personal guidelines on how much information to you give the reader when introducing these non-American locations? Obviously, there won’t be a detailed description on the local supermarket. But how much information do you convey for a scene in font of the Eiffel Tower (assuming that the Eiffel Tower wasn’t widely known in the US)?

Looking a few reference scripts like Lost In Translation or The Bourne Supremacy, the writers treat all foreign locations very matter-of-factly. No detailed descriptions, no attempts at trying to conjure exotic images in the reader’s head. But these screenplays weren’t written on spec. The directors knew the setting well and didn’t have to be sold on the cinematic possibilities of the locations.

So, how much is necessary, and what is too much? I’m thinking that these location descriptions fall into the same category as character introductions – be concise but evocative. The big difference being that none of these locations are going to be cast. They look the way they look, they add a layer of atmosphere on top of the story, and I want the potential director to feel this atmosphere as he reads the script.

Matt in Sonoma, CA

I just saw “The Curious Case of Benjamin Button”, and though I loved the story as a whole, the ending was very disturbing to all present. I, for one, wept like an ugly orphan, a red headed one at that!

I don’t want to spoil it for anyone, but an alternate ending I came up with would have had them simply fix the clock at the crucial moment in Benjamin’s life and reverse his aging.

Best wishes