John August

John

Renumbering when moving a scene

Formatting, Projects, QandA, The Nines

questionmarkLet’s say you are doing revisions and are dealing with scene numbers, and a scene gets moved up/down. How do you format the scene number?

Say scene 70 moves up in front of scene 69. Do the numbers read: 68, 70, 69? Or: 68, 68A, 69, 70 OMITTED.

Technically the scene still exists, i.e. was not omitted. What to do?

— Johnny

The second form is correct, though my AD’s prefer to use the letter before a scene number, for reasons I explained in an [earlier post](http://johnaugust.com/archives/2007/hollywood-standard). So I would number the scenes…

68
A69 (the scene you moved)
69
70 OMIT“OMIT” or “OMITTED”. Either is okay. (where the scene used to be)

With rare exception,One exception was The Nines, due to some complicated time-and-reality issues, which made normal sequencing too confusing. When revisiting an earlier scene, we’d put an X in front of the scene number. So, X48 was a version of scene 48. you always maintain scene number continuity. If you’re pretty far into pre-production, it may be helpful to include a note either with the script revision or on the page itself to point out the change, so a harried production designer (for example) doesn’t look at the “OMIT” and suddenly stop construction on a needed set.

The “OMIT” is a good place to put such a note:

70 OMIT [This scene is now A69.]

How do you become successful?

Education, Film Industry, QandA

questionmarkI’m currently a grad student at USC film school. Your site was a great help to me in learning how to write screenplays, then applying to and getting into USC.

From the class that graduated with you, either from Stark, production, or writing programs, what percentage in your estimation have gone on to success in the industry? What traits defined those who did from those who didn’t?

And if you post this question, please sign me as…

— Rosebud
Los Angeles

“Success” is a pretty hard term to define when looking at a career.

What’s the measure? Money, credits, awards — or some sort of internal satisfaction index? And perhaps more importantly, what’s the time frame? While some grads are directing $100 million blockbusters within years of graduating, most are happy to keep continuously employed.

Probably the best measure of “making it” is to look at people five years after graduation and see if they’re still working in the industry. Yes, Kathy may have arrived at USC looking to direct, but if she’s now an editor on 24, I’d say she’s doing well. Likewise, Dan may have applied to the Stark program hoping to produce the next Schindler’s List, but now he’s an executive at Warner Bros. So he might still make big Oscar-winning movies, but they won’t have his name on them.

By this metric, from my Stark class of 25 students, more than half are still working in the industry. Some run studios; some run TV shows; some run interference for directors. We were unusally successful right out of the gate,Michael Cieply wrote a lengthy piece about our class (1994) for the New York Times. but I think there are some general lessons to distill:

1. __You’re not entitled to anything.__ A film degree is basically worthless. You won’t get recruited, and no one will ever ask to see it.I have no idea where my degree is at this moment. An MBA from USC gets you a $100,000 starting salary. A film degree from USC might get you an unpaid internship. All you get out of it is the education, so make sure you’re learning every second of the day.
2. __It’s about the story.__ No matter whether it’s film, TV, or a 30-second spot, the ability to convey a compelling story in whatever medium is crucial. A director’s reel can have the slickest shots imaginable, but funny comedy or compelling drama is more likely to get him his next job.
3. __Everyone climbs the ladder together.__ A common misconception is that you need to make friends with people a few steps ahead of you. No. You need a lot of friends doing what you’re doing, and you need to help each other out — with information, with advice, and with manpower while they’re making their sixth short film.
4. __Ask questions.__ Film school isn’t like other schools. There aren’t many textbooks or exams. Instead, you have smart people who know things, and it’s your job to get the answers you need. Stark has dozens of guest speakers each semester. At first, we’d just ask polite questions about their jobs and the industry. But soon we were asking, “So, what is your life really like? Do you ever see your family? Is it worth it?”
5. __Make your own luck.__ Sometimes, magic happens and Spielberg likes your wacky short film. But that can’t happen if you didn’t make it in the first place, and the seven others no one saw. You never know which script, which lunch, which random idea is going to be important. So treat them all as important.
6. __It’s not Wall Street.__ While it seems glamorous and lucrative, if you’re coming to the film industry looking to get rich, you’re wasting your time. While you can get rich, the odds are a lot slimmer than almost any other industry a smart person could choose to work in.

Pushed for a number, I’d guess 30-40% of USC film school grads are actively working in the industry. The people from my program who aren’t are by no means unsuccessful. They each found other careers which suited them — though sometimes, that wasn’t by choice. Hollywood isn’t a perfect meritocracy. Really great people get overlooked, or find their stepping stones sinking into bankruptcy just as everything seems to be coming together. It sucks. Success and circumstance are deeply entangled.

But if you, Rosebud, find your own criteria for what you want to do, and better yet, plan for how you’re going to do it, I don’t think those percentages really apply. If you start each day of school and life with the question, “How am I going to get closer to my goal of…” then you’re unlikely to end up outside looking in.

Publicity 101

Big Fish, Charlie, Film Industry, Follow Up, News

Last night, the [Writers Guild Foundation](http://www.wgfoundation.org/) held a panel discussion about publicity. I was one of the panelists, but I ended up learning a fair amount myself.

For example, according to a Variety editor, it’s perfectly okay for a screenwriter to pick up the phone and call a writer at the trades when you’ve sold a project.Announcements like this run all the time (c.f. Shazam!). It has to be legit, of course. Optioning a script to your roommate, who is an aspiring producer-slash-drummer, doesn’t count. It’s strange: in this blog, I’m constantly telling aspiring screenwriters to stop asking for permission and just do what they want to do. But I honestly wouldn’t be ballsy enough to call an unknown writer at the trades to do this.

Chris Day, who runs publicity for my agency (UTA) brought with him a memo I’d written in the Big Fish era. At his suggestion, I was meeting with publicists, and had listed my goals and messages.I was an advertising major, so this kind of publicity-speak comes naturally. I promised attendees at the panel that I would find the original memo and post a .pdf of it. So here it is: [Big Fish publicity goals](http://johnaugust.com/Assets/pub_goals.pdf).

One of the questions that came from the audience–but probably should have started out the evening–was, What is the point of publicity, exactly? Most of us aren’t looking to be famous per se, and unlike a novelist, our names alone aren’t going to be selling books.

The Writers Guild Foundation stresses that any time a screenwriter gets press, that helps all screenwriters. And to some degree, that’s true. [There are no famous screenwriters](http://johnaugust.com/archives/2006/are-you-somebody), but it would be nice if the general public had some sense that movies are actually written, and that the actors aren’t making up their dialogue.

But I’d say the main reason to think about publicity is to help the movies and TV shows you’re involved with. The screenwriter tends to know more about the story than anyone else on the project, so you can be a crucial resource as journalists figure out how to write about the plot. I’ve attended a half-dozen junkets, and have rarely seen myself directly quoted. But I recognize a lot of what I’ve said in the stories that are written. If I can help create a consistent, positive message, then I’ve done my job.

The other reason to think about publicity is in terms of your overall career. I have no doubt that I’ve gotten meetings with certain directors and actors because of repeated exposure to my name. It’s nice if someone likes Big Fish. It’s even better if they remember I wrote it. Every time a news story includes the phrase, “…August, whose credits include Big Fish, Corpse Bride and Charlie and the Chocolate Factory…” that’s like refreshing the cache on someone’s internal IMDb.

The Big Red Cheese

News, Projects

[captain marvel]And now, the answer to speculation about why I was busy reading up on DC Comics mythology. As [announced today](http://replay.web.archive.org/20080718233550/http://www.hollywoodreporter.com/hr/content_display/news/e3i119db77792cbaa01e58b9c970709fb13) in The Hollywood Reporter, I’m writing Captain Marvel. And I’m very, very stoked.

The movie is set up at New Line, with Pete Segal attached to direct. For those who aren’t [rabid fans](http://www.marvelfamily.com/) of the character, here’s the briefest of introductions.The Wikipedia article is terrific, and worth a read if you’re curious.

Captain Marvel is a superhero roughly as powerful as Superman, minus the heat-vision and cold breath.That’s a lazy comparison, but in my experience, the average moviegoer is familiar with roughly five superheroes: Superman, Batman, Wonder Woman, Spider-Man and Wolverine. And of those, Supes is the closest. What’s unique about the character is that in ordinary life, he’s teenager Billy Batson. Speaking the name of the wizard who gave him his powers (Shazam) calls down a magic thunderbolt, transforming him into the studly superhero. But he’s still a teenager in there.

If this to you sounds, “Like Big, but with superpowers,” then congratulations! You now understand Hollywood.

The process of getting hired to write it has taken months. It started with a call from my agent, asking, “Hey, have you ever heard of Captain Marvel?”

The answer was an enthusiastic yes. I was vaguely aware of the character growing up,Yes, I saw the live-action show. Let us never speak of it again. but it wasn’t until the character’s recent resurgence in the DC Comics universe that I started paying attention. Not more than a month before my agent’s call, I’d read a JSA and thought to myself…Someone should make a Captain Marvel movie. And now they were.

Pete Segal and producing parter, Michael Ewing, had already signed on, so the next step was meeting with them and figuring out if we shared the same tone for the movie. It’s not *Spider-Man* plus jokes. It’s a comic book movie where the characters in it read comics. The story needs to be funny and dramatic even if the villain never shows up. (Don’t worry, there’s a great villain.)

Once we agreed on the framework for the movie, [Geoff Johns](http://www.geoffjohns.com/) from DC was gracious enough to come in and idiot-check it for us. Having witnessed the uproar over Spidey’s organic web-shooters, we were all sensitive towards cavalierly changing things. Fortunately, Captain Marvel is pretty movie-friendly already, so we hadn’t bent or broken any mythology.

Between my time at Sundance and Pete’s prep schedule for his next movie (Get Smart), it took weeks to get a meeting with New Line. Going in for the pitch, I was warned that there would be a lot of people in the room. But I wasn’t prepared for the fact that four of the attendees would be sitting in by videoconference. It was incredibly awkward, but I got through it. And I got the job.

In my head, the movie’s called Captain Marvel, but for legal reasons, it will almost certainly be some variation on Shazam! I grumble because people will inevitably assume that the hero’s name is Shazam, when it’s not — Shazam is the old wizard. It’s like calling the Harry Potter movies “Dumbledore.” Then again, the hero isn’t a Captain, and doesn’t live in the Marvel universe. So you’re going to have confusion either way.

I can already anticipate the natural questions which will come up, most of which I can only answer, “I don’t know” or “I’m not allowed to say.” And I should re-iterate the standard disclaimer: most movies don’t get made. But I’m really hoping this one does.