John August

Search Results for: notes on notes

Are animated specs worth the time?

Corpse Bride, Genres, Projects, QandA

questionmarkI have been tossing around an idea for an animated feature film. I have a ton of notes, character breakdowns, beat sheets, outlines, etc., etc. Now its just a question of putting it down on the page. My question is fairly simple and straight-forward: Am I wasting my time?

I’ve read that writing specs for animation should be avoided, as the big animation studios typically take pitches, ideas, and submissions internally. Is this the case?

I know you are credited on Corpse Bride and Titan A.E. I’m assuming those were both work-for-hires. But what do you think about specs?

— Jack Mulligan

Go ahead and write it. It’s very unlikely that an animation spec will get sold and produced, but remember, that’s not the only goal of writing a spec. You write specs to get your *next* job, and if you can write a great animated spec, do it.

Both Titan A.E. and Corpse Bride were rewrites of movies already close to production. In both cases, I didn’t need to write at all differently than live-action. There were small semantic changes — in animation, you number for sequences rather than scenes — but when reading the script, you wouldn’t necessarily know that it was going to be animated rather than live-action. So don’t freak out about some special formatting you see in a printed script or guidebook. Just write it like a normal feature.

Last year, I had a meeting with Disney Animation, in which they talked through all of their upcoming projects. It’s clear they really develop in-house, and aren’t searching the town for new material. And I suspect that’s true for all of the majors.

But the animated spec you write could be a great sample for live action, particularly if it showcases comedy and set-pieces. If you write Shrek, you can write funny, and someone will want to hire you.

When friends read your script

Education, Film Industry, QandA, Writing Process

questionmarkWhat are your thoughts on choosing readers for first drafts? I’ve noticed that, for example, giving a Disney movie to a Fincher fan can turn a favor into a chore and leave the writer lacking in constructive feedback. Better to give it to someone who knows and enjoys the genre and is aware of that marketplace, past and present. You’re asking them to work for free, after all.

I’ve also made the mistake of allowing someone unfamiliar with screenwriting to read a script because they asked me to. You end up explaining everything to death and they still don’t get it which can feed your rampant first-draft-phase insecurity. Was there a strategy you followed back in the day to get the best feedback or did it just happen organically?

I looked but didn’t see anything on the site to help with this. May be helpful to myself and others.

– Matt

The screenplay format is so unlike traditional fiction that it’s hard for newcomers to offer much useful feedback. They often can’t distinguish between the strange experience of reading a movie on paper and the story they just read. You may feel a social obligation to let non-screenwriting friends read your work, but don’t plan your rewrite based on their reactions.

With friends and colleagues who are familiar with screenplays — by which I mean they’ve read at least a dozen, and can talk about them comfortably — you may still need to pick carefully. Certain people and certain genres just don’t mix.

A thoughtful reader, though, can often offer constructive feedback even when it’s not her type of movie.

Back when I was in the Stark Program, we all read each other’s scripts. Al Gough and Miles Millar made their first sale with a script about a cop and an orangutan — a very high-concept comedy. That’s not in my wheelhouse, but I went through two or three drafts with them, offering very specific notes about trims and clarifications. They did the same for me on my overwritten romantic tragedy. Regardless of the genre, a good reader can help a writer see problems and find solutions. More than anything, you want a second smart brain to bounce ideas off of. That’s why you ask people to read your work-in-progress.

And for the praise. You want people to tell you you’re great.

Another thing to keep in mind: Don’t burn out your readers. Unless they actively ask to read the next draft, give them a break. You may even want to keep one or two reader friends “fresh” for the inevitable rewrite.

How to Meet

Film Industry, How-To, QandA

questionmarkI’m at the stage where I’ll hopefully be meeting with managers, agents, and producers. As a writer/director, what should I expect from these initial meetings and do you have any advice, or pitfalls to avoid?

— Sam
Los Angeles

Meetings are a crucial part of a professional screenwriter’s job. Even when you’re not pitching a specific project, you’re basically pitching yourself as someone worth hiring in the future. So you’re right to be thinking about what you should say, do, and wear. (In fact, I’ve [already addressed](http://johnaugust.com/archives/2004/the-not-so-well-dressed-screenwriter) that last point.)

Let me briefly lay out the structure of every first meeting I’ve had in Hollywood.

The meeting is set for 10 a.m. You get there at 9:55. An assistant asks you if you’d like anything to drink. The proper answer is, “A water would be great.” ((You may also ask for a Diet Coke. These are the only beverages you can be reasonably assured will be on the premises, and not a hassle leading to frustration or extra work. Back in the day (say, 1999), you could also ask for a “Snapple-type beverage.” But no one drinks Snapple anymore.)) This phrasing makes it clear that her request has been heard and appreciated, and that you haven’t mistaken her for a waitress.

The assistant will bring you the beverage, then inform you that the agent/executive/producer is running a few minutes late. This is completely expected. Entertain yourself with your iPhone or copies of Variety laying nearby. If the assistant is nearby and doesn’t seem particularly busy with some other task, engage in conversation. There’s a pretty good chance this assistant will run Hollywood someday, so it never hurts to be friendly.

When the Big Man calls you in to his office, try to figure out which seat he likes to sit in. Generally, you’re safe sitting on the couch. If it’s a two-chair situation, you might as well ask, “Do you have a favorite chair?” Because if you sit in his spot, you’re just starting the meeting off on the wrong foot. ((Meeting with multiple executives is an extra-credit situation, and generally necessitates asking about who sits where.))

The first topic of conversation will be about one of four things:

* Something he read of yours that he liked
* A mutual acquaintance
* His office: either the view, or how he just moved in
* A movie that came out this past weekend. ((Only appropriate if the meeting is on Monday, and the movie did significantly better or worse than expected.))

This is a warm-up period, and is not scored.

While engaged in this conversation, listen for the word which signals the end of the period: “So.”

As in, “So, tell me about the kinds of things you write,” or “So, let me tell you a little about our company, and the movies we’re trying to make.” At this point, judging begins. If it’s mostly a listening exercise, be ready to restate his points in different words, preferably with insightful analogies to successful movies. ((Bonus points if you can include movies he’s worked on. Box-office disappointments are okay, particularly if there are praiseworthy aspects.))

If he’s asking you to talk, say three smart things. Then get him talking again.

EXEC

So, is that the kind of thing you mostly want to write, is thrillers?

YOU

Thanks. Yeah, I love thrillers. I mean, I love all genres, but what’s great about thrillers is you get to do the **character work setting up motivations,** you get the **puzzle aspect of plotting,** and **real stakes.** With comedies and dramas, you get one or two of those, but thrillers are the whole package.

EXEC

I hadn’t thought of it that way.

YOU

You take a movie like Collateral, and it can be funny and tight and dangerous.

EXEC

I worked on Collateral.

YOU

I love that movie. How did that come about? Was that a book?

This process will continue for ten to 20 minutes, at which point he may pull out a buck slip ((A buck slip is a piece of heavy paper cut down to roughly 4×10 inches, which is often attached to a script in lieu of a typed letter. I’m not sure they even exist in other industries.)) listing all of the company’s open writing assignments. (Or in the case of agent/managers, a list of studios and development companies.) After a little more discussion, he thanks you for coming in.

This is your signal to stand, shake his hand, and leave. Say goodbye to the assistant. Remember to ask if you need to validate.

If there’s any specific project you talked about, follow up the next day with an email. If you don’t have his email address, it’s fair to call the assistant and ask if you can email her (the assistant) something for the boss. You don’t need to send thank you notes and such.

When I first signed with an agent, he sent me out on 15 meetings. I was meeting junior executives at companies that had never made a movie. But it was smart of my agent to set those meetings, because it gave me a lot of practice — which I needed, because I was terrible. By the time I was taking meetings for Go, I was pretty unflappable, even in the face of egregious behavior.

My overall advice is to not freak out over any given meeting. Pretend it’s just having coffee with somebody who went to your same school. Unless you’re pitching a specific project, don’t approach it with any particular expectation, and it’s likely to go fine.

Post-strike update

Projects, Shazam, Strike, The Remnants

Last night I went out for beers with my picketing team from the Van Ness gate. I hadn’t spoken with any of them since the end of the strike, so it was nice to catch up, and see them in clothes not specifically chosen for walking in the cold.

Remarkably, it was the first conversation I’d had about the strike in over a week. After three months of talking (and blogging) about nothing other than the AMPTP, the NegComm and picketing schedules, it’s surprising how completely the strike has vanished off the radar.

With the official contract ratification results due today, it feels like a good time to take stock of where various projects have ended up in a post-strike universe.

The web series
—

We’re finishing editing on the [web pilot](http://johnaugust.com/archives/2008/seeing-other-people) I shot at the start of the month. Once it’s done, the financiers will go off and look for distribution and advertising partners. If we can find the right combination, we’ll aim to shoot a block of episodes this summer.

Shazam!
—

I spent the weekend barricaded at the Disney Grand Californian working on the next draft of Shazam! I’d gotten the studio and producer notes just before the strike, so this was my first chance to address them. It was great having a three-month break from the script, because it meant I could look at it with fresh eyes.

There are some web reports out of WonderCon about a possible title change to something longer and more Harry Potter-ish. Nothing’s decided yet. Obviously, one of the challenges with the property is that an audience will automatically assume that the hero’s name is Shazam, when it’s not. ((Shazam is the wizard who bestows his powers; the guy in the cape is Captain Marvel. For legal reasons, the movie can’t be called Captain Marvel.))

Dreamworks project
—

When the strike began, I was halfway through the first draft of an unannounced project for Dreamworks, with a major star and director involved. Without being too specific, Something Happened unrelated to the strike which made it very unlikely that our movie could (or should) get made. So one of the first conversations I had after the strike was with the producer and director to figure out whether or not to proceed. After about 15 phone calls, many involving agents and executives, the decision was made to kill the project.

It was the right choice. While it’s hard to walk away from 55 pages, finishing the next 55 while almost certain that they could never be filmed would be even more dispiriting. As I write this, it’s not clear whether I’ll segue into a different project for the studio, or just write them a check for the money they’ve already paid me. Either way, I feel better getting to work on a script that is much likelier to become a movie.

Heroes: Origins
—

My hunch is that this [spin-off series](http://johnaugust.com/archives/2007/heroes-origins) will stay in the [deep-freeze](http://johnaugust.com/archives/2007/no-heroes) for a while, maybe never to be thawed out. Tim Kring has said in interviews that the priority is getting next season’s plotline (“Villains”) ready for launch, as it should be. If Origins is resurrected at some point, I’d be happy to direct my episode.