low budget studio starrers

[aceinc1]

hi all,

yesterday night, I saw "Kill Bill vol.2" on TV.

there it was either continuous dialog of 3-5minutes or visuals of 3-5 minutes. another thing I noticed was not too many locations. each location was used for at least 5 minutes. many locations were repeated. now I know "Kill Bill vol.2" was a studio movie.

If I were to write a movie with 3 minutes of continuous action or dialog and send it to coverage then the reader would write me off saying formatting problem, too lenghty scenes.

and also 90% of studio movie locations are interiors.

so if you want to get produced all you gotta do is get the script straight to the Star and the dev. exec. and make sure that it doesn't end up in the hands of a reader who will write you off. Is that how business works? or is it Quentin Tarantino's star power to get such scripts greenlit?

regards,
Aceinc1

[nielsty]

Quentin Tarantino can do what he wants. He has a big fan base who watches all his films religiously, so you can't compare yourself to him.

[nmstevens]

hi all,

yesterday night, I saw "Kill Bill vol.2" on TV.

there it was either continuous dialog of 3-5minutes or visuals of 3-5 minutes. another thing I noticed was not too many locations. each location was used for at least 5 minutes. many locations were repeated. now I know "Kill Bill vol.2" was a studio movie.

If I were to write a movie with 3 minutes of continuous action or dialog and send it to coverage then the reader would write me off saying formatting problem, too lenghty scenes.

and also 90% of studio movie locations are interiors.

so if you want to get produced all you gotta do is get the script straight to the Star and the dev. exec. and make sure that it doesn't end up in the hands of a reader who will write you off. Is that how business works? or is it Quentin Tarantino's star power to get such scripts greenlit?

regards,
Aceinc1

It isn't a question of his star power.

If you look at the early scripts that he wrote (actually co-wrote with Roger Avary) -- True Romance and Reservoir Dogs, they all have exactly the same pattern you describe above and when they hit Hollywood they were considered two of the hottest scripts around. They made his career (more his than Avary's because Tarantino is such a relentless self-promoter) -- even to the point where those scripts were desired to such a degree that we was able to finagle himself a directing shot on one of them -- and that movie garnered so much attention that he was able to move from that movie to Pulp Fiction -- which, again, has exactly the same pattern -- long dialogue sequences, long action sequences, moving apparently arbitrarily around in time, as Reservoir Dogs.

And it was a huge hit.

They don't care if you break the rules, so long as it works. Those scripts worked. And he was a complete outsider, a kid who worked in a video store. He wasn't related to anybody. He didn't grow up in the business. He didn't know any stars. It was the quality of the writing that got him in the door.

Write a couple scripts that breaks every rule you can think of -- and works as well as True Romance and Reservoir Dogs worked (but not a script that is, in any was like either of those two movies, because then people will say you're just imitating QT) -- and you'll be just as successful.

NMS

[NikeeGoddess]

starrers?!!! <<<the NikeeGoddess just shakes her head>>>

and kill bill is not low budget. if you want $50 low budget go to youtube.

you're studying the wrong films for what you have to offer. you need to be more honest with what you can do and what you write about and find examples that are similar.

go here: http://en.wikipedia.org/wiki/Indian_film_directors

[pansy]

N Goddess is right, Ace, as are the rest.

Seems to me you were here some time ago asking for a reader to go over your (14?) finished screenplays that had already recieved favorable comments.

By one's 14th screenplay, I would think a unique style has more or less emerged, a style that seperates one writer's work from another.

Ask yourself what do you as a writer have to offer the industry without comparing yourself to other writers, or without trying to disect the sure-win formula (X scene minutes devided by Y dialogue minutes over studio shot squared), and let the writing and the stories and the formatting stand on their own merit.

If they like it, they'll option or buy it.

That how it works (unless you have a poop-load of $ and can produce it yourself)

P

www.alexwhitmer.wordpress.com (http://www.alexwhitmer.wordpress.com)

[aceinc1]

hey guys,

even Jodie Foster's "panic room" and "Flight plan" are low budgets with a 12 million dollar per movie actress.

what do ya have to say about that?

regards,
Aceinc1

[scripter1]

straight to a big star.
News flash!
They have READERS too. They have "no unsolicitated material" policies as well.

A script has to rock.

Lengthy dialogs or lengthy blocks of action CAN work as long as they rock.

I saw both Kill Bills and the dialog was just sweet. Punchy, sharp, well written kung-fu camp. The action scenes were cool, different, raw.

The studio people saw the coolness of it, KNEW there was a BIG MARKET for this type of film and went for it.
Tarentino knows the market.
He makes long rock.

And 12 millon is nothing to sneeze at.
EVERY Dollar counts. Nobody wants to put even a DIME down on something they think stinks. Projects get scrapped all the time because someone loses faith in it and pulls funding.

Writers have to give people scripts they are willing to open up a major artery for!

[soulforce]

hi all,

yesterday night, I saw "Kill Bill vol.2" on TV.

there it was either continuous dialog of 3-5minutes or visuals of 3-5 minutes. another thing I noticed was not too many locations. each location was used for at least 5 minutes. many locations were repeated. now I know "Kill Bill vol.2" was a studio movie.

If I were to write a movie with 3 minutes of continuous action or dialog and send it to coverage then the reader would write me off saying formatting problem, too lenghty scenes.

and also 90% of studio movie locations are interiors.

so if you want to get produced all you gotta do is get the script straight to the Star and the dev. exec. and make sure that it doesn't end up in the hands of a reader who will write you off. Is that how business works? or is it Quentin Tarantino's star power to get such scripts greenlit?

regards,
Aceinc1 He can tell a story.