How You and Your Character Can Stage a Comeback & Succeed

Comebacks, second acts and redemption. It’s what character arcs are all about – but it’s also what life in the entertainment industry is all about. This business is 97% NO and 3% YES. You will fail 9 out of 10 times in this industry, but I truly believe that every failure gets you closer to that success.

Characters that fall from grace that must fight their way back are people that audiences root for. And it’s the same in real life. And the themes that cause our real-life comebacks, obstacles and redemptions are universal and can be worked into your story to make your character more relatable and your story more sellable.

Motivational Speaker Gary Ryan Blair has laid out seven steps to staging a comeback and I’ve related them back to what your characters should be doing in your story and what YOU should be doing personally in this biz.

1. Refuse to Die – This is the attitude your characters must have, that inner motivation that no matter what happens – they will not die. It’s what makes them a hero. They accept disaster and go from there.
2. Decide to fight – It’s the character’s acceptance of their adventure and managing of their fears through the adventure. Regroup and plot and plot again. This is also what you need to do every time you get a rejection letter.
3. Get Mad – Use the emotion as fuel for your story and character, and for getting your own creative juices out.
4. Get creative – Don’t JUST have your character do what’s expected – get creative.
5. Focus on Results – Know the character’s motivation and what the ultimate physical and emotional result for your character is. But also for you writers yourselves – know what your end goal is. Is it to sell your script, is it to break in, is it to get hired for other work, is it just to finish a script and say you did it? Know your goal and focus on your results. Because if you focus on your process, it’s probably going to be very hard to succeed.
6. Take a chance. Take a risk – You and your characters may both be taking paths that are foreign to you, but don’t be afraid of taking calculated risks.
7. Enjoy the ride. Not only should your character and the audience enjoy the journey, but you should as well. Otherwise, what’s the point?

Look at every obstacle, setback, rejection, and constraint as an opportunity to show your character’s true colors, make a connection between them and the audience, show emotion, flesh out their arc, and really make a compelling character and story. And then do the exact same thing in your own personal life.

Look at all the setbacks and rejections you get and wear them as badges of honor, because you can’t get rejected unless you’re in the game. So as long as you’re getting rejections, you’re still IN it. Maybe not in the way or to the degree that you’d like yet – but much like your characters and their goals, you’re working towards it.

If it takes 100 No’s for every Yes, then every rejection letter you get, every bad pitch you give give, every pass you receive, means it’s one less you have to get before you hear YES.  

Having a PRO-ACTIVE response to failure is how you grow and prepare better for future success. Having a REACTIVE response to failure is how you self-destruct and close doors to future success. Keep your emotions in check. You probably want to rip out the heart of the exec or consultant who gives you the response you didn’t want, but you can’t.

Instead of jumping down an exec’s throat or blaming a consultant for not “getting” your writing, you should look at your writing and ask yourself WHY they don’t get it.  If an exec says they don’t think your project is commercial, then that is your chance to look at what’s selling and see WHY it’s not commercial so you don’t make that mistake again.

This town is full of people who have made careers of FAILING UPWARDS – and that quite frankly is a great way to succeed in this town. At least you’re failing in the right direction. If you fail downwards, there’s nowhere to go. If you fail upwards, the sky’s the limit.

But you can’t fail at something unless you’re actively doing it, so you’re already on your way just by failing.  So, don’t give up NOW. You’ve already gone through the failure, you’ve already progressed, you’ve already gotten further than 90% of the other writers trying to do what you’re doing – so just keep your head down and keep progressing towards success.  Create your own comeback.

**February 10^th starts my 90-Day Teleseminar Program “90 DAYS TO A SCREENWORTHY SCRIPT.” In weekly interactive 60-minute Teleseminars, I will personally guide you through the writing process and cover everything you need to know to write and finish a more cinematic script! You’ll also get worksheets, exercises, weekly motivational tips, some great prizes, and we have lots of GREAT Industry Guest Speakers joining us!  For more information and to sign up TODAY, please click here – http://90dayscript.eventbrite.com

Making Sure Your Subplots Aren’t Sub-Par

A man can’t live on ‘A’ storylines alone – and neither can your scripts. If you’re not crafting and interweaving compelling subplots and B stories into your script, your story will probably feel flat and won’t sustain for 100 minutes.

Your subplots and B stories are what add new dimensions to your script and flesh out your concept and story. Most stories have at least 2 or 3 subplots, and can have more. But you don’t want them to take AWAY from the main storyline, only add to it!

The first 8-10 pages of your second act is where your main character will face their first major test or challenge and take the first step in their arc. But these pages are also where you should begin introducing and developing your subplots and B stories. Somewhere in pgs 30-40ish.

It’s a fuzzy area, but I actually think there are some differences between a B-STORY and a SUBPLOT. I think B stories usually still directly involve your main character, whereas subplots do not – at least not initially.

The B Story is your character’s secondary motivation or mission – the OTHER thing they have to accomplish. Your B Story may be a second problem or issue that your main character has to fix. And while your A-Story presents itself at the inciting incident and is solidified at the end of the first act with the acceptance of the adventure, your B-Story often can’t be identified UNTIL the second act begins, because it’s what is illuminated by the adventure beginning. 

For example, in The Wizard of Oz – Dorothy’s A-Story is to find the Wizard and get home, but the B-Story becomes helping Oz and her new friends. She had no idea she was going to have to do that until the adventure began.

The B Story is often the more emotional thing, and not the visual, tangible, action-y thing. It’s connected to your concept – but is usually caused because of or caused by your concept. It’s what your hook or major storyline leads your characters to (or to do).

For example, in the political comedy Dave, the main storyline is Kevin Kline pretending to be the President and getting away with it while adapting to his very new life as the leader of the free world. But there are two B stories – or perhaps B and C story – the first is the love story with the First Lady. The second B story, perhaps the C story, is that Dave must get this bill passed to save children and cut the budget.

In my company’s own movie, Sydney White, the B story is how Amanda Bynes’s Sydney character affects and helps the “Dorks” characters. She’s still involved, so it’s not really a subplot. It’s a true secondary storyline. 

Your B Story could be a love story for your main character (though in a straight romantic comedy, this would always be the A story). Very often, in action or disaster films, the B story is the love story, but it can be in any genre.

Some examples where the B story is the love story include Juno (love story with Michael Cera), Liar Liar (love story with Maura Tierney and winning his wife back is a second mission and motivation to overcoming the issue of not being able to lie), Twister, Armageddon, 2012, Die Hard, etc – all have B love stories.

In contrast, your subplots are basically a way for you to cut away from your main storylines and main characters and infuse different life and personality into your story. These subplots do NOT have to include your main characters, and probably shouldn’t. However, it usually does and SHOULD intersect and affect your major plotline at some point.

It could be your sidekick, best friend, mentor character or antagonist that you’ve introduced us to in the first act, now develops their own slightly separate storyline and goals. Or it could be a totally NEW character that you introduce here.

Your subplots actually can cause or lead to your turning points in your second act if they intersect well with your major storylines.  For instance, in The Ref, the two subplots are the son’s storyline and the Drunken Santa storyline. They eventually intersect and affect the main storyline of Denis Leary and the parents, but they are separate.

In thrillers like Primal Fear, The Negotiator, or Long Kiss Goodnight, the subplots are the behind the scenes politics or overarching stories of corruption, dirty cops, revenge, business, etc. that affect and help drive the main action. In Primal Fear, there’s a real estate subplot that leads to discovery of clues that intersect with the main storyline, but it’s just a subplot and doesn’t directly involve the main characters.

Or the subplot could be the OTHER side of your love story. For example, in Six Days 7 Nights, the major storyline is Anne Heche and Harrison Ford’s love story developing as they try to get rescued, but the subplot is their respective boyfriends/girlfriends back on the mainland as they get closer.

Remember – much like your main ‘A’ storyline, your B stories and subplots should have a set up, a beginning, middle and end – they need a structure – and they need to be resolved. This is done usually by the end of your second act or middle of your third act – but it depends on how big and important the subplot is.

Your B story – your character’s secondary missions – they have to include obstacles just like the A story does. And your subplot MUST have conflict – or else it is not a subplot, it’s just filler! I’ll say that again – if your subplot has no conflict, it’s just filler.

The subplot must also connect with your story’s main theme. In fact, the subplot often drives home the theme even more specifically and obviously than your A storyline. Look at Crazy Stupid Love – had tons of storylines and subplots, but even the smaller subplots of Steve Carrell’s kid’s love life and the funny angry neighbors all added to, and brought out, the theme of the story.

If you have a true ensemble piece – meaning there is pretty equal screen time shared amongst 5-10 different characters, then you don’t need subplots because each of your characters will have their own storyline and those will be more than enough to use to cut away from whatever else is going on, and progress the story. Basically, your whole story is made up of subplots that tie into an overarching concept, story or theme. For example – Crash, Love Actually, New Year’s Eve, Traffic, etc.  But keep in mind that many of these storylines should intersect in some way at some point just like your subplots would.

And if you have created a wonderful subplot on page 32 and introduced new characters, but then we don’t see them again until page 83, then you haven’t tracked that subplot well enough and it will not seem important enough to the story. After your major structural points or turning points, that’s usually a great time to cut away from your main characters and check back in with your subplots.

So as you develop your script, make sure that you’re creating and tracking subplots and B stories that are just as compelling as your major storyline so that your concept, hook and theme can truly shine.

Thematically Speaking

I don’t write about theme too much and that’s because I normally don’t care much about it. It’s not what I look for in a script. Yes, it’s important. Yes, it can help drive a story and keep a story on track. Yes, it can add shape and deeper meaning to your character’s arc. But I rather have a script be driven by strong character, dialogue and story than a message or theme a writer is trying to teach the audience.

This is a complete generalization, but I find that instilling strong themes are for the more spiritual writer, and less so for the practical writer. I’m not saying either one is better – I’m just saying those two types of writers approach their scripts differently.

Themes are those things that I think consultants talk about when they don’t know what else to say, and I’ve had quite a few people say that to me – which is why I am also not a huge fan of some of the authors out there who talk about how theme is the key to screenwriting.

I think if a THEME is what is driving your story, then your story is probably pretty preachy, boring and cliché. Why? Because having a universal theme is great for selling your project internationally, but your theme is not entertaining. There’s nothing visual about “true love is everlasting,” or “family is the most important thing,” or “the grass is always greener.” Yes, we can RELATE to that – we can understand it and it helps us connect with the characters, but there are no NEW themes. The newest themes I’ve found in stories relate to technology and how it is ruining or helping our lives or how it should be revered or feared instead of abused. But again – that’s not important to me unless your story brings OUT that theme in visual, compelling, engaging, original ways.

The seven deadly sins are often used as themes. Religious beliefs or sayings are often used as themes.  Basically, themes are overarching lessons or beliefs or sayings that you probably learned in Kindergarten.

Yes, if you have a small town story, then making sure that it employs a universal and relatable theme can help broaden its appeal. And yes, if you know your theme, this will help you plot out your character’s arcs so that you know that THEY are connecting with your theme by the end. And yes, having a solid theme may help you see, especially during your rewriting process, what scenes are helping to progress and bring out that theme and which ones are perhaps unnecessary.

But I’ve never, ever heard anyone walk out of a theater going – the story sucked, I hated the characters, the dialogue was cheesy – but man did I love that theme.

That being said, you should make sure that your theme has been brought out in your scenes and characters’ actions and reactions, and that your midpoint does a nice job in showing how you are attacking that theme in your story. But also make sure that we are not being nailed over the head with your theme and that your script is not becoming PREACHY or a message movie to get your theme across.

Your theme should be a silent understanding between you, your story and the audience. It’s almost subliminal.  Your theme should be set up through dialogue or action, usually in the first 15 pages or so, but the execution and tracking of your theme should not be as obviously stated. You shouldn’t have a character every 15 pages come out and say “But true love conquers all.” That’s not how you express your theme – you do it through your characters actions and consequences that PROVE that theme.

Theme is what the audience takes away or feels or learns THEMSELVES from watching your movie and taking in your story, with just a little bit of set up and prodding from you.  If it isn’t almost subliminal, then it’s a MESSAGE – and that is very different from a theme. Yes, there are exceptions. “There’s no place like home” is one of the strongest themes of Wizard of Oz and cinema in general, and it’s said out loud and driven home pretty hard – but that was also 70 years ago.

A message is your personal belief, feeling, mantra or thing that you want to tell the audience. And you don’t want them to take away something for themselves – you want them to believe what YOU believe. A message is anything but subliminal. It’s usually stated by a character over and over again, even if it’s in the background. A message movie is harder to sell, depending on the message. Ripped from the headline or controversial messages are usually not a good idea. Messages about the environment are popular right now, and that’s fine, but there’s a difference between a message of “we should respect our environment” and “right wing lobbyists are the ones who should die for ruining the environment.” See – there’s a difference there.

‘The power of true love’ is not a message – it’s a theme. ‘You will only find true love if you date within your own race’ – that’s a message. ‘Faith can be a powerful thing’ is not necessarily a message. ‘Have faith in your Lord and savior Jesus Christ’ – is a message. See the difference? 

A message is YOUR personal take and belief about a THEME. And as I’ve said before, I don’t give a shit what your personal beliefs are.

So, theme is yet another thing you should be tracking throughout your script, but I always advise my clients to let the story drive the theme, and not the other way around. At least not in the first draft. But you should know what theme you want to bring out and track before you start writing, and certainly by your midpoint you should be able to tell if that is working in your story.

Stop Querying the Wrong Way

I don’t like to bad mouth other companies or services too much – at least not in a public forum – but there is a not-so-new type of service out there that has grown in popularity and I’d like to stop all of your from being duped into wasting your money on it.

It’s the automated query letter services that promise to help you “BREAK IN” by sending your query letter to THOUSANDS of execs, agents and managers and getting your script read. They want to open up their Hollywood rolodex to YOU…

What a load of complete and utter bullshit!!  These services – who are usually anonymous and do not tell you who even RUNS the company – are complete RIPOFFS! All they have done is re-typed the Hollywood Creative Directory or IMDB Pro into an email database full of email addresses that look like INFO@RANDOMCOMPANY.COM and they charge you anywhere from $50-$300 to “fix” your query letter and blanket the town with it.

And even for those companies who have their own more specific list of email addresses of real execs, I promise you – those companies and execs and agents are not waiting by the fax machine for the newest random query letter from these companies. You know why – because no one uses a fucking fax machine anymore.

The letters they send are not personalized (to your project or to the specific company), they are not referrals, they are not recommendations, and they generally DO NOT GET READ! They are a constant annoyance to executives who go through hundreds of REAL query letters sent by referrals, reputable companies and writers every month.

These companies – and there are plenty out there including Scriptblaster, Sellingyourscreenplay.com, Equerydirect, Screenplay Writers Connection, etc – are based solely on the fact that you’re a lazy idiot and incredibly desperate.

They are betting on the fact that you’re too clueless and stupid to figure out how to get in contact with anyone in Hollywood and they have convinced you that they have connections. They don’t. And if they did, they no longer do because those contacts are pissed that they have to deal with a constant onslaught of UNSOLICITED queries from these companies. That’s right, the letters they send out – are UNSOLICITED.

I was talking about this with my friend from Suntaur Entertainment (and Scriptchat) the other day and he told me he had “unsubscribed” from at least two of these services, yet he keeps getting these query letters – which go right in the trash! That’s $50 you’re literally throwing out.

There are so many problems with using these services, the biggest of which may be that there is no quality control. They will send ANYONE’S letter out no matter how shitty, poorly written or just plain dumb your idea, story, writing, or letter is. Which means even if your query letter and project is FANTASTIC, the execs won’t read it because they’ve gotten SO much shit from that e-blast company already that they know the odds of it being good are slim to none.

These services are NOT referrals. They are just leaches trying to take your desperate-writer money and making a promise to you that is impossible to keep. Now, is it possible that out of the 500 companies they send your query letter to, that 1 or 2 will actually request the script? Sure. Perhaps an intern got bored or an assistant was in a good mood that day. But the other 498 companies now think you’re a stupid, desperate amateur.

Now, there are sites that are different than these query letter blast sites that actually can be worthwhile. Sites like InkTip and Virtual Pitchfest for example are not query letter BLAST sites. These are sites that execs have actually signed up for and have agreed to read your query letter on (or synopsis on InkTip). They are not unsolicited or random query emails or faxes.

Through my No Bull Hollywood Connection Program, any script that gets a “recommend” from me has its logline and query letter sent out to over 40 companies (not 4,000) that have AGREED to read them. And it’s a personalized email from ME to one of my actual contacts that I know personally. And, I can count on two hands how many recommends I’ve given, so execs are not being bombarded every week with dozens of emails. Oh right – and it’s FREE!!

There are other consultants and companies out there that do similar services, some charge and some don’t, but at least they are making personalized direct contact with someone they actually know. Someone that might actually do something with your script. These query blast sites – are not.

You know what using these bullshit query letter services tell executives – that you’re lazy and you don’t know anything about Hollywood. It says you’re so far removed from Hollywood, that you don’t even know when you’re getting screwed by Hollywood.

Breaking in and getting read isn’t easy and it’s not free either. But there’s no shortcut to getting read by 1,000 companies. These e-blast script marketing companies are just taking advantage of you, your project, and your wallet. Don’t be fooled by any company that says they can market your screenplay and get it in the hands of 500 companies at once. They can’t. They can only get their emails deleted by 500 companies at once – and then cash your check.

Creating Set Pieces for Success

By Danny Manus

Ever wonder what it takes to create truly memorable movie moments? Those scenes that just stay with you long after you leave the theater? Those scenes that, when someone mentions a movie title, immediately rush back into your mind? Those scenes that allow you to picture the trailer?

These scenes are often called set pieces. And this week, I want to share with your how to create them and automatically make your script more commercial.

While I had heard the phrase “building set pieces for your script” hundreds of times, I never truly thought about it until the recent panel/interview I moderated with A-List comedy writers Tim Dowling and Joe Nussbaum. Dowling has written Just Go With It, Role Models, the upcoming This Means War, and more. Nussbaum has directed Sydney White, Prom, American Pie: Naked Mile and has written some very hot scripts around town, two of which landed on the Black List.

I learned something so valuable from our chat about the importance of set pieces that it has changed the way I look at scripts. And maybe it will have the same affect on you. 

Set pieces are not just locations – they are a scene or a short, connected sequence of scenes that builds in a way that not only makes for a memorable and trailer-worthy moment, but also develops your characters, plot, increases emotion, and exploits and explores the hook of your story.  One of the keys to building great set pieces is building layers into your scene.  If your scene is not accomplishing all of the aforementioned things, then it is not a set piece – it’s just a scene.

Nussbaum and Dowling said that it’s their ability to brainstorm and picture these 3-6 major set pieces that tells them if their concept has potential.  If you cannot think of 3-6 scenes and moments that do all the things mentioned above, then you may not have a strong enough concept to write about. All the big comedy giants – the Farrelly Brothers, Judd Apatow, Weitz Brothers, etc – use these types of set pieces in their scripts.

And this is NOT only for comedy – action, horror, thrillers, sci-fi, and even drama – ALL should have some version of set pieces. When you come up with a concept and a hook, you need to brainstorm and ask yourself what kind of big set piece scenes could EXPLOIT this idea – where are the big moments within this concept?  What are the scenes that are going to get this hook across, connect an audience with my main character, and create big cinematic, iconic moments?

The difference between a scene and a set piece is in how it builds. Your set piece should build so that you’re not JUST writing or building a scene to hit that ONE joke line or have that ONE visual gag moment, but instead the comedy is constantly and continuously building and hitting throughout the scene. So basically, there are at least a handful of big laugh (or action, scare, suspenseful) moments within each set piece.

To create a set piece, I’ve come up with a basic formula for the scene. Though sometimes the steps are not exactly in this order and not every set piece is alike, this is a basic guideline:

1. Set-Up – This includes your location, setting up what your character wants to get out of the scene (so we know why it’s funny when it all goes wrong), and the situation your character has walked into.
2. Bring out the conflict of the scene.
3. First big funny moment/visual (or action, scare, suspenseful moment)
4. Payoff for first funny moment/visual which causes or increases an uncomfortable situation, tension, anxiousness, or other funny emotion. Changes your character or the way others view your character.
5. Regroup and try again hoping for different results – but unsuccessful.
6. Second big funny moment/visual that raises the comedic stakes.
7. Payoff for second funny moment/visual.
8. REPEAT steps until you have exhausted the hilarious moments and visuals of the scene and exploited your hook.
9. Last button on the scene which is the final, if not funniest moment or visual of the scene that makes it clear how the scene affected or progressed the story.

And just so you can see exactly what I’m talking about, I want to give you a few of the examples Dowling and Nussbaum used, which will help illustrate this perfectly;

–        The Zipper scene in There’s Something About Mary – Stiller gets to the house, is already nervous and wants badly to impress her and her family and seem like a suave guy. He sees Diaz in the window (first funny moment), her father isn’t too happy with him (conflict), Father goes into the bathroom to help – doesn’t work, raises humiliation (second funny moment), they regroup and wife comes in (third funny moment/line/reaction), cop comes to the window (fourth funny moment/reaction), then the memorable visual of what’s stuck in the zipper (fifth funny moment), then the button final action and reaction (fixing the zipper and Stiller’s hilarious scream). Then he’s taken by the paramedics – prom is ruined and he’s lost his chance with his dream girl.

–        The Dinner/Urn scene in Meet the Parents – the set up of the conflict was set up previously but increases in this scene as Stiller tries to impress and win over DeNiro’s character (his motivation). The scene builds with the “milking” dialogue (first funny line), the VISUAL of Stiller milking the invisible cat (first funny visual), DeNiro’s reply (the payoff and second funny line), Stiller regrouping and trying again unsuccessfully which makes him even more nervous and anxious, the revelation that Stiller’s girlfriend was engaged before (creates more conflict and affects the story later on), champagne cork hits the urn and smashes it (third funny moment),  the cat takes a shit on the ashes (the button on the scene).

–        The opening Masturbation/Sock scene in American Pie – it’s clear what Jason Biggs’ character wants. We have the scrambled porn and porn dialogue (first funny visual and line), mom comes into room and he scrambles to hide and excuse away what he’s doing (second funny moment, causes uncomfortable situation), more porn dialogue (third funny moment), father comes in (fourth funny moment, raises stakes of comedy), Biggs tries to regroup without success, reveal of the penis sock (fifth big funny moment/visual), and the father’s dialogue and look at Biggs’ humiliated face (button on scene).

And a few scenes I thought of which also exemplify creating great set pieces – you can watch them and do the breakdown yourself:

–        The Bridal Shoppe scene in Bridesmaids where they all get sick

–        The Beauty Pageant scene at the end of Little Miss Sunshine

–        The chase scene in The Departed that leads to Martin Sheen’s death (spoiler, sorry)

–        The opening scene of Scream.

Each of the above-mentioned scenes USE and EXPLOIT the hook of their story piece – a guy who can’t get laid, a guy meeting his fiancée’s family, a woman dealing with her friends’ wedding arrangements, etc. And they build from that hook with a visual, a set up, an action and/or dialogue, and a payoff – then another visual/dialogue and a payoff that builds the moment even more – then repeat and repeat until that scene leaves you in stitches, or crying, or scared, or on the edge of your seat, depending on the genre.

All of these scenes don’t just have ONE payoff moment or line or visual – but a constant build of big moments/visuals and creates those trailer moments. Memorable moments.

Even smaller personal private journey movies often employ this technique. For example, in Into the Wild, each of the important characters that help the lead character on his journey is a different set piece. 

Sometimes the first big set piece is in the first act, but if not, it could serve as a great scene to begin your second act. Just as your characters are starting their adventure, this is a great time for a big set piece because normally your set pieces also serve as OBSTACLES for your characters (look at all the examples above).

Another key to set pieces is that they must feel incredibly natural to the story and concept you are writing – they are not forced moments. They fit naturally within your story and structure and character arcs. Do not force a set piece – it will throw your story off completely.

So, take a look at your scripts and stories and see if you are creating set pieces for success. Good luck and keep writing!

Happy Halloween (at the Box Office)

It’s that time of the year again – where girls of all ages dress as whores, men of all ages dress as women, and offering candy to children on the street while asking them what they are wearing, is considered acceptable. That’s right – it’s Halloweeeeeeen! (insert spooky music here)

And it’s around this time of year that studios anxiously wait to see how horror movies are do at the box office to see if the trend is still holding up. And this weekend’s HUGE success for Paranormal Activity 3, ensured that horror (and this franchise) is around to stay. And it’s a much needed boost for the genre, as with only a few exceptions, horror movies have not been incredibly successful this year.

Fright Night, Scream 4*, Don’t Be Afraid of the Dark, The Rite, Priest, and The Thing all underperformed domestically. And there were some, like Apollo 18, Red State, Tucker & Dale vs. Evil, Attack the Block, Quarantine 2, and The Ward – that barely even graced the theaters despite having buzz around town.   (*To be fair, it should be pointed out that The Rite and Scream 4 made double their domestic grosses overseas, so they came out very much in the black)

However, I think the trends for horror films this year have been pretty clear;

“Found footage” projects – which all started with Blair Witch over 10 years ago – have made a nice resurgence lately and are a trend that will continue because they work well with micro-budget projects. The handheld camera direction style seems to connect with today’s younger demos, which makes sense because they are constantly making movies themselves and that’s how they look, so it feels more real to them.

Supernatural is definitely one of the biggest current trends, especially Demon Possession projects! The two biggest horror hits of the year, Insidious and Paranormal 3 (not to mention The Rite and The Thing), are both possession films, and another cool looking “found footage possession project” – The Devil Inside – opens in January.

In 2007, “evil children” projects came back in fashion. They still work, but now they have to be possessed. They can’t just be devilish little shits for the hell of it.

Franchises are still kicking – hard – and have been for the last 10 years.  Foreign language remakes are still popular, though attention has turned from the Asian Horror remakes (The Grudge, The Ring) to Swedish Horror remakes (Let Me In).  Torture porn is pretty much out, except in already successful franchises (Centipede, Saw).

Horror-Comedy can still work, but usually only in already established horror genre models where the straight scares have already been played out in 100 other movies – like with zombies, vampires, etc. And just in case you’re wondering, vampires and werewolves – are still out.

There are 6 Frankenstein movies in development, so I wouldn’t waste my time writing another one, and Zombies are still pretty fuckin’ cool – but there are SO many zombie projects still in development and production that writing another one right now – unless it’s REALLY original – would probably be a waste of time.  But, did I mention that zombies are still pretty fuckin’ cool?

Personally, I think slasher films are out at the moment. It’s hard to launch a truly new breed of slasher film as it feels like they’ve all been done before.

And 3D isn’t cool in horror because it makes everything feel cheesy, less gritty and less scary. I know having an arm fly at you is a good jump-in-your-seat moment, but it makes the story feel less REAL. And scaring people is all about connecting with what they are truly afraid of and them seeing someone ELSE go through that on screen in a visceral, emotional way. If you have a slightly cheesy, beaten-to-death concept, like the Final Destination or Saw franchises, then perhaps going 3D is the one thing left you haven’t tried, but I wouldn’t suggest it for new original horror material.

But the biggest overarching trend in the horror genre is that low budgets (and micro-budgets) continue to be the way to go. If you can make a good, scary, visceral, original horror movie for $1M or less, you will probably make good money back. And there are way more companies (including Paramount’s micro-budget division) that are looking for low, low budget genre movies! There is NO company that will make a $30M original horror movie – it’s not going to happen.

If you’re making a $30M horror movie – and it’s NOT something that already has huge brand recognition (like Nightmare on Elm Street or Final Destination, etc), you’re going to lose money. Period. And there was no reason to make Final Destination 5 for $40M, except they wanted to make it in 3D and bigger than the first four.

Paranormal Activity 3 made $55M domestic gross in its first week – and had a $5M budget (up from the original’s $15K budget). Insidious made $54M domestic gross on a $1.5M budget. This is how you make money in horror films if you’re not Wes Craven. 

Horror films can get made at micro-budget levels because, for the most part, you don’t need big stars to make them work. You don’t even need big effects. In fact, sometimes having big stars and big effects HURTS your horror movie – because we KNOW it’s not real. Hello – we KNOW Katie Holmes isn’t really dying. Not using big stars also means that ANYONE can die. You don’t NEED Neve Campbell to live anymore for the sequel just because she’s the sellable name. Names don’t matter. So it leaves writers open to kill their main characters at the end and really shock the audience.

And in films like Blair Witch, Paranormal Activity, The Poughkeepsie Tapes, etc – there’s that teeny, tiny bit of doubt (created by great marketing), that tells us – just maybe this IS real. I’ve never seen these people in movies before, so maybe they are just real people like me and this is real footage. THAT is why these movies do well. If Blair Witch had starred James Van Der Beek – it would have died a horrible movie death opening weekend. 

And the horror genre continues to be a great way to break in. Attack the Block was technically a bomb, but the industry loved it so much that writer/director Joe Cornish has become a hot item around town.  Tucker & Dale vs. Evil didn’t make any money, but it will have cult classic status – as will Human Centipede, Red State, and Hobo with a Shotgun. And for new or auteur filmmakers, this is the way to build your following and get noticed!

I saw Paranormal Activity 3 this weekend. And while it was certainly better than the cheesy second installment, the biggest problem with PA3 was that all of the really scary moments in the trailers and commercials – WERE NOT IN THE MOVIE! The Bloody Mary in the bathroom mirror scene – not there. The little girl jumping off the ledge scene – not there. It’s like they shot all this cool, scary footage just for the commercials (or the blu-ray). I HATE when movies do that, and this may be the worst example of this practice I’ve seen in a long time. That being said, there were definitely a few really good scares and “grab your date” moments.  I won’t give anything away, but the ending for me left something to be desired. But go judge for yourself.

And as for what the next trend will be? Remains to be seen. But the best predictor of future (evil) behavior, is past (evil) behavior. Have a happy and scary Halloween! And stay away from that guy in the screenwriter costume – he’s probably just some unemployed psycho looking for ideas.

How Technology Has Ruined Romantic Comedy

Remember the good old days when to find one’s lost soul mate, a character had to scour the earth on this grand romantic voyage with nothing but a wisp of hair, a charcoal drawing and a childhood memory? Now, they can just use Facebook. It takes 30 seconds and the story is over.

Social media and today’s current technology has completely ruined romantic comedies and has made it that much harder to create an original and believable story for two random people to get together.  Because there is NO such thing as random anymore. There’s no such thing as “courting.” People don’t even date anymore – they just hook up and eventually decide they are together. So you need to ask yourself – are your characters still living in the 1950s?

Even if you bumped into a total stranger on the street and a had that “love at first sight” moment, you’d go home and Google her, check out her Facebook page, her MySpace, her Linked In profile, her blog, and her Twitter account (which comes with GPS location and receipt counter so you could know exactly where she’s been and what she bought), and you’d know everything you could ever want to know in 5 minutes.  Kind of takes the fun out of a good old fashioned stalking, doesn’t it?

Some of the biggest romantic comedies are based on one of the following issues or setups:

Finding a lost love or childhood sweetheart

Getting a message to the person you love before it’s too late

Connecting with the friends or family of the person you love

Overcoming distance

Trying to break up a couple because they don’t belong together

Getting someone’s attention who doesn’t know you’re alive

Finding out something about the person you want to be with so they think you have something in common

Proving you aren’t lying or cheating to someone

Having to track someone down

Best friends who fall out of touch and then find each other again later in life. 

These used to be concepts you could write 100 pages on. Now, any one of these issues would be solvable in a matter of minutes.  A good love story may still transcend time, but these days, if your characters don’t even have cell phones, how genuine to real life could they be? These days, Harry probably would have met Sally on Match.com and that orgasm scene in the deli would have been Billy Crystal watching a video of Meg on his iPhone.  Steve Martin wouldn’t have had to sit in the bushes and whisper words to another man to woo Roxanne – he could have just texted her from the other guy’s phone.  And John Cusack wouldn’t be standing outside Ione Skye’s house with a boom-box over his head– he would have just thrown his iPod into her open window and screamed “Track 4!”

“Sleepless in Seattle” worked because it was about these two people on different sides of the country who found each other on a radio show. But now 15 years later….who listens to the radio anymore except right wing nutjobs, Howard Stern fans and 12 year old girls?

And long distance relationships are certainly much easier these days than it was 10 years ago. The recent release “Going the Distance,” which is about trying to make a long distance relationship work, has a hilarious phone sex scene, but aren’t we past that? There are webcams built into every computer. There’s Skype and sexting and websites designed for people looking to cheat. In a world where 14 year olds are having more sex than their parents, 1 in 2 relationships end in divorce, and 1 in 4 relationships are started online, romantic comedies about the 25 year old beautiful virgin girl or true love that doesn’t involve technology, just don’t ring true anymore.

This certainly doesn’t mean that true love – or romantic comedies – is dead. It just means you need to be more creative in your hooks and premises, and be mindful of the pitfalls of forgetting about technology. Now perhaps if you’re writing “It’s Complicated” and your lead characters are in their 50s or older, technology doesn’t have to be focused on as much. But if you’re writing a teen romance and the kids never text each other – how genuine is that to today’s youth?

Romantic comedies have always had an element of fantasy to them. They are the perfect dream scenarios. They follow a simple equation – Circumstance plus magic plus incredible good looks minus obstacles equals happily ever after.  And audiences do go to the movies to escape the realities of their own lives, but they need to be able to relate to the world you have created. Romantic comedies have to be grounded in some sort of reality, and if none of your characters use a computer, that’s just not reality.  So, always keep in mind the time period you are writing for and everything that encompasses.

And when it comes to love, keep an open heart and an empty hard drive.

100 Day Challenge – Fave Video of the Week

By Danny Manus

This blog is especially for my 100 Day Challenge Program participants, but also applies to everyone else as well.

My favorite video of the week and one of my favorites from the whole series thus far, is not just about YOU but also your CHARACTER. And it’s the video about Comebacks, Second Acts and Redemption.

This is what your character arcs are all about. Characters that fall from grace in some way that must fight their way back. The themes that cause our real-life comebacks, obstacles and redemptions, are the same universal themes that can (and should) be worked into your story to make your character more relatable and your story more universal – meaning sellable overseas.

The 7 steps laid out in the video to stage a comeback are incredibly relevant to what your characters should be doing. And quite frankly, what YOU should be doing personally as you try to break in and work in this business.

1. Refuse to Die – this is the attitude your characters must have, that inner motivation that no matter what happens – they will not die. It’s what makes them a hero. They accept disaster and then go from there. You need to have this attitude in your own life as well!
2. Decide to fight – it’s the acceptance of the adventure we talked about and managing their (and your) fears through the adventure. Regroup and plot and plot again. This is what your character should be doing – and also what you need to do every time you get a rejection letter.
3. Get Mad – this is one of the parts of the 5 stages of grief your character experiences that we talked about a few weeks ago. Use the emotion as fuel for your story and character.
4. Get Creative. Duh! Hello! This means don’t JUST have your character do what’s expected – get creative with it. Stay natural to your story, but find creative and visual ways for your character to do what they need to. And, get creative in how you’re breaking in and forging new relationships and promoting yourself and your work.
5. Focus on Results – know the character’s motivation and what the ultimate physical and emotional result for your character is. But also for you writers yourselves – know what YOUR end goal is. Is it to sell your script, is it to break in, is it to get hired for other work, is it just to finish a script and say you did it? Is it to make this a career or just to have a creative outlet?   Know your goal and focus on your results. Because if you focus on your process, it’s probably going to be very hard to see the end goal and succeed.
6. Take a chance. Take a risk. This goes for your characters too. Your characters are taking a path they may not know.
7. Enjoy the ride. Not only should your character enjoy the journey, or at least how they get out of it, but the audience must enjoy the ride. And while the journey of breaking into Hollywood is not always fun or enjoyable, if you don’t find the business an enjoyable ride – then you won’t be in it for very long.

And as the video says, look at every obstacle, setback, rejection, and constraint as an opportunity to show your character’s true colors, make a connection between them and the audience, show emotion, flesh out their arc, and really make a compelling character and story.

And for you as real live people, the same should apply. Look at all the setbacks and rejections you get and wear them as badges of honor, because you can’t get rejected unless you’re in the game. So as long as you’re getting rejections, you’re still IN it. Maybe not in the way or to the degree that you’d like yet – but much like your characters and their goals, you’re working towards it.  Good luck and keep writing!!

Horror Film Trends & Tips

It’s that time of the year again – where girls of all ages dress as whores, men of all ages dress as women, and offering candy to children on the street while asking them what they are wearing, is considered acceptable. That’s right – it’s Halloweeeeeeen! (insert spooky music here)

And it’s around this time of year that studios anxiously wait to see how horror movies are do at the box office to see if the trend is still holding up. And this weekend’s HUGE success for Paranormal Activity 3, ensured that horror (and this franchise) is around to stay. And it’s a much needed boost for the genre, as with only a few exceptions, horror movies have not been incredibly successful this year.

Fright Night, Scream 4*, Don’t Be Afraid of the Dark, The Rite, Priest, and The Thing all underperformed domestically. And there were some, like Apollo 18, Red State, Tucker & Dale vs. Evil, Attack the Block, Quarantine 2, and The Ward – that barely even graced the theaters despite having buzz around town.   (*To be fair, it should be pointed out that The Rite and Scream 4 made double their domestic grosses overseas, so they came out very much in the black)

However, I think the trends for horror films this year have been pretty clear;

“Found footage” projects – which all started with Blair Witch over 10 years ago – have made a nice resurgence lately and are a trend that will continue because they work well with micro-budget projects. The handheld camera direction style seems to connect with today’s younger demos, which makes sense because they are constantly making movies themselves and that’s how they look, so it feels more real to them.

Supernatural is definitely one of the biggest current trends, especially Demon Possession projects! The two biggest horror hits of the year, Insidious and Paranormal 3 (not to mention The Rite and The Thing), are both possession films, and another cool looking “found footage possession project” – The Devil Inside – opens in January.

In 2007, “evil children” projects came back in fashion. They still work, but now they have to be possessed. They can’t just be devilish little shits for the hell of it.

Franchises are still kicking – hard – and have been for the last 10 years.  Foreign language remakes are still popular, though attention has turned from the Asian Horror remakes (The Grudge, The Ring) to Swedish Horror remakes (Let Me In).  Torture porn is pretty much out, except in already successful franchises (Centipede, Saw).

Horror-Comedy can still work, but usually only in already established horror genre models where the straight scares have already been played out in 100 other movies – like with zombies, vampires, etc. And just in case you’re wondering, vampires and werewolves – are still out.

There are 6 Frankenstein movies in development, so I wouldn’t waste my time writing another one, and Zombies are still pretty fuckin’ cool – but there are SO many zombie projects still in development and production that writing another one right now – unless it’s REALLY original – would probably be a waste of time.  But, did I mention that zombies are still pretty fuckin’ cool?

Personally, I think slasher films are out at the moment. It’s hard to launch a truly new breed of slasher film as it feels like they’ve all been done before.

And 3D isn’t cool in horror because it makes everything feel cheesy, less gritty and less scary. I know having an arm fly at you is a good jump-in-your-seat moment, but it makes the story feel less REAL. And scaring people is all about connecting with what they are truly afraid of and them seeing someone ELSE go through that on screen in a visceral, emotional way. If you have a slightly cheesy, beaten-to-death concept, like the Final Destination or Saw franchises, then perhaps going 3D is the one thing left you haven’t tried, but I wouldn’t suggest it for new original horror material.

But the biggest overarching trend in the horror genre is that low budgets (and micro-budgets) continue to be the way to go. If you can make a good, scary, visceral, original horror movie for $1M or less, you will probably make good money back. And there are way more companies (including Paramount’s micro-budget division) that are looking for low, low budget genre movies! There is NO company that will make a $30M original horror movie – it’s not going to happen.

If you’re making a $30M horror movie – and it’s NOT something that already has huge brand recognition (like Nightmare on Elm Street or Final Destination, etc), you’re going to lose money. Period. And there was no reason to make Final Destination 5 for $40M, except they wanted to make it in 3D and bigger than the first four.

Paranormal Activity 3 made $55M domestic gross in its first week – and had a $5M budget (up from the original’s $15K budget). Insidious made $54M domestic gross on a $1.5M budget. This is how you make money in horror films if you’re not Wes Craven. 

Horror films can get made at micro-budget levels because, for the most part, you don’t need big stars to make them work. You don’t even need big effects. In fact, sometimes having big stars and big effects HURTS your horror movie – because we KNOW it’s not real. Hello – we KNOW Katie Holmes isn’t really dying. Not using big stars also means that ANYONE can die. You don’t NEED Neve Campbell to live anymore for the sequel just because she’s the sellable name. Names don’t matter. So it leaves writers open to kill their main characters at the end and really shock the audience.

And in films like Blair Witch, Paranormal Activity, The Poughkeepsie Tapes, etc – there’s that teeny, tiny bit of doubt (created by great marketing), that tells us – just maybe this IS real. I’ve never seen these people in movies before, so maybe they are just real people like me and this is real footage. THAT is why these movies do well. If Blair Witch had starred James Van Der Beek – it would have died a horrible movie death opening weekend. 

And the horror genre continues to be a great way to break in. Attack the Block was technically a bomb, but the industry loved it so much that writer/director Joe Cornish has become a hot item around town.  Tucker & Dale vs. Evil didn’t make any money, but it will have cult classic status – as will Human Centipede, Red State, and Hobo with a Shotgun. And for new or auteur filmmakers, this is the way to build your following and get noticed!

I saw Paranormal Activity 3 this weekend. And while it was certainly better than the cheesy second installment, the biggest problem with PA3 was that all of the really scary moments in the trailers and commercials – WERE NOT IN THE MOVIE! The Bloody Mary in the bathroom mirror scene – not there. The little girl jumping off the ledge scene – not there. It’s like they shot all this cool, scary footage just for the commercials (or the blu-ray). I HATE when movies do that, and this may be the worst example of this practice I’ve seen in a long time. That being said, there were definitely a few really good scares and “grab your date” moments.  I won’t give anything away, but the ending for me left something to be desired. But go judge for yourself.

And as for what the next trend will be? Remains to be seen. But the best predictor of future (evil) behavior, is past (evil) behavior. Have a happy and scary Halloween! And stay away from that guy in the screenwriter costume – he’s probably just some unemployed psycho looking for ideas.

Is Hollywood Racist? A Frustrating Chat with Screenwriter/Litigant Justin Samuels

About a month ago, I wrote an article about a screenwriter who is suing CAA/WME for their racist practices which were preventing him from breaking in as a screenwriter. The writer’s name is Justin Samuels and he found my article and wrote me about it, and we proceeded to have quite a back and forth about the topic. Below, in its entirety, is our email exchange. I know it’s long, but please read the whole thing and judge for yourself who you think is right and please leave a comment….

JUSTIN:

You claim the education system is what diminished the pool of non white screenwriters, but I have a degree from an Ivy League School.

So then, surely it’s not a matter of education.  A high school dropout could make a career as a screenwriter, IF he had the right connections (he’d have to read some book, do some workshops, etc but it could be done).

If you read what I said, the major agencies do not accept any unsolicited submissions including QUERIES.  If you read what I said, I was told I needed an industry referral to be read by the top talent agencies.   But how likely am I to get such an industry referral unless I have a relative in the business?   The prominent people in the industry, with a few exceptions are white, and unless you’re related to them or grew up with them, you just aren’t that likely to be close enough to get such a valued connection.

And for the record, I’m more than happy to bring attention to this issue.  It’s a basic issue of fairness.

As for the diversity programs, don’t make me laugh.   What diversity programs?   Has anyone ever launched a career from a diversity program.  I think not.  And I would be the first to say diversity programs would be completely unnecessary if the major agencies would deal with unsolicited submissions! 

DANNY:

Dear Justin,

I’m really glad that my article somehow made its way to you and I respect that you emailed me about it. But I have to tell you – I categorically disagree with your argument. And I’d love to discuss with you why…. (I know it’s a bit long, but please read this whole email)

First, an Ivy League education doesn’t guarantee anyone anything in this town – unless you went to Harvard. And it especially doesn’t guarantee that graduates know how to behave in the real world.  You went to Cornell I see. I went to Ithaca College – and I know many Cornelians, a couple of my best friends went to Cornell. So I know they have a great list of alumni – a wonderful resource for referrals and connections in the industry… But let’s put aside the education factor.

You’re absolutely right – a huge portion (not all, but much) of this business is about WHO you know. And you’re right, the major agencies do not accept unsolicited queries. But – they don’t JUST not accept them from minorities – they don’t accept them from ANYONE. It’s as colorblind a process as could possibly be.

And let’s examine WHY they don’t accept unsolicited material. Since I’m sure you have never worked at an agency, management company, or production company, you probably don’t know that a BOUTIQUE Agency gets about 100-400 queries per month.  So, any idea how many the large agencies receive? About 5,000 – a MONTH! From people just like you – writers too lazy to break in the hard way and instead demand the easy pass route to fame and fortune. Well, let me tell you – there isn’t one.  And if agencies DID accept unsolicited queries, the wheels of Hollywood would cease to grind because it would take too much time to go through them all and nothing else would get done.

Plus, the number of ridiculous lawsuits that would result would SKYROCKET and end Hollywood completely because litigious, desperate screenwriters would think – “Hey, I sent an unsolicited query letter about robots to an agent four years ago, so Transformers 17 must be MY idea that the agent stole and gave to his client.”  It’s not worth it – there are plenty of good ideas out there that the agencies don’t need the unsolicited ones.

The system is in place to keep people who aren’t made for this business, out. It is NOT in place to keep minorities out. Just ask the 4,500 WHITE writers a month who don’t get their queries read.

Of course, there are probably 40 OTHER agencies that DO accept unsolicited queries – have you looked into them? They are all listed on the WGA website. Of course, none of them will work with you now that you have sued the big agencies. But they would have. And since you know the business so well, I’m sure you know that the major agencies – ESPECIALLY CAA and WME -do NOT work with first time writers. They do not give people careers – they make people who already HAVE careers, into STARS! They do not work with baby writers and they do not take on people without any credits to their name. So, even if you DID get a referral to one of those agencies – it would do you absolutely no good. Instead of this lawsuit, why aren’t you spending your time working on your craft and trying to make connections at OTHER companies?

Speaking of which – ok – this industry is based on referrals. So – why don’t you have any? It’s not that hard to make them. And it is absolutely RIDICULOUS to think that everyone who has gotten a referral is RELATED to someone in this business. Bullshit. VERY few people actually get in through nepotism on the business side (actors, granted, are different). I certainly didn’t have any family in the business and neither did ANY of my friends who are all very successful in what they do in entertainment whether it be as an agent, writer, producer, etc.  To ask how one could have connections in any other way than familial relation just proves how little you know about this business.

It’s called NETWORKING, sir. It’s what this business is built on – and you clearly don’t do it, perhaps because you have told yourself that since you’re Black, no one will help you. Total bullshit.  You build your connections and relationships over time – through meeting and conversing – not through suing!

And there are plenty of minority executives and managers and agents by the way, not to mention African-American actors and directors who have their own companies and executives and are ALWAYS looking for new minority talent to work with and mentor. (Will Smith’s Company, Denzel’s Company, Tyler Perry’s Company, Spike Lee’s Company, Lee Daniels’ Company, Queen Latifah’s Company, Jewerl Ross, etc.)

And by the way, out of ALL the Disney Fellowship Winners last year- there was ONE white male. And he is one of my close friends – from Ithaca. Nickelodeon Fellowship winners last year? ONE white male. So, don’t tell me Hollywood is racist and there are no diversity programs.  PLENTY of people have launched careers from diversity programs in this town – and some of them – weren’t very talented.

And I’m willing to work with you – but first, I’d like you to answer the following questions I have:

1.      Do you live in Los Angeles?  (If yes, continue on. If no, then you have no right to complain because you’re not serious enough about the business)

2.      How many years have you been trying to break in?

3.      How many fully finished, polished scripts have you written?

4.      How many Cornell Alumni have you contacted and met with to develop those relationships?

5.      Have you looked at the WGA website for companies that WILL accept unsolicited queries and have you sent them your query letters?

6.      How many and which pitchfests have you attended? How many pitches have you given at these events?

7.      How many and what contests and fellowships have you entered? What contests have you been a finalist or winner of?

8.      How many classes and networking events in LA have you attended at places like Writers Store, Writers Junction, etc? How many WGA or Creative Screenwriting Mag or Script Mag events have you gone to?

9.      What screenwriting group are you apart of?

10.     How many and what internships have you had in the industry? How many agencies/ managers/production companies did you apply to work at as an assistant? Have you ever worked at any?

11.     What professional script consultants with Hollywood Outreach programs have you used to help work on your projects and query letters to make sure they are ready and professional?

If you can honestly answer all of these questions for me, I will make you a deal – I’ll read your script – for free – and IF it is good, I will pass it along to some of MY extensive connections at agencies and production companies (of course you’ll have to use a pseudonym because your lawsuit has probably gotten you blacklisted from most major agencies and studios). But if it’s really good – I will help you get to them. I don’t have a dog in this fight, and as you can see from my article and my website (www.nobullscript.net), I am honest and blunt – so if it’s good, I’ll be the first to say so! But…if your script is truly AWFUL – if it truly sucks and the talent just isn’t there at a professional level – you drop the lawsuit.

Deal?  I look forward to hearing from you.

JUSTIN:

Daniel,

Yes, the major agencies don’t accept query letters from anyone they don’t know.  However, the impact disproportionately affects non whites, since those who know major players in the industry are most likely going to be white.  According to the Guild, by 2011 only 5% of film writers were non white.  A low percentage compared to the general population.

In terms of there being many blacks who have their own companies in the industry, the most lucrative parts of the industry are summer blockbusters/actions films.  I can see only two black actors who have had significant roles in those genres in recent years, Will Smith and Halle Berry.  Queen Latifah, Tyler Perry, etc have yet to work on a film with top ticket sales like Pirates of the Caribbean, Harry Potter, Iron Man, etc.  Basically, they are on the fringe of the industry.  A number of black actors, including Miss Oscar Winning Halle Berry, have said they were turned down for certain roles because of their race.

In terms of answering your questions, and letting you read my best script, and agreeing to drop the suit based on whether you think my work is good or not, the answer is no.   Because this isn’t about just about me.   This is about a process which has a disproportionate effect on non whites.   This needs to continue through the courts, and they will ultimately decide either in my favor or against me, or perhaps the agencies will settle.  But I simply cannot settle with you.

And I would never send my work out with a fake name.  I always use my real name out of principle.

For the record, I do not currently live in Los Angeles, but I have. Didn’t meet any people powerful enough to do an industry referral.  I did work, and even had a few marginal entertainment jobs, but again, nowhere near one powerful enough to do a referral. So I’m happy living in New York.

Would I live in Los Angeles again?  Sure, if I had a good job lined up.  Los Angeles is an expensive city (high cost of living, plus one must drive) Not joining the other wannabes downtown in skid row.  LOL

DANNY:

Justin,

While not surprised, your response not only disappoints me, but it tells me what was obvious from the lawsuit in the first place- you don’t take writing or this business seriously enough and you are only in it for a quick pay off. You really have absolutely no idea how this industry works and instead of LEARNING it and working hard like everyone else – you just crossed your arms, and said “It doesn’t matter – I’m Black.”

I think the people who would take the MOST offense to your lawsuit ARE the minorities working in Hollywood because you’re right- they probably had to work a little bit harder than everyone else. But they DID it – and now they reap the rewards. And you won’t.

It’s fine if you don’t want to take my deal, but I would love for you to answer ANY of the other questions I posed. Any contests? Any pitchfests? Any alumni? Any script consultants? Any screenwriting groups? Any networking events at ALL? If not, then you’re just not doing YOUR job as a writer and therefore, you don’t deserve to get read or have a career. And if you didn’t notice, I gave you 10 steps – 10 critical things to do to break in. And I’m willing to bet good money you have not done more than 2 things on that list.

If you lived in LA (or even NY) and you couldn’t/didn’t meet ANYONE – then either you’re just the type of person no one wants to be around, Or you’re just clueless about how to deal with people. Because it’s IMPOSSIBLE not to meet someone out here. There are 10 writers at any starbucks at any given time you could talk to in this city. You don’t have to meet SPIELBERG to break in – you just have to meet SOMEONE.

Who cares if only 5% of writers are non-white? Do you think the white people in this industry won’t talk to you because you’re black? If so, then you are just another self-defeating racist yourself and you don’t DESERVE to be in this industry.

Tyler Perry is hardly on the FRINGE of Hollywood – he’s one of the highest paid producers/ directors in town and his movies (even though they suck) have made a TON of money. And maybe you’ve heard of Oprah? Owns her own network? You’re only seeing what you WANT to see- instead of the truth of the situation. There are SO many people out there who would have been willing to help you, but you didn’t ASK for help – you wanted fame and fortune at the highest levels or nothing at all. Well, now you have nothing. And I can guarantee – the agencies won’t settle with you. So, the ONLY thing you have done is RUINED your reputation and made yourself a Pariah in this industry whom no one will touch. And your lawsuit will RUIN chances for equal opportunity for minorities.

And by the way…Morgan Freeman, Samuel L. Jackson, Taraji P Henson, Denzel Washington, Chris Rock, Eddie Murphy, The Rock, Vin Diesel, Ice Cube, Jamie Foxx, Martin Lawrence, Tyrese Gibson, etc have ALLLL been in huge blockbuster/tentpole movies. So, your argument holds no water. You are just uneducated about this business.  Yes, they are turned down for certain roles – but so is EVERY actor – it’s part of the business.

Eventually, you’re going to realize all have you done with this lawsuit is destroyed any chance you had at a career, and set back the movement of non-whites in Hollywood 10 years. If you can live with that, great. But realize this – a white person working IN the industry who has great contacts and reputation OFFERED to help you, offered to read your script and get it into the right hands, and you turned it down because of your “principles.”  So just MAYBE we’re not ALL bad, and it should make you think about what your principles really are.

JUSTIN:

Dude, when I was in Los Angeles I was working 10 hours a day, at times, and commuting 3 hours a day.

I had bills, including rent to pay.   Maybe because I had a job I didn’t have that much time to lounge around starbucks?   Yes, if you’re a rich white heiress like Paris Hilton who doesn’t have to work, I suppose you can go to the most expensive clubs, party all night, and meet all sorts of people in the business between gigs.  I wasn’t in that category, and didn’t have that opportunity.

DANNY:

Justin,

You’re not getting it – EVERYONE works 10 hours a day. It’s industry standard. We ALL have bills to pay! It’s those who work HARDER than that who make it. It’s those who work 10 hrs a day and then go home and read 2 scripts a night or write for 3 hrs a day that break thru. And I never said anything about clubs or partying – do I look like a hot, rich heiress to you?? Do you really think that’s all white people do? You went to Cornell – you should know better!

Please, let me post our correspondence – let’s open up the discussion you say is so needed! What do you say?

JUSTIN:

I never said all whites party all the time.  You were the one bringing up the networking, the meeting people, and living the fabulous life in Los Angeles.  You were saying I didn’t do those things, that I’m not a social person, and that’s why I didn’t meet anyone important.  So, from what you were saying, you seemed to have unlimited time to just meet people.

Some of us, after working 10 hours a day and commuting 3 hours, need SLEEP. Also, I didn’t have a job that deal with scripts, so why would I read two scripts a night?   I don’t know what you’re talking about.

DANNY:

Exactly, you dont. Listen, because I really am trying to help you – If you want to be a writer, you should be reading scripts constantly and writing as much as you can – that’s how you learn. Doesn’t matter if your job dealt with scripts or not. I never said anything about living the fab LA life – I certainly don’t. I’m talking about going to Business events where there are networking opportunities. Pitchfests, screenwriting groups, classes, screenings, etc. Some are even free or on the weekend. Networking doesn’t equal partying – that’s not how you meet people and forge relationships and maybe that’s where the misconception is. Of course we need sleep – I love my sleep. But when I moved here and got my first job, after working my producers assistant job from 830am-7pm, I then went to “drinks” with other assistants and execs and got to know them to build my contacts. And then I got home at 830 or so and would read 1-2 scripts a night. And that is what people do. There is no shortcut.

I’m sure commuting was a bitch – but this is LA – commuting sucks. You deal or you move closer to work. I’m saying, it seems like you have a very skewed idea of what Hollywood is and how it works and never really tried hard enough through proper ways before reverting to suing.

JUSTIN:

I have read scripts, produced scripts of films, I was an office pa for a film so I read that script.  I’ve read books on screenplays and done screenwriting workshops.  And I have participated in peer review exchanges of scripts, on triggerstreet, zoetrope, and on Amazon Studios.

You can read reviews of my scripts, my posted scripts, and other scripts on those forums.  My works went through different stages, so some things posted are early drafts, others are much later drafts in response to what feedback I got.

And yes, you can post our correspondence.