The Optimist's Straitjacket

What is voice?

Have you ever heard a commercial and recognized the celebrity voice narrating it? Celebrities do it all the time. Morgan Freeman, Christian Slater, Gene Hackman, and Keifer Sutherland have all lent their voices to commercials. Why do corporations pay extra for these people when they could use your average announcer? Because of their unique and recognizable voice.

Voice is something that comes up a lot in screenwriting. One day I was speaking with the a prominent VP who helped usher a number of Hollywood hits to the big screen. His single biggest emphasis for a good piece of writing was on the writer's voice. A few weeks later I had a manager tell me the same thing.

Here's another good example pulled straight from Variety.com

Summit Entertainment picked up dark comedy "The Beaver," penned by Kyle Killen.

"We bought the project because it's told in one of the most unique voices ever," said Erik Feig, Summit's president of worldwide production and acquisitions.

It seems to one of the most important things and yet there's really nothing written about it. Why? Because you can't teach voice. It's individual to the writer. What is surprising is how hard writer's work to blend into the pack. They toil endlessly over formatting and try to look just like every other piece of writing. The truth is you need to stand out. And I'm not talking about changing your fonts. I'm speaking in terms of story and how it's told.

What is voice? It's the idiosyncrasies in your choices as a writer. The subject matter. How you tell it. And most obvious, the dialogue. Think of these writers: The Coen Brothers, Charlie Kaufman, Quentin Tarantino. Granted these writers are a bit more unique then the average Hollywood writer but they're bleeding with voice.

Write the stories that only you could write, and do it your way. If someone else can write your story better then you then they don't need you.

Find your voice. Then scream.

Jeffrey Stoltzfus
fuswork.com

Aug 21, 2009 2:33 PM | Link | Comments (0) | Add Comment | Report Content

What's in a name?

I've seen too little and too much attention given by writers when it comes to naming their script. But how important is it really?

Wes Craven's original title for his 1972 film was Night of Vengeance. Later it was released as Sex Crime of the Century. Almost no one went to see it. The name was changed to Last House on the Left and suddenly lines stretched down the block.

Anybody see the films Pride and Glory, We Own the Night, Fracture, Next, Body of Lies? These are all big movies with big time movie stars. All released within the last few years. Anybody having a hard time remembering the trailers for these? They're not bad titles, but they're also not very memorable. I call them invisible titles. They're generic. Let's try it again. Eternal Sunshine of the Spotless Mind, Thank You For Smoking, Little Miss Sunshine, Harold and Kumar Go To White Castle, No Country For Old Men, Death to Smoochy, The Devil Wears Prada, Snakes on a Plane. Come on, man! Snakes on a Plane! Samuel L. Jackson even admitted that's the only reason he did the film. Because of the title. But now you think it's only long titles. Let's try it again. Fight Club, Mean Girls, Ghost, Die Hard, The Sting, Witness, Rain Man, Jarhead, The Matrix.

The point is: titles matter, a lot.

Now don't get so concerned about it that you don't actually write the thing. You can always name it after you've written it. But don't let it go out the door without a title that grabs you. I pride myself on good titles. Like many writers, I have a notebook I write ideas down in. I also write titles. My last three screenplays were titles in my book long before I ever came up with an idea for them. When I finally get an idea I probe the book looking for titles that fit.

Now a lot of people will tell you that a short title is preferred. But as you saw from my previous examples it doesn't really matter. Here's the test of a good title.

1. Does it draw a mental picture for you?
2. Does it imply the tone of movie?
3. Can you remember it twenty minutes after you've heard it?

If your friends have a hard time remembering the name of your script, change it.

Jeffrey Stoltzfus
www.fuswork.com

May 20, 2009 2:47 PM | Link | Comments (1) | Add Comment | Report Content

Movie trailers in decline.

I'm a fan of movie trailers. They're quick little bursts of hope. And over the years I've prided myself on becoming incredibly accurate when judging a movie from its trailer. Saved me from quite a few horrors in the theater (only to see them later on cable with a self righteous smile).

However lately I've discovered a disturbing trend. The television trailers have become increasingly vague as of late. They show snippets the movie - but not the plot - and then focus on the cast (and any awards they seem to have won, ever). This is nothing new as far as using stars to sell a movie. But this new trend of avoiding the story (aka the movie) isn't going to pull people to the theater.

Let me pepper you with some examples. I first noticed it with Nicholas Cage's action movie Bangkok Dangerous. The television trailer showed Nicholas Cage's character shooting everything that moves followed by his V.O. of "My name is Joe. This is what I do." Oh well sign me up. I can't buy enough tickets for this one. And how did the movie fare? Not well. It topped the first weekend with such a low number (because nothing else was out) that it would have been buried during the summer.

The crappy trailer phenomenon continued into other movies: Righteous Kill, Body of Lies, Pride and Glory, Nights in Rodanthe, Miracle at St. Anna. I'm not saying any of these movies are crap. And maybe their theatrical trailers were much better. But the state of television movie trailers seems to have shifted from quality to confusion. "Just show the stars." seems to be the new order.

Or maybe they're just trying to hide the fact that all these movies are terrible.

Oct 4, 2008 6:36 AM | Link | Comments (3) | Add Comment | Report Content

Year Two

One year ago I decided I wasn’t doing enough as a filmmaker. Never mind the four scripts I had written, two of which I directed. After long hard reflection I decided to dedicate myself to learning everything about screenwriting. I labeled this Year One. Everything prior to this mark could be considered B.C., before consciousness.

When I was a young man I hated reading. I read very slowly and had no patience. It would take me months to read one book. In the past year I’ve read more books than ever and I'm reading faster than ever. My record for finishing one is four days. Mom would be so proud.

I also watched every DVD I could get my hands on. Not just on screenwriting and selling but also great classic movies I’ve been delinquent in viewing. Some of my favorites include On The Waterfront, Sunset Boulevard, and Lawrence of Arabia.

So what do I have to show for 365 days of effort? The first thing I learned was that it is infinitely harder to make it as a screenwriter than I previously thought. Kind of like the lottery on crack. The second thing I learned was that I was not as good as I thought. With this combo of realizations it would be easy to pack it in and call it a day. Many do. But not me.

I’ve now completed script #5 and I’m working on script #6 and #7. My writing has drastically improved. I see things much better, much clearer. Has it gotten easier? No. It’s gotten harder. But I’m not looking for easier, just better. An artist should always be a slave to his art.

With this improvement and a new level of confidence I’m ready to set goals for the future. The goal for this year is use my three newly polished scripts to find an agent and manager. I suspect the hunt will begin in the fall. What will follow is presumed to be the standard rejections, eventual small victories, pitching, and countless debatable rewrites. Will I then call it quits?

I seriously doubt it.

Apr 7, 2008 2:19 PM | Link | Comments (3) | Add Comment | Report Content

Final Draft VS Movie Magic Screenwriter. The software debate and other rants.

This is the type of blog that could get posted once a month. As a screenwriter (among other things) and Writers Store employee I am entrenched in the debate of which screen writing software to purchase. Is Final Draft the best? How about Movie Magic Screenwriter? What about the newbie Montage?

The often used analogy is “It's Coke versus Pepsi,” or rather they're pretty much the same thing.

I've run the table on screenwriting software. I’ve measured margins myself on a word processor, worked with Word add-ons, Movie Magic Screenwriter, Final Draft, Movie Outline, etc.

These days most people are torn between Final Draft and Movie Magic Screenwriter. The third horse in the race is Montage, a Mac only screenwriting program. (PC capability is in the works)

So how do they stack up?

Final Draft: Used by most of the industry. These days it's almost the “Michael Caine” of scriptwriting software… In more movies than not.

Movie Magic Screenwriter: Also used by major industry people. It now comes with an integrated outlining tool. It can also be activated on three computers at a time, as opposed to Final Draft's two.

Montage: The new kid on the block. It can import and export Final Draft files. My favorite feature allows you to select at will which version of a scene you want to include in the script. This allows you to save several versions of a scene with the same script instead of forcing you to save file after file of different draft versions.

So who is the best?

Sorry to disappoint you. I can't tell you because it's “Coke or Pepsi.” They all format your script according to Industry standard. They all come with preloaded templates. They all save to PDF. Once you print your script no one will have any clue which program you used.

They are all good.

I've seen people debate feverishly over which one is better and why. Here's a neat little experiment. Tell somebody you're thinking of moving but aren't sure where. Notice where they tell you to move. Near them. (unless they secretly don't like you) Ask somebody else. Probably the same result. Why should you move where they live? Why should you use the same screenwriting software they use?

Because it validates their choice.

Here's a conversation I've had in the past.

Guy "Are you a writer?"
Me "Yes, I am."
Guy "Do you use a Mac?"
Me "No, I'm on a PC."
Guy laughs at me and says "How do you write?"

This exchange had nothing to do with writing and everything with making this individual feel better about himself and how he spent his money. I could bang out a script on a typewriter if I had to. It would be annoying as hell, but I could do it.

I personally write with Final Draft. Why? No particular reason. I just do. These programs primary function is to format your script so you spend your time worrying about your story and not margins. No one has ever put down a script and said, "The story sucked, but crap if the margins weren't stupendous. Let's pass this bad boy on up the ladder."

And as much as they all do the same thing they also don't do the same thing. They do not write your movie for you. No such program exists. These programs are a tool. They are not knowledge. For that you will need to seek a book, or a program, or someone willing to tell you about the nature of theme, structure, and character. Don't be afraid to learn because your competition isn't.

So don't sweat over which screenwriting software to buy. Just pick one and write that script.

And when you're done have a coke and a smile.

Unless you like Pepsi.

Jan 28, 2008 1:55 PM | Link | Comments (1) | Add Comment | Report Content

The calling card

A lot of people talk about making a project that is a calling card. Whether it be a short film or that one "perfect" spec script. A flag you can firmly plant and say, "This is me. This is what I do."

I've shot shorts and I've written scripts but I always felt that if you want to direct a film, you can do it. Just have the balls to get it together. In fact I've done it twice now.

My second feature length self funded indie film is called Victim's Song. It just played its first film festival, The Big Bang Film Festival. It is also receiving some good praise from industry professionals.

Now I could debate the state of independent film and festivals for hours. It's not in the best shape these days. But in an industry of what-have-you-done I would always suggest to just go out and do it. Dreams are infectious and I had no problem attaching cast and crew to mine. Even across the nation in Philadelphia. It can be done.

And so I write on.

Check out Victim's Song at www.victimssong.com

Nov 2, 2007 11:27 AM | Link | Comments (0) | Add Comment | Report Content

Never Enough

I've finished script number five. Hooray for me. After my most recent draft, a practically page one rewrite, I feel confident. I only forsee one more polish in the future. But I'm taking a month from it to read more books and ruminate about script number six, which has already formed a story and place in my head. Hell, I've got seven and eight sitting on deck too.

Currently I'm reading Screenwriting: The Sequence Approach and Story by Robert McKee. But as I wonder through the Writers Store I can't help but see book after book I feel compelled to read. I have the same problem when I'm on netflix, adding movie after movie to my Que.

It seems as though I cannot write fast enough, read enough books, watch enough movies, or even relax enough. There has to be some name for that. Some personality type or psychological profile I fall into.

Does anyone else have this problem? Granted there are worse things to suffer from than ambition and a healthy work ethic.

Sep 14, 2007 11:24 AM | Link | Comments (2) | Add Comment | Report Content

What's in a name?

I’m hacking through my outline with a machete and trying to apply all thought I’ve recently learned. Everything looks good and I’m eager to start draft number three. However there is still one thing that stabs in my brain. What to call it?

Many say that a name is the least important thing in a script. They are right in the sense that it should never be an excuse for you not to write.

However, a name is everything. People do judge books by their covers and people do judge scripts by their titles.

Have you ever had a conversation with someone where they reference a title and you have absolutely no clue what that movie is, or even who’s in it? Some titles are generic and easily dismissible. Failure to Launch, Next, Panic, Someone Like You. Other titles spike your attention. Black Snake Moan, Pulp Fiction, Confessions of a Dangerous Mind, Die Hard. I don’t know anyone who actually saw Snakes on a Plane but everyone knew about it.

My particular working title was, Craven. I figured the word itself was a nice little one word title that would conjure images of fear. At the very least I figured people would associate it with Wes Craven and get a sense of the movie’s mood. Instead I found myself in conversations like this.

“Craving?”

“No. Craven.”

“What’s that?”

--Sigh. (where’s a dictionary when you need to throw one?)

Obviously not a good title if you find yourself having that conversation more than once. So the hunt for a new title began. What’s more the first draft of my horror movie had somehow turned into a thriller. How did that happen? Not to worry though. I love thrillers and I hate horror movies. Oh. That’s how it happened.

I began an extended effort with the thesaurus, dictionary, and bouncing ideas off of my co-workers. I kept coming close but it just wasn’t right. I have easily named other scripts. Titles that I am very proud of. Why was this one so hard?

There was one title in particular that I loved but I had not tested it on my crew. I guess I was too afraid to have it shot down by my friends. But in desperation I served it up with a lackluster pitch. My friends perked up. What was that? And just like that I had my title. It was perfect.

So how did I arrive at my newly beloved title? I’ll tell you because it’s not the first time I’ve used this method to name a script.

If you’re having title issues try this. Forget about the story, the idea, or the theme for a second. Pin point that one spark that caused the story. What was the motivation for there even being a story? Often this will lurk within the antagonist. Other times it could be an object or the protagonist’s flaw or want. Whatever it is must be simple.

Once you find this simple motivation you can use your talent to translate it into a wonderfully creative title.

Jul 2, 2007 2:58 PM | Link | Comments (1) | Add Comment | Report Content

Seriously Serious

Year One.

That’s what I’ve labeled this chapter of my life. I’ve always been a writer but I’ve never actually dedicated myself to it. I’ve always written simply so I could direct. Directing is my number one passion. I love the communication, collaboration, and energy of directing a movie. I love telling stories. I was even crazy enough to produce two of my scripts into movies. Hence I am broke.

Currently I am hunting for a distributor for my most recent film, Victim’s Song. I have become a storyboard artist for hire. This is sometimes a fun job and helps pay the bills. However my heart still lies with directing. So since Victim’s Song didn’t break through into Sundance and rocket me into my next movie I have to make a new plan of attack. (a whole other blog could be written on the state of current film festivals and independent films)

I have decided that I need to write something that I can attach myself as a director. I know what you’re thinking. “Good luck, buddy.” (with a sarcastic ring to it) The goal is long term.

I have been inundating myself for the past few months with every book on screenwriting I can get my hands on. I’ve started from scratch and dedicated myself to studying every detail.

Already I can look back at my past five scripts and say, “Oh.” I see now what I must do. I see how to get better. Sometimes you have to strip yourself down to the basics and rebuild. It seems funny to find Year One after five scripts.

I've always felt that I've had the talent. I see now that I lacked the skills. Which I suppose is a good thing because anybody can learn a skill but talent is inherent.

So my journey begins. Let’s see where it takes me.

Jun 23, 2007 9:46 AM | Link | Comments (1) | Add Comment | Report Content