Ask a Question
If you have a question about screenwriting, the entertainment industry or the projects I’ve worked on, then chances are I’ve answered it somewhere on the site. You should try –
- the search function in the upper right corner,
- the index of frequently asked questions, or
- the glossary.
If you still can’t find an answer, please feel free to write me at ask@johnaugust.com.
IMPORTANT:
- Please include your first name and location (i.e. Tom in Bristol, England).
- Your question may show up on the site.
- I can’t answer every question. Sorry.
- I won’t read your script, your treatment, your query letter, etc. Sorry. Not only is that legally terrifying, but I wouldn’t possibly have the time.
- I don’t answer private emails, such as, “please write me back at joeblow@acme.com.” The purpose of the site is to help readers learn more about screenwriting, and answering questions privately doesn’t help the reader-at-large.
Many thanks,
– John
September 10th, 2004 at 9:07 pm
Hey there!
John…I just had the unfortunate happen–the dog pulled my laptop off the table by tripping across the power cord. Yeah. Anyhow, I lost a bunch of screenwriting materials because the fall damaged my harddrive beyond repair. I’m learning the VERY hard way that backing up is not just a good “insurance policy” but a MUST. I thought it might be a subject you might shed some light on from your personal experience.
Thanks!
Eric in Indiana
September 12th, 2004 at 1:36 pm
Eric,
depending on your operating system backing up shouldn’t be much of a task at all.
regardless of your OS, i find the easiest way to keep scripts and versions in order is to rename the file every day you go to work on it. so 20040912TaleOfTwoCities.doc and just change the date every time you work on it. That way if you say ‘jeez I liked how this scene went better in mid-august’ you can just pull up that version. Do NOT always save over the same filename. One file write error and your whole script could be corrupt.
Then burn a CD of your documents folder once a week at the very least. If you have an external hard drive, back up to that daily.
If you are using a Macintosh, pay for .mac service. It’s worth it. You can back up to the apple servers as often as you want. And with small text files like scripts you can have an entire history of your scriptwriting on a hard drive somewhere else that you don’t have to worry about, the data is safe.
I also highly recommend final draft. It makes writing easier and more fun as well as does some backing up for ya. I’m not sure how often but theres many many files of your script in the backups folder for final draft.
-Dan Detroit, MI
September 12th, 2004 at 2:13 pm
Hi John, I was wondering how I could personally get on the e-mail list to receive the periodic UTA job list. I worked at Palm Pictures and Sanctuary Records as an intern formerly, and received the UTA list from Palm in June, but by the time I finish law school, the list I had will be obsolete, and I need the new information. How do I subscribe?
Andrew
September 13th, 2004 at 1:19 pm
Dear John,
I find your site to be a great tool, with many inciteful tips and tricks. Thanks for keeping it relevent.
My question involves SPECIFIC LOCATIONS. How specific can I get without it becoming a problem? For example, What if instead of a murder in a “nice city hotel”, I set it in the Four Seasons Chicago, for example, is it legally alright for me to do that?
I’m sure the Four Seasons wouldn’t appreciate a memorable murder scene set in their hotel lobby, but what’s my other choice? Create a fictional prestigious hotel called the Five Seasons to give me total creative license?
I know movies in the past have been specific about locations, etc. Did they secure permission after the script?
I need better clarification of the boundary lines. So that when I cross them, it’s something worth the trouble.
Thanks and continued success.
Matthew Bradley Chicago, IL
September 14th, 2004 at 6:52 pm
Hi John,
I searched through your archives and I didn’t see an article that related to my question, but I may be wrong. If so, I apologise.
I am about to begin work on a new draft of a script of mine that is currently under option with an Irish Film Production Company. I have been seriously writing for 2 years (since finishing up my Film & TV studies at college) and haven’t to this day had to rewrite one of my scripts based on outside suggestions.
I was just wondering, what tips you would have on re-writing? Are there any tips? Is there even a standard way of re-writing at all? How should I attack this new challenge?
Thanks for the site. I love it.
Kevin Lehane Cork City, Ireland.
September 16th, 2004 at 10:40 am
Hey John I was wondering if you have any more prewriting materials, such as outlines from previous screenplays for you to post on your website?
September 16th, 2004 at 1:08 pm
Hey John,
I have like 10 story ideas. Some I have written into short stories others are just notes on paper. The problem is that everytime i sit to try and write them as screenplays I get stuck. I have the scenes but they don’t seem to connect or I have the beginning and end with no middle. I keep moving from idea to idea with nothing complete. I was wondering if that’s happened to you and if so how did you remedy the situation?
Thanks for such a great site,
Travis
Wilmington, NC
September 17th, 2004 at 11:26 am
Sorry I forgot to add location: My question from earlier about sample option contracts and where to get them came from Oliver in: Oxford, England
September 17th, 2004 at 8:07 pm
i would like to option a play. the version i have is a translation from the original language the play was written in. apart from optioning the play, what will i need to do in order to be allowed to use the english translation? john newbeck, new york
September 19th, 2004 at 1:47 pm
Thanks for taking my question.
I have a screenplay idea but very little time to write (full time job and two small children at home). How would you recommend my approach to getting the nuts and bolts of the screenplay idea down on paper? I was considering writing a one or two page treatment.
Once I had that, perhaps I could shop it around to see if there is any interest. If it blows, then I only spent a smallish amount of time on the treatment.
Thoughts?
Miles, Los Angeles
September 20th, 2004 at 6:50 am
Dear John I have written a book which i find very interesting and good story but i dont know how to find a buyer, you can maybe assist me by helping me to get some agent who can contact me.
Thanks for your great site, short but deep tools.
Sirencely !
September 20th, 2004 at 1:05 pm
John,
Love your site; thanks for all the help. I searched the archive thoroughly and I hope this question hasn’t already been covered.
You broke in with “Go,” a well-written R-rated spec script. Most of my specs are R-rated dramas dealing with controversial subjects (All of them have a strict, classic 3 Act structure). Would it be foolish to write a mid-to-high budget, R-rated spec (say about Iraq, Rwanda or another controversial subject)? Do writing samples really work?
September 20th, 2004 at 7:13 pm
John:
I was wondering what your background was before being accepted into the Peter Stark program at USC? Did you have a film resume or did you get involved in film through the program?
I have a stong passion for film and currently hold a business degree. I am very interested in the USC program. I am very curious to get a feeling of what a typical incoming student might posses. Thank you very much.
Jason
September 22nd, 2004 at 12:07 pm
HELLO JONH
I WORK IN AN AGENCY OF PUBLICITY SAATCHI & SAATCHI IN MEXICO. STUDY SCREENPLAY AND DIRECTION OF MOVIES, AND I HAVE VARIOUS PROJECTS WRITINGS. ALWAYS ASK ME FOR MY AGENT, BUT I do NOT HAVE. IS VERY IMPORTANT TO HAVE AN AGENT?
THANKS SO MUCH
JOAN
September 22nd, 2004 at 12:56 pm
Hi, I am trying to view the script for Big Fish but when I click on the link,there is just information that states that the information couldn’t be found. If there is a specific URL that you could email to me that contains this script, I would very much appreciate it. Thanks, Julie
September 22nd, 2004 at 3:25 pm
Dear Sir, Are you aware of any discussion regarding the fact that “Lost in Translation” is a rip-off of Haruki Murakami’s novel “Dance, Dance, Dance?” Thanks.
September 25th, 2004 at 1:48 am
I’m breaking all the rules since I don’t have any ruminations on the pros and cons of Courier 12 pt. I just wanted to say thank you for your work. ‘GO’ is simple and brilliant.
September 28th, 2004 at 8:37 pm
John,
Do you have any more examples of any treatments or outlines that you did for your scripts?
September 30th, 2004 at 2:22 am
Mr. August, What are your thoughts on the works of Fellini and Visconti? If they were alive today what script from your catalogue would you most like to see them direct?
Also, what do you prefer working on most: assignments or spec scripts?
Thanks, Jason San Jose, CA
October 1st, 2004 at 6:47 am
John,
Big fan, so I have 2 questions coming at ya’:
1– Assuming you have an agent, manager, lawyer and all the other “must haves” to sell a spec, do you think it’s wise for your reps to take the material “wide” (20-30 producers) or for them to slip it to individual producers 3 or 4 at a time in order to sell the piece?
2– And, just curious, how did “Go” get set-up?
Alexander NYC, NY
October 3rd, 2004 at 11:42 am
Dear Mr. August,
Thanks for a wonderful site and the world’s best film ever made (Big Fish). During my screenwriting process, I have encountered something called “I/E” which I can’t find in your glossary. So my question simply is; What does it mean?
Thanks for any help, Mats Gothenburg, Sweden
October 4th, 2004 at 8:33 pm
I’m on the last few pages of my latest spec script (historical), and just found out that two weeks ago, the same subject matter was sold as a pitch to a major studio. Does this effectively kill my chances of ever selling my script? Or does a pitch sale not necessarly mean that a film will actually be made? Could this be a positive thing? For example, the story is clearly marketable (since it got sold), and perhaps another studio would be interested in being first to release a competing picture.
Your thoughts?
October 5th, 2004 at 6:05 pm
Hey John, I’m a big fan, admirer and long time reader of your site. I have more of a request than a question. I saw that Adam McKay, who is currently writing the movie Talladega Nights would be at the Austin Film Festival with you. If there is any way you could convince him to shoot his entire movie in Alabama as was Big Fish, I along with all Alabama film fans would be very very grateful. Thanks so much and keep the great advice coming, Chris Cate
October 8th, 2004 at 10:20 am
John, I have a hit a roadblock with one of my scripts and am unsure of what to do. It has been requested by a number of different companies but ultimately not bought or optioned. I’ve received letters ranging from no explanation on why it wasn’t selected to “you captured the essence of” but were not interested.
Obviously, there is something wrong with the script. I think the story is very good but I’m not sure the dialogue is strong enough. What is a good barometer of what is good dialogue? I under the process of getting a script bought and made is extremely difficult and quite subjective. I’ve been in the newspaper business for 13 years and know quite a bit about the writing and editing process so I would have no problem with changes and improvement for the script. I’m all about making it the best product possible.
Or is it possible that the script is in decent shape but the RIGHT person hasn’t read it yet? I hesitate to make wholesale changes without knowing the exact problem, if there is one.
Any answers you could give would be helpful.
Thanks
Craig in Detroit, Mich.
October 8th, 2004 at 10:34 am
John, I read that you and Mechner are working on a particular project. I am a former Ranger/Special Forces Operator. I have the docs to prove it and since my leaving the military have been working in the film industry as a consultant. I’m very interested in this project.
I am sure you’ll find my references beyond reproach.
Warm Regards, Ron Blecker
October 14th, 2004 at 6:51 pm
John, Have I screwed myself? I’m a new writer—recently had screenplay do well in competition and have optioned the work to a trusted producer. Have a manager that is working as my manager but no under contract. Now, I’m getting e-mails from other management firms interested in my work. I’ve got (1)a producer attached to my work, (2)an individual that is “acting” as a manager under no contract, and (3)other people knocking at the door…Have I screwed myself by optioning my work? Is it unethical or maybe even dangerous to have multiple managers viewing my work? Your grateful newbie, PODGE
October 16th, 2004 at 10:39 am
Hello John:
I’ve been working on my very first screenplay for a very long time now and am not through with the first draft. I have the basic workings of the story. However, I’m unable to get past 60 pages of writing. What I once thoguht was a good idea for a story about redemption has lost all its shine for me. Am I afraid to admit to myself that my story isn’t a very good one for a film? Or, do I need to keep at it until I break through my stagnation? Or, should I sock it away in a drawer, work on another one of my ideas and come back to it later? Thanks for your advice and direction. Vincent
October 20th, 2004 at 10:59 am
Mr. August,
I need your advice: I have a ’six-degrees’ Industry contact (in-law of a friend of a friend) who is a producer and I would like to send her my screenplay. My hope is that she will consider it herself or at least forward it to someone who will if she thinks it is good work.
Since I don’t know her personally, what approach would you recommend? I considered having my friend deliver it to her on my behalf but I’m not sure if this is too forward an approach or there are any legal issues to consider.
Thanks for your time.
-Doug
October 20th, 2004 at 11:27 am
Hey John,
As they say, cut to the chase…
I’m writing commercial spec scripts and I know why I’m writing them. I want a sale. I want to break down the door. And I want to land future writing assignments. I want to be a paid screenwriter. Period.
But ultimately I don’t want to just spew the high-end / low-satisfaction scripts all my career. I love screenwriting, but I also love creating interesting stories. I am writing commercial scripts just to break in. Is this the wrong approach? Am I misrepresenting myself when I look to sell a romantic comedy script but have no plans to write future romantic comedies?
The means to the end, John.
Thanks for your advice, Matt Bradley
October 20th, 2004 at 10:59 pm
Mr. August
I would like to know your thoughts on sending spec scripts to production companies. I would like to write a spec for a show currently airing. Is this a good, or even possible way for a new writer to get a gig? If so, what should be included with the script when I mail it?
thanks a bunch
Steve Watkins
Los Angeles, CA
October 21st, 2004 at 4:20 am
I have so many questions I need answers for but all of those can be asked elsewhere as they’re more techinal side of writing. But my question indeed is about the writing itself.
I love metaphoric language. Could you read The Hours without any of them? No. What about any books by Virginia Woolf. No. But my question goes here: Can you write a screenplay with metaphoric language? Example: The sun goes down –> The gates of heaven are closing as the sun slowly disappears to eternity, only to be found there the following day. The silvery clouds are the last barriers the sun has to face before it can lay to rest, at least for a while.
Am I wasting space (and obviously my talents) or perhaps going to impress the producers? You might ask why I’m not going to be a novelist instead. I love movies. That is my reason.
October 23rd, 2004 at 4:38 am
Dear sir,
Please,did you you have some news about Tarzan project ??? Thanks in advance
October 28th, 2004 at 8:12 pm
Hey John. First off, congrats on Big Fish. Superb movie script that really worked out on the big screen. Second, I intend on playing the roles of the scripts I write. Is there anything I should be aware about if and when an agent, lit agent, is considering my projects?
November 3rd, 2004 at 9:22 pm
John - Good meeting you a few weeks ago and talking about travel (Seoul and Korea, etc.). Enjoy the site, especially the skeletons.
My question: any especially key works (scripts, books) that you found helpful/revelatory as you began writing?
Thanks.
November 4th, 2004 at 11:05 am
Hi John
As briefly as possible, I’ve written a short that has been shot and is currently making the festival submission rounds, including Sundance. I was lucky enough to have Christina Applegate and Chris Klien as well as some other celebrities make cameos. Johnathan Schaech is the producer and Cameron Thor was the director. I am currently still waiting tables.
What do I do now? General submissions to agents w/ the DVD? Wait till I get into a festival and network? I have about 4 other unproduced screenplays and plenty of material. All I know is that I gotta stop asking people if they would prefer corn or flower tortillas with their meal.
Any suggestions?
Thanks
Christian in Los Angeles
PS I enjoyed listening to your commentary on C.A.2 Full Throttle. Congrats on getting to do one.
November 5th, 2004 at 2:53 pm
John,
I enjoy your website. Thank you for it.
Now, being the successful screenwriter you are, I imagine people must throw crazy ideas for stories your way. I’m only semi-successful and as soon as people hear I’m a writer, I have a thousand unexecutable and/or uninteresting stories tossed at me.
My question: How do you politely tell them their ideas are really not that good? I used to go with “That might make a good novel,” or “Wow, let me know when you finish the script. I’d like to read it.”
Well, I won’t be using those methods again. I’m stuck reading a book I don’t like and I have another guy begging me to read the first ten pages of his Action Thriller.
Pardon me if this comes off as pretentious. Just curious what you do in similar situations.
MStarr - Twin Cities, Minnesota
November 9th, 2004 at 11:47 am
Hello. Someone posted this question above… maybe majority wins… Are there any books or resources you recommend for someone just getting started?
November 10th, 2004 at 11:04 am
Dear John, Love the site. Very helpful. I was writing a screenplay recently, and am nearing completion. How would I find a buyer w/o an agent and with no movie experience or education? Is this possible?
November 12th, 2004 at 10:36 am
Dear John:
I see quite a bit of useful info in your archives about page length and script length, but how about scene count and scene length? Is there a general rule for those?
Thanks, great site. Tom
November 15th, 2004 at 1:20 pm
Dear John,
I have created a reality TV proposal, and it had you in mind. It is basically an “American Idol” for actors. And, when we get to the finals, our finalist will be involved in short films. My original thought, and hopefully you would share the same interest and perhaps want to be involved, would be for the short films to be penned by well known screenwriters such as yourself and be directed by unique and successful directors by the likes of Sofia Coppola.
I was wondering if this sounds interesting to you, and if there is a opportunity to discuss the matter in further detail.
I know it’s not your policy to email, but I feel this show has great potential with the help of visionaries like yourself. Thank you.
J’hon Christopher Williams
November 19th, 2004 at 4:22 am
I am optioning my treatment to a young producer and I will then write the screenplay. We are negotiating the contract at the moment.
As she is a new producer she can only offer a tiny amount of money so I have negotiated that:
She will have 18 months and then I regain ownership (without having to buy it back, though I expect there will be some kind of turnaround clause).
I shall be invited to all head of department meetings.
I have approval of director and of further writers.
…As I understand it approval does not mean that I can say I want this director - but that I can say I don’t want that director. Negative approval if you like.
My question is - does this sound like a pointless thing to have (it was a choice between this and more money!) - would I be better off seeking a co-producer role if I wish to have any control?
—or even should I retain any control/involvement in the process? Would that scare off financiers?
In case it makes any difference I don’t expect the budget to be more than ¬£2m / $4m.
November 20th, 2004 at 12:10 am
Hi John, First, big thanks for this site. It’s a huge help and very much appreciated. My question pertains to P.O.V. I used to see it quite often in screenplays now I hardly see it at all. Has it been denounced as “directing from the page” or is there simply a better format? Can you suggest some formats to denote a characters “point-of-view”? Thanks again.
November 23rd, 2004 at 12:20 pm
Hi John,
http://chocolatefactorymovie.warnerbros.com/ has the poster art for Charlie and the Factory up now…looks very cool.
November 30th, 2004 at 5:01 pm
Hey John,
Just curious, what blogs/websites do you frequent on a daily basis?
November 30th, 2004 at 5:03 pm
Forgot to add my location to previous post.
Dave Los Angeles, CA
December 3rd, 2004 at 12:47 pm
Hi John,
My question is about title pages on specs. I’ve seen published screenplays with the title printed in a more “interesting” font and also as a logo, as with your “Go” script. I was wondering if this is acceptable on a spec to grab attention or if this was just something done after the script was sold.
Mike
Los Angeles, CA
December 5th, 2004 at 2:00 am
John- i just wanted to thank you for this site. I am confident that at some point my writing, visions and passion will on the big screen and when i do i will thank you again. Scott
December 6th, 2004 at 1:59 pm
I’m having trouble “letting go” and just pouring it all out on the page. I feel like inside there’s all this stuff rolling around and if I could just get it on the page, it would be great. I’m not just talking about feelings or emotions or even matters of great importance, but stuff like weirdness.
Does this make sense? If so (and this is the real question) what steps must one take in order to “let go”?
Thanks.
Jim Dallas
December 6th, 2004 at 6:55 pm
John, Found your sight via Zoetrope. Passed it onto Triggerstreet. Opened GO. Read your first page over and over. It blew me away. Your writing is flawless. I will have questions, soon as my head stops spinning. Thanks, Montana
December 7th, 2004 at 11:26 am
John,
I saw your comment about listening to soundtracks while writing and I used to do that. I used to listen to “Braveheart” and other such powerful scores while at the computer.
But later when I would re-read what I had written (without the music) it came off melodramatic to me. I think I can write anything with a great score behind me. Does this every happen to you?
thanks pat
December 8th, 2004 at 12:35 am
hey john,
let me cheat and ask 2 questions: I’ve got a project i’m working on. It’s a biographical story. I’m wondering if you have any tips when taking on a story which already has a skeleton–therefore less easy to manipulate in terms of typical act structure plot points etc. The goal for me is to make a great film, but at the same time, stay as true to the real story. i’ve read books where they say “forget the truth-think about the medium”, which i understand yet at the same time, feel compelled to stay true to the life of this person.
and: any tips on how to develop dialogue? I started with just getting the point across, then with re-writes tried to get it to feel a little “punchier”. Haven’t read any real tips on getting and developing strong dialogue. any tips or advice would be greatly appreciated.
thanks
December 10th, 2004 at 12:24 pm
Hi John, First off, congrats on your career. Think you’re a great writer. I’m an emerging screenwriter. I’ve had agents, managers, some stuff optioned, but still find it tough to make a living. I’ve been working in the business for seven years, mostly being entreprenurial–doing projects on my own, but every year I find myself wanting to learn more about producing. Not only in terms of having more control over my writing career, but also to get projects made that I love, but don’t necessarily want to write. Any advice on getting back into the business in a mentor/work situation after having been independent for so long? I know that you went to Peter Stark and set-up Big Fish, so I thought you might have some insight. Am I crazy to think that I can write and produce? Thanks.
December 11th, 2004 at 7:31 am
Hey John-
I’m writing a screenplay, and aiming for a deadline for this competition on the 15th of Jan. It only needs to be 80-130 pages, but I’m thinking it’ll probably end up being around 90. I’m currently on page 46, and I’m trying to get as much feedback from my friends as possible. They TELL me it’s good, but when it comes to friends, it’s hard to know if they’re telling the truth (because of hurt feelings and the like). So, the reason I’m writing is because I’ve been writing this for the past month and I’ve already gotten a substantial portion of it down. I think what I’ve got is good, but I feel like I may be rushing it. How long SHOULD it take to churn out a screenplay? It just kind of worries me when I spit out so many pages at once, I question if I should be taking more time. I don’t know how long the average screenwriter spends on his work. What do you think?
December 15th, 2004 at 3:33 pm
Hi John, Well I’m having a little trouble with this current script that I am writing. A character in my story is deaf and uses sign language to communicate. I have no idea what the proper writing format is for that and I was wondering if you can help me. That character also reads lips and I do not know how to incorporate that into my script as well. I’m in such a bind. I want to finish this up so I can submit it into the next Nicholls Screenwriting competition. Please tell me the answer oh great one.
December 17th, 2004 at 9:32 am
Here’s the situation. Last month, I had a meeting, set up through a producer friend of mine, with a major studio exec (My first one after writing scripts for 12 years and not a sale yet) The meeting went extremely well and I heard later that the exec liked me a lot personally and my script a lot though she felt it wasn’t something the studio was looking for right now. I also heard that she would keep me in mind for potential re-write work.
My question is how to keep the momentium going. I’ve already sent the exec a thank you card (and a Xmas card as well) and I would like to ask what’s the right way to keep in contact with her in a professional way without looking like I’m desperate (which, of course, is what I am)
Alex
December 17th, 2004 at 10:08 am
OOPS! Sorry, I forgot to give you my location. I’m in Chicago
Alex
December 17th, 2004 at 3:16 pm
John — Just wanted to say hello and I have returned to your site a few times in the past year or so. You are doing an excellent job.
mark bebernes
December 19th, 2004 at 5:51 pm
john - no question for you. only a kudos. just watched big fish and wanted to know who wrote the screenplay. thru the imdb site i found your site. wanted to say…awesome.
dlj - new york city
ps: i was wondering if that last site made you cry. now i know.
December 21st, 2004 at 2:45 pm
Greetings! I just recently discovered that I’d won some short screenplay competition in B’Ham - they didn’t do a very good job of notifying me - and that you were somehow involved. In fact, rumor has it that either you or the other guy said nice things about my writing.
I hope you enjoyed your trip to The Magic City. The festival folks actually wanted me to pick up the cost of shipping their 60 pound iron award thingie. It looks like the candlestick from a giant CLUE game, except for the cog welded to the bottom.
Anyway, my question is: isn’t writing short screenplays and submitting them to contests the mark of the hobbyist? I mean, what the hell is the good of a short screenplay? I only tapped my entry out to please my wife, whose father was also named Red…
Now I find winning that competition has me feeling crappy and amateurish… like a perennial Austin FF attendee…
Best regards.
Andy Wells Hinterlands….
December 21st, 2004 at 2:48 pm
PS - I really admired GO, especially when I heard that you had only started with the one story that ended with the girl hit by the car… The only part that I had difficulty with was the dinner with the cop and his wife… something about that scene didn’t work… I’m sure it was something to do with the sound or the lights!
A.
December 22nd, 2004 at 7:49 pm
Hi, I’m not sure if you can help with this being from the states but I’m hoping to find out what to do with a script when I’m stuck in Canada and with no knowledge of where to send scripts.
John In Ontario, Canada
January 12th, 2005 at 1:30 pm
Dear John, Despite your saying not to email you with private questions. I am quite despirate to know how things are going with TARZAN. Ive been trying to monitor things ever since i first heard of it june 2003… I am a young actor with aspirations to play the lead… Is the film being made?
Zander Bleck NYC
January 12th, 2005 at 1:43 pm
Hi, J
My name is Payman g, and I want to try out for the movie. I think that this could be my break into the movies. I am trying to find out how I can be casted in the movie. I am going to contact who I can to try to be in it. I am a Persian/American actor with 5 years of exp. on stage. I only act in american stage not persian. If you could be kind enough to email me at paymandman@aol.com and visit my site http://www.paymang.com to see my pics.
Thanks
Payman G
January 13th, 2005 at 3:36 pm
Mr. August, I am a college senior who plans to move out to L.A. before next spring. Is it a good idea to market my scripts before I arrive in L.A.? Could this create a buzz about me or will no one even look at them? I also want to apply for the Peter Stark program. Any tips on getting in?
January 14th, 2005 at 9:54 am
Hi John,
First, it was such a pleasure to meet you in Austin last year. Hope to see you next year, too. I had a question that I’ve never gotten a straight answer on. How do you format it when your trying to show text being written on a computer monitor, specifically showing the exchange between two people in an internet chat room (a la “Closer”, but I haven’t found that script)? I’m guessing INSERT: COMPUTER SCREEN would be a start, but what’s after that? Would the same be used to show the text message on a cell phone?
Thanks for all your help and Happy New Year!!
Derek
January 17th, 2005 at 7:11 am
Mr A,
I have a small problem; you haven’t written a book on screenwriting. I’ve been searching for a book done by someone who wrote a movie that people have seen. Quick, name a Syd Field movie! Really, the web site is nice, but it’s not portable.
James Sacramento, CA (Where our governor can benchpress your governor!)
January 19th, 2005 at 11:12 am
Do you print out your script pages as you go along, or do you wait until you have a completed draft before printing out the whole thing (assuming you’re using a word processor and not a typewriter.) There’s nothing more motivating to me than to see pages of script piling up, but then if I want to make a change to what I’ve written already there’s a potential for waste and I feel bad enough that we’re still using trees for paper instead of something more plentiful and efficient like cotton or hemp.
Rob Workman Saint Paul, MN
January 19th, 2005 at 12:18 pm
I loved big fish, and i was trying to download the script in order to analyze it for a class, but its down or something. will it be available on ur site again anytime soon? cause i really want to use this script and not some other movie, cause i cant find it anywhere else.
January 21st, 2005 at 6:14 am
Hey there John -
First off, I want to say thank you. I am writing my first short screenplay and I’ve got a lot of good insight from your webpage.
My question is how does someone contact an actor to present them with an idea?? Is there a list of agency contacts that is available to anyone?? I live out in Hawai’i, so I don’t think I’ll be able to pull a Dylan Kidd.
Thanks for your time - Tom
January 24th, 2005 at 7:57 pm
I was disappointed to see that the Go! DVD didn’t feature your commentary. The script is so unique, I thought having the writer discuss it would be a no-brainer.
But since I can’t learn anything about your script there, and the archive section on your site is busted, I thought I’d try asking you here.
Sorry if these questions are ones you’ve heard a million times over, but…
What inspired this story and what inspired you to tell it using the structure that you did?
Did you outline the story scene by scene before you began writing the actual script? Did you start with, say the Ronna story, and then check-mark points where a side character and/or event had the potential of branching off later on into their own unique story?
For example, did you know the plot-line of the Soap Actors before you wrote the Ronna story? Or did you only know that someone would hit Ronna with their car, and then later on, as you outlined the story, it struck you that it could be the two Soap Actors who tried to entrap her in the first place?
According to my DVD player, each story takes up almost exactly 30 minutes of screen time. Ronna is left in the ditch at 34 minutes. The Vegas sequence ends at 64 minutes. And the Soap Actors tale ends at 89 minutes. Was this bare bones version of a three act structure done consciously? Or did it just turn out that way, proving Aristotle right about the three act structure being something inherent?
Why do you think the audience was willing to accept cutting away from our protagonist 30 minutes into the story only to begin a new story that has almost no connection with the first? Was it because the second story began with a character who we were familiar with?
Like in Pulp Fiction, when the Jules and Vincent Story ends and the second story begins, at least it’s staring Vincent and it’s a story we know about thanks to their conversations during the first story? And the same can be said about the third story with Bruce Willis and how that was set up at the start of the Second story? Or am I just analyzing all this much more than you did when you wrote Go!?
Speaking of Pulp Fiction, did that script inspire you to write Go!? Or had you already written it when Pulp Fiction came out?
Thanks so much for your time, Mr. August. I hope you have a chance to answer at least some of these. It would mean a great deal.
Sincerely, Enio
January 26th, 2005 at 7:20 pm
Dear Mr. August,
I viewed the script you did for Titan A.E and Big Fish I loved it. You are a talented screenwriter when will you post that second draft of Corpse Bird you said you worked on? I like to read that.
Tiff Orlando, FL
January 26th, 2005 at 7:22 pm
Dear Mr. August,
I viewed the script for Titan A.E and Big Fish I loved it. You are a talented screenwriter when will you post that second draft of Corpse Bird you said you worked on? I like to read that.
Tiff Orlando, FL
February 2nd, 2005 at 9:04 pm
John,
Was wondering if there is a book or web site that lists the names of producers and/or production and (what type of work they are looking for).
Thanks Anita Barker
February 2nd, 2005 at 10:19 pm
Dear Mr. August,
I have only recently stumbled upon your web page here, after seeing your advice column at IMDb. I am a very cinema-obsessed movie geek, and have had one or two ideas for my own films floating around aimlessly in my mind for years. You’ve probably had this question countless times, I’m sorry, but where does one begin this process? I have the basis of a plot, simple sketches of characters, and ideas for scenes. I’ve sat down once to start writing and barely made it past page one before deleting all of it. Maybe I just lack the necessary passion, but I feel that it’s a great idea. Can you help me find direction? No pressure…
Mikey
February 3rd, 2005 at 1:13 am
This might be a bit of a stretch…
I’m just starting a re-write of a script where the 2nd act is entirely a road/buddy script. I’m trying to find some good reads before diving back in. I just finished George Gallo’s Midnight Run. If you are farmiliar, the relationship between the two characters is similar to the one I am trying to establish.
Being 23, there are a handful I’m certain have been overlooked or missed altogether…It seems that when writer’s hit that open road in their scripts, they either do it entirely right or entirely wrong.
If you could point me towards scripts in the genre that stand out to you, and why you think they were generally successful…well, much obliged.
February 3rd, 2005 at 10:20 am
John,
A freind forwarded me this story about the “real” writer of The Terminator and The Matrix. If this is true this is a huge story. I am a bit suspicious, but wondered if you’d heard anything on this.
http://www.finalcall.com/artman/publish/article_1745.shtml
Isn’t this a case where the WGA gets involved persumably before the FBI?
I’m sure these claims appear all the time. Do you have any suggestions for writers to defend themselves against a claim like this. For example if I write a script based on a story a friend and I created (nothing written down, just told orally) do I need to need to list him with a “Story by” credit?
Thanks,
February 4th, 2005 at 1:37 am
Hi There,
I stumbled across your site as I was looking for the “it’s.. it’s not amway quote…” which is one of the funniest lines i’ve heard… (accompanied by one of the most believable, pained looks..)
Anyway I was wondering if you could tell me how music is choosen for a movie. I’m in an (independent) band, and we’ve had our songs played on some TV series and shows, but these things have alway been a bit serendipitous (met an editor in the pub etc), and have never really been planned.
It would be great to hear one of our songs in a movie, but I have no idea how to go about submitting them?
Any advice would be most appreciated.
Thanks,
February 7th, 2005 at 1:41 pm
Hi,
i got a website (www.xdragunn.com) and alot of people are interested in my GOTHIC storyline. i’d like to write a one page treatment for my idea and present it to either capcom or any companies at the famicom convention coming up in march. my question is how do you write a one page movie treatment? Intro, body, conclution!?!? please get back to me im pressing for time and i dont seem to find any how to’s on the net.
-thanks, Dustin
February 8th, 2005 at 2:06 pm
John, Thanks for the great site. Like anyone else who visits this site, I am an aspiring screenwriter. I think that it is apparent with all of the material out there to know how to get started in this field. Something I have not found information on is how to get in the film producing field. I am graduating from college in December, and I am applying to many graduate schools including the Peter Stark school at USC. The costs seem a bit impractical, and I am wondering if you can become a high-powered producer without attending a program such as this one. Do you think effective screenplays are a good way to get started? Thanks for the help.
Lucas Davidson
February 10th, 2005 at 10:48 am
Hello John,
I am looking for a book on TV Reality Show Proposal format. Can you suggest any. Thanks, Yanina
February 14th, 2005 at 9:50 am
Hi John!
I was wondering if you can put “A beat” as a parenthetical in your script, or does that only involve the current speaking character?
Thanks a bunch, Mats in Gothenburg, Sweden
February 14th, 2005 at 10:20 pm
Mr. August I just finished my first script which is based on a very popular videogame series and I was wondering would you be willing to take a look at it?
February 16th, 2005 at 12:03 pm
Hi John.
I dig your site. I just wanted to offer a word of inspiration to all the writers on this site. My first film called SUNNYVALE is world premiering at the Cinequest 2005 film festival on March 4th! Goto http://www.cinequest.org or click the URI I submitted.
So see? It can happen if you don’t give up! And man, did get discouraged sometimes. Okay, a LOT of times. Cheers!
February 18th, 2005 at 10:23 pm
Mister August, I’d like for you to solve a lot of people’s curiosity. We all know that you have written the screenplay for Charlie and the Chocolate Factory. Now in the recent trailer for the movie, Johnny Depp as Willy Wonka says what to a lot of people hear as “Let’s boogie”. The way that I always heard it is “Let’s Lookie”, as in “Let’s lookie what we have in here”. On the Internet Movie database message boards, I have been called dumb and ridiculous because I believe that it is let’s lookie. Can you please tell us exactly what Willy Wonka says so we can put an end to this dispute? Thanks you very much.
February 21st, 2005 at 1:40 pm
In the “Practical” category of questions…may I ask what do you use for your accounting? I’d presume that you have an accountant, but also that you do a fair share of record keeping yourself. So, what tools do you use for that? And perhaps to make this worth your while, maybe a run down of the apps as well as old -fashioned techniques you use to function on a daily basis.
Thanks!
Eric In Indiana.
February 22nd, 2005 at 2:55 am
Hello Mr.August. My question is in regards to the writers guild east and west. Does it matter which one you register with? If I register online should I use the writers guild east seeing as I’m in Ontario Canada?
Thank you.
February 28th, 2005 at 12:04 pm
I have a new blog up cinemaschool.blogspot.com and wanted to get some suggestions and comments regarding the use of films and screenplays in teaching English to students. Does anyone have a favorite film or script they want to suggest?
March 1st, 2005 at 10:38 pm
i could use some formatting help. is there a site or book you recomend (a part from your site of course)
eg. when should i use “cut to:”, the phrase “we see”, fade in/out. should i discribe ext establishing shots int. scenes?
March 2nd, 2005 at 4:40 am
Do you know about a project titled Living Neon Dreams which is running through Europe for the last 3 years sounds like something from the game world. rgds Michael
March 4th, 2005 at 8:57 am
Just discovered this site… No question yet, but wanted to make this quick b4 my boss looked over my shoulder…
Your site is awesome ! You are awesome for sharing it !
March 7th, 2005 at 10:51 am
Hi John.
I feel like I’m incredibly ambitious, and my head might be in the clouds. I’m a minor still, hoping to become a director, but since my grades and geography don’t exactly support that, I’m hoping to break out as a writer. The massive idea I have would be three or four feature films long, in the perfect world.
Now, I’m already almost done writing the first screenplay, but I’ve also already composed all the lyrics and tunes, and scouted most of the locations. Could I possibly pull off presenting the entire package of the four scripts and all the other jazz, or should I just try the first and see where I go from there?
March 10th, 2005 at 2:40 pm
John,
I am currently writing a screenplay based on actual events from the early 80’s. I’ve decided to create a fictionalized protagonist but stay as true as I can to the historical facts. I have two questions.
The first question is I will need to create certain scenes that illustrate the antagonists personality. The antagonist is someone who destroyed a lot of lives but for dramatic purposes specific scenes will probably be harsher than what actually happened. How libel am I for those scenes?
The second question is that the story has about 8 different plot lines that are important to the story some of which affect the protagonist and some that affect the larger world around him and are just as important to the story. Is there a particular method you use to keep all the plot lines clear when trying to structure your script and can you recommend some movies that do a solid job of illustrating multiple yet interconnected plots?
Thanks in advance!
March 15th, 2005 at 10:28 pm
I saw an example of a Montage on this website that was a scene where a woman changes into differnt clothes. Wouldn’t this be just a “Series of Shots.” I thought Montages were series of events. Like a person goes to ticket master, goes to the ball park, gets back home. Something like that you know. I also have a question of how do you write a Super in a script. You know those words that are super imposed on the film. For example when you see in a movie that it says Several Months Later.
March 18th, 2005 at 4:07 am
I like your work; But you say you’ll never read our stuff (not fair). What if we have a great idea? You hafta know what that’s like (not like you got where you are without a greaq idea or a connection). Why NOT help the little guy? What if we’re the Big Fish?
Sometimes we have nothing to write (but a lot to say) and need someone working on our side — there’s a lot of douches out there who know not what they speak of (producers). Our enemies, I know. Is it, “I don’t wanna have to compete with these no-bodies to sell my stuff, yet I can give them all the advice I think they need?” kinda thing? A response would be nice, If not, word, brutha. CN
March 18th, 2005 at 8:41 am
Hi, Well im sure more people then just myself would be interested in seeing the treatment you wrote for the movie based on American Mcgee’s Alice. I am a big fan of the game and would be very apperciative if you put up that treatment.
Thanks Jacob Jones
March 18th, 2005 at 1:10 pm
Hey John,
FYI - I just created the John August article on http://en.wikipedia.org (the free encyclopedia that anyone can edit), but the amount information is shamefully small. You might consider filling in some biographical details yourself, since you probably would know them best. Here’s a link to the article:
http://en.wikipedia.org/wiki/John_August
Andy Cleveland, OH
March 20th, 2005 at 8:44 am
John, Props to you for Go and Big Fish…I didn’t see Charlie’s Angels because I am a woman fearing, introverted whino. Another nod for sparing your time for a little philanthropy. I submitted my first bulletin board comment, ever, in your archives today - sharing some humble wisdom. As for my plight, I’m working on my first spec script which I call my “mind-trip.” Anywho, my question is this: I have a protagonist which will take careful crafting to make sympathetic to the audience. I envision it as mostly third person but with some first person POV, especially in the beginning of ACT 1. He sees and hears hallucinations, so…can I word it so in the description, thereby eliminating POV directions? For example: JOHN springs from his chair, distancing himself from the voices behind the drywall - voices he knew existed in his mind. -or- JOHN springs from his seat, VOICES taunt him as he scans the room. This is my first spec scrip, so the only “green” I want to hear about is a green-light, not a green-writer… you smell what I’m cookin?
Question 2 (not important) Is the “inside” of the biz just like William Goldman wrote about in Adventrues of the Screen Trade? If it is, I’m just going to stay home. Here in Cleveland, at least the weather sucks.
Peace, love, and understanding D.A. Griffith (No relation to D.W.Griffith - but its my little sneaky calling card, what do you think??)
March 20th, 2005 at 5:02 pm
hey John I have a question, i am commercial editor in New England and I just recieved a good paying job in New York. I have always worked on commercials fora way to make good income and get connections. i have been writing screen plays for five years. is New York at all a good place to be to find an agent and get work as a screen writer( in film or tv) i can’t really go to LA. i have a wife and family and its just not in the cards for me right now. on this site u talk about LA, but is there anything in the East Coast. particually NY? thank you Roger
March 20th, 2005 at 5:03 pm
hey John I have a question, i am commercial editor in New England and I just recieved a good paying job in New York. I have always worked on commercials fora way to make good income and get connections. i have been writing screen plays for five years. is New York at all a good place to be to find an agent and get work as a screen writer( in film or tv) i can’t really go to LA. i have a wife and family and its just not in the cards for me right now. on this site u talk about LA, but is there anything in the East Coast. particually NY? thank you Roger
March 22nd, 2005 at 8:05 am
Hi John,
What kind of printer do you have? As a fellow geek, I’m curious. In my imagination, I see a professional screenwriter requiring a huge, high-powered beast that can print one script per minute. Or, do you not even print anything since it’s all sent out via PDF in these modern times? How much do you print in the average day / week?
Thanks,
Alon Ozery in Toronto
March 22nd, 2005 at 11:17 am
One more question, that’s actually screenwriting related…
In your most recent posting you mentioned your assistant Chad. Someone in the comments made a crack along the lines of “oh boy, sure would be nice to have an assistant”, and that got me thinking… What does he do for you? Is he more of a secretary, or does he actually help with the writing, reading drafts, etc.
I know your previous assistant went on to become a director, so I’m sure that Chad doesn’t just sit around all day answering the phone and filing his nails. Do you guys work out of your home, or have a seperate office?
Thanks!
Alon in Toronto
March 23rd, 2005 at 4:12 pm
Hi John,
I’m in a precarious situation and need your help. I would like to commission a competent screenwriter to assist me in co-writing a “pilot” episode based on my original story and characters, but am not sure how to go about it the right way. Since I’m financing this myself, I can’t afford the normal “studio” fees that most WGA writers can command, but on the other hand, I don’t want to waste my time hiring a “hack” either. What would you suggest? Sincerely, Craig Vincent — Irvine, CA
March 24th, 2005 at 3:44 pm
I wanted to ask about physical description of characters in a screenplay.
In a novel or a short story, I’d go with description that was very specific, striving for telling details that let the reader form a mental picture. Does it work to do the same thing in a screenplay, or are you better off providing a more generic description (an attractive woman) that just makes the story point clear without looking like you’re trying to narrow the casting possibilities to a handful of people?
Related to that, when a physical attribute plays a part in the plot, how much repetition is appropriate to fix it in the reader’s mind? For example, if on page 60 the hero is going to escape by feeding the bad guy’s pony tail into an office shredding machine, is it good enough to just mention the pony tail the first time we see the bad guy, or would it be better to throw in a scene where he choses which silver clip to wear in it to fix it in the reader’s mind? (I guess I’m thinking of the situation where somebody watching the movie will be well aware that the guy has a pony tail, while somebody who’s reading twelve scripts before bedtime might gloss over a one-line reference. If I’m writing a spec script, how much should I be writing for that guy?)
Philip in Champaign, Illinois
March 28th, 2005 at 5:39 pm
Hi, I know that everyone who writes a screenplay imagines what the completed film will look like. I am in a rather unique situation though. I am primarily a visual artist. I have just finished my first screenplay, (The project actually began as a series of paintings and over several years has evolved into this obsession) and I am not sure how to present this project. I would love to direct, design sets and costumes, and make casting decisions. HAHAHAHAHA. But really, I have a lot of great ideas that add so much to the script. It is very stylized and personal. Any ideas on how to approach this predicament? Thanks, Crystal
March 30th, 2005 at 10:56 am
Mr. August, I am applying to a script workshop that asks for a two-page (double-spaced) synopsis of the script. I haven’t been able to find a book or article that provides guidelines for this. Would you have any suggestions of where I might look?
Thank you, Bob, in San Jose, Ca.
March 31st, 2005 at 3:33 pm
Hey John, when you’re building on multiple ideas in your head on what screenplay to write next, when do you know which one to put on paper and REALLY devote your time to?
March 31st, 2005 at 10:38 pm
Hello John. I read that you are in Beijing doing some sight seeing and researching for a future “Old World” project. May I ask if the dialogue will be translated to Chinese? I am writing a screenplay based upon stories my father told me about his childhood in Taiwan. Most of the dialogue will be translated to Chinese. I am curious as to what producers will think about a story that takes place in a foreign land and has non-English dialogue? I mean, American movies have to be, well, in English. Right?
Thanks. Chaucer in Houston
April 1st, 2005 at 12:47 pm
Hi John, I’m from Ireland and am travelling to Los Angeles this summer 2005 with a friend for three months on a student Visa. My friend and I are currently in the process of writing a feature film screenplay which we feel has great potential. We would love to pitch our idea while we’re in the States -we really want to take advantage of being in Los Angeles while we’re there as this Visa is a one time opportunity. However, we are uncertain as to how to go about arranging a meeting with a studio/producer etc. to make our pitch. Surely, we can’t just walk into a company off the street and make an appointment? We would love if you could advise us as to what to do. We would be extremely grateful if you could help.
April 2nd, 2005 at 6:56 pm
I just want to say that I nearly choked on my kale and onion stir-fry when I read that you were only 34. I’ve been reading through your blog, and I swear I thought you were like 55 or something. That’s not an insult, that’s a compliment. Everyone told me to go see Big Fish cause it was “my kind of movie.” More than one person said to me, “I can see you writing a movie like that.” But, when I watched it, I thought the screenwriter was like 55 or something. Wow. I just turned 29 and I’m a screenwriter and now you’ve just become very inspiring. Thanks…
April 6th, 2005 at 9:26 am
Dear John, I actually emailed a few days ago about my predicament as an artist/writer. I found through, searching the archives more thoroughly, that what I need to do to promote my project is known as a pre-visualization. I have sent out several queries, both email and regular post, siting my website as a sort of pre-vis. I have also added a synopsis page to my site. Is this appropriate? Do you know of any other writers who have used this approach? Thanks so much for the information you provide on this site! I have found it so helpful. I can’t wait to see Charlie And The Chocolate Factory! Sincerely, Crystal North Carolina
April 6th, 2005 at 7:53 pm
Dear Mr. August,
I need your help. I have a storyline for a video game I would like to submit, but I need some backing so I don’t get laughed at! Please, contact me ASAP and I will give you more information. My email is paulcg712@yahoo.com. Thank you, I would really appreciate it!
Sincerely,
Paul C. Gaunya
April 6th, 2005 at 7:54 pm
sorry, I didn’t read the top. I just skipped down to the end. Nevermind
April 6th, 2005 at 8:13 pm
Might be a problem w/ the download of the DC pilot episode. The other two DC epidosdes are fine, but the pilot isn’t loading anymore.
Thanks for the generosity of making these available.
April 7th, 2005 at 10:09 am
The DC pilot script seemed to work okay when I just tested it.
April 7th, 2005 at 10:28 am
Hello Mr. August,
big fan, struggling screenwriter in NYC, barely paying rent, recently graduated film school at NYU, angry at the world, all that cliche starving writer stuff. On the optimistic side, I guess what I can say is I work at Paramount pictures, part-time, in the publicity department, for a whopping 8$ an hour. I’ve been dying to get a job as a reader or in a literary department at a film company, but it’s proved difficult and I’m miserable.
So I guess my question is, when is Chad leaving and can I send an application to be your assistant? Sorry, Chad, for the abrupt bluntness, but it is one of my dreams to work under a screenwriter I respect, in any capacity.
This, for the record, has been the most shameless email I have ever written and for that I apologize.
Thank you for your time. Jason Klein New York, NY
April 11th, 2005 at 6:23 pm
Hi John,
Do you have a large script library at home? I assume you have a copy of every script that you’ve written, but do you also keep printed copies the different drafts and rewrites too? What about movies that you worked on but did not receive credit on? Just curious about how you archive your own work.
Bob, Toronto
April 15th, 2005 at 10:13 am
Hey John!
A little birdie told me that you might be coming to San Antonio next year as a Steiren Guest Artist at Trinity University. Do you have any more details?
Thanks
Richard/San Antonio
April 15th, 2005 at 5:03 pm
Geek Alert question: where can I find a template to use with File Maker Pro for logging phone calls (an electronic phone sheet or call sheet), like a lot of entertainment offices use?
Ted Los Angeles
April 21st, 2005 at 11:36 pm
Hello Mr. August, I glanced through your archives and didn’t see any question similiar to mine, I apologize if you’ve already answered it. I just wanted to know how you gauge how far along in the film you are, as far time is concerned. I’m writing a script now which is a full length film. I’ve only written short stories before or incomplete full length screenplays so i’ve never been concerned with over/under writing. Much appreciated Maxx Berkowski Milwaukee WI/Chicago Illinois I’m attending Columbia College Chicago (not New York….) for writing and directing in film Thanks again!
April 22nd, 2005 at 7:40 pm
Hello, I am an aspiring screenwriter. After spending years on my first script, and working on others now - I wonder what the average potential income is once I do make it. How much do you get paid - for the first sold draft, for rewrites, and in residuals once the movie opens worldwide - for your screenplays? (or how much does the average screenwriter get paid for the average “big” movie such as “Charlie and the Chocolate Factory”, the new “Batman”, etc.)
Thanks!
April 22nd, 2005 at 7:42 pm
(Leaving question again because I forgot to include my name and city.)
Hello, I am an aspiring screenwriter. After spending years on my first script, and working on others now - I wonder what the average potential income is once I do make it. How much do you get paid - for the first sold draft, for rewrites, and in residuals once the movie opens worldwide - for your screenplays? (or how much does the average screenwriter get paid for the average “bigâ€? movie such as “Charlie and the Chocolate Factory”, the new “Batman”, etc.)
Thanks!
(Ride in New Orleans)
April 23rd, 2005 at 1:36 am
Dear Mr. August,
I have recently made contact with an author whose work I would like to turn into a screenplay for a TV miniseries. She said she found my idea very complimentary, but that I needed to contact her literary agent due to licensing rights (the dreaded MONEY problem). My concern is that I have never written a screenplay before (I HAVE written an outline on how I think the books could be translated to screen), plus I have no idea how to obtain the financing I would require to buy the licensing rights. Any tips on how I might go about doing that (especially since I have NO industry contacts)?
Thank you,
Jeremy
April 24th, 2005 at 6:32 pm
Hi John, Thank you for your adaptation of Big Fish. It is truly inspiring. My question concerns the building of the town of Spectre on Jackson Lake. Is this the Jackson Lake just north of Montgomery or the one on the Alabama River west of Montgomery? I was also curious if I would now find the buildings of Spectre still intact? Thank you for your web site. James
April 24th, 2005 at 6:32 pm
Hi John, Thank you for your adaptation of Big Fish. It is truly inspiring. My question concerns the building of the town of Spectre on Jackson Lake. Is this the Jackson Lake just north of Montgomery or the one on the Alabama River west of Montgomery? I was also curious if I would now find the buildings of Spectre still intact? Thank you for your web site. James
April 24th, 2005 at 6:33 pm
Hi John, Thank you for your adaptation of Big Fish. It is truly inspiring. My question concerns the building of the town of Spectre on Jackson Lake. Is this the Jackson Lake just north of Montgomery or the one on the Alabama River west of Montgomery? I was also curious if I would now find the buildings of Spectre still intact? Thank you for your web site. James
April 24th, 2005 at 6:34 pm
Hi John, Thank you for your adaptation of Big Fish. It is truly inspiring. My question concerns the building of the town of Spectre on Jackson Lake. Is this the Jackson Lake just north of Montgomery or the one on the Alabama River west of Montgomery? I was also curious if I would now find the buildings of Spectre still intact? Thank you for your web site. James in Birmingham, Al
April 24th, 2005 at 6:34 pm
Hi John, Thank you for your adaptation of Big Fish. It is truly inspiring. My question concerns the building of the town of Spectre on Jackson Lake. Is this the Jackson Lake just north of Montgomery or the one on the Alabama River west of Montgomery? I was also curious if I would now find the buildings of Spectre still intact? Thank you for your web site. James in Birmingham, Al
April 25th, 2005 at 3:07 pm
When the WGA residual check comes in the mail - and how we aspirants dream of that sweet, sweet day - how much of it do you get to hang onto?
Do you cut a check to your agent for 10%? Even if that agent’s been out of your life for years?
Just curious.
April 27th, 2005 at 11:30 am
John,
I have a question about working in Hollywood (9 to 5) and working in Hollywood (as a paid screenwriter)…
There seems to be two schools of thought on taking an entertainment job in this town. (1) Working for a prod. co or one of the agencies will help you meet the people you need to know to further your own career. (2) Working for one of those companies, they will never see you as a real writer, but only their serving boy. The talent is found on the outside, not the inside.
Can you tell me if either of these are true? I have a job opportunity with a great company, but I’m not sure if this will undermine my own efforts to succeed as a writer. Is it better to sleep with the wolves or study them from afar?
Thanks for your help.
Matt Los Angeles
April 30th, 2005 at 10:54 am
Quick question…with odd luck, and the strange hands of the lords of karma, I got the attention of an agent from William Morris…he has one of my scripts and synopsizes for 4 others…we corresponded nicely for a bit…then nothing. It’s been about four weeks, and I haven’t heard a peep. He won’t even respond to my emails. Should I give up hope on this cat reading my work, or is this part of the business slow and agonizing?…This limbo is a real heartbreaker.
any feedback would be great.
Salutes and bows,
Nick
May 3rd, 2005 at 10:13 pm
I write screenplays because I’ve always loved to tell stories. How do I respond to relatives who say Hollywood is a bunch of atheists who seek to destroy civilization as we know it.
May 4th, 2005 at 2:41 pm
Hi John,
Firstly, let me say how useful I found your advice for my screenwriting, both on the IMDB and on this website.
I just have a query for you. I have just wrapped up a screenplay, it’s a supernatural thriller, but it’s come in at 139 pages. I am finding it VERY hard on what to remove, as I feel it’s all intricate to the story and it’s characters so I would welcome any tips on doing this myself, or recommendations on a Story Analyst / Editor who I may be able to use…
I realise you are a successful writer, but do you find the more successful you become, the more say you have on these kind of limits with production companies?
Looking forward to your response.
-Ian
May 4th, 2005 at 7:10 pm
Hello John,
I’m a fan of the 1971 classic “Willy Wonka & the Chocolate Factory”, and I’ve heard that you wrote the screenplay for the new “Charlie & the Chocolate Factory” without previously viewing the 1971 film. Can you inform us as to whether there are any references directly to the 1971 film or to Gene Wilder in the 2005 rendition? Also, from the teaser trailer your film seems lighter and much more childish than Mel Stuart’s 1971 rendition. Are you targeting a child audience? Because I know there are some dark points that Dahl wrote in his book, such as the Butterscotch and buttergin part, as well as the scene where Wonka goes nutty on the Wonkatania. Thanks for the reply.
Patrick.
May 5th, 2005 at 10:41 am
Dear John,
My co-writer and I could really use your professional advice. We just finished a script called FIELD TRIP and recently discovered the actor Kevin James and Neil Moritz from Original Film sold a pitch to Disney with the exact same title and premise, based on a pre-existing pitch or script at Disney. However, they do not have a script written or a writer attached, at least as of yet. We called an agent and a manager I have access to and they both said they would check with Original to see if they would consider our script or us as hired writers. It’s been a week and they have not gotten back to me. Is there anything else we could do to get our script to Original? Should we contact them directly? I know the chances are slim to none that they will consider writers without a track record, however, I think it’s in their best interest to consider our script because it’s already written, or to hire us as writers because they can pay us less than a produced writer. Please help, John! I really thought this was the script that was going to break us in and now this!
Looking forward to any advice you can offer. Thank you, John.
May 6th, 2005 at 1:27 pm
John,
I have a general question regarding submissions, something I was hoping you could cover a bit more extensively. Namely, targeting agencies vs. targeting producers…
If there is a particular production company that I believe might have an interest in reading one of my screenplays (based on their previous projects), am I free to submit a query letter to them to gauge their interest in reading the script? Is this common? And, more succinctly, is that considered a realistically viable option for undiscovered writers?
Obviously with caution, the scripts have been registered with WGA. I have not yet tried to push this script in the agencies. Would that be the more appropriate channel? Thanks for your advice. Love the site.
May 6th, 2005 at 4:13 pm
No idea how to contact you so, here goes:
The Guardian has an article on their site where they trash the Star Wars films. One section stood out and made me think of you. I thought it might inspire an article on the subject of writing dialogue that actors can perform.
The rest of the article can be found here: http://film.guardian.co.uk/features/featurepages/0,4120,1477031,00.html
May 6t