A really good example, Rick. Think about this, though: you have to be able to write Arlington Road to get to write Transformers. So maybe a lot of people can write Transformers, but how many can write Arlington Road?

The studio knows full well that Transformers is not going to be a masterpiece in film. But they know it's going to involve huge dollars, so they can pay masterpiece level writers.

I would also venture it must take some talent to write a movie like that. I've seen the first part of the original, and it is awful, but the task of writing a movie about robot cars must be daunting in a way.

Can you honestly say that if the studio calls you up and offers you a million to write the next Transformers you would turn it down? Not even for the money, but just for what it does for your chances of seeing your own original work come to life, it would be worth it.

I can tell you this: odds are against my making it, but I will say I have no interest in moving to LA or living the Hollywood lifestyle. I actually hate LA, and no matter how you dress me, I'll always be a blue collar guy. But I do need to earn a living, so I would go there if that's what it took and the option was available to me.

There are options outside of Hollywood. Australia seems to have a nice film industry.  South America, North Carolina, Britain, South Korea.  

Also, I think it's possible to explore multiple pathways. Directing and producing shorts is not an option for all of us, but it seems like a great way in. And I think there's no reason you can't write different kinds of scripts. You can have something that has more of an indie feel, and also show you can write something that is mainstream marketable. Writers should be writing all the time, so to me it makes sense to do a variety of things.

Personally, I think a good strategy is also to write strong characters. You have to sacrifice some things to do that. For one thing, a story can seem less focused, even less structured. For another, we need a little more patience in the first act to develop these characters. And another big problem is this: interesting characters say interesting things, usually. That means you have to really risk having your characters be over the top, or expository.

But there's an advantage. We all know how important a premise is to marketing a movie. It's also important to attract actors. So you need characters that appeal to actors.

It's also a personal preference, for me, because I like colorful actors.

There's different ways to do it, and people should probably try several ways if they can. I do think the emphasis for spec scripts should generally be readability, even when that means sacrificing some things. You can hopefully add some of those back if you get a producer interested.

Now, if I could just do ANY of these things...!

http://coreymandell.net/blog/screenwriting-advice/what-are-your-real-chances-of-success/

Here's the link, Rick, to the article I mentioned.

Quoted from Scar Tissue Films I just wonder whether writers are making things too hard for themselves by chasing the Hollywood dream/style, when they could be making decent stuff with local teams and getting it out there.

Yeah.  

Why work so hard to be able to write bad films?

The only conceivable answer is money, and if that's what you're looking for, deal drugs.  That's quick and easy.

EDIT:  Oh, and fame, I forgot fame.  But who wants to be famous for bad work?

Quoted from Heretic Yeah.   Why work so hard to be able to write bad films? The only conceivable answer is money, and if that's what you're looking for, deal drugs.  That's quick and easy. EDIT:  Oh, and fame, I forgot fame.  But who wants to be famous for bad work?

It hasn't stopped most of the current musical 'stars'.


Note to mods - while I'm here, is there any reason why my sig space is so big? Can I make it smaller? It went like that a few weeks back for some reason.