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The magnitude and body of work he presents for each of the writers is to say the least impressive.
I invite everyone to open those spread sheets and producers notes and take a look at your work as a professional would view it; through the matrix of viability and finance.
Fantastic job RAY!!!!!
Don't know how you do it brother, but everytime you do, it's amazing.
He's also a pretty impressive director. I watch a short film of his which was a no budget horror, but it was done really really well and very disturbing. I wish he would shoot something of mine, but I don't think I'm his type.
Yeah, his spreadsheets and everything look great. Especially when he gives your script a PASS!!
Just kidding. His work really was impressive, and reading some it just makes you realize what can go into a production. It kinda makes you rethink the way that you write to a certain extent. I know that the next project I work on I'll def be thinking of Rays spreadsheet and comments.
He's also a pretty impressive director. I watched a short horror film of his which had no budget, but it was done really, really well and very disturbing. I wish he would shoot something of mine, but I don't think I'm his type.
RayW efforts are particularly interesting to people (like me) who have NO idea how any that works and how a script is seen through those types of eyes. I found myself reading his notes on nearly every script entered in the OWC. Regardless what I thought of the script, I was curious to see a producer's take and potential cost estimates and production obstacles.
I didn't save the link, but maybe Ray can be coaxed into sharing it again?
Ray has a movie?
Ray, where are you? Let us watch it!! Possibly I was away from the site at that time but I've never heard you made one. Congrats! I wish you gave us the link though.
I really appreciated Ray's work on my OWC a while ago. Glad to see he's put charts together for this one as well. The perspective of others is always valuable in some way, but it's especially nice when it's a unique perspective -- as this one is, amongst criticism from a bunch of other writers.
I, too, want to add my thanks to Ray W for the analysis that he performs on the OWC scripts as well as his research on the owc topics which I'm sure many writers have reviewed.
I am honored to be thought of this way. Sincerely: Thank you.
Shawn, Thank you. You got stones, man. Cool.
A "different" perspective is all I want to provide. Not a better perspective. Not an all inclusive perspective, or exclusive perspective. Not anything other than literally "How A, or ONE, producer COULD view these submissions." Ten producers could look at this same list fifty different ways.
I think screenplays should be written to be made into films, shorts or features. Non- writer/director/producer spec screenplays are B2B (business to business) products and should be crafted as such. As Justin rightly suggested different directors/producers are going to have different criteria as to what's pass/fail. (He's also correct that I enjoy doing these. I just think it's a wee altruistic to share this work with those who stand to multiply the benefit of it. Label me a little pinko para-commie!)
I done did the homework. No reason not to share it. God knows I learn from it, myself.
I think you guys are great. I respect you, the SS community. We may not agree on (umm... what sounds better than "tits vs. @ss"?) where the threshold is between horror and supernaturalism etc., but I'd like to remain civil about it.
Mostly I hope the principles I point out have SOME remote benefit:
Format's nice and all, but... meh...
Story is KING!
However, viewers/shoppers select/spend according to GENRE, not content. (Story may be KING, but that makes Genre GOD!)
Content delights or annoys AFTER viewers have spent their time/money, so that's second fiddle.
Actors and locations and CGI and props and costumes and stunts and consumables and cleanup cost money, meaning write for the business (remember spec screenplays are a B2B product!) you intend to market it to. Consider a flexible/scalable story construct.
Pia, in all of your spare time, and especially since you've had the benefit of actually being producer on a few shorts and features!, I'd like to get a better sense of the process your group(s) have prioritized and/or weighted factors in selection and production.