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I didn't even enter this OWC, but I stayed up pretty late last night and banged out 5 reads. I'm not promising I'll get to any more, but I would like to...except I do have a life outside of SS, so it might be just a tiny bit difficult.
I didn't even enter this OWC, but I stayed up pretty late last night and banged out 5 reads. I'm not promising I'll get to any more, but I would like to...except I do have a life outside of SS, so it might be just a tiny bit difficult.
Jeez...blowing...banging... Looks like a few people here are getting a decent root
Time to vote, mind you I have a couple left to read.
I'm probably going to be a bit more forgiving since these are one week efforts and should be rated accordingly, something I didn't really reflect in my grades which were a bit negative.
Overall a good OWC, ok some poor scripts, some newbies, but a decent variety of ideas, some will real potential.
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
Shawn, you forgot to take into account people like Ray, who waits to the last minute and posts reviews on ALL the scripts...along with a few spreadsheets!
MUAH-HA-HA-HAAAAAA!!!!
I've just a few more left to read, er... start to read. (Some of these I'm dropping PDQ. I have my reasons, and the writers might consider the precise reasons why.)
The perspective I'm bringing to this review process is "notably" different than the fine and valid POVs largely provided so far.
For all practical purposes I'm working in a box. I have a numerical list (from the first post of this thread) of submissions to the given challenge criteria, I open up the next screenplay on a 2/3-screen sized window, start assessing from the title page while placing comments on a 1/3-screen sized window of MS Notepad. Those notes are then transferred to a running list of all the submissions, a weighted grading matrix is completed on a project spreadsheet, and then I move on to the next submission. It's a very pragmatic and methodical process. Think of a spider in an orb-web biting and bundling each little bug in a swarm that crossed it's web. Attack, bite, spin, move. Attack, bite, spin, move. Attack, bite, spin, move. Etc...
I really don't give a flying fig about what anyone else has said about any of the screenplays. I'm reviewing these for what I need. You gots what you gots. I gots what I gots. If what I say is good for you - great. If not - then okay. ?? I ain't getting paid to do this. Whaddaya expect? ??
Is there a Christmas OWC? Because (clear the room) with all this talk of witches and stuff I'm starting to feel a Christmas tale coming on!
Seriously, what would be good is to have a NOV rewrite of the OCT OWC submissions.
We've discussed it. But too few people seem to have the... jizz in their writer's balls to achieve that.
One and done. Climb on. Climb off.
No stamina whatsoever.
Sure, some of these are going nowhere - EVER! But more than some of these submissions are fairly nice near-misses. It's kinduva tragedy they'll likely never be stripped and rebuilt bigger, better, leaner, or more aerodynamic to be shopped around in the right places.
Doing a Christmas OWC will likely just end up with a fresh catch of square-one flotsam. Besides, writing INTENTIONAL comedy or romcom is unforgivingly hard. So dependent upon execution by talent on camera. http://www.the-numbers.com/market/Genres/ I mean - WHAT ELSE? are you gonna write for a Christmas OWC? Action? Adventure? Surely not a drama. Gag-ack!
Quoted from Dreamscale
You go, ray! Looking forward to it!!!
Hope you made the cut, big guy. PLEEEEEASE tell me you put actual HORROR! in your horror story.
Oh no! Voting is open already! Going to slam out some reads later today. Right now have to go with the girlfriend to get her haircut (aims gun at head).
Will have some more reads tonight though for sure.
EDIT://
QUESTION:
I was reading the LOST teleplays and the 2009 Star Trek script and noticed a lot of dual dialogue?
Now I always thought dual dialogue was used when two characters we're talking simultaneously. But this doesn't always seem to be the case. Now I'm confused about it.
Also I see unfilmables all the time, but you know what, I think they're used when setting up future scenes. To avoid the reader being confused at that moment, and pretty much letting the reader know that something is coming up later that will explain it or give it a point.
A bad writer, trying to become decent...
Thank you for all who put up with my work and try and help me improve.
I already voted. Strangely or not, I had the exact same number of scripts as Jeff get better than a pass: 11. They may not be the same scripts, but still weird considering there were 55 scripts.
I did not review every script...but I did open each one.