Do we vote the old way - should I send my pick to Don?

And how many I'm allowed to pick? don't remember how many I read, probably ten, and I really liked 2.

Oh, I can't vote if I don't have an entry in, right? Because I haven't received anything from Don... Okay, I get it.

It should be possible to set up an unofficial voting thread (unless anyone disagrees). Would be interesting as well to compare winners. Each member simply posts their favourite and do a count up at the end.

I voted to keep 11 scripts on the island...but I didn't keep a record of which. Many I know off the top, but when I voted, I went back and reviewed my notes for each script, and in many cases, opened the script again. Too much work for me to figure it out.

The rest of my effort with the OWC will be after the reveal, if anyone wants more feedback on their work.

Just voted.

NOTE: It would be unreasonable to assume any submission would be good to go straight into production "as is".

Three Recommends - but all would require page one rewrites
Four Considers - reserved for those stories I enjoyed irregardless of criteria

Most of the others were passed for unproduceable budgets: too many locations to coordinate cast and crew to + too many characters to pay to cast.


I'll post links to my faux producer's (fauxducer's?!) notes/comments and the weighted matrix spreadsheet tomorrow after voting's over, then begin the laborious effort of C&P-ing individual remarks to individual threads.
(Then start defending my own admittedly sorry entry. Ha!)



Good luck, everyone.
Thank you for participating.

Quoted from RayW Most of the others were passed for unproduceable budgets: too many locations to coordinate cast and crew to + too many characters to pay to cast.

Sweet, Ray!  Loking forward to it, as I for one always enjoy your laborious efforts here.

But, my question involves the above quote - why would you disclude anything based on budget and sets, when this challenge didn't have those as parameters?

Quoted from Dreamscale But, my question involves the above quote - why would you disclude anything based on budget and sets, when this challenge didn't have those as parameters?

Ah, well you see... here is one of my pet peeves about the majority of the reviews that are cast about here.
There's WAAAAAAAAY too much, IMHO, discussion and assessment levying based upon the literary merits of a given screenplay with ABSOLUTELY NO REGARD WHATSOEVER of the point and purpose of WHAT as screenplay is ACTUALLY for.

WHY do we (most hetero males) want gorgeous women, especially with big tits?
Why?
WHY?! WHY?! WHY?! WHY?!
For recreation or procreation?
What in your/my little reptile brain make us look at such-and-such and assess "Pass/Fail/Consider"?
Why do we even notice such stupid things as bouncy mounds of flesh and fat?

Uh... well... because... uh...

Queue the evolutionary reasons about optimal reproduction traits for offspring and blah blah blah.

LIKEWISE...
WHY WHY WHY WHY do we write screenplays?
For recreation or production?


I cast a production eye towards screenplays, not a recreation eye.

Just accept that this argument will never end.

Still amused the Dustin's zing somehow injured your back, Jeff.

An apology that maintains the exact same accusation is not an apology.

And I am not suggesting that "mass opinion" determines anything, and you know that. Whose opinion generally runs more against the grain than mine? Why was a personal attack laid on me when many others expressed the same opinion on the script: great writing, a little thin on the story. You actually went as far as to tell people to take my opinion with a grain of salt. A disingenuous apology isn't going to cut it.

And then your subsequent accusation, in the following sentence, makes you the poster boy for hypocrisy, unless I'm wrong about which script is yours.

Hope the back feels better. Maybe we can get Dustin to ease up.

Quoted from RayW I cast a production eye towards screenplays, not a recreation eye.

As is quite right, as that is the point. Some shorts are not cost effective (therefore all-but impossible) to make just because of the cost and dynamics involved. Writing scripts for fun is all well and good but the point of a script is to be made into film. A script is just half the job.

I see little point in writing screenplays recreationally as unto themselves they are never complete things. Surely, recreational screenwriters would be better off, and indeed find more satisfaction/fulfilment from, writing short stories.

I like the production potential analysis Ray puts into it. I also think it's fine to write shorts for recreation. The only shorts I generally write are OWCs, and I do it for fun and because I always learn things.

Quoted from RayW Ah, well you see... here is one of my pet peeves about the majority of the reviews that are cast about here. There's WAAAAAAAAY too much, IMHO, discussion and assessment levying based upon the literary merits of a given screenplay with ABSOLUTELY NO REGARD WHATSOEVER of the point and purpose of WHAT as screenplay is ACTUALLY for. WHY do we (most hetero males) want gorgeous women, especially with big tits? Why? WHY?! WHY?! WHY?! WHY?! For recreation or procreation? What in your/my little reptile brain make us look at such-and-such and assess "Pass/Fail/Consider"? Why do we even notice such stupid things as bouncy mounds of flesh and fat? Uh... well... because... uh... Queue the evolutionary reasons about optimal reproduction traits for offspring and blah blah blah. LIKEWISE... WHY WHY WHY WHY do we write screenplays? For recreation or production? I cast a production eye towards screenplays, not a recreation eye.

I disagree with this for one reason: writing a screenplay is also a way to gain notice as a writer and storyteller. I know of a few scripts with utterly unproduceable budgets (in excess of $300 million) but those scripts were amazing and got the writer work. Rarely will a spec script ever get made but the writer will land assignments, which is 91% of the work out there.

ETA: Having said that, I really appreciate your production analysis of the scripts, Ray. It's important to be aware of the costs involved and the more informed writers are about those costs the smarter their decisions can be at the early stages to keep those costs down.

Oh man. I totally forgot about the word fuckstick. I love that word.

Quoted from KevinLenihan An apology that maintains the exact same accusation is not an apology. And I am not suggesting that "mass opinion" determines anything, and you know that. Whose opinion generally runs more against the grain than mine? Why was a personal attack laid on me when many others expressed the same opinion on the script: great writing, a little thin on the story. You actually went as far as to tell people to take my opinion with a grain of salt. A disingenuous apology isn't going to cut it. And then your subsequent accusation, in the following sentence, makes you the poster boy for hypocrisy, unless I'm wrong about which script is yours.

Kev, read "your" review on the script in question and then read "my" review on the other script in question.  Now, tell me who's the hipocrite here?

Meanwhile.....I'm looking forward to guessing the writers, getting it horribly wrong, upsetting somebody because I thought they wrote so and so and then feeling the guilt over what I  wrote in haste one night with a few too many red wines.

but still fun, mind you, you do need a break after a OWC, more than any other comp...err...challenge

Ray - looking forward to your notes. I was thinking about the production challenges on mine and whilst they are not huge they still add up because it's not just one location and a carving knife etc

However, I could see it slimmed down and in fact  the same place re hashed in more than one scene. But I have often thought it is the writers challenge to capture the imagination and the producers to see if it can work, and if so, what needs to be sacrificed to get it done. But first you need to be intrigued.

So, looking forward to that analysis.