Hey all,

Does anyone have the script for this?

Please send to me if so

Also looking for this if anybody has it.

Likewise!

Please...pretty please..with a cherry on top...I want it...so bad give me the Nightcrawler script too

So, someone enlighten me. What's so special about the Nightcrawler script.

I watched the trailer on youtube and...hmm. Is this some cult classic, or, soon to be?

Quoted from Pale Yellow Please...pretty please..with a cherry on top...I want it...so bad give me the Nightcrawler script too

Haha!

LC, this is the script for the newfly funded Jake Gyllenhaal project that sounds pretty fantastic. He also turned down Into The Woods to get it made, which shows some serious belief. Into the Woods is also at Shepperton Studios now, and it seems they're pretty advanced with their pre-prod.

Quoted from Andrew ...this is the script for the newfly funded Jake Gyllenhaal project that sounds pretty fantastic. He also turned down Into The Woods to get it made, which shows some serious belief. Into the Woods is also at Shepperton Studios now, and it seems they're pretty advanced with their pre-prod.

I couldn't understand how you could all be excited about the screenplay for this:

http://www.imdb.com/title/tt0985060

I get it now.  As you were.

Finally found the script on the web, peeps. If anybody wants it, shoot a pm!

Quoted from nawazm11 Finally found the script on the web, peeps. If anybody wants it, shoot a pm!

PM'd you Mo. Good job!

Well, I just finished reading it and... No wonder Gyllenhaal jumped on this. Very unique protagonist and a script that deals with the same unique subject matter. Moves fast but felt this needed another 15 pages. Don't want to talk about a lot until more people have read it.

The star of the show here is surprisingly the writing/writing style. Probably one of the easiest reads ever. The writing was great, very refreshing. There's this technique used by Gilroy where there are no stops in the action. Everything on screen connects with the next action again and again and again. You can't put the script down because it's forcing you to go further. It's almost like one big sentence spanning across 108 pages.

Here's an example.

Quoted Text THE SCANNER LIGHTS blinking furiously through emergency frequencies and LOU’S POV as a TRACTOR TRAILER suddenly appears ahead ... crossing the avenue as the CHASE CAR veers ... death spin ... split-second view of AN EXPLOSION OF GLASS AND STEEL as the CHASE CAR submarines under the trailer and the SQUAD CARS skid and collide and LOU brakes hard and he’s heading straight for the truck at 90 MPH and LOU cuts the wheel at the last second and THE CHALLENGER threads the wreckage to come to A STOP some 100 feet away as LOU jumps out with his camera and calls to RICK ...

And the whole script continues like that. But not without its problems, mostly because I felt there was no history to Lou's character and that the ending didn't really correlate with his dilemma (if he even had one). Really though, it's an undeniably great read.

Thanks again, Mo.

Very interesting style of writing. Going to read it now.

I thought that the script was a very well written, yet ultimately unsatisfying read (mainly due to the ending, which Mo made reference to). Once a few more peeps have read it, I will be happy to explain my feelings in greater detail

If someone could send me a link - that would be great

Quoted from Eoin If someone could send me a link - that would be great

Eoin, PM me if you haven't got it yet and I'll save Mo, and pass it on to you.

Quoted from Eoin If someone could send me a link - that would be great

I've got a bucket of nightcrawlers I'll send you.



Happy halloween.

Excellent! This is what I've been trying to get members to do for a couple of years: read successful pro scripts. You won't look at rules quite the same way again. Try to look at several pro spec scripts a week. That was why I started the Scriptshadow thread, to nudge people away from obsessing over title page format and asides.

And to be clear...I am NOT saying writing doesn't matter. To the contrary, I am saying the goal is to use the most effective writing technique possible. Where the "rules" get in the way of what's effective, you have to bend them.

I read Nightcrawlers a while back and I think it's successful because the story is pretty unique. And I completely(and respectfully) disagree with Mo on knowing the main character's back story. That's a potentially dangerous trap we writers all fall into, thinking we always need back story.

The purpose behind back story is to flesh out a character...giving us a sense of why a person is who he is helps us know who he is. But the main thing is to know who he is, and there are other ways to do that. Often it's hard to do this without some back story, but ideally you can. In Nightcrawler we get a very memorable sense of who this guy is just by his actions. Back story is really exposition, no matter how interesting we make it, so if we can do without it can be an advantage.'

Enjoy the read!

Quoted from KevinLenihan Excellent! This is what I've been trying to get members to do for a couple of years: read successful pro scripts.

What? This is a new concept? I've been reading and downloading pro scripts for ages - doesn't every writer? I mean, so much of it is now right at your fingertips. Years ago you wouldn't have been able to read half the stuff you can now - it's an essential writer's tool imo, that and watching film and good tv.

Can definitely see where you're coming from, Kev. Was I the only one who wanted Lou to crash and burn?

The Scriptshadow thread seems to be dead nowadays, which is a shame. I think a new thread could be started where peeps could discuss pro scripts? Instead of creating a new thread for every new script. I've read a few interesting ones that I think are very deserving of reads or discussions.

Quoted from nawazm11 Can definitely see where you're coming from, Kev. Was I the only one who wanted Lou to crash and burn?

No you weren't the only one, and (SPOILERS) I think that was why the ending fell flat for me. This guy didn't deserve a positive conclusion to his story, IMO.

Spoilers start around here.

Very much so, Toby. I wanted his arrogance and precision to be his undoing. Almost realizing in the end that "wow, that maybe I'm not that perfect".

LC, you are correct, it is essential. And while it's not necessarily new around here, it could still help a lot of people to make this part of their process. A lot of the comments we saw in the OWC give evidence to the fact that people are just not reading pro scripts. Scripts that are called "novelistic" or filled with "asides" would not be considered so in the pro world, which does in fact use some of this to the story's advantage.

Can someone e-mail the script over to me... if they have the time.  Thanks.

Glancing over it now... on page 3 and I love the writing already.

Quoted from Guest Glancing over it now... on page 3 and I love the writing already.

Yeah it moves very quickly. I like it as well. I'm on page 50. It's going to be an interesting film, because the script makes me even feel uncomfortable, because of the environment.

Neighbor, please check messages.

Quoted from KevinLenihan Neighbor, please check messages.

What do you mean? I checked my PMs and email and nothing new there.

Read the script - Yeah, it's bold and a fast read, but I'm just not digging it.

It's a very good lesson in how to craft a character driven script and I get what Dan Gilroy is going for with Lou's character, but all that exposition and information spewing dialogue, that is meant to shape Lou's character, just doesn't work for me.

There's a nod towards Asperger's, but it also seem as if it's trying too hard to copy the News Room.

By page 50, what has actually happened if you boil it down. A guy has picked up a camera and is making a living from it . . .  okay.

Quoted from KevinLenihan Excellent! This is what I've been trying to get members to do for a couple of years: read successful pro scripts. You won't look at rules quite the same way again. Try to look at several pro spec scripts a week. That was why I started the Scriptshadow thread, to nudge people away from obsessing over title page format and asides.

Wow. What a great idea. Someone should talk Don into hosting some pro scripts on this site.       

I'm very interested in reading this as well if someone could PM me the link.  Thanks a bunch!  

Quoted from Eoin Read the script - Yeah, it's bold and a fast read, but I'm just not digging it. It's a very good lesson in how to craft a character driven script and I get what Dan Gilroy is going for with Lou's character, but all that exposition and information spewing dialogue, that is meant to shape Lou's character, just doesn't work for me. There's a nod towards Asperger's, but it also seem as if it's trying too hard to copy the News Room. By page 50, what has actually happened if you boil it down. A guy has picked up a camera and is making a living from it . . .  okay.

I liked it just because I found it so easy to read. Even though not much happens, I still found it interesting. I found the dialogue kind of funny for that reason. It was so ridiculous, almost reminded me of American Psycho (both the novel and the film).

And I definitely don't think Lou has Asperger's (I don't remember if they mentioned it in the script) but I am pretty well versed with Asperger's and even though Lou does show some of the symptoms (very organized, and the way he speaks), I definitely would not say he has it.

He fits more of the DARK TRIAD symptoms: Narcissism, Machiavellian-ism and psychopathy.  Due to his seemingly non attachment to other people and non responsiveness to horrible things, his manipulation and his entitlement and dominance in social interactions.

The dialogue was way over the top - even for the character traits you ascribed to him, Lou talks like a robot. He regurgitates accumulated information. He has an intense fascination and preoccupation with a particular subject. He can't form meaningful relationships or interactions with people.

Lou himself tells Nina at dinner how he sees their 'relationship'.

Rick tells Lou, he doesn't understand people.

It wasn't mentioned in the script that he has Asperger's, neither does it mention that he is a sociopath, but we can infer from what is shown, that it is possible he may have Aspergers, or at least that's the way I read it.

The theme of the script is a little too thin for me, or one that we have seen in other guises 'what we see on the news is manipluated'. Okay, great.

Once we see Lou wearing the watch, we know later on where this is going with his news coverage, extreme town and that's exactly where it goes.

Sure, it's an easy read, but not a very satisfying story IMO. Lou's hurdles are skipped over all too easily. Yes, there is some form of conflict, but mainly because Lou has leverage over other characters, who feel threatened by him. The conflict should be both ways. The only outcome is, Lou achieves his goal - so what? The story reminded me of The World's Fastest Indian - a 'nice' but ultimately very unsatisfying film.

Quoted from LC What? This is a new concept? I've been reading and downloading pro scripts for ages - doesn't every writer? I mean, so much of it is now right at your fingertips. Years ago you wouldn't have been able to read half the stuff you can now - it's an essential writer's tool imo, that and watching film and good tv.

I have to admit that I've never read a full pro-script. Read quite a few amateur ones though.

Dustin, I think that's surprisingly and strangely common in the amateur screen world. I can't think of any other profession that's similar.

One problem can be getting scripts, especially spec scripts. They circulate around the industry, but you won't find them generally by google.

Reading pro scripts is the next critical stage in the development process. Not that they are all well written,but you'll know the ones that are when you see them...and most of them are written by people that are in the position they are for a reason. They make a living at this, so it stands to reason they might know a thing or two.

As far as I'm concerned the next step is getting things made. I have no intention of ever reading a pro' script. I don't care to read something I can watch on screen.

To each his own, Dustin. But generally for a writer to get something made, he has to get interest in his script. In an extremely competitive market, you want  to be able to put forward the best product you can. Learning strategy should not be limited. It should include anything: reading pro scripts, giving notes on amateur scripts, watching movies, reading literature, reading blogs and articles...anything that can help.

Quoted from DustinBowcot As far as I'm concerned the next step is getting things made. I have no intention of ever reading a pro' script. I don't care to read something I can watch on screen.

Each to their own, but I can't get with this mentality. If you write, you should read. Reading different screenwriting styles (Nightcrawlers being an excellent example - and I'm not a fan of it btw) can only enhance your own writing...even if your next goal is to get things made. Jmh.

Quoted from KevinLenihan To each his own, Dustin. But generally for a writer to get something made, he has to get interest in his script. In an extremely competitive market, you want  to be able to put forward the best product you can. Learning strategy should not be limited. It should include anything: reading pro scripts, giving notes on amateur scripts, watching movies, reading literature, reading blogs and articles...anything that can help.

All that matters is being able to tell stories. Once you learn screenplay structure then it becomes about getting to know people that want to make films... as you can already tell stories. The odd tell only matters to other screenwriters, mostly the angry or frustrated ones that have been going for years and still haven't gotten anywhere. Producers don't care about that. They don't give a toss if it is written perfectly or not... a few tells here and there does not bother them... the only people it bothers are other writers and Hollywood readers.

If you're not writing for either of them, then you can pretty much write what you like. As a writer it is simply our job to convey the story. The odd bit of overwriting, tells or even exposition isn't going to put a producer off.

I've been chatting to one through email the past few days, and what most producers are looking for is that special script. It's the story that counts, it has to resonate with them... many could be working a script for years before making it. Perfection is not necessary right away. Indeed is pretty pointless. One could polish a script that will never, ever sell or resonate with anyone, ever.

Quoted from LC Each to their own, but I can't get with this mentality. If you write, you should read. Reading different screenwriting styles (Nightcrawlers being an excellent example - and I'm not a fan of it btw) can only enhance your own writing...even if your next goal is to get things made. Jmh.

I didn't say that I didn't read. I already have my own style. Style is down to personal choice and I wouldn't say it improves writing. What improves writing are great stories, realistic characters and dialogue.

Quoted Text All that matters is being able to tell stories.

Exactly. And the telling is part of it. If you have a great concept for a story, how you tell it makes a huge difference.

I have not suggested that perfection is necessary or even the goal. It's all about telling a story that captures the imagination of someone who might film it.

There are many ways to do that. Developing one's style and voice is an important part of that.

LC, now you know what I was talking about. Very, very few people here read pro scripts.

Whatever works, though, there are many paths.

Quoted from Eoin The dialogue was way over the top - even for the character traits you ascribed to him, Lou talks like a robot. He regurgitates accumulated information. He has an intense fascination and preoccupation with a particular subject. He can't form meaningful relationships or interactions with people. Lou himself tells Nina at dinner how he sees their 'relationship'. Rick tells Lou, he doesn't understand people. It wasn't mentioned in the script that he has Asperger's, neither does it mention that he is a sociopath, but we can infer from what is shown, that it is possible he may have Aspergers, or at least that's the way I read it.

You have some good points here actually, there's some things though that just don't gel with it in my opinion, but same with the triad I listed as well. I can say that after you listed your examples, you have swayed me a bit.

But then again, the guys a writer and not an expert on Psych.

Well, bar any writers on here who are psychologists or have clinical experience in diagnosing mental conditions or disorders, every writer should make it their business to know about whatever subject they are writing.

Regardless of what character profile, or underlying condition Dan Gilroy had in mind for Lou, it was only okay for me.

I can see the attraction for an actor reading the script wanting to play Lou, there's a huge draw there and that's one positive lesson you can learn from it.

Quoted from KevinLenihan Exactly. And the telling is part of it. If you have a great concept for a story, how you tell it makes a huge difference. I have not suggested that perfection is necessary or even the goal. It's all about telling a story that captures the imagination of someone who might film it. There are many ways to do that. Developing one's style and voice is an important part of that.

My style and voice has been developed over many years. I didn't just wake up and decide I wanted to be a writer. A writer is what I am and what I've always been. The fact that I decided to take it seriously less than a year and a half ago doesn't matter.
I was copying other people's styles at 12 years old. I'm all grown up now. I have my own style and my own original take on things gleaned from life experiences, I don't need to copy anybody. The way I tell stories comes down to my talent as a writer. Lets face it... once you have the talent it then comes down to life experience. If you haven't got any this will show in your characters and dialogue and even the way stories are told. My dad told me that writers are just the sum of their experience. To that end, I went out and got some.

Like Jeff, you seem determined to misunderstand. No one is advocating "copying" anything. You said you learn from watching movies...are you copying them?

Of course life experience is important.

But there are techniques to telling story, just like there are techniques to making movies.

If you are a horror director, you won't just assume you've learned enough about directing and then stop learning from successful techniques used by other directors. You never stop learning, whether it's new camera tricks, sound affects, story plotting.

Writing is no different.

Quoted from KevinLenihan Like Jeff, you seem determined to misunderstand.

I'll throw that same accusation at you. Aside from the 'Like Jeff' part.

Quoted from KevinLenihan No one is advocating "copying" anything.

I didn't say anybody was advocating it. Did I say that? Who did I accuse of advocating it?

Quoted from KevinLenihan You said you learn from watching movies...are you copying them?

I'm not, but some people do.

Quoted from KevinLenihan But there are techniques to telling story...

This is the crux of the argument as far as I am concerned. The techniques required for telling a story well, are inherent and cannot be learned. I can glean all the information required from a  book on screenwriting. Reading other people's styles will only change my style it won't change who I am or what I know, nor will it improve my writing. I  know how to format a screenplay, it isn't difficult... doesn't take years to learn. The rest is all down to talent and that cannot be taught.

Jake looks a little emicated in his role as Lou

Quoted from Eoin Jake looks a little emicated in his role as Lou

All I can say is wow.

I've heard rumours that Jake has been stressed out huge by something lately and that his "stress ticks" in Prisoners weren't actually just for the role. People have said he was doing it in a play he did before Prisoners, as well.

I still think it was just for the role, and I think he looks this way for the role as well but jeez he looks about 15 years older.

Anyone care to tell me WTF this is and what the big deal is about it?

All I could find was that Gyllenhaal lost a ton of weight for the role and that the story is about... "L.A. freelance crime journalism." Sounds boring.

Curious what all the hubbub's about though.

Quoted from James McClung Anyone care to tell me WTF this is and what the big deal is about it? All I could find was that Gyllenhaal lost a ton of weight for the role and that the story is about... "L.A. freelance crime journalism." Sounds boring. Curious what all the hubbub's about though.

I read the script and i still can't see what all the fuss is about  

Read this last night in one sitting  I liked the style of the writing and enjoyed the lack of conventional slug headers.  The action flies.  Some strange techniques that padded the script by quite a lot -- no need for all the description of radio chatter and the massive bold sign descriptions, I felt.

I actually felt the main thrust of the movie wasn't about Lou, I thought what the writer was using Lou as the funnel to get through his ideas on the way certain news media outlets operate.  It certainly came off as seedy and exploitative. I think exploitation was the main theme, from the victims he films, even through to young Rick -- who just wants to make a buck but ends up, you know...

For a main character, I thought Lou was very interesting, certainly unconventional, but one that I cannot see resonating with mainstream audiences in the slightest.  I'm not sure what type of release this movie will get, but I think it the critics will love it, the general public...maybe not.  I'd hazard a guess that ending might be changed for the final cut.

Quoted from Neighbour All I can say is wow. I've heard rumours that Jake has been stressed out huge by something lately and that his "stress ticks" in Prisoners weren't actually just for the role. People have said he was doing it in a play he did before Prisoners, as well. I still think it was just for the role, and I think he looks this way for the role as well but jeez he looks about 15 years older.

Maybe he's just diving into the role.... Matthew McConahey (sp?) lost a shit load of weight for Dallas Buyers Club (and didn't Christian Bale do the same for a part too?)... probably a point in their career where they just want to start being the DeNiro's and Pacino's of our time, transforming themselves into a character.

A few more pics for those interested.

http://imgur.com/a/C8DPp

http://www.dailymail.co.uk/tvs.....rawler-reporter.html

I think you can see Rick in one of those? The short dude.

I've still not read this - can someone ping it over to me, please?

Received.

Thanks guys.

Read this - may need a different place for the thread if further discussed.

It was good to read a successful script but I would be interested to see if this version gets produced. My guess is that they will take the bones of this and beef it up with more focus, goals etc

I appreciate he is driven by a goal to be successful, but as a script driver it seemed vague. The audience is really waiting for him to decide to do something. Why not join up his success with a clearer target?

The writing style was particularly effective, even if a bit unconventional, but you have be consistently like this. I could see myself trying to copy and failing badly.

Overall I felt this was like the first two thirds of a film. I was waiting for the big challenge and it didn't seem to occur. The end was particularly flat.

Character wise, the writer did very well in putting together a lead character that gave me the chills. His learnt behaviour, almost straight from management 'how to' books, increasingly was disconcerting. By the end I was cringing every time he did or said anything.  The scene where he tries it on with Nina had a faint echo of taxi driver and the inappropriateness of it all. His inability to connect and be level. I could picture an actor loving that.

I know nothing about the history of this script,  but one other reason for the production could be it leads on to sequels.

Looking for the script.
Tnx.