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SimplyScripts Screenwriting Discussion Board    Unproduced Screenplay Discussion    Short Scripts  ›  At The Junction Moderators: bert
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  Author    At The Junction  (currently 5281 views)
alffy
Posted: January 31st, 2012, 4:43pm Report to Moderator
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I was thinking a bit more about your argument about someone driving down the same road everyday even if it annoys them and I guess it is plausible, if it's shortest route to work then I would probably use it. I say this because I use to have to pull out of a junction at a railway crossing and it was a nightmare, I could have gone another way but it would have added a good 5 minutes onto my journey so I just liked it and lumped it, so to speak. As for the two fingers...I was bored with a Biro.


Check out my scripts...if you want to, no pressure.

You can find my scripts here
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Reef Dreamer
Posted: February 1st, 2012, 6:04am Report to Moderator
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sorry for the delay in replying.


Quoted from Electric Dreamer

I don't know what a "saloon car" is.


The pages read pretty well, and I do get the life as art vibe here.
It's pretty good food for thought.
Think I missed out on Ron's importance.
Though I wish there was more to do with the cool car thing.
That's my fave idea on display here.

Regards,
E.D.


Hey, Brett thanks for kind read again, you really do give so much back. Saloon car is a four door family car. thats two scripts in a row where my car description has not crossed the atlantic so well. always a good reminder on details.

Thanks for spotting the art thing.


Quoted from Heretic
Page 1:  I actually don't think the second scene achieves anything that the first and third don't.  We don't need to be shown that they got the house.  We know; it's right there in scenes 1 and 3.



Interesting. I liked it because i wanted to show the warmth between thats is lost and has to be refound and the "carry your girl over the threshold" was an easy visual signal. However, it could be evolved in the others. i suppose i preferred the harmony of scenes, before, during and then after.


Quoted from Heretic


Page 2:  Amanda is a little bit too perfect for my liking.  All she is is calm, peaceful, pretty, wonderful.  Be nice to see a little life outta her.



Ooh you are harsh about the poor girl. It is really dave's story so she has to be a little neutral but we see a character arc  from her as she goes through Happy, submissive, home maker to emotionally distant. she has been broken, despite her goodwill and it is for dave to win it back. I don't feel she is a perfect character - look whats she has allowed to happen. Submissive yes, perfect, no. IMO

Thanks for the read and all the best with your film - sounds beyond exciting.



Quoted from mmmarnie
I thought this was written very well..didn't have much of an issue with the SLUGS.

The story itself is sweet.  I just kept thinking it odd that Ron would show up at the same time to let them in.  But in the end it's a cool look at a man's life and how a stranger can make such an impact.  Nice to see him come around at the end so he and his wife can start a new chapter.

Nice job.  


Marne thanks for the read. It is meant to be a sweet tale but hopefully one that lingers. I thought i would post a happy ending as so many drift into darkness.

all the best



My scripts  HERE

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
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irish eyes
Posted: February 1st, 2012, 10:11pm Report to Moderator
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Bill

My apologies if I was being too straight forward in the feedback of your script. I realized there was probably a deeper meaning and yes "the junction of course" was a metaphor of some sorts...
I read it again and it just doesn`t work for me.... But you`re not writing it for me, you`re writing for you.

Quoted from Reef Dreamer
So, back to the story which is not really about an annoying junction, it is a metaphor about awareness. One day Dave becomes aware that Ron is old and has always been kind. He realises he wishes to say thank you, but never gets the chance. He misses it. It is this lack of chance, with the crisp message from Rons children that makes dave aware that he could lose the same opportunity at home. He is at a junction of life, with choices and directions. He turns around.


I get it NOW!

I would be the first to admit, that I am not a deep thinker when it comes to reading scripts, I basically say what I see(I write comedies... No bells or whistles).
There are a lot of great writers and readers on this site, that give much more indepth feedback than I do. But when you have to explain your entire script on feedback to not only myself, but a few others then I don`t feel so bad.

You`re still a great writer.

Mark


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Reef Dreamer
Posted: February 2nd, 2012, 1:44pm Report to Moderator
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Thanks chaps for re reading/thinking about this.


Quoted from alffy
I was thinking a bit more about your argument about someone driving down the same road everyday even if it annoys them and I guess it is plausible, if it's shortest route to work then I would probably use it. I say this because I use to have to pull out of a junction at a railway crossing and it was a nightmare,.


Yeah, the reality is that one could question the premise but if we can have vampires at high school maybe it could work. in terms of the junction the way i saw it was simpler. it is the ONLY way out of the estate. The junction isn't a disaster it's just busy.


Quoted from irish eyes

My apologies if I was being too straight forward in the feedback of your script. I realized there was probably a deeper meaning and yes "the junction of course" was a metaphor of some sorts...
I read it again and it just doesn`t work for me.... But you`re not writing it for me, you`re writing for you.


No worries Mark, and thanks for giving it a second chance. Appreciated. Indeed, i think i may owe you an apology for not replying to your first post, i think.

It is an interesting question about explaining the script. I agree that it is best that you don't have to. Having said that when you have one which is a little different i suppose it helps the read, a bit like the background to a painting helps you appreciate what the painter was trying. Well, if you're like me, you definitely need a background to a painting as i haven't a clue what what most famous artists were trying to do (not that i'm trying to compare)

cheers

bill




My scripts  HERE

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
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bert
Posted: February 5th, 2012, 1:53am Report to Moderator
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My biggest problem with this piece is that every time this title pops up on the portal, the internal song-generator in my head immediately begins playing the infernal theme from Petticoat Junction -- only vaguely remembered from my earliest childhood, but somehow still rattling around up there many years later for reasons completely unknown.  And it won't go away for hours.  It is slowly driving me mad.

But I digress.

Nicely told without dialogue, which is never easy, but you do need to add page numbers. Everything was smooth, and I read it straight through without really noting any comments.

But the meaning was a bit lost on me until I went back to read your responses.

I did not really get the sense of tension you were going for between Dave and Amanda, particularly with the inclusion of the children. I thought you meant to depict his life proceeding in a fairly normal fashion -- but then, perhaps losing that sense of perspective IS life proceeding in a normal fashion.  Which may be, in part, what this story is really about I guess.

I did see the clues later when I went back and looked for them, and I suspect that visually -- with actors and direction -- these subtle things would have been more evident from the outset.

And that bit with Amanda and the knife at the very end.  You might reconsider that small part, as at that point I really started to wonder where the heck you were going with this.

But apart from that, I guess my only real advice with this one is to make your message a little less subtle, if you think it needs to be, based on some of the comments for this.  But maybe you feel you have gotten it just right, and you could probably make a valid case for that, too.  There is nothing wrong with a piece that demands a little thought.


Hey, it's my tiny, little IMDb!
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Reef Dreamer
Posted: February 5th, 2012, 5:07pm Report to Moderator
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Hey Bert,

Thanks for the read.


Quoted from bert
My biggest problem with this piece is that every time this title pops up on the portal, the internal song-generator in my head immediately begins playing the infernal theme from Petticoat Junction


not one i know, but it is funny how we attach to words. i read a title and log line at Mp today which just jumped out at me for my personal reasons. You can never guess the issues that arise, indeed it is a delight to hear these things if you stand back for a minute.


Quoted from bert

Nicely told without dialogue, which is never easy, but you do need to add page numbers. Everything was smooth, and I read it straight through without really noting any comments.


Page numbers! Hadn't even crossed my mind. How slack is that!


Quoted from bert

But the meaning was a bit lost on me until I went back to read your responses.

I did not really get the sense of tension you were going for between Dave and Amanda, particularly with the inclusion of the children. I thought you meant to depict his life proceeding in a fairly normal fashion -- but then, perhaps losing that sense of perspective IS life proceeding in a normal fashion.  Which may be, in part, what this story is really about I guess.

I did see the clues later when I went back and looked for them, and I suspect that visually -- with actors and direction -- these subtle things would have been more evident from the outset.


This script has done exactly what i asked of it. To allow me to try something different, learn the lessons of a script without dialogue and on the way give the reader, in 3-4 pages, something with a touch of depth to reflect on. It hasn't worked for everyone and the application of subtleness is one of the core issues i have taken away.

In fact your comments have made me realise a small but subtle shift i can make in the interchange between them, within the car series of shots, that will affect meaning. A single word here, a change there, all shifts the tone, the clarity etc.


Quoted from bert

And that bit with Amanda and the knife at the very end.  You might reconsider that small part, as at that point I really started to wonder where the heck you were going with this.


The knife! I expected more on this but you are the only one, i think. This was on purpose. I wanted the script to be a mystery of why, only resolved at the end. The knife reflected a raising of the stakes. Does the reader have it right, which way is this going etc? Yet, the knife is fully explainable, she was chopping vegetables.  So it becomes a breath in moment, only to be explained so you can breath out.  

Again, not for everyone, but the more i write, the more I try different things that not everyone will enjoy (True Myth was like that as well - if you have five minutes i would appreciate your thoughts on this as well), the more i feel i learn for the next one. (thats the theory!)

thanks for the comments


My scripts  HERE

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
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Jahon Bahrom
Posted: February 6th, 2012, 11:49pm Report to Moderator
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Hi Bill.
Nice story there. I tthink it could make a nice silent short or somekind of commercial. Clean write, nice draft. two thumbs up.

keep writing
Jahongir.
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Reef Dreamer
Posted: February 7th, 2012, 2:03pm Report to Moderator
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Quoted from Jahon Bahrom
Hi Bill.
Nice story there. I tthink it could make a nice silent short or somekind of commercial. Clean write, nice draft. two thumbs up.

keep writing
Jahongir.


Hey Jahongir,

thanks for the read.

This hasn't been everybody's style of script but it was a good exercise for me and at the end of the day i think it has some depth to it, which is nice to achieve.

all the best


My scripts  HERE

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
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Colkurtz8
Posted: February 8th, 2012, 6:07am Report to Moderator
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Bill

This was an interesting piece, I liked it. I could see it being played out to music accompaniment in the form of a tone poem.

The writing is sharp and athletic, very little waste or flab. Since there is no dialogue you needed to convey everything in your prose and I thought you achieved it efficiently without fuss or over elaboration.

I liked how you took this seemingly insignificant routine of Dave and Amanda’s life and used it to represent and reflect their (particularly his) choice of life as a whole. A microcosm of the path they chose to lead their lives by (I feel Amanda can be accused of been just as responsible as Dave since she stuck around in the face of constant rejection and scorn) their relationship with each other, their family, to others around them and the world itself. Some might say the motif is a bit stretched, scant, arbitrary, incidental and Dave’s frustrations are overplayed but it’s what you were aiming for thematically that should be considered first and foremost and I thought you succeeded in drawing the parallel rather effectively.

His short temper and ingratitude for Ron’s good nature acts as a tangible measure of Dave’s life marred by cold indifference, misguided priorities and lack of appreciation for the things that really mean something. We only see glimpses and fragments of an existence but the impression given is that he never valued what was dear to him (until experiencing the epiphany) never saw the beauty in the things he took for granted, the glories of having a family, being loved by a loyal and affectionate wife. Instead, he was too worried about that junction and the subsequent absorption into the nameless masses of the perpetual rat race.

It’s in this way that the junction metaphor works well (that’s if I am reading this correctly). I felt that all of Dave’s energies were directed towards keeping up with everybody else, fitting in, being part of society. He didn’t care how he attained this (indicated in his repeated dismissal of Ron’s altruistic gestures) he was too focused on getting there, integrating himself into machine, being the proverbial cog and when he succeeded initially (when Ron first lets him out), he wanted to sustain it.

Luckily for Dave (unluckily for Rod) realisation and salvation doesn’t come too late, he finds it within him, his moral compass is aligned before it’s too late and I got the impression he was genuinely grateful for that. Seeing Rod’s coffin bought it home for him, his whole life flashed before his eyes and made him reassess his thinking. A heartfelt, uplifting if somewhat bittersweet end to the piece, the idea that we can change before it’s too late, it’s in us and only us.

An intriguing, mature work here, Bill, you cover a lot in so few pages both in passage of time and scope of concept. Most of all, from a personal perspective, it’s refreshing to see someone tell a story in a alternative, less conventional way. I’m always responsive to unorthodox efforts like these; we need to see more of them.

Well done.

Col.



Revision History (2 edits; 1 reasons shown)
Colkurtz8  -  February 8th, 2012, 8:34am
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albinopenguin
Posted: February 8th, 2012, 4:11pm Report to Moderator
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hey Reef,

i want to go in this fresh, so i didnt read anyone else's feedback. so my apoloiges if i repeat any comments.

p1
does the clothes really add to the character? if not, i'd cut it from the description.

Dave dangles a set of house keys, Amanda grins, excited.
^no need to say she's excited. we get that. just a small nitpick

no dialogue so far? reads a little weird with no dialogue.

would make another slug for inside the car

At first, Dave laughs to Amanda, but with each passing car
his face tightens. He taps the steering wheel, faster and
faster...
^why would he laugh?

p2
okay, i see where you're going with this. some small details could be removed at the top of page 2 and the audience would still know what was going on. you "over describe" the action a bit too much.

p3
written much more concisely. much better than p2

p4
the ending scene really lingers, but it's excusable. you really want to focus in on that last scene and spend some time on it, so the writing should be a bit drawn out.

okay so overall, i feel like this story is all over the place. you need to focus it a bit more. first, the supers are very jarring. there's a lot of jumping around. that's okay, but i feel like it covers too much time. why include the first scene where dave and amanda buy a house? i feel like it distracts the reader from the message. i'm also confused about the whiskey. why would he wait for Ron? i read your comments and i like the metaphor. but i feel it could be applied elsewhere more effectively. not a big fan of junctions. for example, Ron could be the doorman at Dave's office. lastly, i feel like this was too long (even for 3.5 pages) for such a simple message. actually let me rephrase that, 3.5 pages is fine, but i think you focused in on the wrong scenes. there's too much needless fluff IMO. this story is about Dave and Ron's relationship. focus on that.


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Narciss
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Ok .. This is my 1st post here..
I was given this site by my film school teacher and he asked me to study and read and contribute here and I get marks on my behavior here accordingly
and Im supposed to film and direct some of the scripts that I like for my film school portfolio.

Anyways,
I write Novels and I am a film directing and acting student, I have seen a script for the first time in my life Yesterday when my teacher emailed me this website and I still have to explore what is SUPER, INT , EXT and all those things are..
Now Im guessing its Internal, External extra but just to tell you that Im in no position to judge your hard work..

BUT

My opinion as a Director,

This is a nice short 2-3 minutes movie..
But one that has an underlying meaning and therefore is not very easy to capture on camera.
Also, scenes need lot of technical work done to characters, like Dave's age transformation, Amandas pregnancy, Cars moving (and here it should be different cars due to change of sense of place and time) you cant have the same exact road 40 years later.. So technically its hard to achieve on camera for director students..



My opinion as an audience..
What does Ron represent?
what is his role in the script.. what do his gestures and death signify?
I re read the script 4x times but i fail to see what his character signify and Im sure you have a big explanation to Ron because he is the Indirect protagonist of the script..
However the fact is, with 4x times read and I still dont get it.. General audience are not going to go deeper in a movie beyond the 2x times depth.. so this is a dangerous sign.. dont BURY and DROWN the message, just make it swim deep enough to be understood after a 2 minutes thought..


Would love to hear more..

Sorry if my review is not good enough, its my 1st..
Give me tips and Ill do better sOOn




Watch my short films & Subscribe to My Youtube Channel

http://www.youtube.com/user/Narciss99?ob=0
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Reef Dreamer
Posted: February 10th, 2012, 4:41pm Report to Moderator
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Hi Folks,

Sorry i haven't replied sooner to you all but i have been away for a few days.


Quoted from Colkurtz8

This was an interesting piece, I liked it. I could see it being played out to music accompaniment in the form of a tone poem.

The writing is sharp and athletic, very little waste or flab. Since there is no dialogue you needed to convey everything in your prose and I thought you achieved it efficiently without fuss or over elaboration.

An intriguing, mature work here, Bill, you cover a lot in so few pages both in passage of time and scope of concept. Most of all, from a personal perspective, it’s refreshing to see someone tell a story in a alternative, less conventional way. I’m always responsive to unorthodox efforts like these; we need to see more of them.


Col, thanks for the kind words. Your reply pretty much summed up the whole idea which is heartening to hear.

Tone poem!! - what an interesting idea (can i be honest and say i don't know what a tone poem is, but i do have an idea)

Mature work - yeah this was an aim and i'm glad it came across that way.



Quoted from albinopenguin

p1
does the clothes really add to the character? if not, i'd cut it from the description.
.


Hey AP, thanks for the read and honest feedback. The clothes? Fair point and i could see this cut. Why is it included, well its there really to add to the character dimension, him in the tight shirt (uptight character) her is flowing colourful patter (softer character), so in essence a visual clue. I can see this argued both ways.


Quoted from albinopenguin

At first, Dave laughs to Amanda, but with each passing car
his face tightens. He taps the steering wheel, faster and
faster...
^why would he laugh?


Good question. The story is to have an arc from happiness, through stoical, to sad then resolution/acceptance. What many people do IMO is often hide characteristics which are then exposed later in a relationship or in life or at challenging circumstances. A classic example, is the little habit that someone likes at the beginning of a relationship but by  the end they want to shoot them for it. The habit remained the same, the person changed.

Here we illustrate that Dave has an uptight character bubbling under the surface. The length of traffic effectively TESTS him and he starts to show this side to him, hence why he at first tries to brush the circumstance off but then reverts to what he really feels. Would anybody laugh at traffic, at anytime? Well not often but they are proposed as being in love and excited about their house and life. Rose tinted, so to speak.



Quoted from albinopenguin

okay so overall, i feel like this story is all over the place. you need to focus it a bit more. first, the supers are very jarring. there's a lot of jumping around. that's okay, but i feel like it covers too much time.


On the focus part i believe it is pretty focused to deliver 30 years and a major character arc in 4 pages, but your next point of too much time is a real possibility.

I agree the Supers jar. Originally they were in the titles and i was going to let the producer decide how to play (not that this would ever be produced) but others wanted a clearer guide. I accept it is a bit clumsy.



Quoted from Narciss
[color=blue][b]Ok .. This is my 1st post here..
I was given this site by my film school teacher and he asked me to study and read and contribute here and I get marks on my behavior here accordingly
and Im supposed to film and direct some of the scripts that I like for my film school portfolio.


Firstly, welcome to SS, you have come to a good place if you are filming. All i ask of readers is that they give a script a chance, provide honest feedback good or bad, and where possible some constructive comments. I think you achieved this.



Quoted from Narciss
[color=blue][b]SUPER, INT , EXT and all those things are..
Now Im guessing its Internal, External extra but just to tell you that Im in no position to judge your hard work..


Always feel free to ask questions. Much better than not understanding and subsequently reading incorrectly.

You are right INT - interior, Ext exterior, These "titles" are often called the slug lines. A SUPER is a superimposed, so words that would appear on the screen.



Quoted from Narciss
[color=blue][b]
My opinion as a Director,

This is a nice short 2-3 minutes movie..
But one that has an underlying meaning and therefore is not very easy to capture on camera.
Also, scenes need lot of technical work done to characters, like Dave's age transformation, Amandas pregnancy, Cars moving (and here it should be different cars due to change of sense of place and time) you cant have the same exact road 40 years later.. So technically its hard to achieve on camera for director students..


First off, i want to say i am delighted to have your opinion as a director. This is quite different to a writer, so please feel free to do more this way.

Yeah, in my limited experience i agree with your comments. I liked the story but have never expected anybody to show an interest because of the issues you raised.

I would be interested in your opinion of one of my last scripts TRUE MYTH the link for which is;


http://www.simplyscripts.net/cgi-bin/Blah/Blah.pl?b-OWCUL/m-1325523295/

It fell under the Dec 2011 Urban Legends competition

In respect of the message and Ron, he is a catalyst rather than a Protagonist. The antagonist IMO is the inner demons of Dave which is what he must battle against. Ron is the reminder that he must appreciate life before it is too late. He never gets the chance to says thanks for the kindness shown over many years and this loss of opportunity is the spur he needs to make up with Amanda.

It was an experimental script so not for everyone, but i really appreciate your feedback. Well done for the first go.

cheers





My scripts  HERE

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

Revision History (1 edits)
Reef Dreamer  -  February 11th, 2012, 11:03am
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darrentomalin
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Quoted from Reef Dreamer


Music video - lovely idea. Dread to imagine the music. Almost a funeral march!!



Maybe send it to Radiohead's producer!!!


http://darrentomalin.webs.com/index.htm

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James McClung
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Hey Bill,

At 3.5 pages, how could I not check this out?

Your formatting is more or less okay. You take a lot of liberties, I'll say that, but it flows. Can't complain. Your initial slugs are pretty weak though.

SEMI DETACHED HOUSE

DAVE AND AMANDA'S DRIVEWAY

Nothing wrong, per se, but they just feel clumsy. I know you can come up with better. If anything, I'd drop the DAVE AND AMANDA'S and just go with DRIVEWAY. SEMI DETACHED HOUSE is just a poor description.

Also, lose the copyright from your title page. Not necessary. I tend to ignore the title page in most scripts but it stood out here, what with the script being so short.

As for your story, you have a decent structure and it all ties up nicely in the end. But I have to say, I'm on the fence. On the one hand, there's a sweetness to the script that's kinda nice and I think it'll work for a lot of people. On the other hand, it's kinda banal. Another "life's too short" script. On paper, I'm kind of ambivalent to this life affirming stuff but on the screen, they can be pretty insufferable.

I remember judging a short film for a festival in college. It featured a guy going through his everyday routine (waking up, showering, brushing teeth, etc.) set to V.O. about "life's little moments." Then at the end, the guy gets hit by a car whilst riding a bike.

...We all hated it (the judges, that is).

Anyway, that's a personal gripe. Make of it what you will. Honestly, this script was far from insufferable and for what it's worth, I think you succeeded in what you set out to do.


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Reef Dreamer
Posted: February 11th, 2012, 7:34am Report to Moderator
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James,

Thanks for the read. I'm glad the hook worked - not the story but the 3.5 pages!


Quoted from James McClung

Your formatting is more or less okay. You take a lot of liberties, I'll say that, but it flows. Can't complain. Your initial slugs are pretty weak though.

SEMI DETACHED HOUSE

DAVE AND AMANDA'S DRIVEWAY

Nothing wrong, per se, but they just feel clumsy. I know you can come up with better. If anything, I'd drop the DAVE AND AMANDA'S and just go with DRIVEWAY. SEMI DETACHED HOUSE is just a poor description.


Point accepted. The slugs and the Supers have annoyed me, they need some refining. In fact i have just adjusted a couple.


Quoted from James McClung

Also, lose the copyright from your title page. Not necessary. I tend to ignore the title page in most scripts but it stood out here, what with the script being so short.


Interesting. Not heard that one before as everyone has them on their scripts, long or short. I have to say i think i am safe as this is one of the least likely scripts to be produced!



Quoted from James McClung

Anyway, that's a personal gripe. Make of it what you will. Honestly, this script was far from insufferable and for what it's worth, I think you succeeded in what you set out to do.


I consider that a success. I hadn't put this in the life is too short bracket, but now that you mention it, it clearly is. Glad it wasnt insufferable.

All the best.


My scripts  HERE

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
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