Continued from a previous post...
The (option) year was not over yet… We still had a few more highs and lows in front of us…
For Christmas, our agent let us know that he was aggressively pursuing the money men to get the film back on track. About a week or so after New Years we received a call from our agent, he told us that he was in NYC and would be meeting with people with money.
Friday night, we received a late night e-mail, sent from his phone… most probably while at a club in the city. He said that the meetings had gone well and that we should expect to hear from him by Monday and that we would then receive our contracts and checks for low six-figures within two weeks.
We didn’t want to get our hopes up…
But we started to “plan”. RnD would take a good portion of our checks to pay down our debts. Then, we were going to take time off from our IT jobs and head to L.A. for a few months. We were doing all the research… without getting our hopes up.
Then Monday came and… we heard nothing. Tuesday… Wednesday… By Friday we were concerned. Why hadn’t we heard anything? Phone calls, e-mails, texts all went unanswered.
Two weeks later… We received an e-mail from an assistant that our agent never had and explained that his agency was merging with a literary agency. It was mostly matter of fact but included a few questions.
As I stated previously, RnD had wanted to get rid of this albatross of a script and move one. Included with our answers was the fact that we would not offer our script up for option again. They could buy it or we would keep it to fix and pitch it again.
Within a week, coincidentally, was the option date of our script. A few days after that…
We received an e-mail from yet another new person at this new merged literary agency. Our services would no longer be required…
We never heard from our (now former) agent… again.
(The funny thing is that a number of his former “talent” have since gone on to bigger careers than they ever had when they were at his agency.)
Not really the end…
Not quite a new beginning…
Don.
Friday, June 26, 2009
Thursday, June 25, 2009
Rest In Peace, Farrah Fawcett.
Actor Farrah Fawcett has passed away.
http://tv.msn.com/tv/article.aspx?news=416214>1=28103
http://pro.imdb.com/news/ni0850666/
Don.
http://tv.msn.com/tv/article.aspx?news=416214>1=28103
http://pro.imdb.com/news/ni0850666/
Don.
Wednesday, June 17, 2009
The Year of Development Hell (Part 7)...
Continued from a previous post...
Where would we go?
Nowhere.
Everyone that had been interested in the script/film before had gotten new work. All of the edits and re-writes that we made for the specific cast and crew now just weighed heavy on the script. As the writer, I was confused.
I tried to take this time to get back to our original draft, with a few of the edits left in. The original idea was loved in pitch form and had been optioned. I just wanted to take it back to the beginning and then build it up from there.
I/we were told flat out, NO! The script was liked and approved how it was and that version was NOT to change.
So, we weren’t allowed to make the script better. Our connection to the film had been relegated to…
doing research for our agent…
As fall turned in to winter, we heard less and less about the film. Our agent was still looking at other literary properties and sending them to us for evaluation as possible films or television projects.
As the New Year rolled around, we discussed whether we should try to relocate to Los Angeles OR shoot our own short film. Either way, we had decided that we would not offer another option on our script (any version of it). We would sell it outright if anyone wanted to buy it, but we no longer wanted to be involved with it.
We wanted to move on… we wanted to write and create… again.
(and so it continues...)
to be continued, again...
Don.
Where would we go?
Nowhere.
Everyone that had been interested in the script/film before had gotten new work. All of the edits and re-writes that we made for the specific cast and crew now just weighed heavy on the script. As the writer, I was confused.
I tried to take this time to get back to our original draft, with a few of the edits left in. The original idea was loved in pitch form and had been optioned. I just wanted to take it back to the beginning and then build it up from there.
I/we were told flat out, NO! The script was liked and approved how it was and that version was NOT to change.
So, we weren’t allowed to make the script better. Our connection to the film had been relegated to…
doing research for our agent…
As fall turned in to winter, we heard less and less about the film. Our agent was still looking at other literary properties and sending them to us for evaluation as possible films or television projects.
As the New Year rolled around, we discussed whether we should try to relocate to Los Angeles OR shoot our own short film. Either way, we had decided that we would not offer another option on our script (any version of it). We would sell it outright if anyone wanted to buy it, but we no longer wanted to be involved with it.
We wanted to move on… we wanted to write and create… again.
(and so it continues...)
to be continued, again...
Don.
Tuesday, June 9, 2009
The Year of Development Hell (Part 6)...
Continued from a previous post...
I, by no means, would not compare what happened to our film to what happened to the people that lived in New Orleans. I know a few people that were displaced by the damage that occurred. However…
A while after the incident, I received a phone call from a colleague. He told me that we had been mentioned on a news channel as one of the productions that had been affected by the damage. (I must note that he was “flicking around” and did not pay attention to what channel it was. Also, I never found a reference online. However, he did refer to it by the revised name Clinical; we always referred to the script/film as Phobia when talking with anyone except our agent.)
RnD helped support the various charities that were providing assistance, we donated food, clothing, home goods, money and time to work at the Ice Palace which had become a makeshift “distribution center”.
Our agent kept trying to get the location team back in… but obviously they were not allowed.
Our DP turned 1st time director left to direct another project that never materialized. Our actors left as well, they needed to work. Everyone was released.
It was September now, more than half a year had passed and we were now starting over… with a script that we (the writers) no longer liked. The money was still ready to go. All we needed to do was lockdown locations, get a new cast and crew signed on and the money would be released…
All we needed to do… Ugh!
We were no longer being tasked with inane notes. Now, we were being tasked with finding places to shoot the film and to then pitch that idea in a way to our agent that he could then pitch it to the rest of the production team and money men.
Prague. Vancouver. Los Angeles. Tampa. All were considered. And, many more international and national cites as well. I believe at one point an actual rundown "Ghost Town" in the south west was in consideration...
The producers only had so much time to get everything in place before they would have to start looking for new money. They wanted the film in the can before Christmas. Where would we go?
(and so it continues...)
to be continued, again...
Don.
I, by no means, would not compare what happened to our film to what happened to the people that lived in New Orleans. I know a few people that were displaced by the damage that occurred. However…
A while after the incident, I received a phone call from a colleague. He told me that we had been mentioned on a news channel as one of the productions that had been affected by the damage. (I must note that he was “flicking around” and did not pay attention to what channel it was. Also, I never found a reference online. However, he did refer to it by the revised name Clinical; we always referred to the script/film as Phobia when talking with anyone except our agent.)
RnD helped support the various charities that were providing assistance, we donated food, clothing, home goods, money and time to work at the Ice Palace which had become a makeshift “distribution center”.
Our agent kept trying to get the location team back in… but obviously they were not allowed.
Our DP turned 1st time director left to direct another project that never materialized. Our actors left as well, they needed to work. Everyone was released.
It was September now, more than half a year had passed and we were now starting over… with a script that we (the writers) no longer liked. The money was still ready to go. All we needed to do was lockdown locations, get a new cast and crew signed on and the money would be released…
All we needed to do… Ugh!
We were no longer being tasked with inane notes. Now, we were being tasked with finding places to shoot the film and to then pitch that idea in a way to our agent that he could then pitch it to the rest of the production team and money men.
Prague. Vancouver. Los Angeles. Tampa. All were considered. And, many more international and national cites as well. I believe at one point an actual rundown "Ghost Town" in the south west was in consideration...
The producers only had so much time to get everything in place before they would have to start looking for new money. They wanted the film in the can before Christmas. Where would we go?
(and so it continues...)
to be continued, again...
Don.
A Couple Days Off...
Monday afternoon a very close family member passed away. I will be taking the next few days off from writing to do what needs to be done and be with family.
I did have one additional chapter in "The Year of Development Hell" ready to go so I will post that now.
Thank you.
Don.
I did have one additional chapter in "The Year of Development Hell" ready to go so I will post that now.
Thank you.
Don.
Sunday, June 7, 2009
Why I Write...
I know that everyone is waiting to read what happened next in my Year of Development Hell...
But I decided to take a break for one day. Part 6 will be available on Monday.
For today...
[Why I write…]
“I write because there are not enough hours in the day. I am interested in way to many subjects, fascinated by so many diverse facts and figures. If I did not write, I would not accomplish anything – I’ve tried. My OCD and ADD would battle each other and I would never be able to leave my house. So, basically, I write… so, that I don't lose my mind. ”
Don.
But I decided to take a break for one day. Part 6 will be available on Monday.
For today...
[Why I write…]
“I write because there are not enough hours in the day. I am interested in way to many subjects, fascinated by so many diverse facts and figures. If I did not write, I would not accomplish anything – I’ve tried. My OCD and ADD would battle each other and I would never be able to leave my house. So, basically, I write… so, that I don't lose my mind. ”
Don.
Saturday, June 6, 2009
The Year of Development Hell (Part 5)...
Continued from previous post...
RnD is a creative partnership. I tend to do more of the writing. The D (of RnD) does more of the editing. But, by the time the script was (nearly) approved I had to step back. Larry D stepped up and made the tweaks that the producers, actors, director and everyone else wanted. I wanted out…
I took two days off and then he sent me his changes and the notes that we had been given and we worked them out and sent them in.
A couple days later, we were told that our agent was going to be heading to NYC in two weeks to meet with potential money people.
We had been given the list of names of actors that had been interested in the script and that were ready to sign on once the money was locked in.
We had been told that our previous deal would be a little better as the cast and crew that was expressing interest would help increase the budget and return-on-investment potential.
Previously, we were to split the WGA minimum, now we were told we would be paid double- thereby allowing each of us to make the minimum. We would continue to be on set every day. And…
I believe that I misspoke before. Initially, we were told that we would get Associate Producer credits. NOW, we were told that we would be listed as Co-Producers.
A couple of weeks later, we got the call. Financing would be in place. The paperwork had to be drawn up and signed, but there was essentially a handshake deal… (Yeah!)
Within a week, at the end of August, we got a call saying that a producer, location scout and a couple assistants were on the ground in New Orleans… (Do you see where I am going with this?)
Less than 24-hours later we received a second call, this one was to tell us that the location scouting team was being pulled out due to mandatory evacuations and that they would have to head back “in a couple of weeks.”
Less than nine hours after the last pre-production crew member got out of New Orleans…
Hurricane Katrina hit...
(and so it continues...)
to be continued, again...
Don.
RnD is a creative partnership. I tend to do more of the writing. The D (of RnD) does more of the editing. But, by the time the script was (nearly) approved I had to step back. Larry D stepped up and made the tweaks that the producers, actors, director and everyone else wanted. I wanted out…
I took two days off and then he sent me his changes and the notes that we had been given and we worked them out and sent them in.
A couple days later, we were told that our agent was going to be heading to NYC in two weeks to meet with potential money people.
We had been given the list of names of actors that had been interested in the script and that were ready to sign on once the money was locked in.
We had been told that our previous deal would be a little better as the cast and crew that was expressing interest would help increase the budget and return-on-investment potential.
Previously, we were to split the WGA minimum, now we were told we would be paid double- thereby allowing each of us to make the minimum. We would continue to be on set every day. And…
I believe that I misspoke before. Initially, we were told that we would get Associate Producer credits. NOW, we were told that we would be listed as Co-Producers.
A couple of weeks later, we got the call. Financing would be in place. The paperwork had to be drawn up and signed, but there was essentially a handshake deal… (Yeah!)
Within a week, at the end of August, we got a call saying that a producer, location scout and a couple assistants were on the ground in New Orleans… (Do you see where I am going with this?)
Less than 24-hours later we received a second call, this one was to tell us that the location scouting team was being pulled out due to mandatory evacuations and that they would have to head back “in a couple of weeks.”
Less than nine hours after the last pre-production crew member got out of New Orleans…
Hurricane Katrina hit...
(and so it continues...)
to be continued, again...
Don.
Friday, June 5, 2009
The Year of Development Hell (Part 4)...
Continued from previous post...
We had several actors that had expressed interest in the script. Actors that (if a true level system existed) would have been at a “B” level, maybe a “C” level. While the actors that we knew of were a lower level when they saw our script, many of them have risen up. A couple television shows and one of the biggest movies of 2009 star the actors that expressed interest in our script.
Quite a bit of stress and late nights lead us to a mostly acceptable script…
Then…
We were told that we needed a bigger opening. We had to add an opening that “grabbed the audience” and started the “roller coaster ride”. We needed to have a large set piece for the advertising campaign.
What we developed, I have to admit was a fun, dark, action-packed ride. It was great. Everyone loved it.
The problem was that we had been tasked with the job to create that big opening, while not touching one other word in the script. We had to develop a scenario that would essentially make no difference to the rest of script.
What we ended up with was a 1st ten-pages of script that was more worthy of a Final Destination film than of Phobia… or should I say… Clinical.
The 1st ten-pages created a disconnection with the rest of the script. The real problem for us truly was the fact that everyone claimed that they loved the opening… and no one saw the disconnection with the rest of the script.
Since RnD has been writing together, we had completed about four scripts per year. Since we had optioned our feature Phobia/Clinical script, we had not written one new script, nor performed one re-write.
Up until the point where we added the new opening, we had been so focused on doing whatever it took to get this project off the ground that we never started another script. I believe that this was the point where we had almost given up…
(and so it continues...)
to be continued, again...
Don.
We had several actors that had expressed interest in the script. Actors that (if a true level system existed) would have been at a “B” level, maybe a “C” level. While the actors that we knew of were a lower level when they saw our script, many of them have risen up. A couple television shows and one of the biggest movies of 2009 star the actors that expressed interest in our script.
Quite a bit of stress and late nights lead us to a mostly acceptable script…
Then…
We were told that we needed a bigger opening. We had to add an opening that “grabbed the audience” and started the “roller coaster ride”. We needed to have a large set piece for the advertising campaign.
What we developed, I have to admit was a fun, dark, action-packed ride. It was great. Everyone loved it.
The problem was that we had been tasked with the job to create that big opening, while not touching one other word in the script. We had to develop a scenario that would essentially make no difference to the rest of script.
What we ended up with was a 1st ten-pages of script that was more worthy of a Final Destination film than of Phobia… or should I say… Clinical.
The 1st ten-pages created a disconnection with the rest of the script. The real problem for us truly was the fact that everyone claimed that they loved the opening… and no one saw the disconnection with the rest of the script.
Since RnD has been writing together, we had completed about four scripts per year. Since we had optioned our feature Phobia/Clinical script, we had not written one new script, nor performed one re-write.
Up until the point where we added the new opening, we had been so focused on doing whatever it took to get this project off the ground that we never started another script. I believe that this was the point where we had almost given up…
(and so it continues...)
to be continued, again...
Don.
Thursday, June 4, 2009
The Year of Development Hell (Part 3)...
Continued from previous post...
We were told of one actress, she was then predominantly known for commercials but had been getting smaller roles in television- we had nothing against her. Then we were told which role she was to play… and we were like… What? She made no sense. But we had no decision making power- so fine. We tweaked the script for her “style”.
Then, we get a note saying that she is concerned with the nude scene. Nude scene? There was only one partially nude scene, between the two bi-sexual college girls – but that already had been cut. I can’t even tell you how many times we went back and forth about this nude scene. Our agent was going off the notes of the actor but he never knew what she was talking about.
It turned out that the “nude scene” was a post-sex scene in which her character answers the door in “just a man’s shirt”. The man was bigger than her and the type of shirt meant that the shirt should go well beyond her waist. Once we knew what the concern was, we were able to address the concern with the script.
However, like most of the notes that we were given, our agent took them and passed them on to us without asking any questions or getting a better understanding of what was being asked. This would become a recurring theme.
As more and more actors became interested, we received more and more notes. Many notes contradicting each other. Our agent passed the notes to on to us without any editing. When we questioned any of the notes or asked for clarification we were told to “do our job and write”.
At this time, I need to note a few things about our time with our agent… The night that we met the man that would become our agent, he handed us a script that he had just been given and asked for our comments on it. As time went in our relationship, he continued to come across material and send it to us for our opinion.
We have numerous unpublished manuscripts and self-published books that he considered purchasing the rights to. We helped develop product ideas for quite a few projects. We were even tasked with working with a married couple that owned the rights to an infamous college sports player’s life story. We often felt that the only reason he kept us around (before he optioned our script, anyways) was to do his development work for him. (But that is its own story…)
(and so it continues...)
to be continued, again...
Don.
We were told of one actress, she was then predominantly known for commercials but had been getting smaller roles in television- we had nothing against her. Then we were told which role she was to play… and we were like… What? She made no sense. But we had no decision making power- so fine. We tweaked the script for her “style”.
Then, we get a note saying that she is concerned with the nude scene. Nude scene? There was only one partially nude scene, between the two bi-sexual college girls – but that already had been cut. I can’t even tell you how many times we went back and forth about this nude scene. Our agent was going off the notes of the actor but he never knew what she was talking about.
It turned out that the “nude scene” was a post-sex scene in which her character answers the door in “just a man’s shirt”. The man was bigger than her and the type of shirt meant that the shirt should go well beyond her waist. Once we knew what the concern was, we were able to address the concern with the script.
However, like most of the notes that we were given, our agent took them and passed them on to us without asking any questions or getting a better understanding of what was being asked. This would become a recurring theme.
As more and more actors became interested, we received more and more notes. Many notes contradicting each other. Our agent passed the notes to on to us without any editing. When we questioned any of the notes or asked for clarification we were told to “do our job and write”.
At this time, I need to note a few things about our time with our agent… The night that we met the man that would become our agent, he handed us a script that he had just been given and asked for our comments on it. As time went in our relationship, he continued to come across material and send it to us for our opinion.
We have numerous unpublished manuscripts and self-published books that he considered purchasing the rights to. We helped develop product ideas for quite a few projects. We were even tasked with working with a married couple that owned the rights to an infamous college sports player’s life story. We often felt that the only reason he kept us around (before he optioned our script, anyways) was to do his development work for him. (But that is its own story…)
(and so it continues...)
to be continued, again...
Don.
Wednesday, June 3, 2009
The Year of Development Hell (Part 2)...
Continued from previous post...
Then, we were told… Keep in mind that all of our notes came through our agent. We never spoke to nor saw an e-mail from anyone else. So, while we take some of what he said with a grain of salt, all of what I am about to speak about we believe to be true, based on substantiating factors.
We were told that the script needed to be “darker” and there had to be “more deaths”. The script was written intentionally to be a small (under $10M) psychological horror film; we had limited the characters and the locations. “More deaths”, I thought, we have 10 speaking rolls and seven were dead by the end. More deaths meant adding people for no particular reason other to kill them. That is not the best reason to add a character to any script, but it could be done.
Making the film “darker” was a completely different challenge. No one could define “darker” to us. Did more deaths help cover it? Were they looking for more gore? Violence? Taking place at night? It was “throw me a frickkin’ bone”. We were willing to discuss, consider and make any changes that made the script better… but give me a clue as to what you mean…
So, I hoped that two more violent deaths and moving toward more of a Wes Craven style from the Alfred Hitchcock style would suffice… “They” liked the changes, but still wanted it to be “darker”. Ugh!!!
As a 1st time director, but previous DP on a few newer horror films became interested, more notes came in. Our script, originally set in a fictional college town was moved to New Orleans. The flair of the city was to be incorporated, as were as many real locations as possible. Days spent online and at the local mega-bookstores gave us a good insight and we went to work.
After we turned in the New Orleans draft, we were told that we had to work in a car. A specific classic car. The director was interested in signing on, but he wanted a specific classic car- and if we could work it into the script AND he could keep it after filming- then he would sign on. Our agent/producer really wanted this director as he had connections to a couple of the mini-majors.
It took some work, but we managed to work the car in and justify why it had to be this specific car.
With the director unofficially attached, they began talking to actors. That began a whole new slew of notes.
(and so it continues...)
to be continued, again...
Don.
Then, we were told… Keep in mind that all of our notes came through our agent. We never spoke to nor saw an e-mail from anyone else. So, while we take some of what he said with a grain of salt, all of what I am about to speak about we believe to be true, based on substantiating factors.
We were told that the script needed to be “darker” and there had to be “more deaths”. The script was written intentionally to be a small (under $10M) psychological horror film; we had limited the characters and the locations. “More deaths”, I thought, we have 10 speaking rolls and seven were dead by the end. More deaths meant adding people for no particular reason other to kill them. That is not the best reason to add a character to any script, but it could be done.
Making the film “darker” was a completely different challenge. No one could define “darker” to us. Did more deaths help cover it? Were they looking for more gore? Violence? Taking place at night? It was “throw me a frickkin’ bone”. We were willing to discuss, consider and make any changes that made the script better… but give me a clue as to what you mean…
So, I hoped that two more violent deaths and moving toward more of a Wes Craven style from the Alfred Hitchcock style would suffice… “They” liked the changes, but still wanted it to be “darker”. Ugh!!!
As a 1st time director, but previous DP on a few newer horror films became interested, more notes came in. Our script, originally set in a fictional college town was moved to New Orleans. The flair of the city was to be incorporated, as were as many real locations as possible. Days spent online and at the local mega-bookstores gave us a good insight and we went to work.
After we turned in the New Orleans draft, we were told that we had to work in a car. A specific classic car. The director was interested in signing on, but he wanted a specific classic car- and if we could work it into the script AND he could keep it after filming- then he would sign on. Our agent/producer really wanted this director as he had connections to a couple of the mini-majors.
It took some work, but we managed to work the car in and justify why it had to be this specific car.
With the director unofficially attached, they began talking to actors. That began a whole new slew of notes.
(and so it continues...)
to be continued, again...
Don.
Tuesday, June 2, 2009
The Year of Development Hell (Part 1)...
I have mentioned before that RnD optioned our feature film script Phobia, but I have only briefly spoken of our year in “development hell”.
It WAS the best of times… and the WORST of times.
We had been introduced to an agent through a mutual friend of ours. We met him and… I want to say that we liked him right away. But the truth was that we liked what he had to say and were not quite sure what to make of him.
He had “offices” in New York, Los Angeles, Vancouver and Miami. He was developing a stable of talent: actors, singers, musicians. He even had two stuntwomen and we (RnD) were his 1st writers. He spoke of how he had a dream of being able to help package projects; he wanted to open a production company and in time, turn it into a mini-major studio. He spoke with lots of passion and conviction.
A couple days before we met him, he signed an actor from the HBO show Oz and he was already representing an heir to a legendary musician’s family dynasty. We knew going in that he was a small boutique agency. We appreciated what we felt would be a personal touch.
We pitched our script at the Screenwriting Expo that year, as-well-as the Hollywood by the Bay event, the night before. Fourteen out of 15 execs that listened to our pitch wanted to see the script. They were ALL impressed that we had an agent, as-well.
We met with our agent, before leaving L.A. and gave him the contact info for all of the execs we pitched. He said he would take care of it… that was his job after all.
A week later, we began playing phone/e-mail tag with him. A week after that, we finally heard from him and he had optioned it. Sort of…
What our agent did, was partner with a small producer and get us to option the script to them. I stress that our agent did this because agents are NOT allowed to be producers or production companies. This was something that we did not know at the time.
He told us that we would get the WGA minimum for the script, but we would also be on set everyday and we would be co-producers, involved with most of the decisions… though without the ability to make the decisions. We were totally cool with that. Script sale. Hollywood movie. On set. Producer credit. He had us; we were willing to do anything after that, and he knew it.
The 1st note came in. Change the name. There was a film that had been released in 1980 named Phobia. What about Clinical? Clinical? We tried to come up with alternatives. But our agent had a hard on for Clinical, so, Phobia became Clinical.
(and so it began...)
to be continued...
Don.
It WAS the best of times… and the WORST of times.
We had been introduced to an agent through a mutual friend of ours. We met him and… I want to say that we liked him right away. But the truth was that we liked what he had to say and were not quite sure what to make of him.
He had “offices” in New York, Los Angeles, Vancouver and Miami. He was developing a stable of talent: actors, singers, musicians. He even had two stuntwomen and we (RnD) were his 1st writers. He spoke of how he had a dream of being able to help package projects; he wanted to open a production company and in time, turn it into a mini-major studio. He spoke with lots of passion and conviction.
A couple days before we met him, he signed an actor from the HBO show Oz and he was already representing an heir to a legendary musician’s family dynasty. We knew going in that he was a small boutique agency. We appreciated what we felt would be a personal touch.
We pitched our script at the Screenwriting Expo that year, as-well-as the Hollywood by the Bay event, the night before. Fourteen out of 15 execs that listened to our pitch wanted to see the script. They were ALL impressed that we had an agent, as-well.
We met with our agent, before leaving L.A. and gave him the contact info for all of the execs we pitched. He said he would take care of it… that was his job after all.
A week later, we began playing phone/e-mail tag with him. A week after that, we finally heard from him and he had optioned it. Sort of…
What our agent did, was partner with a small producer and get us to option the script to them. I stress that our agent did this because agents are NOT allowed to be producers or production companies. This was something that we did not know at the time.
He told us that we would get the WGA minimum for the script, but we would also be on set everyday and we would be co-producers, involved with most of the decisions… though without the ability to make the decisions. We were totally cool with that. Script sale. Hollywood movie. On set. Producer credit. He had us; we were willing to do anything after that, and he knew it.
The 1st note came in. Change the name. There was a film that had been released in 1980 named Phobia. What about Clinical? Clinical? We tried to come up with alternatives. But our agent had a hard on for Clinical, so, Phobia became Clinical.
(and so it began...)
to be continued...
Don.
Monday, June 1, 2009
Don't do that... or Why I Hate UPS...
When I was a teenager, the Internet was not what it was to become… My family, not being the most affluent or technology interested, did not own a computer- until I bought one. I had to ask for a word processor for Christmas to be able to type.
I had been “writing” since I was a child. I say “writing” because I did not quite understand what I was doing was an important piece of the writer’s job. I was plotting and researching and making notes. By the time I hit my teens, I was interested in being a comics’ writer.
My 1st submissions were all hand written (don’t ever do that). Then, after one Christmas I was able to type (very slow and quite poor, mind you).
Around the time of high school graduation, I had been interested in screenwriting for awhile- and had a script ready to go for my favorite television show. Of course, I didn’t know the rules at that time… and pretty much broke all of them.
I brought back a character that had been killed off (don’t do that), in a very believable way. I made him the main focus of the story (don’t do that). The star of the show never knew he returned (don’t do that) and I plotted out the next script (don’t do that) that brought the two characters together. Now, in my defense, I will say that I potentially got rid of the resurrected character in the 2nd episode… but also had an entire storyline plotted out that could have been used… I was ready for anything. (Don’t do any of the above…)
But I digress…
I am here to discuss… script services. OK. I guarantee you that you are thinking of a different type of “script services”. What I am referring to is… typing.
Like I said, when I started writing, not everyone on the planet had a laptop and the Internet. I had a handwritten script on lined paper. I was reading Writer’s Digest for several years already. In their classifieds section, I found an ad for an agency in Manhattan that would type and format your scripts for you.
I sent them my script, my selection of card stock for the covers and a 10% down payment. Several weeks later, I received the galleys and I was blown away.
While kids that I went to school with were worrying about colleges, jobs or… the prom. I was making strides towards my passion and dream of becoming a writer.
Then… I waited… and… waited.
I soon received a bill for the scripts (I had more than one printed). I understood that the bill was to be paid on receipt, so I did not pay it. I figured that the scripts would be there any day. Then, another bill came…
After much going around and around, it turned out that the agency “allegedly” mailed the scripts by UPS (just one of the many reasons I hate and distrust UPS). The scripts were supposedly dropped off. I never received them; I never saw them.
This started a long battle. In today’s day and economy, they probably would have sicked the lawyers on me for the money… but this was a kinder, gentler time. I refused to pay; they refused to send me more scripts. Neither one of us would budge.
So, my screenwriting career was sidelined before it had a chance to begin.
One day, I will work with Stephen J. Cannell and when he likes me… I will pull out the handwritten script of my youth and ask him to read it… And hopefully, he won’t tell me that he loves it and would have hired me had he read that script years ago.
So, the moral to this story is… don’t ever, ever, ever send anything UPS.
Don.
I had been “writing” since I was a child. I say “writing” because I did not quite understand what I was doing was an important piece of the writer’s job. I was plotting and researching and making notes. By the time I hit my teens, I was interested in being a comics’ writer.
My 1st submissions were all hand written (don’t ever do that). Then, after one Christmas I was able to type (very slow and quite poor, mind you).
Around the time of high school graduation, I had been interested in screenwriting for awhile- and had a script ready to go for my favorite television show. Of course, I didn’t know the rules at that time… and pretty much broke all of them.
I brought back a character that had been killed off (don’t do that), in a very believable way. I made him the main focus of the story (don’t do that). The star of the show never knew he returned (don’t do that) and I plotted out the next script (don’t do that) that brought the two characters together. Now, in my defense, I will say that I potentially got rid of the resurrected character in the 2nd episode… but also had an entire storyline plotted out that could have been used… I was ready for anything. (Don’t do any of the above…)
But I digress…
I am here to discuss… script services. OK. I guarantee you that you are thinking of a different type of “script services”. What I am referring to is… typing.
Like I said, when I started writing, not everyone on the planet had a laptop and the Internet. I had a handwritten script on lined paper. I was reading Writer’s Digest for several years already. In their classifieds section, I found an ad for an agency in Manhattan that would type and format your scripts for you.
I sent them my script, my selection of card stock for the covers and a 10% down payment. Several weeks later, I received the galleys and I was blown away.
While kids that I went to school with were worrying about colleges, jobs or… the prom. I was making strides towards my passion and dream of becoming a writer.
Then… I waited… and… waited.
I soon received a bill for the scripts (I had more than one printed). I understood that the bill was to be paid on receipt, so I did not pay it. I figured that the scripts would be there any day. Then, another bill came…
After much going around and around, it turned out that the agency “allegedly” mailed the scripts by UPS (just one of the many reasons I hate and distrust UPS). The scripts were supposedly dropped off. I never received them; I never saw them.
This started a long battle. In today’s day and economy, they probably would have sicked the lawyers on me for the money… but this was a kinder, gentler time. I refused to pay; they refused to send me more scripts. Neither one of us would budge.
So, my screenwriting career was sidelined before it had a chance to begin.
One day, I will work with Stephen J. Cannell and when he likes me… I will pull out the handwritten script of my youth and ask him to read it… And hopefully, he won’t tell me that he loves it and would have hired me had he read that script years ago.
So, the moral to this story is… don’t ever, ever, ever send anything UPS.
Don.
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