What Are You Waiting for? Write it Down!

So we have our plot, theme, and characters all mapped out.  Now we have to make a story out of it!  Hopefully this isn't a scary thought to you because you're just bursting with ideas and you can't wait to get started.  If not, don't worry; I've got a plan either way:

1) Script Structure:  First of all, your movie should usually be between 90 and 120 pages... about a page a minute.  If you go longer, especially if you're a new screenwriter, people will sigh when they see the way too thick script that they know will be a longer than 2 hour movie.  It's like getting a 3 page email about Friday's plans.  Oh, boy... do I have to read all this?  Anyone got a two paragraph email I can read instead?  Even if you plan to cut it later if it's a problem, it's better you cut it down now when you start off.  There's a thousand reasons why they may not want anything to do with your script, so don't give them another.  If it's under 90 pages, you start hitting the really long short film territory.  The film festivals will be a major headache as you'll find whether your script falls under feature or short will change on a case by case basis  It will become as confusing to them as it will to you.  Pick one and stick with it.

But what about pacing? Well, I used to love writing freely, using the information I had to just figure it out with the characters.  It's fun, but these days, I like to listen to screenwriting legend Syd Field and break the story up in acts and plan the whole thing out.  Yes, the three acts... and this to me is just so, so important.  Most swear by it; some want nothing to do with it.  In my opinion, not following or at least knowing the three act format is complete screenwriting chaos.  I actually need to follow this rule or I fully admit I'm completely lost in my pacing.

Basically you have three acts: Act I introduces the characters, Act II is the character doing everything he/she can to accomplish their goal, and Act III is whether it's achieved or not.  Just because it makes the math easier, let's use a two hour movie as an example.  In the first half hour (or quarter) of the script, it's about catching up with our main character.  Who is he and what does he want?  Then at the end of the first act, something changes and propels him toward his goal (plot and theme-wise).  In Act II (the middle hour), the character then goes through all the trials, with friction coming from one or more antagonists.  By the end of Act II, another game changer happens that brings the character to their final encounter.  That final confrontation or battle happens in Act III (the last half hour or quarter of the script), where everything is resolved (or sometimes isn't).  Using Trust Us as an example, Guy is a simple, ambitious college student in the first act.  We see some of his life before our major event, usually the hook of the film.  In this case, he's suddenly visited by his older self.  Now that's a game changer for anyone, and it brings us to what happens as a result of that in Act II.  What is your real plot that makes this screenplay interesting?  Usually it happens here.  I could go on forever, but as I explained before, who wants to read a 3 page email about what we're doing Friday night...

2) Scene Structure.  All scenes should have a beginning, middle, and end, just like your whole script.  Treat each scene like it's its own screenplay.  Where does it start, where does it go, where does it end?  For example, let's say a character is trying to be persuaded by another in one particular scene.  Maybe they start off confused and stressed out.  Through dialogue and action, the character is slowly swayed by another until he's got it all figured out.  This new idea has him feel in control again.  There you go, a small little, tiny movie.  In Act I of the scene, we set up he's stressed... in Act II, he's convinced otherwise, which takes up about half the scene.  In Act III of the scene, he's been changed and now is confident.  This whole thing could be a one page scene, but it still has a clear arc.  Scenes of people walking from A to B and then we just move on, well that's just boring.  At least give it a reason.  Why show monotonous things?  It's just boring and a waste of precious time you'll probably need for something important in your screenplay, and this leads to a common tendency in writing that can ruin everything...

Stay Focused and have a plan!  Make sure everything you are writing matters.  Some people enjoy free writing and just want the characters to figure out the story for them.  This is fun, and it can work, but you can save a lot of time and still sort of do this.  It is very easy to go off on a crazy tangent when you don't have a plan, and sometimes I find myself starting over.  For me, it's just become a waste of time.  Things like foreshadowing, concise dialogue, interesting actions to reveal characters... these things seem to get lost in my first draft if I don't know somewhat where it's going.  I like to break everything down scene by scene.  This part is tricky, because some free-hand writing is great for me, as long as it's controlled.  What do I mean by that?  Take a scene, figure out where it starts, where it begins, what you want to accomplish... then let the characters drive the story.  Seriously, it works for me every time, and when you get to the rewrites you save so much time with already organized thoughts.  My favorite part of writing is this... I know what I want to do, but what will they say... how will they get there?  I don't plan those things.  When I write a screenplay, I want to surprise myself, too.  Those usually end up being some of the best moments.  For example in comedy, I don't usually plan the jokes, just the situation.  The jokes present themselves, even in a science fiction drama like Trust Us. I can't help but poke fun at time travel, and my jokes become a subtle audio commentary for my own story; it just happens.  That spontaneity may just be the most fun part of screenwriting for me.

3) Action.  When anyone is doing anything, it should always mean something.  Don't have a scene where the main character simply opens the door to his car, gets in, turns the key, then drives away.  Booooorring!  Instead, use the golden rule of revealing plot or character while doing this, or it'll end up on the cutting room floor anyway.  Maybe if this character goes to his car, he swings open the door, sits down, slams it shut, them bangs his head against the steering wheel.  Much better, right?  This dude's angry or frustrated... maybe with someone else.  Maybe with himself.  No dialogue, just action, and he still got in the car!  Don't do the opposite either.  Don't have someone run into the car, slam the door shut with such a force the ground moves, and shatter the window because they said something stupid in the previous scene... well, not unless it's a comedy or a bio pic or anger management or something.  Okay, maybe not even then, but you know what I mean: keep it subtle.  I have a scene in Trust Us where Guy and his future self are working together.  While they talk and discuss their strategy, they are building a desk.  It adds a subconscious feel of teamwork and it keeps things more interesting.  Give them something to do... it's better for the script and the actors will thank you later for giving them more than just dialogue.  They'll know what to do with themselves so they can concentrate on their performance and not where to put their hands or something.

4) Dialogue.  This is a tough one, but it's also for some reason my favorite to write.  Dialogue takes a long time to get right for me, and I think I'm actually pretty good at it, but it still takes time... but here's the very good news: don't worry about getting dialogue right in your first draft.  I touched on this in my very first blog, the idea to always replace lengthy, monotonous, non-conversational dialogue with something a bit slicker.  For example:  "Hello, I just entered a room full of people, saw him, and I could not believe you were invited after you made me upset yesterday."  Bleh!!!  I just thought this up now and boy is this sentence bad on so many levels.  Seriously, who ever says that?  You may be able to replace all that with a simple dirty look and it'll reveal the same amount of information!  If you want dialogue, at least say it in a more clever, less boring way.  First, anything that can be a contraction should almost always be one.  Second, this is the longest way to say hello and reveal emotion ever.  Third, and maybe most importantly, how many people walk into a room and explain to you they walked into a room?!  And finally, just make something cool or clever out of it to reveal what kind of person is saying it.  How about something like this: "Who invited that son-of-a-bitch?  You all saw what he did!"  Okay, we saved a few lines on the page and drove the same idea through.  This guy was wronged and he wants this person and everyone in the room to know it.  Not every character in the world would confront this, but this guy would.  He's not spineless, maybe he's a tough guy, he says how he feels.  That's something.  It's also a little more interesting to read than the long sentence we first had.  Anyway, when in doubt, re-read dialogue and make sure there's a reason for it and it's something someone would actually say.

Another common mistake is not knowing how to start or end a scene through dialogue.  This isn't my idea, I read it somewhere, but I take this lesson very seriously.  Don't ever start at the beginning or end of a conversation unless you have to.  Most people who visit each other will come in like this:  "Hey, man, what's up?"  "Not much, how are you?"  "Good."  "Good to hear.  Hey, I heard you got canned today."  Okay, let's stop here.  What was important in this whole conversation?  Just the getting canned part, right?  The what's up, how are you, nice to see you small talk is boring.  Just start here, "Heard you got canned yesterday."  That's where the interesting part starts anyway.  Same goes for the end of a scene.  "Later man, talk to you tomorrow."  "Yeah, I'll see you around."  "Okay, bye."  It's just unnecessary, and your audience will probably be falling asleep without even knowing why.  And I feel if you lose your audience or reader, that's always on you: the writer.

5) Don't Quit!  The key to finishing a screenplay is actually finishing a screenplay.  This is a very hard thing to do, and it separates people who have no chance in making it to people who have some chance.  No one reads an unfinished screenplay from a first time writer... or practically anyone else for that matter  They just don't.  Would you?  Here's my half written screenplay, you like it?  Yeah right, no one wants that!  If you're going to take a shot, give yourself a shot.  Finish it!  Don't be one of those talkers who says I have a great idea for a screenplay and I'm going to write it.  That's just not good enough.  We're better than that, because if you have a good idea and you want to write, then do it.  You want to ask people to read your full-length, finished, feature script.  And finishing is hard, especially on your first try at it.

This is what happens when you write: A voice always tells you there's something more important you need to do, that you have no time, that you're stuck with writer's block, that the script stinks so far and you have to start over... STOP!  Seriously, STOP IT!  Finish your damn screenplay... listen to the voice on your other shoulder, the one with the halo.  Finish, finish finish!   Then worry about whether it's crap later.  That's what rewrites are for, not first drafts!  I got news for you, most first drafts ARE crap!  Let the rewrite police (usually you) handle everything after you're done and there's something to actually read.  I don't get much writer's block anymore, and I think this is why.  Kick writer's block in the nuts!  Just keep writing because we don't know what it means to quit!  Heh... heh... heh... okay... sorry...

Now let's say you know you have a scene you can't make happen.  You're stuck... something like, "how does she get mad realistically based on this stupid thing he said?  It's out of character."  Who cares... write it anyway even if it doesn't work at all.  Figure it out in the second draft.... maybe it is in character and you don't know it yet.  Get through it, because you may know exactly what to do in the next scene and you're holding the whole process up.  When you used to take tests in school and didn't have the answer, you'd skip to the next one and get back to it, right?  Do that when you're writing.  Sometimes it all makes sense when you have everything down.  You'll get to it.  Don't let anything stop you from finishing your work!

You did it!  You finished your first draft!  This is a huge accomplishment.  Enjoy it, because in a few weeks, months, or even years, you'll get back to it and realize it needs a lot of work.  I know rewriting sounds terrible... you just did all this work already, but trust me, the second draft is really a lot of fun, too.  You'll start connecting dots, fixing scenes, and start your journey to making your screenplay not just good, but really good.  The second draft is an entirely different experience,and I'll tell you why in the next one...

Also, I was a guest on Rex Sikes' Movie Beat, a radio show that interviews filmmakers about their experiences in the entertainment business.  It's filled with tons of information about myself, my past projects, and my current project, Trust Us.  I think it went very well and contains a lot of good information that may have never made this blog otherwise.

Check out the link, sit back, and enjoy the show: http://www.blogtalkradio.com/rex-sikes/2011/12/13/rex-sikes-movie-beat-chats-with-director-robert-smithline

So You Want to Write a Screenplay

Since you're all caught up on where I'm at, I thought it would be fun to talk about my absolute favorite thing to do: screenwriting.  It's what got me into filmmaking in the first place.  I believe the hardest part of writing is getting started.  Here's how I do it, and I'll use my current screenplay, Trust Us, as an example:

1) Plot: Come up with a great story.  This, of course, is easier said than done.  Sometimes it takes years for that idea to spark.  This is also one of those things that can't really be taught.  When you think about it, it's actually impossible.  The second someone gives you an idea it's already not yours anymore... it's theirs!  This one has to be up to you.  Think about your favorite movies, genres, life experiences, personal fantasies, current news... there's an idea in there somewhere.  I'm more drawn to fiction.  The idea of my current screenplay came to me a long time ago, when I was around the age of its main character, Guy.  What if I could go back in time and make sure my younger self (me at the time) does everything right... makes all the right choices and erases all the bad ones.  That would be pretty cool, right?  Well, no, not really, and that's how I got to step 2...

2) Theme: Okay, my movie is about time travel, and yours could be about anything, but what is it really about?  Why would our audience want spend two of their hours watching our movie?  I strive for three basic things to make it worth their while: first, I want to release an emotion from the viewer, whether it's happiness, sadness, fun... whatever... I think good writing makes people feel something in a big way.  Second, I want the audience to learn something about his or herself they may not have known.  I think this is the hardest thing to do... but a strong theme is essential for this.  Have your audience think about your theme then decide what they think... and best of all, if they are doing that, they probably cared about and loved what they just saw.  Audiences appreciate that, whether it's consciously or subconsciously.   And finally, I think it's important for the audience to think about the film beyond the viewing.  If they go in and go home, forgetting everything that happened, the first two goals we just set for our movie lose their effect pretty fast.

For Trust Us, I grew a bit older and realized that if I didn't make any mistakes along the way, I'd wouldn't be who I am today.  Everyone can relate to regret and that's the core conflict in my film... why people should embrace the harder parts of life.  Deep, right?  I hope so, because the theme is how we help people get emotionally involved.  Now, what's the theme of your screenplay?  Once you have discovered this, everything gets much easier because from here on out, every action, piece of dialogue, and character should pretty much always be driving this idea into the audience's minds.  The more important way to do this is through the main character.  But who will that be?

3) The Protagonist: This guy or gal better be pretty interesting or you're audience will be really, really bored.  You could have a great plot and theme, but if you do it through someone no one can relate to, it's very hard to grab an audience's attention.  In traditional stories, make the main character a likable good guy.  Yes, if the story is about a serial killer or depicts some mean spirited villain who'll get his by the end, then fine, we can hate the protagonist.  For the other 95% of screenplays, it's best to make the main character likable and interesting.  Just as importantly, three dimensional characters are critical.  If your main character doesn't change (unless that is the point of the movie), then why drag people out to see this in the first place?  If you're stuck here, maybe try to start by thinking of a fatal flaw your hero may have.  After all, if they don't have one, and your hero is too perfect, how can they make themself better?

In my script's case, what kind of character would be traveling back in time to himself?  How about making this guy one of the greatest scientists of all time... but what was he like in college?  Probably an introverted workaholic.  Maybe he could have been cool but he chose science over his social life.  Yeah, that's more interesting to me than some stereotypical straight-A student.  Now just put it all together: how does your main character change due to the theme and plot of the story?  Once you have that, you're really on a roll.  Of course, you can't make it too easy for your main character.  But who would dare get into your new creation's way?  Your even newer one... your antagonist!

4) The Antagonist: Okay, your antagonist doesn't have to be the villain, but at the very least make it someone who tries to stop your main character from going three dimensional on you.  Want a good way to come up with a great villain?  Find the bizzaro version of your protagonist.  Find someone who is simultaneously just like your hero while also being the complete opposite.  This is what I mean: In my script, Guy is obsessed with being successful and inventing a time machine and so is my villain, Dr. Hughes.  Guy learns he builds one in the future from his older self, but what if he was told he was going to fail at it instead?  Maybe he'd have ended up just like the jealous, self-loathing antagonist of the story.  In a nutshell, Dr. Hughes is Guy gone wrong.  Always keep one thing in mind, though.  The antagonist should do everything he/she can to stop the protagonist from reaching his goal and third dimension.  Something else you may want to try to keep your antagonist interesting?  Let the audience find something to like about your villain.  It could be anything, even if it's one small area that makes the villain better than the hero.  Let your villains be each others yin and yang.

5) Other Characters: Next you want to have other characters to support your protagonist.  In my case, Guy's best friend, his roommate Ted, and his love interest and future wife, Alison.  Make them not only push the protagonist to change, but also have the protagonist reciprocate for them in some way.  Otherwise these supporting characters will just disappear and be forgettable.  Ted pushes Guy to relax and be more social, while Alison makes Guy aware of the theme of the film itself, encouraging him not to regret his past mistakes.  Guy also helps them in his own way... but wow, I'm really giving too much away already!

Okay, so we have our plot, theme, and characters.  Now we have to write the darn thing, right?  So many people stop at this point.  Don't do it!  Seriously, don't you dare.  We are terrible, terrible, horrible quitters, right?!  Good!  Now I find I'm ready to write when I've been obsessing about all this until I can't take it anymore and I just start typing away, but I usually need some kind of structure and direction when I do this.  Yup, we have to make a story out of all these ideas.  Don't worry... it's not so bad... it's not as hard as it looks before you start typing away.  Get ready for structure, scenes, and getting through your first draft...

Now Just Make It Look Good

One of the things cast and financiers will ask a first time feature director they want to work with is: Who's shooting it?  I learned quickly that if it's the director's first go at a feature, make sure it isn't your director of photography's. That's when you're really making it hard for yourself.  These financiers and actors want to know that if the director has any shortcoming experience-wise, the technical aspect of the project better be covered.  Whether this is fair or not, I can understand it: I'm taking a risk on you, don't ask me to take a risk on the entire technical and visual look of the film.  It's just a lot to ask of anyone.  And I admit it, many people who jump on board ask about this.  Find a DP who's done this before... several times.  It provides security for everyone who has already put all their faith in you.  I've shot multiple short films, and directing is the most fun and stressful thing in the world.  The last thing anyone needs is any hesitation on the technical side.  It can kill your whole shoot.  Of course, this isn't necessarily what will happen, but when people hear first time director mixed with first time DP, they'll probably get nervous and back away slowly.

With all this said, finding a director of photography is the first thing you should do when looking for your crew.  They are in charge of the overall look of the film you've always envisioned, and are such a key part of the set.  But I've got good news: in my experience, it's much easier to grab the interest of a DP than a cast.  In my case, it seems science fiction and time travel is exciting to most crew, especially DPs.  They don't have the same worries as cast and their agents.  They usually want two things: that your screenplay is something they want to shoot and they are available to do so.  They usually don't care who's in it, what the returns will be, or whether it's even financed yet.  They want to like the script, the director, and the project.  Simple enough, right?  Well, at least it's more straightforward than figuring out if "yes" means "yes."

Luckily, both of my producers had extensive experience on sets and already had very talented people in mind they knew personally and had worked with.  This helps make the process so much easier.

Be prepared when you interview a potential director of photography.  I for one know I'm usually so focused on my script and its story, that I really need to flesh out and think about the look of my film.  So many different scripts call for different things.  What's the overall mood and emotion you're trying to accomplish for the film?  This will help you discuss and decide on colors, lighting, camera movement, etc.  It also may be a good idea to watch other movies that deal with the subject matter of your project.  In my case, time travel, science fiction, and films taking place at colleges was a great place to start.  Time travel and sci-fi movies often have a certain feel.  I'm not saying you have to or even should emulate these films, but it's always good to research what's been done so you can either put your own take on it or even do the complete opposite.  That best part is it's all up to you and what you are out to accomplish in your vision.

The other key member of your crew will be the production designer.  He/she is responsible for a different aspect of the look of the film: sets and props.  In my case, one of the big projects for my production designer is the time machine.  That's not a usual task for an independent movie.  Also, all the scientific props and projects must look just as authentic in order to keep the credibility of the film for the audience.  As far as hiring, I found production designers fall in the same category as DPs.  If they like the script, they're in.  Hopefully they will come with ideas already for the interview.  This can consist of projects they worked on that were similar to yours or even new ideas sketched out specifically to your film.  This part is really fun, as you start to see your script come to life in the form of concept art.

So if all is going well you have a talented cast and crew signed on to your project.  Now with this ammunition, it's time to start firing and make a real push for financing.  This is where I'm at right now; you're all caught up on my end.  Oh well, I guess that's it...  just kidding, I couldn't shut up if I tried!  In some of my next blogs I'll go into some more detail in other subjects and try to keep you posted on where I am personally with Trust Us.  Somehow it never gets dull, so never fear... there's plenty to talk about...

When Does "Yes" Mean "Yes?"

Yes!  We've gotten the phone call we've been waiting for:  "So-and-so"loved your script!  But how many times does an actor have to say "yes" before they've said "yes?"  This question may not make any sense to you now, but it will.  I think I'll break it up like we break up filmmaking: pre-production, production, and post-production.  Bare with me... it'll all make sense.  This is how it works, and all questions must be answered with "yes," starting with Casting Pre-Production:

1) Is this actor available right now?  Yes.
2) Are they willing to be in a small budget indie film?  Yes.
3) Is this actor willing to work with a first time director?  Yes.
4) Is the script something that would interest them?  Yes.

If the answer to all of these are "yes," that means the agent is willing to read the script.  Casting Pre-production continues:

3) Does the agent like the script?  Yes.
4) Does the actor like the script?  Yes.

We're doing great!  The next step in all this is for the director to meet the actor.  We're out of the Casting Pre-production phase and heading right into Casting Production.  See where I'm going with this?

Welcome to Casting Production!  This is the best part, and I'll tell you why.  You're about to meet an actor that likes your script.  As long as we're prepared for this, this part is just really cool.  We get to not only meet an actor we respect, which is pretty fun in unto itself, but we also get to talk to another creative mind who wants to talk about the script you wrote (or discovered).  Even better, we know they loved it enough to meet with a first time feature director.  That's love!  Now all you have to do is hang out and talk about the film.  You'd think this would be a stressful meeting because maybe you think so much is on the line for both of you, but don't look at it that way.  Remember, they want the part.... usually pretty badly.  Sometimes that's hard to believe just because it's so not what we're used to, but it's true.  These meetings feel like wacky first dates, without the obvious.  Both of you are interested in each other; you want to like each other.  Maybe I'm lucky, but I have found this situation fun for both parties.  You both want the same thing... to experience the road to wrap with this project.  Why else would we be psycho enough to do all this?  Because we love the road we follow to get there.  Come on, now how fun does all this sound?  I honestly haven't had a bad experience yet meeting an actor in this situation (I'm sure I will one day), and I've met with a good handful of actors at this point.  Okay, as I said, I've probably been lucky so far, but I like to think it's more my doing than theirs: respect the actors, understand their approach to the script, listen, and stay positive.  I know my script inside and out, better than anyone... that's the way it should be.  Isn't it that way for you?

So now you've met with the talent, and I'm going to assume it went well.  If it didn't, there probably will be no Casting Post-production phase for you until you start over again.  Otherwise, here we are.  Now this is the part I was shocked to learn is way tougher than I expected.  Can you believe it?  Getting the actor to meet and have a great meeting isn't enough?  Really?!  This phase has proven to be the most frustrating.  An actor or agent rejecting your script isn't so bad.  It's part of the business.  Someone will bite.  But keeping an actor on even when you know they love the script, especially when you haven't reached full financing... this may just be even harder to achieve than anything!

Okay, so we need several things from an actor here.  The first step is to send out an offer with the salary information.  I've had someone back out on that alone.  Small budget films can only pay actors so much.  That's where faith in the script must reach a new level.  These actors can't like it just a lot; they have to love it.  And the truth is, we have to respect that.  No hard feelings... really.  Second, we need a letter of intent.  Hey Catch-22, I remember you...  you stink!  Yes, the only way to go back to investors with some kind of new cast clout, you need these little buggers called "Letters of Intent."  This form basically grants permission for the producers to use your actor's name with investors.  Before they sign you that big check you've been waiting for, they'll want to see this document.  Actors who sign this are basically giving official intent to be in your movie.  Just keep in mind one thing before you get too excited, if something else comes up, they are more than legally allowed to bail.  Listen, it's better than nothing, and it does work.  The good news is the actors take it pretty seriously.  Suddenly you have found more questions that need a yes:

5) Will the actor accept the offer (amount of money) for this role?  Yes.
6) Will the actor sign a letter of intent so his/her name can be used to attract investors? Yes.
7) When the money is in place and we're heading into production, is the actor still interested and not busy?  Yes.

Woah!  If the answer to everything is "yes," that's a great position to be in.  Now do it again... and again... and again... until your whole cast is in place.

This is seriously the most challenging part in my experience.  Even if you've met an actor and had the best night of your life, don't make the mistake of convincing yourself you've got them... it's very possible you don't.  Actors may beg their agents to call and find out how it went after a meeting with you, only to have things fall through later.  Sometime you may even in contact with them afterwords, joking about things you spoke about.  Don't be fooled... you don't have them... not necessarily.  Don't blame them so much or take it personally.  If you feel it went well, it probably did.  This is when the agents, producers, and contracts come in.  It's out of your control now.  You did your job by just having a good meeting with them.  There's a load of business to be dealt with, and it's very possible it isn't the actor's fault if things go sour.  This is the harsh reality of casting.

So there you have it... casting is no easy thing.  "Yes" just may not really mean "yes" until you get 7 "yes's" in a row.  But lets switch gears... we need a crew now, don't we...?

What Is Trust Us and Who is Guy Backman?

I know I've been writing mostly about how one can get his or her first feature made, and most importantly, about how possible it really is.  But before I continue that, I feel it's important to let you all in on my own personal road to wrap.

As I've mentioned at in past blogs, Trust Us is a science-fiction drama centered around time travel.  It takes place at one of the best science schools in the country where Guy Backman, a college student, is obsessed with building a time machine.  He's waited his whole life to take a class with Dr. Victor Hughes, one of the well-known authorities on the study of time travel.  But when Guy's regretful older self travels back through time to tell him his professor is about to steal his ideas, Guy suddenly finds himself tampering with the present in order to change his future.  As more of his future selves visit to help him along and improve his life, Guy starts questioning the ethics of what he's doing... or will be doing.  He also must figure out what's really going on: has everything happened before or is he on the path to a parallel universe?

I wrote the screenplay for Trust Us and it'll be the first feature length film I direct.  I have also written and directed two short films that made their way into various film festivals, Get the Hell out of Heaven and Escape from the the Night (a Telluride Indiefest winner).  One of the film's producers is Curtis A. Smith Jr., the founder of Diamond Pictures.  He's worked on over 50 films, including the Oscar winning and nominated films, The Messenger and Man on Wire.  The other producer on board is Nicky Arezu Akmal, co-founder of Ugly Productions.  The films she's produced include HBO's Shot in the Dark and the Gotham award nominated August in the First.

We also have our two lead actors attached to the film.  Guy Backman will be played by two different actors due to the thirty year age difference of the time traveling character.  Older Guy Backman will be played by Billy Baldwin (Backdraft, The Squid and the Whale, Gossip Girl) and Younger Guy Backman will be played by Cody Linley  (Hannah Montana, Hoot, Dancing with the Stars).  In addition, we've also cast Adam Gregory (90210, The Bold and the Beautiful, 17 Again) as Guy's loyal friend and college roommate, Ted.  We expect the other major roles to be filled soon.

In future blogs, we will explain how you can follow our progress and even help us get this movie made.  For now, feel free to continue following "The Road to Wrap."

Now that I've told you a little about my project, let's get back to what to expect during the casting phase of your film.  I'll do my best to answer the question, "When Does Yes Mean Yes?" and explain how hard it really  is to attach an actor to your project.  Stay tuned...

Talent, Meet Script... Script, Meet Talent

So now you have a casting director who can get the script into talents' hands.  The first thing you'll be asked for is that list of dream names for all your leads.  Make one up and start there.  Now the casting director has an idea of what you are looking for in each role.  He/she will then ask for character descriptions and a synopsis of the film to send to talent (along with the script).   Sometimes you'll find a way to get someone on your initial list, but be aware that it's always harder to find actors who want to work on a low budget feature with lower than usual pay and/or with a first time director.  Can you blame them?  Their career is on the line, too.  Also, they might simply be busy during your shoot dates, or just in general.  If the list you came up with doesn't work, or just to add or tweak your list, the casting director will send you a list of their own they believe will work for each of these roles.  Just remember, you want to find actors willing to take this leap of faith for a strong script and first time director, while also having talent that investors will invest in.  Even more importantly, do the obvious: cast the right person for each role.  After all, the overall integrity of the film always comes first.  Just because you may not think they have a fanbase doesn't mean they don't.  Do your research.

There's strategy involved when casting a movie.  My specific case proved to be a strange one.  Most movies have some kind of trick when it comes to casting.  Here was my problem: my two lead parts proved to be a casting nightmare.  As I've mentioned before, Trust Us is a time travel movie, and I need an older and younger version of the lead who are not only 30 years apart in age, but they must share screen time for most of the movie.  Ouch!  Now I don't know how you feel about this, but resorting to split screen for an entire movie with post effects and make-up to make a 19 year old character look 49 in a low budget film is just not realistic.  The entire film's credibility is at stake here.  Think about how complicated this is: I need two actors that look alike to both agree to these roles.  It's hard enough to find one actor who's right for the role to stick.  This is without a doubt twice as hard, as each actor depends on the other to fill both roles.  Wow, could they think up any more obstacles for us?  This road to wrap is just getting ridiculous.  We're sick in the head you know; we just can't bring ourselves to quit!  The answer to all this is we have to match one actor to the other, one at a time.  This also means once one actor and version of the character is cast, the other one becomes much harder to find; there are physical limitations now.  Things can be done to make them look more alike with make-up, but unless we want to go through hours of prosthetics and make one of your "name" actors not even look like himself and run the risk of the audience not buying it, we're stuck.  But now you're just here listening to my specific problems, and this blog is for you too.

So you meet with your casting director and discuss strategy.  You may want to target your lead first and build the cast around him or her.  You may want to go for anyone who'll show interest and see what happens, then work from there.  All of these strategies can work.  Probably the first thing the casting director will do is send the script to the major talent agencies.  This is when you get this strange sensation: people are now reading my script.  Take a step back, folks: this is big stuff!  People up to this point have read your screenplay, sure, but now the big talent agencies are in on it too?  In a way, through a small circle in the business at least, your script's gone public.  Important people have been told or are even reading your script right now.  You've laid it all out there.  Cool, right?  I hope you have the script at the best it can be.  Everyone is judging you now on that 90-120 pages (or so) you forged from your brain.  So congratulations, your foot just got through the door and it's time to take a moment to celebrate.  Done?  Good, now you can worry all over again.  We still need actors to actually like it.

Another strange thing about casting is the different methods of approaching actors.  For many actors, you just send them an offer and hope they accept.  Others will agree to meet with the director.  This is the category I find most actors fall into, and it's my favorite too.  Now you can decide if you can work with them and hear what they have to say about the script.  It's important for them to meet you, too.  Others will send their reel first, then you get to decide whether to call them back to set up a meeting.  And finally, some actors will agree to do a read for you, whether it's a taped audition or a live one.  Also, let me make it clear, this is not a measure of their worth, fame, or even their character.  Every agency, actor, agent, etc. has their way of doing things.  This kind of stuff usually has more to do with the agent than the talent.  Don't take anything personally in this business or you'll go crazy, and most of the time this kind of thing isn't personal.  Some agents will respond with a "no" without even letting their clients read your script.

So great... we're prepared to see how actors and their agents react to our masterpiece screenplay.  If all this makes you nervous, don't let it.  Guess how many movies have been made where no one reads the script but you?  None, so get very used to this type of rejection if you aren't already.  For God's sake, be proud of your script.  You've already got a handful of people putting their careers on the line because they believe in it.  Why wouldn't anyone else with half a brain, right?

Now, this is when it really gets surreal.  Just wait until someone you've heard of and respect tells you they like your script.  That's when you're in dreamland.  So-and-so likes my script?  Niiiiice.  Yeah it's okay, enjoy that.  Even if it doesn't work out, that's pretty darn cool.

So remember, all we need is for an actor to say "yes" to the project and things slowly fall into place.  But how does one get this "yes?"  This to me is the biggest learning curve of all: when does "yes" mean "yes?"  Get ready for wild one...but first, in a few days get ready for some important details on my own project, Trust Us.  Learn who's joined my team on the Road to Wrap.  Don't miss this one...

The Catch-22

So you haven't found millions for your feature by knocking on potential investors' doors, right?  I mean, come on, you're prepared.  You have a kick-ass business package, you've providing bios on the major players: the producers, the writer, the director.  You've even provided a list of  who you "saw" to be in the cast for each major role.  There's a whole portion in the business package about independent and studio films that have done well in the box office and are just like yours.  In my case, it would be time travel movies.  It lays out how sci-fi, specifically time travel, has been real hot these days, and there's a bigger market than ever for it.  Your pitch is perfect... you knock their socks off!  Then they ruin your day by asking: who's going to be in it?  Um... you mean, like, what actors?  And they'll say, yeah, how will we sell this film without some name actors?  Well, we have a list of people we "see" in these roles... but... isn't that why we came to you?  We came to you so you can help us pay these people to be in our film.  This is when your head starts spinning out of control.  Okay, your brain will go something like this:

1) The investor just told me we need a cast to receive their financing.
2) Let's contact a talent agency and pitch the project to their client.
3) The agent says great, show me some proof that you have financing and we'll send it their way.
3) Great!  So all we need is to get some money.  Let's get it from an investor.
4) Refer back to #1

Ugh!  This is so frustrating, isn't it?!  Hence, the vicious loop of a catch-22.

Okay, I'm fully aware that I'm just another guy with a screenplay and a couple of producers to back me up... but how do you break through the catch-22 from hell?  Listen, it's been done.  I've heard stories, and they're based on true stories.  It can be done; it has been done.  I am personally and admittedly still working on that, but I have learned a thing or two about this.  Here's the unfortunate answer that makes this all even more challenging: it seems the key to all this isn't what comes before what.  Everything has to happen at the same time.  All the stars must align; the timing must be perfect.  And then it takes a little more than that: faith and trust.  I'm a first time feature film director.  Anyone who will invest in me, investor or actor, needs to have serious faith in me.  Why?  Because the former is putting millions of dollars on the line and the latter is putting his career and reputation on the line.  So when you start out, strength of script is your best weapon to break through this catch-22.  The majority of these directors' careers end here.  Don't be one of them!  We must be terrible quitters.

We learned pretty early on that going to investors without anyone attached to our film was really turning our already very difficult attempt at finding financing into something next to impossible.  So what's next?  At this point we tried getting our script through the doors of every major talent agency in the business.  Nobody wanted to read our unsolicited material.  Don't worry, that's still not truly a dead end.  You learn fast that you have to get through the screening of an agent before the actors even hear your script exists.  It makes sense.  There's so many screenplays being tossed around those agencies.  Too many.  The agents and their assistants filter out what works for their clients and what doesn't.  Now my producers have connections, but talent is not their realm.  We needed someone who can actually get my screenplay into actors' hands and therefore their agencies' hands.

Remember that start up money I said to save up?  The time has come to use it.  Use it on a casting director.  These people are paid to get you through that door.  It's a risk, but a necessary one.  They should have relationships with not only the talents' agent, but even with some of the talent themselves. Their job is to have their pulse on what's going on in the actors' world... who's available, who isn't, who's looking to do an indie film, who just landed a new pilot, who's out of your price range, and who is willing to take a shot on a first time feature director (not enough, I'm afraid).  How do you grab a casting director's attention?  Your screenplay!  But here's the best part.  Casting directors don't need to ask about who's in your film.  That's their job!  You hire them to help you do just that.  This process is just like anything you've done up to this point.  Expect several rejections, but it only takes one yes from someone with some clout in the industry.  Then you have to pay up, and casting directors aren't cheap.  But, I can't emphasize this enough: we need them.  They will connect a wide variety of talent to your screenplay, something you and your producers most likely can't do.  Then you have to hope your script speaks for itself.  How can anyone like it if they've never read it?

Suddenly your script is solicited material.  Awesome!  Now get ready to do a lot of work.  Casting is a lot crazier than I expected, that's for sure.  Murphy's Law is a little too prominent here.  There is strategy in casting your movie, and it's something that must be figured out at the very beginning.  More on that next time...

Surviving the Journey

Great, so now you have a producer and you.  A team of two is twice as strong as a team of one.  Unfortunately, it's not strong enough.  Little do many people realize, that while producers are producing and writers are writing (and directors aren't directing yet, that's for sure), no one is getting paid.  Why?  Because there's no budget yet!  Everyone at this point works for free.  Only people who you start with will do this.  I should also remind you of what sometimes isn't as obvious as it should be: we all need to make money to live.  So many people just stop there.  I need money to eat, therefore if I'm not getting paid for my own project, my project isn't an option.  Wrong!  Wrong, wrong, sooo wrong!  There are ways.  These ways can suck, but there are ways.  So how does one survive the journey?  I can at least tell you how I am.

I worked in production for about three years.  Seventy-five percent of that time I was waking up at 12 noon and waiting for that next phone call.  It works when you're living at home, but once rent enters the picture... forget it.  And even if you're lucky enough to be working on a set as anything, it's not only mentally and physically draining, but it's even harder when it's not your own project.  Don't get me wrong; working on sets can be really fun.  When you love making movies, there's always great stories and experiences and people you meet.  It reminds me of how I sometimes feel after seeing an amazing film that moves me in the theater.  Holy crap, that was great!!!  Holy crap, why am I not making my own damn movie?!  I can do this!  It's a wonderful and horrible feeling but it's a good feeling to get; it keeps you hungry.  So what can you do while you try to get your project off the ground?  Anything!  I consider myself really lucky for finding my way into post-production and actually doing okay.  For years, while always having my project in the forefront of my mind, I worked in shipping, then making dubs, then assistant editing, and finally editing.  And I like editing a lot.  But obviously, it's not for everyone.  Find a job you can at least tolerate.  If it's creative, that's even better.  If you're a writer like me don't ever stop because you have a regular job.  I have real psychological issues when it comes to this... I can't stop writing.  It's kind of weird to most people, but I seriously will go nuts if I don't write for a long enough period of time.  I'm sure there's a few other disturbed people out there who understand.

So this startup money isn't for you or your producer, it's for the other people who are doing what they love.  These are the key positions for your film.  We call this money "development money," and it's essential to the start of any film.  If no one's heard of you, money always helps people listen in this business.  And who can blame them; they're surviving the journey too!

At this point we have some start up money saved up (a helpful, supportive family is always a plus, but not everyone is that lucky).  Now using it to make a great short film is actually a pretty good idea too, but I'm assuming we're ready for the feature film leap of faith.  Might as well jump out of a plane after a parachute hoping you'll find it, strap it on, and pull the ripcord in time.  So I've learned it's best to use as little money as possible for your feature.  In my case, my trusty producer sought after another producer that could help us out.  What does it take to find this person?  Hope he/she likes your script too!  But the difference now is this is someone you didn't know before... and this new person knows things you and your producer probably don't know.  He/she may know more people, open more doors, and come up with new ideas.  This blog was her idea!  Still hold on to the development money, though.  You'll spend it before you know it.

So anyway, suddenly I found myself with two producers.  A team of three is much better than a team of two, right?  And guess what, suddenly we have a team.  I find my odds already getting better.  But the obvious is still an issue.  The three of us combined don't have millions of dollars to spend on our movie.  If we did, we'd already be shooting.  So how do we find someone crazy enough... or actually genius enough, to put all their faith in a first time feature director?  This is without question the hardest part of getting the film made.  And this is the thing... the big secret in the business, for whatever reason, is where to find these risk-taking investors.  It's a big mystery.  Production companies, film finance companies, just darn rich people who love film... they exist, but they're hard to find.  What happens when you find a potential financier?  Unfortunately, strength of script isn't enough... people with money always ask for the same thing, and it'll cost you.   Get ready for the all powerful catch 22 of filmmaking...

Finding Your Producer

So you have screenplay and you've reworked it to a point where it's presentable to someone.  Who is that someone?  I wish I had an answer for that.  It could be anyone.  If you don't know anyone, find someone.  What are you looking for in this person?  Someone who can be a producer.  A producer is someone who does all the crap we don't want to do.  To me it's the worst job in the world.  To them, there's nothing they'd rather be doing... which is great... because it's a really tough job to do.

How do you find yourself a producer?  You may be just out of school, you may be already working on sets in the middle of hell as a production assistant (ahem, did I write that out loud).  Maybe you're just out after winning best short film at your film school!  Congratulations... you're qualified to PA!   Unless your dad is the head of a studio, your mom starred in a studio film, your brother is a working director of photography, or your best friend loves to give away $3 million dollars at a time just for fun... you're so screwed.  You're probably going to PA next.  Now don't get me wrong, there are people who PA as a living and love it.  God bless them.  I tried it.  It was horrible.  But more importantly and simply put, it's just necessary.  Think of it like pledging a frat/sorority or being initiated into a club.  It's your best chance at two major things: Learning how a set works and networking.  Why network?  To find your producer!  And we've come full circle!  That's how I did it, anyway.  That pain-in-the-ass first AD that hired me actually became my friend... then believed in my script... then simply believed in me.

I'm not going to say this is how it must be done, but it's definitely a way it can be done.  There are so many ways to reach an already tough goal.  Here's the one that worked for me: I begged this one first AD I worked for to watch my shorts, having no idea where this could go.  One of his friends I also worked with saw it and raved about it.  That's what got him to finally come over and watch (I guess that's a decent strategy).  Anyway, he was impressed.  Then I gave him Trust Us, the time travel script I've been working on forever.  I had to really annoy the heck out of him to finally get him to even read that.  It worked, and he loved it.  We haven't shut up about this project since.  Now that's love for something!  That's the dedication you need to find in your producer.  Find a #1 fan of your work.  I was just darn lucky to learn that this one aspiring producer is one hell of a pitcher, and more importantly his motivation actually matches mine.  These are people you NEED to surround yourself with, because everyone gets discouraged... most quit.  But, remember, people like us are terrible quitters... good!  It's the most important quality for a filmmaker to have, especially since the odds are flat-out unfair.  We need to keep that 22 year old college graduate who's never PA'ed attitude, otherwise we'll fold.  And after so much rejection, it's not so easy at first.  Make it become easy or you'll go crazy.

Again, that's one way to do it.  This person who believes in your project can come from anywhere.  So many various people have come in and out of my production and festival life.  There's too many to count in the last ten or so years... seriously, it's crazy!  Most of them are just interesting people you meet, but the more of these people you meet, the better your chances in finding someone else who loves your project as much as you.  Best advice I can give on making connections and networking that kept me going:  people will break promises they made to help you 99% of the time.  But that one percent... that one in a hundred, can really help you.  Maybe it's one in 500.  All I ever needed to start was one.  I met other directors, producers, small budget financiers, aspiring crew members, PR people, and even theater owners... they all at one point or another said they'd help.  I'd call to follow up (this is a must) ... maybe we'd go back and forth a few times, then eventually... nothing.  This is so normal.  So many people with big ideas, but such a small percentage see the light of day.  Don't get discouraged.

How did I catch anyone's attention?  There's the strength of the script, but I also wrote and directed two short films, one in college and an indie short just out of it.  I think they were really good.  If you don't have anything like that, and now with the cheaper costs of video, you really should make a short film or two to show people you can make a movie that works along with your rewritten and rewritten, finished script.  Just finishing a quality short film that makes sense and moves people in some way is such a huge accomplishment.  Then using that to enter the festival scene only helps. 

So I find a good strategy is to look around... be involved... network as well as you can.  I usually hate networking and I hate pitching even more.  Although I'm confident about my screenplays and all I want is for people to read them, it's awkward for me to sell myself.  It's something I need to work on.  But when you're on set and you start to know people, it's much easier.  You may find another PA who's also just getting started, who wants to produce some day.  A PA who wants to be a producer... that actually makes me laugh because anyone who wants to produce actually should start as a PA.  Directors... not so much.  At least not for too long.  But anyway, it's so important to find that person who doesn't want to direct but wants to make a project happen.  It's the perfect team.  You find the right person who makes phone calls, will search for potential investors, will help guide your script and make it better... and maybe most importantly you find someone you can trust.  Then you're in great shape.  You can split your duties and use each others strengths to make this happen.  Remember, a team of two is twice as strong as a team of one.

So you have a script and a producer... what's next?  I quickly learned it's time to find another producer.  Seriously... you expect this producer of yours to do everything?  He/she will kill you first!   Besides, another producer may be a gateway to other opportunities.  His or her contacts are your contacts.  By the way, do you at least have some money in the bank?  You're going to need it...

Trust Me, Trust You, Trust Us

Making movies is no easy task.  That's what anyone who's tried to break into the business knows, and unfortunately this forces people to decide it's not worth the trouble.  For them, it probably isn't, but for people like me, and maybe us, we're not very good at giving up.  This blog is for those people who've written a screenplay, discovered a screenplay, or just wanted to make a movie and don't know a soul in the business or where to start.  Maybe you're past all this and in development hell; not the studio kind, but your own, personal kind.  Maybe you're just curious about how a movie is really made, from idea to theatrical release.  Maybe you wonder how a director or producer can get past that catch-22 of funding versus cast for their first feature film.  How do you even get anybody to read your script in the first place?  My objective is to tell you what has so far been impossibly possible.  This is my road to wrap...

Now I'm just one guy trying to make his first feature film.  That alone is a hard thing to do.  Why?  Money.  Most people don't have $5 million bucks saved up in their bank account.  (By the way, if you do, you probably don't need to read any of this.  Make the movie; you're all set to go!)  But seriously, I'm closer than I've ever been.  As long as I'm moving in the right direction, as slow as it's been, it's a good thing.

But who cares how the already successful people did it or are doing it?  They'll tell you some crazy story about how they sold their house to finish their film.  They were in a film festival and some well-known producer approached them and said, "Hey, let's do a movie."  Those stories are crazy!  One of the first things I learned about festivals, especially the smaller ones: if you want to win, make sure they've heard of someone working on, or in, your film.  It's not always the case, but it usually is.

So how does this all start?  With a screenplay, whether you wrote it yourself or you discovered one you love.  How many people in regular life, in and out of the business, have told you they have a great idea for a movie?  They wrote a 2 page treatment and it just need to be fleshed out.  Or more commonly, they know what it takes to make an amazing screenplay, but they just haven't finished it yet.  In my experience, this is most people.  First step to making a movie?  Finish the damn script!  Do whatever it takes... even if it comes out as crap at least you crapped it out!  That's the hardest part of writing, getting it on the page, and more importantly, getting it done.  No one wants to read about an incomplete great idea.  I hate pitching ideas.  I just want to say read the damn thing and let speak for itself.  Of course, that never happens either, so get used to pitching.

Once the screenplay finished, take a month or two.  At least that's what I need... at least.  I can write a feature in 3 weeks with virtually no problem, but it takes me months to years to write a screenplay.  Why?  I can't do proper rewrites unless I step away for a while.  That's just me; everyone's different.  I could go on and on about writing, so I'll try to stay general.  I have a rule of thumb for writing that I've made up along the way.  I break it up by each draft, starting with the 1st:

1) Get the story down, even if most of it sucks.  Make sure everything is paced right, and you have an Act I, II, and III... unless of course you're purposely breaking that rule (I don't recommend that, though).

2) You've got it down, now you have something to work with.  Make sure it all makes sense and just go over the plot again at least.

3) Pay special attention to character.  Make sure as many as possible are three dimensional and learn something by the end of the story.  Make sure everything said or done reveals character or plot.  And lose some extraneous exposition (I always have to do that).

4) Make sure the theme stays intact and almost everything that goes on plays off that theme as much as possible.  At the same time, I like to make sure that if a scene doesn't have something going on during dialogue, such as eating, picking out a book, or building a model airplane, add it.  Those actions can always give you a way to reveal more character.  If one guy is a pain in the ass, have him pull off his friend's hat, or whatever it is.

5) Dialogue.  If it's not tight already, do a round to make sure characters don't sound alike and stay true to who they are.  Make sure characters speak like they should and aren't  saying things like, "Yes, my dear friend, I am fully aware you were not present."  Change it to something like: Hey, man, I get you weren't there."  Saves space too.

Okay, so we've got ourselves a rewritten and rewritten screenplay.  Great, you're done, right?  No.  Now you need to find someone else who loves it as much as you.  I'll explain next time...