Back to the future was rejected all over Hollywood. Even Disney! Then Zemeckis did Romancing the Stone. It made millions! And from there BTTF got green lit. Wow!
Back to the Future was the only film whose sequels were each as good as the first, creating a trilogy that told a story greater than any of its individual parts. I was shocked to learn all three were not written in advance.
This was such a helpful video! I loved the way Elms spoke about rejection being a fallacy and that it's all just data-points to learn from and help you hone your craft. He seems like such a salt of the earth person. Can't wait to watch more videos :)
me too @Dan B, straight to the vault! @@BrooksElms mate how do you manage to stay so likeable even though you're ripping straight, honest, truth. Thank you. You kept surprising me with your answers - in the best way. "Lead from your superpower" has been written on my huge post it note and is gleaming at me as we speak. What's your superpower Mr Elms? Kaytee
@@wekillclowns1622 Hi Kaytee! That's wonderful. Really glad the ideas were helpful. My superpower as a writer is crafting personal grounded characters in stories with gut-punch tension. My superpower as a coach is making sure writers are crystal clear on their purpose for being on the planet, and to help them deeply serve their audience - blowing them away.
@@BrooksElms Sweet! sounds spicy. Mind if you hit you up on the tweets, get some more info about this charming conversation querying system? Sounds like it pays to crack a good joke or 5
Here's a data point: the overwhelming majority of "successful screenplays" are written by the family or friends of industry insiders. Why they fail? Because you know no one.
Is that so? When you list the writers behind this year's Oscar-nominated screenplays -- that success had nothing to do with their talent and years of dedication to craft? These zero-talent screenwriters simply had an insider-friend from high school who liked them a lot? And despite writing a crappy screenplay, that insider-friend said "You've got no talent. And while I could find one of the BEST screenplays I read this year from the 10,000 that were written, instead, I'll gamble my reputation to produce your piece of crap script -- ONLY because we're friends. Because this makes perfect sense." And lo and behold, that piece of crap script magically fooled financiers to get made. And then it magically fooled critics and massive audiences to become successful, who all very stupidly didn't realize it was only nepotism and not talent that just entertained them. :-) The truth is -- EVERYBODY with an internet connection has the power to socialize with the vast majority of Hollywood insiders. Newsflash: *I* am a Hollywood insider and you are socializing with me RIGHT NOW. And IF you've got a script that audiences will love and you've got a decent outreach game, you will succeed. The only thing stopping you is fear and cynicism and excuses.
@@BrooksElms That may be true with everyone having a connection but I think the point Beppe is making deals with fact that the guarantee rate and investment of getting any form of entertainment project off the ground is WAY HIGHER for people who are either born in the entertainment business due to family ties and legacy or is well affiliated with close mutual friends inside the business. Versus someone like me who grew up in a low working class family and aspires to be in the entertainment business whose connections really has little to no clout in the entertainment business nor any business in general. Point being is the "Spielberg's Son" you mentioned in the video along with whoever is connected on the inside from the start has a HIGHER VALUE than any aspiring film director, actor, writer, etc. who's social status is lower than them. These independent everyday Average Joe artists has to play a social game along with putting their work out in order to sell themselves and not be strangers. Even with the use of social media, the time this takes can last up to YEARS of their lives before they can get that big break. This is NOT AN EXCUSE. This is a FACT OF LIFE of any business in corporate America in general. Social status does play a huge role.
If you're still not convinced then I will give you an example and names unlike your response to Beppe whose name of "zero-talent screenwriters" you fail to mention. Josh Trank made a film called "Stabbing at Leia's 22nd Birthday Party" which was nothing more than a found-footage style short of partying kids who get into a fight by using a lightsaber and once somebody gets stabbed, some Stormtroopers come in and arrest the culprit. The film was 80 secs long and the budget was cheap with the Stormtroopers outfits straight out of Party City. Josh Trank later went on to do Chronicle, which the success of that film gave him the chance to direct Fantastic Four and at one point was going to direct a Star Wars Spinoff movie. However Trank was caught in serious drama during the Production of Fantastic Four. The drama was serious to point that Trank lost his chance to direct the Star Wars Spinoff. There's mad videos from the UA-cam channel Midnight's Edge that covers this. Pretty much it seemed like Trank's career was over and his Fantastic Four movie's bad critical/box office results didn't help either but he was still able to put out another film called Capone starring Tom Hardy. I fail to believe it was the merit of Josh Trank's short film that gave him these opportunities. Anyone with editing skills, TikTok Account, UA-cam, or Vimeo could've made the same short film as Josh. It is known that Josh Trank's father is a documentary filmmaker and an Academy Award winner. Meanwhile there's people like Star Wars Theory and Aaron Schoenke who've made film projects like Batman: Dying is Easy and Vader Episode 1: Shards of the Past much to critical praise and tons of views but still haven't gotten that proper break into the Entertainment business. Many people have even praised their work as being superior to the current studio content being put out these days. I'm sure these guys had to play the game of selling their ideas, being turned down yet kept being persistent. But compared to Josh Trank they are the ones who have to play the social game for years and have to climb a bigger wall in order to make it versus someone like Josh Trank who likely got opportunities because of his dad. To this day neither Star Wars Theory nor Aaron Schoenke have been hired by a Studio to do a full length feature film but Josh Trank has. I'm almost certain had it been someone with no family clout or meaningful connections in the business who went through the same drama as Josh during production of Fantastic Four, they would've been gone and never heard from again. Without Trank's connection to his dad I believe he wouldn't have gotten the opportunity to direct Capone with an A-List talent like Tom Hardy in the starring role.
@@waynesfiction4now It's a non-factor. And when you focus on that non-factor you're making it harder on yourself to move your career ahead. Let's take Spielberg for example. I grew up as a blue-collar local in The Hamptons. Spielberg has a house near the beach when I spent every day in the summer. I know two friends from high school that worked for him. I know a fellow classmate that approached him in a resteraunt. Meant nothing. I also have a friend that grew up in upstate NY. Zero connection to anybody in Hollywood. He got Spielberg to read a script before I did with my much greater social proximity. On the other hand, let's say one of Spielberg's kids wants to be a screenwriter. Will dad be able to get him a meeting with pretty much anybody in town? Yup. But THEN WHAT? Spielberg junior is in the room pitching his idea for a screenplay, and.... they will laugh his ass out of the room when he doesn't have the goods. Daddy can't help him when it really counts. That's why who you know is a NON-FACTOR. The internet allows you to GET TO KNOW pretty much anybody - in the same way that you and I are having a conversation right now. Writers focus on the non-factor out of a bad habit of letting their power leak. Don't do that. You have the power to do business with ANYBODY in the industry. Step 1) develop your craft so you've got the goods Step 2) have great conversations with people in the business, focused on THEIR goals and projects. If you do that well, they will WANT to help you. They'll ask about your script. And they will verify you have the goods. And they will walk you in to those coveted rooms and take credit for discovering you. Meanwhile, Spielberg Jr will be doing NOTHING because he didn't have the goods. YOU did.
@@waynesfiction4now Looks like the replies get cut-off. DM me on Twitter. I'm happy to show you how you're hurting yourself with this belief system, and ways you can be more helpful to yourself.
Dropping a rent payment or three on data seems risky. I know it is virtually unavoidable to spend money on breaking into the business, but I am reluctant to take a shotgun approach when I don't even know if I'm good enough to know if I'm good enough.
@@lonjohnson5161 Give and get notes here. It's free: www.coverfly.com/x/ And stop telling yourself this game "it's risky." It's not. You're just afraid. We all are. It's what you do about the fear that counts. Call the fear what it is, feel it, and then move forward to serve people powerfully.
@@BrooksElms I appreciate the info and will likely follow up shortly (going through some stuff right now). As far as my "risky" comment, I am merely referring to spending a large amount of money on multiple on contests in hopes of getting feedback. The risk is spending money too early for little more than some data points, rather than waiting until I've developed my skills to the point where that expenditure might result in momentum. My resources are limited enough that I must be wise in how I spend them and make every expenditure count.
The funny thing is that all of my film idols have never been fully embraced by Hollywood. Fellini, Kubrick, Lynch, Wells, etc. Hollywood was never ready for them. And it still isn’t. Make your own films people. Be creative. Be experimental as much as your heart desires. Don’t worry about formula.
This guy is very well-spoken and comes off as genuine. But all the time I'm watching these interviews, I can't fully silence the cynical voice in my head that asks, "Why would any of these people give good advice on entering such an exclusive, finite, market?" I mean, sure, if they're a teacher or wrote a book or something, then there's a reward in it for them. But if they're just another artist struggling to get scripts sold, and if that is really so hard to do, like getting picked for the Yankees, then why on earth would they actually encourage more people to take a slice of their pie? Yeah, I know, it sounds paranoid. But you live long enough, you develop a healthy distrust of your fellow creatures. I guess it's just that everyone makes it sound like such a long, difficult, slog, with such a long list of prerequisites, followed by a stringent process of vetting and quality control. And yet, here I sit watching year after year of crap movies that were funded with billions of dollars, and I'm just not seeing a balanced equation, know what I mean? Something about all this, "Oh, don't even get me *started* with how hard it is to break into this business," just doesn't ring true. Except for maybe one thing that was said in this one: Charm. That would actually explain a lot. There's nothing people love more than being told precisely what they want to hear. After all, as the Bible tells the tale, the very first sales pitch was also the very first lie.
I appreciate this thoughtful line of questioning. And it sounds scary. "Why help other writers when they might steal my job!?" And that ultimately boils down to a false belief in a narrow, finite market. But the truth is -- there are something like 550 TV shows on the air in America, 10X more shows world-wide, thousands of films made every year, skillions of hours of emerging UA-cam content, and deep video game worlds that are as elaborate as features, and plays, and novels, and virtual reality, and, and, and, and, and... There are 7.8 BILLION of us on the planet and we all NEED stories. LOTS of stories. Each of us will consume THOUSANDS of stories in our lifetime. We are living in an abundant world, my friend. There is plenty of room for all writers that are truly passionate to find their specific audiences. And the process of discovering which writers will serve which audiences is part of the writer's journey of self-discovery. Because when you DO sell screenplays for lots of money -- you know damn well you were the best of the best of the best in regard to that story and that format for that audience.
@@BrooksElms and I equally appreciate your thoughtful response. The finiteness of the market isn't the consumer market, because as you correctly point out, that's as wide and as deep as all creation. However, they can only consume what others are willing to finance. It is *that* market which is illustrated by professional screenwriters as being a very small space indeed, a walled garden that's supposedly been engineered is such a way as to ensure that only the most resilient and skilled candidates can gain access. As you say, the best of the best for a specific combination of job and media platform. And all I'm saying is, *really?* Are we all going to sit here and say that most films and shows that are released each year have the high level of polish described above? I know, I know. Between final draft and final cut is a whole world of other artists, and the screenwriter is often far removed from their processes. Even so, I find this filtration theory I keep hearing about to be unsupported by the quality of output. It wakes up the scowling, cynical, troll in the grimy recesses of my mind, still wearing the same "Whatever" t-shirt since '95, and he doesn't buy it. Yes, the need for storytellers is insatiable. It's just the longer I live, the more I wonder if the writers who are allowed access to their audience are really the best of the best, or maybe just the most charming of the charming. Sure, along the way there are some that will be dead center in a Venn diagram of the two, someone like yourself. But all? Most? Hmmm. Cynic the Troll arcs an elitist eyebrow, shrugs with feigned indifference, and goes back to the shadow.
@@Yo_DynamoJoe You wrote: "I find this filtration theory I keep hearing about to be unsupported by the quality of output." Oh, wait. YOU are the sole arbitrator of quality? YOU are the person? Cool! So nice to meet you! :-) Jokes aside - It's subjective, man. Even in a bland business sector -- like "general merchandise" you have some that prefer Wallmart, others Target, others Amazon, others only locally owned, and most who don't care (at all) and buy from whichever is easiest/closest. And they're merchants selling the same damn stuff! AND you'll still get cynics complaining about those options as if somehow this free marketplace has failed in their "quality of output" - despite the blatant abundance. If you are so convinced there's an imbalance of quality in the marketplace - maybe you're right! Then you have a gold mine waiting for you. Just simply write the screenplay that's a better mousetrap for that audience and they will choose YOU and love you for it. And here's a strong suggestion for you, my friend: lose the cynicism. It's not helping you get closer to creating your dream life for yourself. Skepticism is welcome and essential. But when you distort what you see out there into a vision of lack, you are letting your inner critic sabotage your happiness. And that hamstrings your ability to deeply serve your favorite people and fully realize your existence.
@@BrooksElms you wrote: "Oh wait. YOU are the sole arbitrator of quality? YOU are the person?" Uh, *duh.* Jokes aside, you are *so right* about the harmful side effects of cynicism! And while we know that abundance doesn't equate quality, of course you are correct - all art is subjective. And yes, it's criminally easy to play armchair producer and pick apart the hard work of others who actually took their shot. And yes, doing so does nothing to advance my dream to be a working artist. I know all that. I am the Arbitrator, after all. I'm just busting on you a bit, and, y'know, having myself a bit of a rant. A little tantrum. Don't mind me. But thank you for your sensible encouragement, and for entertaining the angry mutterings of an internet stranger!
In a script contest, what do the "judges" look for? I have a script with a decent story, but formatting isn't up to scratch as it's my first attempt at doing my own script. If a story in the script is engaging, does this almost overlook script formatting problems?
The way to approach people is thinking about them and bringing them some fun. Simply start fascinating conversations with them as a peer, focusing on THEIR goals and projects that also genuinely interest you. And you do it for the sheer pleasure of connecting with a kindred spirit. NEVER pitch your material, unless they ask. And IF you do this, they will almost certainly ask. Usually pretty quickly. THEN you pitch. If you want more details and support. DM me on Twitter.
So those online script contest companies are legit? I just assumed most are trolling to either steal your ideas or sell you various “professional help” services.
Steal your ideas? My friend, there are at least 10,000 feature screenplays written every year for the American market. Hollywood is FLOODED with ideas. If you happen to be the very rare writer that has world-class ideas and can execute them into a screenplay -- Hollywood is waiting for you with open arms. Nobody is lurking in the shadow to mug you for ideas. It's a very weird thing for writers to think people are gonna steal their ideas. But it's very common! When I taught at UCLA Extension, every class of 20 students had at least 1 or 2 people afraid of their ideas getting stolen. Makes no sense. I've been in the business since the early 90s and I've never personally come across a legit case of theft. Yes, it does happen to some people, in some rare circumstances. I've obviously read about the extreme cases in the trades. So yeah, register your script with the WGA or the Library of Congress because it doesn't cost much and I'm told that in the skillion to one chance that your idea gets stolen, having it registered makes your defense argument stronger. (But why can't they just present your emails as evidence?) Bottom line is -- the LAST, and I mean THE LAST, thing to spend any time on is concerns with people stealing your ideas. Instead, focus on having fun telling your stories and sharing them with your dream colleagues so you can get them to your audience.
@@northernpunx1978 Same for everyone. A) develop your screenwriting game to a world-class level and B) get into conversations with your kindred spirits in the business
im working on a horror thriller film. i done the first draft, now working on the second to iron it out. is it possible to summit the script to producers or do i need a contest to summit it.
What if you're a quarterfinalist in a top contest one year and not place in any other contests that same year, and you've done a rewrite on the script after the fact, and the following year you don't advance even though you've had positive feedback. And you have rewritten it dozens of times?
This is the wrong approach in my opinion. There are too many of these people saying, oh, you have to charm your way in and kiss butt and start off sweeping studios and be the coffee guy and be the gopher and you have to make connections and establish relationships and take them to dinner and the timing has to be right and the director has to like your social media and yada yada yada. It's time for people to stop grovelling at the feet of Hollywood. A better approach is literally to pool like minded people (aspiring writers/film makers/directors) and raise the funds and start your own production company and make the movie yourself. Besides, the price for making a movie has dropped dramatically due to advanced technology compared to trying to make one in the decades past. That's the answer. For people to start their own movie studios and stop trying to break into Hollywood.
So instead of being a charmer and a buttkisser, maybe write a smaller script and work with an interested local filmmaker with a lot to prove, and take your film to festivals. That way critics and other filmmakers who are looking for new talent are actually seeing your work, not you trying to get them to see your work.
Nobody likes a buttkisser. That gets you nowhere. Genuine charm is the art of building rapport so people trust you and like you and want to do business with you. That skill has a much higher correlation for success than writing talent. AND, that is the same damn skill you need to sell a local filmmaker on directing your script, and to sell a festival programmer to play your short film and to sell an audience to see your 20 minute short that's way too long. BUT I love the path of going directly to the audience! And in fact, I'll teach you how to do it even better. Pull up a chair... The fast track is: Microcontent. --You as the writer, can direct the microcontent yourself. Or perhaps in partnership with a director pal. --Create a 30 second clip from your screenplay. Shoot it for free on your phone with a local actor (use your charm to get a GREAT local actor) --Focus on ONE element of the craft: tension or authentic emotional drama or comedy or a jump scare or whatever part of your game you want to develop... -- TEST the clip with your following on social media and public forums. If it's 30 seconds, you'll get lots of people to watch it --Learn from the response. To what extent are you delivering the goods? Where are the opportunities to serve your audience even better? Run another test until people are RAVING about your 30 second clip and passing it around to your friends and following you on social and asking to join your email list. REAL buzz. --And the truth is, they will NOT have that reaction after your first clip. It will take a lot of trial and error. But so what! It will be fun trial and error. And what else are you on the planet for? And after you've done 5 or 10 or 30 of these experimental clips --- that cost you nothing and only required you to "sell" a couple people, then expand the length of your material to maybe 3 minutes or 5 minutes, spending a bit more money if need be. That approach allows DEMAND to lead your SUPPLY. Your old school suggested approach (get a director to make a short for festivals) is putting supply in front of demand. It's more of the bad type of risk than you need to take. And it's waaaaaaaaay too slow. Listen to me and I'll show you all the short cuts to crossing career milestones as fast as possible.
@@BrooksElms Brilliant, thought provoking and obviously effort-taking response. Regards finding an actor for 30 seconds of awesome script sample, there is talent a plenty in almost every neighborhood. Local theatre is an obvious place to look, but people attempting to follow your excellent advice should not overlook the waiters & waitresses who get the Big Tips --- those people are ACTING when on the job. Plus everyone in any direct sales or commission supplemented job should be considered. Why is this important? We fledgling screenwriters live EVERYWHERE, and the availability of professional actors between gigs or looking for that first break is non existent for most of us. Inside most already-acting sales people lurks the Hollywood Dream of Discovery. Writers, share the dream! ASK people to act.
Whew!! I grossly misunderstood the title of this video. I was expecting a video about the quality of a screenplay, or lack there of. Instead, this was about peddling an unknown product around the streets of LA. Oh well.
Competitions in creativity is THE DUMBEST THING IN THE WORLD: Creativity is completely subjective and does not allow ranking. If you win, you likely wrote something truly derivative and unoriginal.
Competitions will tell you if you make technical errors that prevent your story being told. Regards creativity, those who read the competitions get BORED, hate scripts that over-telegraph the ending. They want to be surprised , kept awake by delighted surprise so more coffee isn't required to read the next word. One of the first competitions my brother entered (an unknown who finished in top 3), at the festival following he ran into one of the people judging the finalist. He was told high praise: his script was the only one that judge finished reading the same hour he started reading it. The rest he put down to finish later; most were never picked up again. If creativity is so prized, why do so many remakes get made? Filmmaking is expensive and Big Money doesn't like to lose. Most would rather a guaranteed "good enough" profit, than go all in for what will be a block buster --- or a total loser. So far (I think), no one has bought one of my brother's scripts, but he keeps entering, keeps winning and has inspired me to enter the complicated world of script writing. Shakespeare had it easy --- all he had to do was be brilliant. Modern script writers need to learn format that does not come easily to those of us for whom story is everything.
Brooks sounds like a guy who is genuinely here to help others. No BS. Love his honest suggestions.
Happy the suggestion are helpful to you, Vicky!
come on, he's here to sell his course. he should show us what he's written
Back to the future was rejected all over Hollywood. Even Disney! Then Zemeckis did Romancing the Stone. It made millions! And from there BTTF got green lit. Wow!
Back to the Future was the only film whose sequels were each as good as the first, creating a trilogy that told a story greater than any of its individual parts. I was shocked to learn all three were not written in advance.
I really enjoy Brooks' enthusiasm. Seems like the kind of guy you absolutely want on your team!
Thanks, John!
This was such a helpful video! I loved the way Elms spoke about rejection being a fallacy and that it's all just data-points to learn from and help you hone your craft. He seems like such a salt of the earth person. Can't wait to watch more videos :)
Thanks, Ariana! We really do have tremendous power in how we craft our mindset.
I do like the data points. It's like baseball, fail 7out of 10 times, and you're actually doing pretty good.
Honest feedback is everything! Cheers Film Courage!!
Mr. Elms has completely revamped my way of thinking. What more could you ask for? What a generous man to share his lifetime of experience like this!
Wonderful! I'm really glad it was helpful. 🙂
Authentic, a little vulnerable, human, humble, being of service... that's quite a different definition of charm than I've heard.
Really great advice! Much appreciated - thanks!
Thank you, Brooks. This info made the top of my private playlist of learning material on UA-cam. Cheers.
Wow. Cool!
me too @Dan B, straight to the vault! @@BrooksElms mate how do you manage to stay so likeable even though you're ripping straight, honest, truth. Thank you. You kept surprising me with your answers - in the best way.
"Lead from your superpower" has been written on my huge post it note and is gleaming at me as we speak. What's your superpower Mr Elms?
Kaytee
@@wekillclowns1622 Hi Kaytee! That's wonderful. Really glad the ideas were helpful. My superpower as a writer is crafting personal grounded characters in stories with gut-punch tension. My superpower as a coach is making sure writers are crystal clear on their purpose for being on the planet, and to help them deeply serve their audience - blowing them away.
@@BrooksElms Sweet! sounds spicy. Mind if you hit you up on the tweets, get some more info about this charming conversation querying system? Sounds like it pays to crack a good joke or 5
@@wekillclowns1622 Cracking ONE good joke is far better than 5. And yeah, DM me on Twitter. Happy to chat.
Here's a data point: the overwhelming majority of "successful screenplays" are written by the family or friends of industry insiders.
Why they fail? Because you know no one.
Is that so?
When you list the writers behind this year's Oscar-nominated screenplays -- that success had nothing to do with their talent and years of dedication to craft?
These zero-talent screenwriters simply had an insider-friend from high school who liked them a lot? And despite writing a crappy screenplay, that insider-friend said "You've got no talent. And while I could find one of the BEST screenplays I read this year from the 10,000 that were written, instead, I'll gamble my reputation to produce your piece of crap script -- ONLY because we're friends. Because this makes perfect sense."
And lo and behold, that piece of crap script magically fooled financiers to get made. And then it magically fooled critics and massive audiences to become successful, who all very stupidly didn't realize it was only nepotism and not talent that just entertained them.
:-)
The truth is -- EVERYBODY with an internet connection has the power to socialize with the vast majority of Hollywood insiders.
Newsflash: *I* am a Hollywood insider and you are socializing with me RIGHT NOW.
And IF you've got a script that audiences will love and you've got a decent outreach game, you will succeed.
The only thing stopping you is fear and cynicism and excuses.
@@BrooksElms That may be true with everyone having a connection but I think the point Beppe is making deals with fact that the guarantee rate and investment of getting any form of entertainment project off the ground is WAY HIGHER for people who are either born in the entertainment business due to family ties and legacy or is well affiliated with close mutual friends inside the business.
Versus someone like me who grew up in a low working class family and aspires to be in the entertainment business whose connections really has little to no clout in the entertainment business nor any business in general.
Point being is the "Spielberg's Son" you mentioned in the video along with whoever is connected on the inside from the start has a HIGHER VALUE than any aspiring film director, actor, writer, etc. who's social status is lower than them. These independent everyday Average Joe artists has to play a social game along with putting their work out in order to sell themselves and not be strangers. Even with the use of social media, the time this takes can last up to YEARS of their lives before they can get that big break.
This is NOT AN EXCUSE. This is a FACT OF LIFE of any business in corporate America in general. Social status does play a huge role.
If you're still not convinced then I will give you an example and names unlike your response to Beppe whose name of "zero-talent screenwriters" you fail to mention.
Josh Trank made a film called "Stabbing at Leia's 22nd Birthday Party" which was nothing more than a found-footage style short of partying kids who get into a fight by using a lightsaber and once somebody gets stabbed, some Stormtroopers come in and arrest the culprit. The film was 80 secs long and the budget was cheap with the Stormtroopers outfits straight out of Party City. Josh Trank later went on to do Chronicle, which the success of that film gave him the chance to direct Fantastic Four and at one point was going to direct a Star Wars Spinoff movie. However Trank was caught in serious drama during the Production of Fantastic Four. The drama was serious to point that Trank lost his chance to direct the Star Wars Spinoff. There's mad videos from the UA-cam channel Midnight's Edge that covers this. Pretty much it seemed like Trank's career was over and his Fantastic Four movie's bad critical/box office results didn't help either but he was still able to put out another film called Capone starring Tom Hardy.
I fail to believe it was the merit of Josh Trank's short film that gave him these opportunities. Anyone with editing skills, TikTok Account, UA-cam, or Vimeo could've made the same short film as Josh. It is known that Josh Trank's father is a documentary filmmaker and an Academy Award winner.
Meanwhile there's people like Star Wars Theory and Aaron Schoenke who've made film projects like Batman: Dying is Easy and Vader Episode 1: Shards of the Past much to critical praise and tons of views but still haven't gotten that proper break into the Entertainment business. Many people have even praised their work as being superior to the current studio content being put out these days. I'm sure these guys had to play the game of selling their ideas, being turned down yet kept being persistent. But compared to Josh Trank they are the ones who have to play the social game for years and have to climb a bigger wall in order to make it versus someone like Josh Trank who likely got opportunities because of his dad. To this day neither Star Wars Theory nor Aaron Schoenke have been hired by a Studio to do a full length feature film but Josh Trank has.
I'm almost certain had it been someone with no family clout or meaningful connections in the business who went through the same drama as Josh during production of Fantastic Four, they would've been gone and never heard from again. Without Trank's connection to his dad I believe he wouldn't have gotten the opportunity to direct Capone with an A-List talent like Tom Hardy in the starring role.
@@waynesfiction4now It's a non-factor. And when you focus on that non-factor you're making it harder on yourself to move your career ahead.
Let's take Spielberg for example. I grew up as a blue-collar local in The Hamptons. Spielberg has a house near the beach when I spent every day in the summer. I know two friends from high school that worked for him. I know a fellow classmate that approached him in a resteraunt. Meant nothing.
I also have a friend that grew up in upstate NY. Zero connection to anybody in Hollywood. He got Spielberg to read a script before I did with my much greater social proximity.
On the other hand, let's say one of Spielberg's kids wants to be a screenwriter.
Will dad be able to get him a meeting with pretty much anybody in town? Yup.
But THEN WHAT?
Spielberg junior is in the room pitching his idea for a screenplay, and.... they will laugh his ass out of the room when he doesn't have the goods.
Daddy can't help him when it really counts.
That's why who you know is a NON-FACTOR.
The internet allows you to GET TO KNOW pretty much anybody - in the same way that you and I are having a conversation right now.
Writers focus on the non-factor out of a bad habit of letting their power leak.
Don't do that.
You have the power to do business with ANYBODY in the industry.
Step 1) develop your craft so you've got the goods
Step 2) have great conversations with people in the business, focused on THEIR goals and projects. If you do that well, they will WANT to help you. They'll ask about your script. And they will verify you have the goods. And they will walk you in to those coveted rooms and take credit for discovering you.
Meanwhile, Spielberg Jr will be doing NOTHING because he didn't have the goods.
YOU did.
@@waynesfiction4now Looks like the replies get cut-off. DM me on Twitter. I'm happy to show you how you're hurting yourself with this belief system, and ways you can be more helpful to yourself.
Thank you for bringing this interview! This really filled in some gaps for me, to help me envision the path.
This is so good, I'm going to watch it a few more times.
I love this very optimistic approach! It's so encouraging!
Awesome! Glad you are encouraged, Olga!
Looking at it now, do you feel you receive enough data points on your scripts?
Dropping a rent payment or three on data seems risky. I know it is virtually unavoidable to spend money on breaking into the business, but I am reluctant to take a shotgun approach when I don't even know if I'm good enough to know if I'm good enough.
@@lonjohnson5161
Give and get notes here. It's free: www.coverfly.com/x/
And stop telling yourself this game "it's risky." It's not.
You're just afraid. We all are.
It's what you do about the fear that counts.
Call the fear what it is, feel it, and then move forward to serve people powerfully.
@@BrooksElms I appreciate the info and will likely follow up shortly (going through some stuff right now).
As far as my "risky" comment, I am merely referring to spending a large amount of money on multiple on contests in hopes of getting feedback. The risk is spending money too early for little more than some data points, rather than waiting until I've developed my skills to the point where that expenditure might result in momentum. My resources are limited enough that I must be wise in how I spend them and make every expenditure count.
@@BrooksElms Thank you
Thank you for asking what happens to those of us who work hard but lack natural charm! It's a big worry sometimes. :D
Brooks Elms will answer your question directly on Twitter. He is helpful.
Okay... can't help myself but I gotta say it ... "So shall it be written. So shall it be done."
Thank you❤
This guy is so smart and grounded I'd like to see a full interview of his.
Thanks, Christina! More clips have dropped on Film Courage. Plus there's lots of content on my Twitter.
@@BrooksElms thank YOU!
Guess I should have submitted to more than just 3 contests before I gave up.
This is really good.
Thanks Anthony, glad you found this one!
Very interesting and well said.
Glad it was helpful, Sam!
The funny thing is that all of my film idols have never been fully embraced by Hollywood. Fellini, Kubrick, Lynch, Wells, etc. Hollywood was never ready for them. And it still isn’t. Make your own films people. Be creative. Be experimental as much as your heart desires. Don’t worry about formula.
This guy is very well-spoken and comes off as genuine. But all the time I'm watching these interviews, I can't fully silence the cynical voice in my head that asks, "Why would any of these people give good advice on entering such an exclusive, finite, market?" I mean, sure, if they're a teacher or wrote a book or something, then there's a reward in it for them. But if they're just another artist struggling to get scripts sold, and if that is really so hard to do, like getting picked for the Yankees, then why on earth would they actually encourage more people to take a slice of their pie?
Yeah, I know, it sounds paranoid. But you live long enough, you develop a healthy distrust of your fellow creatures. I guess it's just that everyone makes it sound like such a long, difficult, slog, with such a long list of prerequisites, followed by a stringent process of vetting and quality control. And yet, here I sit watching year after year of crap movies that were funded with billions of dollars, and I'm just not seeing a balanced equation, know what I mean? Something about all this, "Oh, don't even get me *started* with how hard it is to break into this business," just doesn't ring true. Except for maybe one thing that was said in this one:
Charm. That would actually explain a lot. There's nothing people love more than being told precisely what they want to hear. After all, as the Bible tells the tale, the very first sales pitch was also the very first lie.
I appreciate this thoughtful line of questioning.
And it sounds scary. "Why help other writers when they might steal my job!?"
And that ultimately boils down to a false belief in a narrow, finite market.
But the truth is -- there are something like 550 TV shows on the air in America, 10X more shows world-wide, thousands of films made every year, skillions of hours of emerging UA-cam content, and deep video game worlds that are as elaborate as features, and plays, and novels, and virtual reality, and, and, and, and, and...
There are 7.8 BILLION of us on the planet and we all NEED stories.
LOTS of stories.
Each of us will consume THOUSANDS of stories in our lifetime.
We are living in an abundant world, my friend.
There is plenty of room for all writers that are truly passionate to find their specific audiences.
And the process of discovering which writers will serve which audiences is part of the writer's journey of self-discovery.
Because when you DO sell screenplays for lots of money -- you know damn well you were the best of the best of the best in regard to that story and that format for that audience.
@@BrooksElms and I equally appreciate your thoughtful response.
The finiteness of the market isn't the consumer market, because as you correctly point out, that's as wide and as deep as all creation. However, they can only consume what others are willing to finance. It is *that* market which is illustrated by professional screenwriters as being a very small space indeed, a walled garden that's supposedly been engineered is such a way as to ensure that only the most resilient and skilled candidates can gain access. As you say, the best of the best for a specific combination of job and media platform.
And all I'm saying is, *really?* Are we all going to sit here and say that most films and shows that are released each year have the high level of polish described above?
I know, I know. Between final draft and final cut is a whole world of other artists, and the screenwriter is often far removed from their processes. Even so, I find this filtration theory I keep hearing about to be unsupported by the quality of output. It wakes up the scowling, cynical, troll in the grimy recesses of my mind, still wearing the same "Whatever" t-shirt since '95, and he doesn't buy it.
Yes, the need for storytellers is insatiable. It's just the longer I live, the more I wonder if the writers who are allowed access to their audience are really the best of the best, or maybe just the most charming of the charming. Sure, along the way there are some that will be dead center in a Venn diagram of the two, someone like yourself. But all? Most? Hmmm.
Cynic the Troll arcs an elitist eyebrow, shrugs with feigned indifference, and goes back to the shadow.
@@Yo_DynamoJoe You wrote: "I find this filtration theory I keep hearing about to be unsupported by the quality of output."
Oh, wait. YOU are the sole arbitrator of quality? YOU are the person? Cool! So nice to meet you! :-)
Jokes aside - It's subjective, man.
Even in a bland business sector -- like "general merchandise" you have some that prefer Wallmart, others Target, others Amazon, others only locally owned, and most who don't care (at all) and buy from whichever is easiest/closest. And they're merchants selling the same damn stuff! AND you'll still get cynics complaining about those options as if somehow this free marketplace has failed in their "quality of output" - despite the blatant abundance.
If you are so convinced there's an imbalance of quality in the marketplace - maybe you're right! Then you have a gold mine waiting for you. Just simply write the screenplay that's a better mousetrap for that audience and they will choose YOU and love you for it.
And here's a strong suggestion for you, my friend: lose the cynicism.
It's not helping you get closer to creating your dream life for yourself.
Skepticism is welcome and essential. But when you distort what you see out there into a vision of lack, you are letting your inner critic sabotage your happiness. And that hamstrings your ability to deeply serve your favorite people and fully realize your existence.
@@BrooksElms you wrote:
"Oh wait. YOU are the sole arbitrator of quality? YOU are the person?"
Uh, *duh.*
Jokes aside, you are *so right* about the harmful side effects of cynicism! And while we know that abundance doesn't equate quality, of course you are correct - all art is subjective. And yes, it's criminally easy to play armchair producer and pick apart the hard work of others who actually took their shot. And yes, doing so does nothing to advance my dream to be a working artist.
I know all that. I am the Arbitrator, after all. I'm just busting on you a bit, and, y'know, having myself a bit of a rant. A little tantrum. Don't mind me.
But thank you for your sensible encouragement, and for entertaining the angry mutterings of an internet stranger!
In a script contest, what do the "judges" look for?
I have a script with a decent story, but formatting isn't up to scratch as it's my first attempt at doing my own script.
If a story in the script is engaging, does this almost overlook script formatting problems?
How come 95% of the movies I watch are a horrendous disappointment. All those bad movies go through the same script writing process?
I'm not charming...my conversations are awkward. I've got to go. Bye
That was pretty charming.
This video gives me hope, but what's his exact method for approaching people?
The way to approach people is thinking about them and bringing them some fun. Simply start fascinating conversations with them as a peer, focusing on THEIR goals and projects that also genuinely interest you.
And you do it for the sheer pleasure of connecting with a kindred spirit.
NEVER pitch your material, unless they ask.
And IF you do this, they will almost certainly ask. Usually pretty quickly.
THEN you pitch.
If you want more details and support. DM me on Twitter.
@@BrooksElms thank you! :)
So those online script contest companies are legit? I just assumed most are trolling to either steal your ideas or sell you various “professional help” services.
Steal your ideas?
My friend, there are at least 10,000 feature screenplays written every year for the American market.
Hollywood is FLOODED with ideas.
If you happen to be the very rare writer that has world-class ideas and can execute them into a screenplay -- Hollywood is waiting for you with open arms.
Nobody is lurking in the shadow to mug you for ideas.
It's a very weird thing for writers to think people are gonna steal their ideas.
But it's very common!
When I taught at UCLA Extension, every class of 20 students had at least 1 or 2 people afraid of their ideas getting stolen.
Makes no sense.
I've been in the business since the early 90s and I've never personally come across a legit case of theft.
Yes, it does happen to some people, in some rare circumstances. I've obviously read about the extreme cases in the trades.
So yeah, register your script with the WGA or the Library of Congress because it doesn't cost much and I'm told that in the skillion to one chance that your idea gets stolen, having it registered makes your defense argument stronger.
(But why can't they just present your emails as evidence?)
Bottom line is -- the LAST, and I mean THE LAST, thing to spend any time on is concerns with people stealing your ideas.
Instead, focus on having fun telling your stories and sharing them with your dream colleagues so you can get them to your audience.
@@northernpunx1978 Same for everyone. A) develop your screenwriting game to a world-class level and B) get into conversations with your kindred spirits in the business
@@northernpunx1978 Go get 'em!
im working on a horror thriller film. i done the first draft, now working on the second to iron it out. is it possible to summit the script to producers or do i need a contest to summit it.
What if you're a quarterfinalist in a top contest one year and not place in any other contests that same year, and you've done a rewrite on the script after the fact, and the following year you don't advance even though you've had positive feedback. And you have rewritten it dozens of times?
This is the wrong approach in my opinion. There are too many of these people saying, oh, you have to charm your way in and kiss butt and start off sweeping studios and be the coffee guy and be the gopher and you have to make connections and establish relationships and take them to dinner and the timing has to be right and the director has to like your social media and yada yada yada. It's time for people to stop grovelling at the feet of Hollywood. A better approach is literally to pool like minded people (aspiring writers/film makers/directors) and raise the funds and start your own production company and make the movie yourself. Besides, the price for making a movie has dropped dramatically due to advanced technology compared to trying to make one in the decades past. That's the answer. For people to start their own movie studios and stop trying to break into Hollywood.
i guess george lucas didn't have a high quality feedback system
So instead of being a charmer and a buttkisser, maybe write a smaller script and work with an interested local filmmaker with a lot to prove, and take your film to festivals. That way critics and other filmmakers who are looking for new talent are actually seeing your work, not you trying to get them to see your work.
Nobody likes a buttkisser. That gets you nowhere.
Genuine charm is the art of building rapport so people trust you and like you and want to do business with you. That skill has a much higher correlation for success than writing talent.
AND, that is the same damn skill you need to sell a local filmmaker on directing your script, and to sell a festival programmer to play your short film and to sell an audience to see your 20 minute short that's way too long.
BUT I love the path of going directly to the audience!
And in fact, I'll teach you how to do it even better. Pull up a chair...
The fast track is: Microcontent.
--You as the writer, can direct the microcontent yourself. Or perhaps in partnership with a director pal.
--Create a 30 second clip from your screenplay. Shoot it for free on your phone with a local actor (use your charm to get a GREAT local actor)
--Focus on ONE element of the craft: tension or authentic emotional drama or comedy or a jump scare or whatever part of your game you want to develop...
-- TEST the clip with your following on social media and public forums. If it's 30 seconds, you'll get lots of people to watch it
--Learn from the response. To what extent are you delivering the goods? Where are the opportunities to serve your audience even better? Run another test until people are RAVING about your 30 second clip and passing it around to your friends and following you on social and asking to join your email list. REAL buzz.
--And the truth is, they will NOT have that reaction after your first clip. It will take a lot of trial and error. But so what! It will be fun trial and error. And what else are you on the planet for? And after you've done 5 or 10 or 30 of these experimental clips --- that cost you nothing and only required you to "sell" a couple people, then expand the length of your material to maybe 3 minutes or 5 minutes, spending a bit more money if need be.
That approach allows DEMAND to lead your SUPPLY. Your old school suggested approach (get a director to make a short for festivals) is putting supply in front of demand. It's more of the bad type of risk than you need to take. And it's waaaaaaaaay too slow.
Listen to me and I'll show you all the short cuts to crossing career milestones as fast as possible.
@@BrooksElms Brilliant, thought provoking and obviously effort-taking response. Regards finding an actor for 30 seconds of awesome script sample, there is talent a plenty in almost every neighborhood. Local theatre is an obvious place to look, but people attempting to follow your excellent advice should not overlook the waiters & waitresses who get the Big Tips --- those people are ACTING when on the job. Plus everyone in any direct sales or commission supplemented job should be considered.
Why is this important? We fledgling screenwriters live EVERYWHERE, and the availability of professional actors between gigs or looking for that first break is non existent for most of us. Inside most already-acting sales people lurks the Hollywood Dream of Discovery.
Writers, share the dream! ASK people to act.
Whew!! I grossly misunderstood the title of this video. I was expecting a video about the quality of a screenplay, or lack there of. Instead, this was about peddling an unknown product around the streets of LA. Oh well.
No, it was about using feedback from strangers to help you hone both your craft and your ability to promote your craft.
Competitions in creativity is THE DUMBEST THING IN THE WORLD: Creativity is completely subjective and does not allow ranking. If you win, you likely wrote something truly derivative and unoriginal.
Competitions will tell you if you make technical errors that prevent your story being told.
Regards creativity, those who read the competitions get BORED, hate scripts that over-telegraph the ending. They want to be surprised , kept awake by delighted surprise so more coffee isn't required to read the next word.
One of the first competitions my brother entered (an unknown who finished in top 3), at the festival following he ran into one of the people judging the finalist. He was told high praise: his script was the only one that judge finished reading the same hour he started reading it. The rest he put down to finish later; most were never picked up again.
If creativity is so prized, why do so many remakes get made? Filmmaking is expensive and Big Money doesn't like to lose. Most would rather a guaranteed "good enough" profit, than go all in for what will be a block buster --- or a total loser.
So far (I think), no one has bought one of my brother's scripts, but he keeps entering, keeps winning and has inspired me to enter the complicated world of script writing. Shakespeare had it easy --- all he had to do was be brilliant. Modern script writers need to learn format that does not come easily to those of us for whom story is everything.
⅝I will try it