Choose Your Next Idea ONLY AFTER You Know This
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- Опубліковано 9 лют 2025
- Most screenwriters focus on writing a screenplay, but they don't take into account the business of screenwriting. And the film industry has changed in the last few years, so if you don't know about windows, it will help you determine what you write.
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Wow, you really made this clear. Love the window notion. Thanks for sharing ❤
I'm writing one now that takes place in Miami, Arizona and a remote island. It includes some giant prop pieces, sets, lots of individuals scene locations, explosions, and a litany of extras for some scenes. If I had to guess, I'd say it's 50-100 million.
My latest is somewhat similar. LA, New Orleans and the Everglades. Plus two cruise ships at the end. And a load of SFX
I'm estimating mine to be around 4-5 million...
If you are doing high concept work should you still worry about budget? i.e. if what is going to get your script noticed is your hook then should you worry about budget or just execute that hook to make the most out of it? I'm thinking that if they like the hook and your execution then at a later stage budget could be considered and cutbacks or amendments to the execution made accordingly.
High concept does not equal big budget. Every script needs some high concept hook so the reader can pop their head into a producer's office and say in one sentence, "I just read a great script about ___(insert high concept here)___. I'm emailing it to you, and you should read it ASAP." If it takes longer than that to explain your story, it's going to have a harder time landing anywhere.
@@BigRedStripethanks for the reply. Yep, this is very true. Cube is about as high concept as it gets but didn't have a big budget.
My question still stands though; as I have written my high concept script the budget has gotten higher and higher as a result of the concept being grand, but should I worry about this as the nature of the story is such that it would demand a high budget to ever be made, but the end of the script could be rewritten to avoid it ending on a cruise ship. But then I'd imagine anyone reading the script could recognise that the concept doesn't require the use of a cruise ship at the end, but that it does fit the grand nature of the story.
costs of making films is huge, limits how many films get made per yr.
I think a screenwriter should have 2-3 scripts for each budget. However, the smaller the budget, the less one makes in case of a script sell.
@@Felix-mp2vj true. But if you get produced, which is more likely with a small script, you are in turn more likely to get paid work.
It depends where you sell it. If it is to a WGA signatory, your payday is the same regardless of the budget... at least initially. Your first WGA gig is more than likely going to be for WGA minimums. If you sell it elsewhere (a non-WGA or an international company), you negotiate your pay or you take what they offer... less protections, and it might be much more dependent on the budget estimate.
No need to have big projects as nobody is going to finance an unknown, unproven writer's 100 million dollar epic. Write small stuff, get produced so you can get repped.
Especially right now, selling something big is almost impossible even for established blockbuster writers.
Buyers only want well known IP like rebooting old successful franchises, remakes or best seller book adaptations.
Your first priority should be to be discovered and get repped. And for that, you have to write something that can be made for cheap. Not even 5 million. Think lower like less than a million.
@@bluerabbit1236 First priority is writing a great script. You can't get discovered if no one wants to read what you write. Worrying about budget when you're the only one that will read it is useless.
streaming was supposed to create income streams for studios, hasn't happened