Finished the first draft of THE SKULL today - my mexican lucha, italian fumetti tribute film.
Weird, wired and full of pain is the way I would describe myself right now. Why?
Because now the real work begins - rewriting!
Friday, April 29, 2005
Thursday, April 28, 2005
Marvel Comics?
Take a quick look here...
http://www.variety.com/index.asp?layout=upsell_article&articleID=VR1117921854&categoryID=18&cs=1
Basically this means that Comics is third in line of what the overall company does. They have Marvel Entertainment (the movies and DVDs), Toy Biz and bringing up the rear - Marvel Comics...
http://www.variety.com/index.asp?layout=upsell_article&articleID=VR1117921854&categoryID=18&cs=1
Basically this means that Comics is third in line of what the overall company does. They have Marvel Entertainment (the movies and DVDs), Toy Biz and bringing up the rear - Marvel Comics...
Wednesday, April 27, 2005
Monday, April 25, 2005
LET THE DISC/ontent BEGIN!
The loglines are posted below. Let the commentary, name calling, whining, and bitching begin!
Oh, and to all the winners and honorable mentions - Congratulations!
Oh, and to all the winners and honorable mentions - Congratulations!
Something Borrowed
Something Borrowed
Horror by David Kruschke of the San Francisco Bay area.
A woman buys her dress off Ebay; it arrives haunted by its previous owner.
David, I really liked this one because of the simple, relatable premise. Everyone has purchased something off Ebay (or knows someone who has) and wondered who had this item before. The fact you were able to make this into a horror movie idea is great and shows great potential. Being a recent film school grad you are off to a good start.
That said, you need to refine the logline to reflect that story potential. First, I think what you have here is not a horror movie per se, but a supernatural thriller ala’ The Sixth Sense. I think you would be better off marketing it as such.
What’s also good about your logline (though it does need work) is that it is “open” enough to make you want to ask questions about what happens next. That’s good – you want that in your logline. If it were a bad concept then you’d get nothing. The problem is that you didn’t set up the conflict or the consequences:
Is the dress taking over the woman’s life? How?
Is she single and looking to get married someday or does she have a fiancee’?
How can she get the dress to stop? Where does that lead her? (Could be great twist ending).
Why did the dress come to her?
Here’s my take on your logline:
When Nancy buys a wedding dress off Ebay, she discovers its previous owner will haunt her forever unless she brings the woman’s killer to justice.
I hope this helps you. Something Borrowed has a lot of good elements to it. With the right twists and turns this could be a very tight thriller. You get big points from me for original thinking.
Good Job, David!
Horror by David Kruschke of the San Francisco Bay area.
A woman buys her dress off Ebay; it arrives haunted by its previous owner.
David, I really liked this one because of the simple, relatable premise. Everyone has purchased something off Ebay (or knows someone who has) and wondered who had this item before. The fact you were able to make this into a horror movie idea is great and shows great potential. Being a recent film school grad you are off to a good start.
That said, you need to refine the logline to reflect that story potential. First, I think what you have here is not a horror movie per se, but a supernatural thriller ala’ The Sixth Sense. I think you would be better off marketing it as such.
What’s also good about your logline (though it does need work) is that it is “open” enough to make you want to ask questions about what happens next. That’s good – you want that in your logline. If it were a bad concept then you’d get nothing. The problem is that you didn’t set up the conflict or the consequences:
Is the dress taking over the woman’s life? How?
Is she single and looking to get married someday or does she have a fiancee’?
How can she get the dress to stop? Where does that lead her? (Could be great twist ending).
Why did the dress come to her?
Here’s my take on your logline:
When Nancy buys a wedding dress off Ebay, she discovers its previous owner will haunt her forever unless she brings the woman’s killer to justice.
I hope this helps you. Something Borrowed has a lot of good elements to it. With the right twists and turns this could be a very tight thriller. You get big points from me for original thinking.
Good Job, David!
The Chimera
The Chimera
Sci-fi by Terrence Kenneth of Toronto, Canada
A man finds himself wrongly accused of murder in a world where victims of fatal crimes are brought to life to exact revenge on their killers.
This logline is better than Claw, but still lacks a little something to set it off. I think that’s due to the title, which is sort of vague and doesn’t reach out to the common man. Who knows what a Chimera is? Follow this rule when it comes to titles: If you have to look it up to understand it – it’s not a good D2DVD title.
The concept is great – a man on the run from his victims – only he didn’t kill them! It has elements of both Minority Report and Night of the Living Dead. I can see this movie being made in Prague or somewhere else in Eastern Europe to give it that futuristic “steel and glass” look. Hell, with the right angles and whatnot you could shoot this in your backyard in Toronto. Worked for Resident Evil: Apocalypse!
The problems I have with your logline are that a) you have set it up as one man v. one zombie (which lessens the tension) and b) you don’t tell us what he has to do to get out of this predicament.
Here’s my quick take on your logline:
In a future where murder victims are resurrected to destroy their killers, a man wrongly convicted must uncover the real mass murderer before sentence is carried out.
Tried to keep it in the vein you had, but add a police chase angle to it, which is where I think you were going. This logline still needs to be tested.
Like I said earlier, Minority Report came to mind. This is a unique blend of sci-fi and horror and should work if you follow the unique concept you’ve created. The problem with sci-fi is that you have to think it through so that your concept ripples throughout the society you’ve set up here. Look at Gattaca as an example – everything reflects back on the central concept of the movie regarding genetics.
If developed properly, this could be a great Sci-Fi Channel Premiere movie!
Good job, Terrence!
Sci-fi by Terrence Kenneth of Toronto, Canada
A man finds himself wrongly accused of murder in a world where victims of fatal crimes are brought to life to exact revenge on their killers.
This logline is better than Claw, but still lacks a little something to set it off. I think that’s due to the title, which is sort of vague and doesn’t reach out to the common man. Who knows what a Chimera is? Follow this rule when it comes to titles: If you have to look it up to understand it – it’s not a good D2DVD title.
The concept is great – a man on the run from his victims – only he didn’t kill them! It has elements of both Minority Report and Night of the Living Dead. I can see this movie being made in Prague or somewhere else in Eastern Europe to give it that futuristic “steel and glass” look. Hell, with the right angles and whatnot you could shoot this in your backyard in Toronto. Worked for Resident Evil: Apocalypse!
The problems I have with your logline are that a) you have set it up as one man v. one zombie (which lessens the tension) and b) you don’t tell us what he has to do to get out of this predicament.
Here’s my quick take on your logline:
In a future where murder victims are resurrected to destroy their killers, a man wrongly convicted must uncover the real mass murderer before sentence is carried out.
Tried to keep it in the vein you had, but add a police chase angle to it, which is where I think you were going. This logline still needs to be tested.
Like I said earlier, Minority Report came to mind. This is a unique blend of sci-fi and horror and should work if you follow the unique concept you’ve created. The problem with sci-fi is that you have to think it through so that your concept ripples throughout the society you’ve set up here. Look at Gattaca as an example – everything reflects back on the central concept of the movie regarding genetics.
If developed properly, this could be a great Sci-Fi Channel Premiere movie!
Good job, Terrence!
Claw
Claw
A Horror Western by Chaco Daniel of Novato, CA
In the old west, the new sheriff of an Arizona mining town investigates a string of brutal deaths that could be the work of a werewolf.
Now, this is not a great logline, but it is a great concept that could just use some polishing. Combining separate genres can be very successful (Alien, Tremors) or very bad (Sundown, Ghost Town). Here’s one concept that has great potential, and that’s not just my love of lycanthrope movies talking. This concept makes you want to ask questions, and makes you associate all the conventions of the old west AND horror movies together.
Where you go wrong with this logline is that you only go half way. It’s not COULD be a werewolf – it IS a werewolf.
Chaco, you’re an advertising copywriter so think about what you’re selling here. In this case, the logline conjures up an image in the reader’s mind of a cowboy in the Arizona Mountains fighting off a werewolf under the light of a full moon – gunslinger v. werewolf. That’s what we want to see. We don’t want to find out it isn’t a werewolf. We want to find out the werewolf’s identity (the most unlikely of the suspects)! We want to see the sheriff waiting for the moon to rise, hearing the howl, scrambling for his gun, fighting for the silver bullet – all the things you would expect from both a western and a horror movie.
Here’s my quick take on your logline:
When a series of brutal murders plague an 1800’s Arizona mining town, the new Sheriff uncovers a werewolf living among them, and must destroy the creature before it slaughters them all at the next full moon.
This isn’t a great logline either, but you can see the difference – more tension, conflict, mystery and consequences. Make sure that your script reflects these elements. If you can do that – you’ll have a great D2DVD movie.
Congratulations and good luck!
A Horror Western by Chaco Daniel of Novato, CA
In the old west, the new sheriff of an Arizona mining town investigates a string of brutal deaths that could be the work of a werewolf.
Now, this is not a great logline, but it is a great concept that could just use some polishing. Combining separate genres can be very successful (Alien, Tremors) or very bad (Sundown, Ghost Town). Here’s one concept that has great potential, and that’s not just my love of lycanthrope movies talking. This concept makes you want to ask questions, and makes you associate all the conventions of the old west AND horror movies together.
Where you go wrong with this logline is that you only go half way. It’s not COULD be a werewolf – it IS a werewolf.
Chaco, you’re an advertising copywriter so think about what you’re selling here. In this case, the logline conjures up an image in the reader’s mind of a cowboy in the Arizona Mountains fighting off a werewolf under the light of a full moon – gunslinger v. werewolf. That’s what we want to see. We don’t want to find out it isn’t a werewolf. We want to find out the werewolf’s identity (the most unlikely of the suspects)! We want to see the sheriff waiting for the moon to rise, hearing the howl, scrambling for his gun, fighting for the silver bullet – all the things you would expect from both a western and a horror movie.
Here’s my quick take on your logline:
When a series of brutal murders plague an 1800’s Arizona mining town, the new Sheriff uncovers a werewolf living among them, and must destroy the creature before it slaughters them all at the next full moon.
This isn’t a great logline either, but you can see the difference – more tension, conflict, mystery and consequences. Make sure that your script reflects these elements. If you can do that – you’ll have a great D2DVD movie.
Congratulations and good luck!
Our Two Honorable Mentions:
Before we get to the Big Three in this contest, I want to give a “congratulations” to the following two entries that, while close, didn’t quite make it. I think these are potential family films, which as you know, are a lucrative segment of the D2DVD market. I would urge each to revise their comedy loglines and scripts along these lines. I am posting these loglines as they were sent to me. Both are okay, but could use some “sprucing up.”
The House That Jack Built by Jack Whalen of Mansfield, MA.
A 25-year-old orphan discovers he is the only heir to a Newport mansion. He turns it into an orphanage to the frustration of the local Historical Society.
Poof! by Jeff Edwards and Josh Forbes of Los Angeles, CA
Two amateur magicians kidnap the beloved white tigers of the world’s greatest illusionists, (think Seigfreid and Roy) and hold them for ransom in exchange for learning the secrets of their magic.
Again, congratulations!
Stay tuned…
The House That Jack Built by Jack Whalen of Mansfield, MA.
A 25-year-old orphan discovers he is the only heir to a Newport mansion. He turns it into an orphanage to the frustration of the local Historical Society.
Poof! by Jeff Edwards and Josh Forbes of Los Angeles, CA
Two amateur magicians kidnap the beloved white tigers of the world’s greatest illusionists, (think Seigfreid and Roy) and hold them for ransom in exchange for learning the secrets of their magic.
Again, congratulations!
Stay tuned…
What’s this contest really about anyway?
Okay, it’s over. Done. Stick a fork in my already bleeding eyeballs and grey matter. I’ve received 59 loglines from such out of the way places as Mansfield, MA, Tollesboro, KY, and Toronto, CA. I’ve received loglines for dramas, thrillers, supernatural thrillers, sci-fi, action, comedy-dramas (or dramedys if you prefer), and of course my favorite, horror. I had to use two bottles of Visine and a load of Advil to get through all the insanity.
Okay then, class is in session.
Before we get started, I’ve got to say this for the record: Something I’ve always suspected became evident. There are some fecked up folks in the heartland. I’m from the South, but geez – some of you guys are sick! I’m envious.
Okay, back to the question of what this contest was really about -- beyond giving an unknown the chance to show someone how sick (read creative) they can get with just 30 words in their arsenal. This whole stunt was designed to judge two other criteria the D2DVD business requires you to have:
The ability to market yourself and your work.
Professionalism.
But Bill, you didn’t tell us you were going to do that!
Kids, this is the entertainment industry. Show business. You are always being judged on your creativity, marketing skills and professionalism. Whenever you pitch anything – it’s a potential job interview. You can’t go at it half-assed because…
TALENT ALONE WILL NOT GET YOU THE JOB!
This is especially true in the D2DVD end of the business, where I have, at all times, five people lined up to take a job away from you for less money. Sure writing D2DVD flicks is fun. Going to restaurants and seeing people up close you only see on your TV screen is fun. But it isn’t what the “business” is about. It’s about a job, a career, doing what you love to do and getting paid for it. It’s about money and building your work (and you) into a brand. It’s about the work and how it speaks volumes about who you are and what you can do.
So what did this contest tell me about you guys? Quite a lot actually…
Marketing:
1. Based on the loglines you submitted, it seems that a lot of you don’t know how to structure a good logline. A logline needs to be clear, concise, and show conflict. Many of you gave me two elements of the equation but petered out on the third.
If it helps any, I didn’t know how to structure a good logline either, but I did know to ask around and get feedback. Again, based on the work submitted, you didn’t test your loglines on people to get feedback. You typed them out – didn’t spell check them – and sent them to me. I always test my loglines – always. There’s a lot of books out there with great loglines in them – find them. Read them. Learn from them.
Also, many of you didn’t know exactly what it was you were pitching. You gave me loglines that indicated horror, but when I looked at the genre it said “comedy.” Lucky for you, I ignored the genre for the most part, and concentrated on simply what the logline told me. Then I took another Advil and a shot or two of Visine.
A logline is a sales tool. It’s a big ad for the excitement to come – just like a trailer. Treat it as such. So the next time you craft a logline ask yourself, “What is it that I’m selling here?” and act accordingly. Try writing one page of the story, and then whittle that down to one paragraph, then one sentence – all the while selling the story.
Some of you don’t even know what your story is yet. You gave me theme and vague emotional flowery poetry that said nothing of what the story was. You were an immediate “PASS.”
Remember this:
A story is when something happens to someone or they do something that creates a problem (or problems) for them to solve.
That’s all. Every story you’ve ever heard is based on that simple premise.
Bill, but what about…?
Every story. Period. No buts…
The people who made it to the “Consider” file were the ones who at least gave me two of the elements (most often clear and concise) and had a hook in the concept that, if not original, was unique and had the better chance to be made as a D2DVD movie. They sold me on looking deeper into the concept. Job done.
Lesson one: A poor logline is like picking up your date in a muddy truck – it just isn’t done, not even in Kentucky. Clean up your loglines and test drive them with someone else in the passenger seat. Keep doing it until you have a smooth ride.
2. Another aspect of marketing many of you didn’t know about was to whom you were pitching. So I have to ask – did any of you do any research on me? Did you try to find out anything about me so you could tailor your logline accordingly? Did you read my blog, and go to my links? By the results, I’d have to say -”No.”
If you had googled me, or simply my email address, you would have learned the following:
a. Which message boards I’ve been talking on for the past couple of years.
b. Where I went to high school. (Including several embarrassing pictures)
c. My thoughts about D2DVD production and writing in general.
d. A logline I tested for a script I’m shopping now.
e. My IMDB listing.
You could have learned a lot about me with just one word – cinexploits - and positioned your logline accordingly.
My business partner and I recently set up a meeting with the head of one of the studios’ home entertainment divisions. I wasn’t taking the meeting, my partner was, but that didn’t mean I didn’t do my homework. This studio has released quite a few D2DVD releases and financed a few as well, and too much was riding on this for us to leave anything to chance. So I googled this exec and put together a little list of things that would helps us position our pitches:
How long had he been doing his job?
Who was his boss?
What had he greenlit before?
Where?
Armed with that information, my partner went in to pitch projects that we had already developed that were to his taste (and more importantly his buying history), and the results are encouraging. The executive has hooked us into several other elements we need to get the picture off the ground. We lit his enthusiasm for the project, and he has taken his enthusiasm and passed it along.
All based on the material, and thirty minutes of web time. Something you can do from anywhere. The winners and honorable mentions in this contest gave me loglines that I responded to, and was able to see as a D2DVD movie.
Lesson two: Always know who you’re pitching – who are they? What have they written or produced before? What are their tastes? Do I know anyone who knows this person and what do they have to say? Follow the adage from advertising: Never sell wine to a beer drinker or vice versa.
Professionalism:
Sixty-two percent (62%) of you were disqualified from this contest because you simply couldn’t be bothered to read the rules. Or you thought you were too good to follow the rules, and that your talent (such as it was) would make me swoon for your work. Let me remind you:
TALENT ALONE WILL NOT GET YOU THE JOB!
I had people who sent their work in early; told me about themselves (I don’t care); told me that the script had already placed in other contests (I don’t care!), and sent in multiple loglines on the same email (AGAIN, I DON’T CARE!). They were immediately disqualified from the contest.
You thought that you were going to sneak your way into Hollywood. You didn’t follow the rules. You didn’t even read them.
You didn’t act professionally.
But that’s okay too – because that’s part of what contests are for – to make mistakes and to learn. Done.
The way to get someone on your side in Hollywood is to give them what they ask for so that they can do their job. That simple methodology will set you far above your peers because so many people here clog the system with unnecessary material. It’s all about the work and presenting the work in the manner in which it’s requested. Let the work speak for itself.
By following directions, you also save two things that are near and dear to this pulp screenwriter/producer’s heart – time and money. If you are asked to do something in a certain way, and you agree to it, then it speaks well of you to deliver on time and ready to go. Snags and whatnot don’t help, make you look bad, and frustrate the production by wasting time (which equals money). Keep your side of the street clean.
Look at it this way: If I can’t trust you to do something simple like send me an email formatted in the way I need it, then how am I going to trust you with my production’s money? If you don’t deliver on time or we have to reformat everything to make it work – then I won’t choose you. I’ll choose the next person in line that wants the opportunity to work and get credit for it. I will choose the person who will deliver what I ask for, when I ask for it.
Lesson Three: Other people are depending on you to do your job in a quick and efficient manner so that they can do theirs. They are professionals – you have to be too.
BECAUSE TALENT ALONE WILL NOT GET YOU THE JOB!
Okay, Bill, but who won?
Class dismissed until tonight. I have writing to do...
Okay then, class is in session.
Before we get started, I’ve got to say this for the record: Something I’ve always suspected became evident. There are some fecked up folks in the heartland. I’m from the South, but geez – some of you guys are sick! I’m envious.
Okay, back to the question of what this contest was really about -- beyond giving an unknown the chance to show someone how sick (read creative) they can get with just 30 words in their arsenal. This whole stunt was designed to judge two other criteria the D2DVD business requires you to have:
The ability to market yourself and your work.
Professionalism.
But Bill, you didn’t tell us you were going to do that!
Kids, this is the entertainment industry. Show business. You are always being judged on your creativity, marketing skills and professionalism. Whenever you pitch anything – it’s a potential job interview. You can’t go at it half-assed because…
TALENT ALONE WILL NOT GET YOU THE JOB!
This is especially true in the D2DVD end of the business, where I have, at all times, five people lined up to take a job away from you for less money. Sure writing D2DVD flicks is fun. Going to restaurants and seeing people up close you only see on your TV screen is fun. But it isn’t what the “business” is about. It’s about a job, a career, doing what you love to do and getting paid for it. It’s about money and building your work (and you) into a brand. It’s about the work and how it speaks volumes about who you are and what you can do.
So what did this contest tell me about you guys? Quite a lot actually…
Marketing:
1. Based on the loglines you submitted, it seems that a lot of you don’t know how to structure a good logline. A logline needs to be clear, concise, and show conflict. Many of you gave me two elements of the equation but petered out on the third.
If it helps any, I didn’t know how to structure a good logline either, but I did know to ask around and get feedback. Again, based on the work submitted, you didn’t test your loglines on people to get feedback. You typed them out – didn’t spell check them – and sent them to me. I always test my loglines – always. There’s a lot of books out there with great loglines in them – find them. Read them. Learn from them.
Also, many of you didn’t know exactly what it was you were pitching. You gave me loglines that indicated horror, but when I looked at the genre it said “comedy.” Lucky for you, I ignored the genre for the most part, and concentrated on simply what the logline told me. Then I took another Advil and a shot or two of Visine.
A logline is a sales tool. It’s a big ad for the excitement to come – just like a trailer. Treat it as such. So the next time you craft a logline ask yourself, “What is it that I’m selling here?” and act accordingly. Try writing one page of the story, and then whittle that down to one paragraph, then one sentence – all the while selling the story.
Some of you don’t even know what your story is yet. You gave me theme and vague emotional flowery poetry that said nothing of what the story was. You were an immediate “PASS.”
Remember this:
A story is when something happens to someone or they do something that creates a problem (or problems) for them to solve.
That’s all. Every story you’ve ever heard is based on that simple premise.
Bill, but what about…?
Every story. Period. No buts…
The people who made it to the “Consider” file were the ones who at least gave me two of the elements (most often clear and concise) and had a hook in the concept that, if not original, was unique and had the better chance to be made as a D2DVD movie. They sold me on looking deeper into the concept. Job done.
Lesson one: A poor logline is like picking up your date in a muddy truck – it just isn’t done, not even in Kentucky. Clean up your loglines and test drive them with someone else in the passenger seat. Keep doing it until you have a smooth ride.
2. Another aspect of marketing many of you didn’t know about was to whom you were pitching. So I have to ask – did any of you do any research on me? Did you try to find out anything about me so you could tailor your logline accordingly? Did you read my blog, and go to my links? By the results, I’d have to say -”No.”
If you had googled me, or simply my email address, you would have learned the following:
a. Which message boards I’ve been talking on for the past couple of years.
b. Where I went to high school. (Including several embarrassing pictures)
c. My thoughts about D2DVD production and writing in general.
d. A logline I tested for a script I’m shopping now.
e. My IMDB listing.
You could have learned a lot about me with just one word – cinexploits - and positioned your logline accordingly.
My business partner and I recently set up a meeting with the head of one of the studios’ home entertainment divisions. I wasn’t taking the meeting, my partner was, but that didn’t mean I didn’t do my homework. This studio has released quite a few D2DVD releases and financed a few as well, and too much was riding on this for us to leave anything to chance. So I googled this exec and put together a little list of things that would helps us position our pitches:
How long had he been doing his job?
Who was his boss?
What had he greenlit before?
Where?
Armed with that information, my partner went in to pitch projects that we had already developed that were to his taste (and more importantly his buying history), and the results are encouraging. The executive has hooked us into several other elements we need to get the picture off the ground. We lit his enthusiasm for the project, and he has taken his enthusiasm and passed it along.
All based on the material, and thirty minutes of web time. Something you can do from anywhere. The winners and honorable mentions in this contest gave me loglines that I responded to, and was able to see as a D2DVD movie.
Lesson two: Always know who you’re pitching – who are they? What have they written or produced before? What are their tastes? Do I know anyone who knows this person and what do they have to say? Follow the adage from advertising: Never sell wine to a beer drinker or vice versa.
Professionalism:
Sixty-two percent (62%) of you were disqualified from this contest because you simply couldn’t be bothered to read the rules. Or you thought you were too good to follow the rules, and that your talent (such as it was) would make me swoon for your work. Let me remind you:
TALENT ALONE WILL NOT GET YOU THE JOB!
I had people who sent their work in early; told me about themselves (I don’t care); told me that the script had already placed in other contests (I don’t care!), and sent in multiple loglines on the same email (AGAIN, I DON’T CARE!). They were immediately disqualified from the contest.
You thought that you were going to sneak your way into Hollywood. You didn’t follow the rules. You didn’t even read them.
You didn’t act professionally.
But that’s okay too – because that’s part of what contests are for – to make mistakes and to learn. Done.
The way to get someone on your side in Hollywood is to give them what they ask for so that they can do their job. That simple methodology will set you far above your peers because so many people here clog the system with unnecessary material. It’s all about the work and presenting the work in the manner in which it’s requested. Let the work speak for itself.
By following directions, you also save two things that are near and dear to this pulp screenwriter/producer’s heart – time and money. If you are asked to do something in a certain way, and you agree to it, then it speaks well of you to deliver on time and ready to go. Snags and whatnot don’t help, make you look bad, and frustrate the production by wasting time (which equals money). Keep your side of the street clean.
Look at it this way: If I can’t trust you to do something simple like send me an email formatted in the way I need it, then how am I going to trust you with my production’s money? If you don’t deliver on time or we have to reformat everything to make it work – then I won’t choose you. I’ll choose the next person in line that wants the opportunity to work and get credit for it. I will choose the person who will deliver what I ask for, when I ask for it.
Lesson Three: Other people are depending on you to do your job in a quick and efficient manner so that they can do theirs. They are professionals – you have to be too.
BECAUSE TALENT ALONE WILL NOT GET YOU THE JOB!
Okay, Bill, but who won?
Class dismissed until tonight. I have writing to do...
Sunday, April 24, 2005
Contest Facts and Figures:
Just a few quick notes on the contest based on my tally of the figures and observations:
There were 59 total submissions to the contest.
62% of those were DISQUALIFIED - they were sent too early, were misformatted, or just violated the rules in some way, shape or form.
22% of the loglines were an outright PASS.
16% were CONSIDERS.
In reviewing the CONSIDERS, 3 loglines were chosen (5% of the total submissions) as the WINNERS.
In addition, I have chosen 2 additional loglines for HONORABLE MENTIONS.
Stay tuned...
There were 59 total submissions to the contest.
62% of those were DISQUALIFIED - they were sent too early, were misformatted, or just violated the rules in some way, shape or form.
22% of the loglines were an outright PASS.
16% were CONSIDERS.
In reviewing the CONSIDERS, 3 loglines were chosen (5% of the total submissions) as the WINNERS.
In addition, I have chosen 2 additional loglines for HONORABLE MENTIONS.
Stay tuned...
Thanks Guys! Now Cut It Out!
The First Annual DISC/ontent Logline Contest is over! Put down your #2 pencils.
Congratulations to all who participated. I now have the task of wading through your loglines and picking the best three. I am going to post tomorrow sometime on:
Who were the three that won.
Why they won.
What these folks can do (In my opinion) to make their loglines, and ultimately their scripts, more marketable and professional.
I'm also going to rant / rave about what this contest told me in terms of my readership: their marketing ability, their professionalism, and other data.
It should be fun, but also informative. Stay tuned...
Congratulations to all who participated. I now have the task of wading through your loglines and picking the best three. I am going to post tomorrow sometime on:
Who were the three that won.
Why they won.
What these folks can do (In my opinion) to make their loglines, and ultimately their scripts, more marketable and professional.
I'm also going to rant / rave about what this contest told me in terms of my readership: their marketing ability, their professionalism, and other data.
It should be fun, but also informative. Stay tuned...
Saturday, April 23, 2005
We're Off!
Starting to receive submissions...
Where is yours?
Remember you have until 8am PST tomorrow to submit your logline. See the rules below.
Good luck!
Where is yours?
Remember you have until 8am PST tomorrow to submit your logline. See the rules below.
Good luck!
Friday, April 22, 2005
Are you ready to rumble?
Just a quick reminder that tomorrow is the DISC/ontent logline contest (our first annual).
Be sure to check the rules and whatnot below.
Looking forward to this. I am sure my eyeballs will be bleeding from your brilliance. At the very least an aneurysm.
Be sure to check the rules and whatnot below.
Looking forward to this. I am sure my eyeballs will be bleeding from your brilliance. At the very least an aneurysm.
Thursday, April 21, 2005
Wednesday, April 13, 2005
So what’s your big idea anyway?
Nobody in Hollywood likes to read. Well, that’s not quite true. The fact is that studio execs’, agents’ and managers’ offices are inundated with so much stuff (that is, crap) they have to shovel bad ideas for scripts out of the way quickly. That’s how the logline was developed – it’s Cliff’s Notes for movies.
A good logline is a way for you to stick your foot in the door and say “hi” to the folks on the other side. If the logline sounds intriguing, then they ask for the treatment. If the treatment tells a story, then they ask for the script. It’s all a way for them to dip their toe in the water quickly without having to read a mountain of scripts every week. Even then, there’s still a mountain of material to read just to keep up. I’m inundated with stuff, and I don’t ask for it.
That is, until now.
Yes, I’m asking for it. [pun intended]
Next weekend, I’m going to offer the audience of this blog the opportunity to show people that you have some skills when it comes to conceptualizing a great D2DVD movie. That’s right folks, I’m announcing…
The 1st Annual DISC/ontent Logline Contest!
April 23rd, 2005 (Saturday morning) 8am PST (11am EST) until April 24th (Sunday Morning) 8am PST, every would-be D2DVD Scott Frank or William Goldman is going to send me the logline of a screenplay they’ve written. I will review them all, and pick the best three. I will post those three onto my blog that Monday (25th) and make appropriate commentary and give advice - the opportunity of a lifetime (or at least a cool way to kick off the week).
The Rules:
1. The loglines have to be 30 words or shorter. Show me what you got. Don’t give me crap. Crap I got. I want brilliance on a budget, and that starts with the logline.
2. The logline must be for a script that has been written and registered and/or copyrighted. If I request a copy of it the next day, it had better be in my in-box by the time I get back from lunch. If not: I WILL EMBARRASS YOU PUBLICLY. Yeah this is a stunt, but it’s the kind that leads to contacts, which could lead to jobs, which could lead to you actually moving out of your parent’s basement someday (okay, probably not). Act accordingly.
3. You can only submit something once. No second chances, so make it the best logline for your best script. If I see your name twice or my Scam detector goes off, then your emails will be deleted and you’ll be stuck in your parent’s basement. It's entirely up to my discretion.
4. DO NOT SEND THE SCRIPT UNLESS I ASK FOR IT!
5. See #4 above.
6. The subject line on the email should read: DISC/ontent Logline: (insert your title here)
Anything else gets you disqualified!
The body of the email should only contain:
Genre
The logline
Your name(s)
Where you are from and your current occupation.
Your email address
I don’t want to hear about how long you crafted this logline, how you had to sell a kidney to afford to write the script – I don’t care. The work is what matters. Besides, if I wanted a kidney all I would have to do is go down to Tijuana for the weekend. (And believe me kidneys are the last thing on my mind when I’m in Tijuana). No pictures, emoticons, animations, links or anything else that will eat up my email box space. I will not confirm that I received your email.
If you send your logline in early – disqualified. Send it in late – disqualified. I will only accept submissions between those hours. After that, you are S-O-L.
7. Send the email to: cinexploits@juno.com
8. No pro writers please. This is for the new meat. If you’ve made over $5,000 writing screenplays (this includes any contest money) then you are disqualified.
9. This must be your own work. It doesn’t count if it’s a sequel to someone else’s work. No STAR WARS: Episode 20, or SPECIES 4’s.
10. No Nigerian money scams. No spam. I already have a truckload of Saddam’s money winging its way into my bank account any time now. No questions. Everything you need to know is in this post. Read it. Put two and two together.
11. See rule # 4. THIS MEANS YOU.
If I do request a script, it’s for my reading (dis)pleasure. Please make it a Scriptware, Final Draft or RTF Microsoft Word file.
Now for all the paranoids out there:
1. Nobody’s going to steal your idea. You have the script registered, right? If not, then do so. You will be credited for your work should your logline make it to the final three. If not, your logline will never see the light of day. If you don't like my terms, then don't submit anything.
2. What do I get out of it? I get publicity for the blog. That’s what stunts like this are for, silly! I also get to find out who’s in the audience. Who listens to me? This makes for a better blog. A useful blog. It’s one thing for me to bitch about how bad the D2DVD scripts are that I do read, but if I don’t do something about it then I’m contributing to the problem.
3. I don’t guarantee anything in terms of industry response. I know that there are several Development Executives at D2DVD companies who track my work and this blog (not because of any restraining order mind you), and I am sending this post to many industry pros, but I do not represent you. You do not represent me. If they ask me for your email, I will forward their request to you. What you do is your business. You can’t hold me liable for what does or doesn’t happen.
4. This is a contest for exposure and feedback only. No money - at least not from me. Any side bets and so forth are done without my knowledge or permission. You get to receive feedback on your work, which is an important tool for your writing arsenal.
5. If the email is bounced back, try again within that 24 hr. period.
6. By sending me an email under the conditions above, you agree to these terms and will not hold me responsible should the outcome not go in your favor. That means if I don’t choose you or your logline, you can’t stalk me unless you’re Jessica Alba. (Just so we’re straight about this – you have to be Jessica Alba – not a look alike, and especially not a male look alike. I will check).
Good luck and see you on Saturday!
A good logline is a way for you to stick your foot in the door and say “hi” to the folks on the other side. If the logline sounds intriguing, then they ask for the treatment. If the treatment tells a story, then they ask for the script. It’s all a way for them to dip their toe in the water quickly without having to read a mountain of scripts every week. Even then, there’s still a mountain of material to read just to keep up. I’m inundated with stuff, and I don’t ask for it.
That is, until now.
Yes, I’m asking for it. [pun intended]
Next weekend, I’m going to offer the audience of this blog the opportunity to show people that you have some skills when it comes to conceptualizing a great D2DVD movie. That’s right folks, I’m announcing…
The 1st Annual DISC/ontent Logline Contest!
April 23rd, 2005 (Saturday morning) 8am PST (11am EST) until April 24th (Sunday Morning) 8am PST, every would-be D2DVD Scott Frank or William Goldman is going to send me the logline of a screenplay they’ve written. I will review them all, and pick the best three. I will post those three onto my blog that Monday (25th) and make appropriate commentary and give advice - the opportunity of a lifetime (or at least a cool way to kick off the week).
The Rules:
1. The loglines have to be 30 words or shorter. Show me what you got. Don’t give me crap. Crap I got. I want brilliance on a budget, and that starts with the logline.
2. The logline must be for a script that has been written and registered and/or copyrighted. If I request a copy of it the next day, it had better be in my in-box by the time I get back from lunch. If not: I WILL EMBARRASS YOU PUBLICLY. Yeah this is a stunt, but it’s the kind that leads to contacts, which could lead to jobs, which could lead to you actually moving out of your parent’s basement someday (okay, probably not). Act accordingly.
3. You can only submit something once. No second chances, so make it the best logline for your best script. If I see your name twice or my Scam detector goes off, then your emails will be deleted and you’ll be stuck in your parent’s basement. It's entirely up to my discretion.
4. DO NOT SEND THE SCRIPT UNLESS I ASK FOR IT!
5. See #4 above.
6. The subject line on the email should read: DISC/ontent Logline: (insert your title here)
Anything else gets you disqualified!
The body of the email should only contain:
Genre
The logline
Your name(s)
Where you are from and your current occupation.
Your email address
I don’t want to hear about how long you crafted this logline, how you had to sell a kidney to afford to write the script – I don’t care. The work is what matters. Besides, if I wanted a kidney all I would have to do is go down to Tijuana for the weekend. (And believe me kidneys are the last thing on my mind when I’m in Tijuana). No pictures, emoticons, animations, links or anything else that will eat up my email box space. I will not confirm that I received your email.
If you send your logline in early – disqualified. Send it in late – disqualified. I will only accept submissions between those hours. After that, you are S-O-L.
7. Send the email to: cinexploits@juno.com
8. No pro writers please. This is for the new meat. If you’ve made over $5,000 writing screenplays (this includes any contest money) then you are disqualified.
9. This must be your own work. It doesn’t count if it’s a sequel to someone else’s work. No STAR WARS: Episode 20, or SPECIES 4’s.
10. No Nigerian money scams. No spam. I already have a truckload of Saddam’s money winging its way into my bank account any time now. No questions. Everything you need to know is in this post. Read it. Put two and two together.
11. See rule # 4. THIS MEANS YOU.
If I do request a script, it’s for my reading (dis)pleasure. Please make it a Scriptware, Final Draft or RTF Microsoft Word file.
Now for all the paranoids out there:
1. Nobody’s going to steal your idea. You have the script registered, right? If not, then do so. You will be credited for your work should your logline make it to the final three. If not, your logline will never see the light of day. If you don't like my terms, then don't submit anything.
2. What do I get out of it? I get publicity for the blog. That’s what stunts like this are for, silly! I also get to find out who’s in the audience. Who listens to me? This makes for a better blog. A useful blog. It’s one thing for me to bitch about how bad the D2DVD scripts are that I do read, but if I don’t do something about it then I’m contributing to the problem.
3. I don’t guarantee anything in terms of industry response. I know that there are several Development Executives at D2DVD companies who track my work and this blog (not because of any restraining order mind you), and I am sending this post to many industry pros, but I do not represent you. You do not represent me. If they ask me for your email, I will forward their request to you. What you do is your business. You can’t hold me liable for what does or doesn’t happen.
4. This is a contest for exposure and feedback only. No money - at least not from me. Any side bets and so forth are done without my knowledge or permission. You get to receive feedback on your work, which is an important tool for your writing arsenal.
5. If the email is bounced back, try again within that 24 hr. period.
6. By sending me an email under the conditions above, you agree to these terms and will not hold me responsible should the outcome not go in your favor. That means if I don’t choose you or your logline, you can’t stalk me unless you’re Jessica Alba. (Just so we’re straight about this – you have to be Jessica Alba – not a look alike, and especially not a male look alike. I will check).
Good luck and see you on Saturday!
Tuesday, April 12, 2005
Goin' to Beverly, Hills Film Fest that is!
I'm going to the Beverly Hills Film Festival this week. I normally would pass on just such an event, but a client whose film I'm publicizing is there.
The film is called INDIGO HEARTS and this is from the press kit we put together:
Indigo Hearts is an official selection of the 2005 Beverly Hills Film Festival. It will screen Saturday, April 16th at 10:00pm at the Clarity Theater, 100 N. Crescent Drive, Beverly Hills, CA 90210.
If you're there check the film out. It's low budget, digital but it has a few hooks that I think will appeal. The director, Serge Rodnunsky isa characer. He's directed over 40 exploitation classics and now he's directing "indie art films". He's doing well at it too because he's also got another film in DANCES WITH FILMS next month in Santa Monica.
Oh, FYI - my friend Jeff O'Brien has finally decided to remove the lead from his ass and start up his blog. The link for it is to the right - Magnificent Iguana - so go check it out. Jeff is in a unique position as he's done most of his work via email from Vancouver, never meeting the production companies who have shot his scripts. I've threatened to go to BC and drag him down here to the southland, so we'll see what happens...
The film is called INDIGO HEARTS and this is from the press kit we put together:
Indigo Hearts is an official selection of the 2005 Beverly Hills Film Festival. It will screen Saturday, April 16th at 10:00pm at the Clarity Theater, 100 N. Crescent Drive, Beverly Hills, CA 90210.
If you're there check the film out. It's low budget, digital but it has a few hooks that I think will appeal. The director, Serge Rodnunsky isa characer. He's directed over 40 exploitation classics and now he's directing "indie art films". He's doing well at it too because he's also got another film in DANCES WITH FILMS next month in Santa Monica.
Oh, FYI - my friend Jeff O'Brien has finally decided to remove the lead from his ass and start up his blog. The link for it is to the right - Magnificent Iguana - so go check it out. Jeff is in a unique position as he's done most of his work via email from Vancouver, never meeting the production companies who have shot his scripts. I've threatened to go to BC and drag him down here to the southland, so we'll see what happens...
Friday, April 08, 2005
Tales of the Shadowmen Artwork
Judex v. Frankenstein's monster - the cover to JM and Randy Lofficier's anthology by Mike Manley.
Mine is the second story in this volume and I'm already brainstorming for Volume II next year.
Thursday, April 07, 2005
The Better Teacher
I just had someone comment about how I should make a list of D2DVD producer/ distributors who accept unsolicited query letters or scripts. I shot back a harsh comment, but let me follow up with this. There’s a couple of reasons why a D2DVD producer list isn’t going to happen from me in the foreseeable future. I may change my mind, but right now here they are:
I don’t need the competition.
I am too busy with my own stuff.
I am going to take a lesson here from Alex Epstein’s site – Complications Ensue – and impart some advice: Experience is a great teacher. I can make a list for you, but that’s not going to teach you how to survive in this business. You need to figure that out through experience. I will relate my experiences, but you need to get your hands dirty.
By having to go out and do the searches yourself, you’ll begin to see how to market yourself and your writing. And in this day and age it’s a lot easier then when I started. So in the interest of showing you where to find these companies – but not do the searches for you – here’s the following:
1. AFMA – The American Film Marketing Association and the AFM (American Film Market) has a listing of member companies on their site.
2. The “Done Deal” screenwriting boards lists production companies.
3. The Hollywood Reporter lists companies for the AFM, MIFED, and Cannes film markets. Find those issues and go over the listings. Same goes for Screen International magazine and Variety.
4. Log on to the VSDA website and look at the distributors attending. Look on those distributors websites and see if they do production deals.
5. Go to your local video store and scour the shelves for movies like what you’ve written. Rent them. Look at the production company’s credits. Write them down.
6. Send out letters to those companies that would look to be responsive to your material.
People talk about how they got their “lucky break”. Well luck doesn’t drop out from the sky – it’s created. Take out the term luck and use the term prepared. It’s a better indicator of what needs to happen from you – preparedness.
That means putting a few calluses on your ego and your hands.
That means having the right script at the right time.
That means having a library of scripts.
That means meeting people.
That means knowing who to send stuff to...
That means experiencing it yourself.
Experience is the better teacher.
I don’t need the competition.
I am too busy with my own stuff.
I am going to take a lesson here from Alex Epstein’s site – Complications Ensue – and impart some advice: Experience is a great teacher. I can make a list for you, but that’s not going to teach you how to survive in this business. You need to figure that out through experience. I will relate my experiences, but you need to get your hands dirty.
By having to go out and do the searches yourself, you’ll begin to see how to market yourself and your writing. And in this day and age it’s a lot easier then when I started. So in the interest of showing you where to find these companies – but not do the searches for you – here’s the following:
1. AFMA – The American Film Marketing Association and the AFM (American Film Market) has a listing of member companies on their site.
2. The “Done Deal” screenwriting boards lists production companies.
3. The Hollywood Reporter lists companies for the AFM, MIFED, and Cannes film markets. Find those issues and go over the listings. Same goes for Screen International magazine and Variety.
4. Log on to the VSDA website and look at the distributors attending. Look on those distributors websites and see if they do production deals.
5. Go to your local video store and scour the shelves for movies like what you’ve written. Rent them. Look at the production company’s credits. Write them down.
6. Send out letters to those companies that would look to be responsive to your material.
People talk about how they got their “lucky break”. Well luck doesn’t drop out from the sky – it’s created. Take out the term luck and use the term prepared. It’s a better indicator of what needs to happen from you – preparedness.
That means putting a few calluses on your ego and your hands.
That means having the right script at the right time.
That means having a library of scripts.
That means meeting people.
That means knowing who to send stuff to...
That means experiencing it yourself.
Experience is the better teacher.
Wednesday, April 06, 2005
Something Old Something New
Working on something for Roy Thomas's ALTER EGO magazine. Can't go into detail, but it combines my love of comics and movies.
Like you expected something else from me?
Also going to be adding a few links and pics to the blog now that I've half figured out how "Hello" works. I'm a design freak, and the blog needs some pulpy style. I've been itching to add that 30's and 40's sinister flavor to it.
I'm a little pissed at myself as I haven't completed my first draft of THE SKULL yet. I've been busy with a few clients who needed some PR work done. Also been chasing down some production work and live events. For a writer, those are good gigs to land as they don't take long and they pay well.
BUT - I need to get back on the pulp writing train and write.
Someone asked me if I got a gig writing the next sequel to THE SKULLS (which is on SKULLS 3, but is actually the same movie remade twice). That's exactly what I didn't want to have happen - equating THE SKULL with THE SKULLS. Two totally different heads.
Have a couple of projects making the rounds at the studios and production companies. Received some really good feedback, and some really, "they didn't read the script at all" sort of feedback.
Stay tuned...
Like you expected something else from me?
Also going to be adding a few links and pics to the blog now that I've half figured out how "Hello" works. I'm a design freak, and the blog needs some pulpy style. I've been itching to add that 30's and 40's sinister flavor to it.
I'm a little pissed at myself as I haven't completed my first draft of THE SKULL yet. I've been busy with a few clients who needed some PR work done. Also been chasing down some production work and live events. For a writer, those are good gigs to land as they don't take long and they pay well.
BUT - I need to get back on the pulp writing train and write.
Someone asked me if I got a gig writing the next sequel to THE SKULLS (which is on SKULLS 3, but is actually the same movie remade twice). That's exactly what I didn't want to have happen - equating THE SKULL with THE SKULLS. Two totally different heads.
Have a couple of projects making the rounds at the studios and production companies. Received some really good feedback, and some really, "they didn't read the script at all" sort of feedback.
Stay tuned...
Tuesday, April 05, 2005
DVD Premieres YTD
TOP DVD PREMIERE MOVIES: YEAR-TO-DATE
Rank
Title (label/distributor)
Street Date
Revenue (In $millions)
1
MULAN 2 (DIS)
2/1/2005
$53.7
2
ALADDIN: 2-3 COLLECTION (DIS)
1/18/2005
$17.1
3
BLUE COLLAR...RIDES AGAIN (PAR)
12/7/2004
$13.6
4
LBT: INVASION OF THE TINYSAURUSES (UNI)
1/11/2005
$9.0
5
ALOHA, SCOOBY-DOO (WB)
2/8/2005
$8.5
6
LION KING 2 (DIS)
8/31/2004
$8.4
7
BARBIE: FAIRYTOPIA (LG)
3/8/2005
$5.2
8
BALTO 3: WINGS OF CHANGE (UNI)
2/1/2005
$4.8
9
BARBIE...PRINCESS AND THE PAUPER (LG)
9/28/2004
$4.7
10
WAKE OF DEATH (SONY)
12/28/2004
$4.7
Source: DVD Exclusive research and Rentrak Corp.'s Home Video Essentials; $ in millions, consumer spending on purchases and rentals of DVD and VHS.
Rank
Title (label/distributor)
Street Date
Revenue (In $millions)
1
MULAN 2 (DIS)
2/1/2005
$53.7
2
ALADDIN: 2-3 COLLECTION (DIS)
1/18/2005
$17.1
3
BLUE COLLAR...RIDES AGAIN (PAR)
12/7/2004
$13.6
4
LBT: INVASION OF THE TINYSAURUSES (UNI)
1/11/2005
$9.0
5
ALOHA, SCOOBY-DOO (WB)
2/8/2005
$8.5
6
LION KING 2 (DIS)
8/31/2004
$8.4
7
BARBIE: FAIRYTOPIA (LG)
3/8/2005
$5.2
8
BALTO 3: WINGS OF CHANGE (UNI)
2/1/2005
$4.8
9
BARBIE...PRINCESS AND THE PAUPER (LG)
9/28/2004
$4.7
10
WAKE OF DEATH (SONY)
12/28/2004
$4.7
Source: DVD Exclusive research and Rentrak Corp.'s Home Video Essentials; $ in millions, consumer spending on purchases and rentals of DVD and VHS.
Monday, April 04, 2005
Sin City vs. Sin City
I saw Sin City on Sunday, and I have a few thoughts about it. I haven’t totally defined my opinion of it other than to say that it’s a bold new look for cinema. Audiences like it to the tune of $28M domestic box office this weekend.
I saw the movie at Silverlake’s Vista Theater on Sunset Blvd. Gorgeous one-screen palace that harkens back to the old time theaters of my youth (Boy I really sound old don’t I?). The motif of the theater was Egyptian and at any moment I expected to see Boris Karloff as The Mummy come out from behind the thick red velvet curtains. Everyone should see a movie in a venue like this. Classic Hollywood at its finest - Affordable too – only $5 for the movie.
I’ll get to the movie, but first let me talk about the Sin City graphic novels. This is important because the whole “gag” of this movie is the fact that it’s a translation of the graphic novels to the big screen. It’s not an adaptation.
And that’s a good thing and a bad thing.
The GN’s (graphic novels to you civilians) are thick books that Frank Miller has written and drawn taking place in his own film noir corner of the world. It’s a world of trenchcoats and truncheons, t-birds and topless women who’ll shoot your dick off if you cross them. Corruption at every turn. A city where there are no “good guys” just people trying to survive – in other words – Mickey Spillane’s living room. The books are distinctive in that they’re black and white with the occasional splash of red or other color for emphasis. They show Miller’s undying love for crime fiction and film noir.
They came on the heels of his cashing his checks from all the superhero fiction he’d been creating: Daredevil (Elektra), The Dark Knight Returns, Batman: Year One and his sci-fi samurai love fest, Ronin. Miller broke off from tradition and struck out to create books, not just comic books. In the process he brought a distinctive perspective on crime fiction.
Okay, now about the movie, I have to say this – it’s just like the books. Exactly. Panel for frame, it’s exactly like the books. Same dialogue. Same design sense. Same voice-over. It’s a graphic novel onscreen.
But it ain’t a movie.
That’s what directors Rodriguez and Miller were going for and they succeeded, but in strictly putting panels onscreen you left out a lot of the things that give a film life. You’ve ignored the grammar of film in favor of the graphic novels’, and in this case the results aren’t one hundred percent positive.
Some of the dialogue is stilted and is meant to be read, not spoken. This is a problem.
Some of the camera angles and wide shots you wish were there to give the story its proper mood and setting – they aren’t there. This is a problem.
Some of the voice-over is overused. This is a problem.
One of the stories used – The Big Fat Kill – has a lot of backstory to it related to another of Miller’s novels. None of this is ever explained. A small problem, but yeah – a problem.
To be sure, there’s a lot that’s good here:
The actors for the most part fall into their roles, with the exception of Mickey Rourke who owns his. He pulled his character on like a second skin and went to town.
Carla Gugino almost made me forget that Jessica Alba was in the movie.
Almost.
Rosario Dawson ditto.
The black and white works really well and the color is properly used (for the most part – I had a problem with the color in the sequence where Clive Owen and Benicio Del Toro are talking in the car. It was mis/overused).
Many of the angles and visual motifs have never been seen in a film before.
For all the above, good and bad, my hat’s off to Sin City.
Notice I didn’t say movie.
Sunday, April 03, 2005
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