Writing for the Green Light: How to Make Your Script the One Hollywood Notices by Scott Kirkpatrick

[@Neil122]

There's a reason movies and shows feel like they'r all the same. And that reason are guy like this. He's not wrong with what he says, but it's wrong that what he says is how the industry works.

[@nexttvmarketing]

+Neil Ruane EXACTLY WHAT I WAS THINKING...he saying we should all write scripts to fit into the "slots" he has outlined? He is right but I would rather root for creativity...this is the reason I love foreign films....

[@homer_thompson5090]

Actually, it's because of the audience. he, or any film company, wouldn't be making something if there weren't an audience for it first.

[@manifestmyreality2025]

exactly, this is what is wrong with our world, and look how much influence movies have on people, that's why they like keeping it so neat and simple because they don't want our populus thinking too much out of the box, all about control.

[@Grey_mind]

It's the perspective that it comes from. This guy is trying to sell movies/ shows - buy rights to producers projects. That how he makes his money. He is not purposely encouraging the self spirited creative rather the business of it.

[@Grey_mind]

He looks at things on a much greater scale in terms of the industry than a breakout independent writer because that is not him

[@digitalartworm]

The key to a successful story is one that1) you write 2) you complete 3) and it moves you in some emotional sense - if you dont fully connect with and believe in your own story then nobody else will and you CANNOT WRITE a story where the motivation is income or cash...inevitably the story will perish for lack of focus on the story....and make a choice either you wish to write creatively (independently and with your own conviction) or you prefer typing predefined fodder....it is not that complicated really... get yourself a cabin in the hills and get writing, BASTA.

[@jonathanakerele8006]

You got that right, Green! It's about motivation and really knowing yourself. It's one of those things where you have to think about what matters to you. Just look at the news as one example. I'm a really emotional person so the pain of loss is one thing I can write about that lets me get really in touch with that human element: sadness. That's just one example but the point I'm making is if you write about what matters to you then you'll be engrossed in getting the story told as best as you can and if it moves others around you then it could move a script reader. The script reader is one of the gatekeepers we could say you have to impress to get your foot in the screenwriting door. =)

[@Justmakeyourmovie]

I'm just watching most of these interviews to better my storytelling skills in screenwriting, because it draws great actors! I plan on producing all of my projects-- but it starts on paper! Always follow your dreams and do what it takes to get better. You can be successful without Hollywood!

[@demetriusdion286]

Write from the heart, don't follow trends, write something you feel strongly and emotionally about, this way if you don't sell your script at least you haven't wasted your time. Write from the heart.

[@n.lwhitaker572]

this guy has some really incredible insight as to why people purchase and watch film today. This is really cool.

[@stevo728822]

I get the impression that if Scott could hire 10 screen writers off Freelancer for $50 an hour to churn out hours of lines of script about pubescent teenage girls, dogs that go missing at Christmas and women suffering rejection in love then...he would go for that option. In other words, he wants cheap dross that can he turn a quick profit on. That makes sense if you are running a production company that fills time between television adverts. That's essentially what you are writing for..to create stories around selling product available in Walmart or Toys R Us. But as a screenplay writer, I'm sure you can do that without selling yourself out for peanuts.

[@Grey_mind]

Good take, think it's all in the perspective. Does come off that way - he is an info bot one you can learn a lot from, but all in your taste. He gives fair points from someone who would be investing in a story for mutual long term profits both for the writer/producer as well.

[@FourthFall]

I love this channel. I do. Tons of useful advice and unique perspectives. Unfortunatly, I find myself fundamentally disagreeing with this guy's viewpoints. His approach puts marketability and commercialism over artistic expression. I understand the latter is the more risky and more difficult path, but I find it provides the most satisfaction. Writing stories that you are burning to tell as opposed to writing what a B-tier studio wants to sell. Real stories are told from the heart, not market trends.

[@rockout13productions]

if you have to ask "What should I write about...", you're most likely to write a crappie story, and some may even argue you shouldn't be writing.

[@OliverWitherspoon]

Min: 5:40 "never happens" I just got signed with an agency in Hollywood on my first pitch of my first ever script (they like the story that much). They're helping me with packaging it for show runners now. Still crossing my fingers, we'll see. But... never say never.

[@OliverWitherspoon]

***** Hey Mary, I'm still figuring it all out myself, but I'll try and answer. (I invite any others to comment on or correct my response). I live in Seattle. Seattle has a growing film community of film makers, but the problem still lies with distribution so I have to connect with LA. You can make a great film in Seattle but then what... I think first off, you need to have a GREAT story. Then tell that story using the standard plot points and character arcs. And make sure to write your script with the standard page formats so you'll appear professional to industry people. I would then use a script adviser (aka script doctor) to review your script. Google Jen Grisanti, she seems great. I was also referred to Script Pipeline.com. I don't know which is better (yet), I recommend talking to both. Since even Netflix wont' accept unsolicited material, you need someone in the industry to represent you when you have something submitted. These industry people will know show runners and other contacts you need. You could look into agents in LA that aren't one of the big ones. Maybe try and find a smaller, up and coming agency that will take risks and will take you on. You could try some of the indie film makers too. Look up the producers on all the decent and great indie films from the past couple few years and see if you can connect with any producers or directors. Mind if I ask what genre your stories are based in? Let me know how it goes?

[@moniquevamado]

Congratulations Oliver! My thoughts exactly. Watch Michael Hauge interviews. He's the best. He's realistic, but never says things like it never happens.

[@bradebronson8835]

Cross the border and you're in Hollywood North.

[@archiepennoh]

He should be a politician..Damn....

[@WarrenGee7323]

Yep, he was very vague in his statements

[@AP-vm4zx]

Is this guy successful? This advice sounds off... and he keeps mentioning renting movies from Red Box... he just seems really out of touch

[@trentbell2718]

Yeah I kept hearing Redbox and had to check the date of the video. 2015??????

[@DDavis-mi2cg]

I don't buy some of what he's saying.

[@ToneMeloTV]

If you take this guys advice your career will fail... be original. Don’t try and appease people at the expense of your creativity

[@pilotpwr]

He never said you shouldn't be original. He factually states that there are certain themes in film that are historically more successful and more often produced. He is trying to help people start off on the right path. I've seen too many people in Hollywood obsess over their self-proclaimed genius and never get anywhere.

[@GigglinHamster]

Corporate sweat shop writing, made to order. If you're foolish enough to follow this guy's advice, you might as well move to a country where you make a dollar a day manufacturing $300 basketball shoes. Watch the documentary 'The Corporation' to better understand where he's coming from.

[@pilotpwr]

This is some of the most practical advice I have seen on Film Courage. It is a pity that so many people are misinterpreting his indie Hollywood business perspective as a mandate of how every screenwriter should build their career and write their scripts. No need to make personal attacks on this man because you don't agree with his viewpoint.

[@filmcourage]

Thank you for watching Shawn. We feel fortunate to have spoken with Scott Kirkpatrick twice and respect his knowledge of the industry. His second interview is here: kzbin.info/www/bejne/Y2rJip-ApJyefrM

[@SteveHovland]

What he says may be true, but I looked up a number of MarVista's films on IMDB Pro and didn't find anything about budget and box office, so I can't tell if they are making money. By contrast, look up Avatar on IMDB and see that a $237 million budget has turned into $2.78 billion in box office. Avatar is not in any one of the "gold mine" genre's he mentioned. Cameron knows how to tell a good story, and I think it's a major key to his success. This guy didn't mention story once in the whole interview. IMHO, a good story is the only franchise that always works.

[@shahryarrizvi1]

I really loved this interview. Really practical advice for getting started. Sets you up well for realistic expectations.

[@MovieMongerHZ]

24:00 isn't the stereotypical tween movie he describes is the classic coming of age story?

[@aps-pictures9335]

A must watch for any wannabe screenwriter. Brutally honest industry insight.

[@ghostofkenny]

This was a fascinating lesson in pure, unadulterated cynicism. And I don't mean that as an insult. It truly was interesting in how open and matter-of-fact he was about how cynical the whole process can be. Like a sociopath calmly and politely describing how he picks his prey.

[@robschneider8310]

+ghostofkenny aahah yeah exatcly what I thought.

[@C.Church]

ghostofkenny ... Yeah, one must be prepared and it does a disservice to not give people the heads up. In actuality, it seems far less "nasty" than my stint in professional theater, where the theater director and production staff are largely slimy to the talents' faces and then rude about them once the show is over. It seems as though film companies are more professional and looking to build relationships to last as long as you have a good head on your shoulders and don't expect coddling. YES I'm sure there is slime out there, but it looks more avoidable than theaters who are microcosm of wretched personalities guarding their gates.

[@alexclark9386]

I think it was incredibly kind of him to spend his time explaining what he sees is the reality of hollywood outside of the huge studios.

[@Ada_Isabella]

OH MY GOD, this was the MOST ANNOYING interview ever! This guy literally said nothing and the interviewer kept asking him to answer a very simple question and he couldn't do it. Scott, go into politics, you would be great at it!

[@kevinscottbailey8335]

This guy talks about screenwriting the way I would imagine a serial killer talks about killing people.

[@stevo728822]

I went through the top 200 movies that are currently at the top of the income chart. I was able to classify 193 of them into a particular genre. The results were: 39 comedies 35 social dramas 17 crime thrillers 13 action movies 13 children's animated 12 science fiction 11 romance 9 horror 7 documentaries 6 sword and sorcery fantasy 5 super hero 5 musicals 5 sports 4 family 3 biographies 3 war 2 historical 2 toy products 1 disaster 1 western The biggest grossing movie was the war movie American Sniper. There were another 480 movies I didn't classify. Not one of these movies is about a pet dog. Only 1 movie included a teenager at college. It just doesn't tie up with what Scott is saying about genres in demand. I think American Sniper has done well because there is a shortage of modern war movies right now. It's a statistical thing. if someone was to make a historical musical western disaster movie based upon Custer's Battle Of The Little Bighorn, I suspect they would have a smash hit on their hands because of the current shortage of product for those four genres.

[@stevo728822]

otakurocklee I'm sure quite a lot of 193 movies I looked at were foreign or at least not Hollywood productions.

[@otakurocklee]

stevo728822 He seems to be talking about indie hollywood specifically.

[@stevo728822]

The video is entitled "How to make your script the one HOLLYWOOD notices". Doesn't suggest he's focusing on non-Hollywood movies.

[@otakurocklee]

stevo728822 You're right. My bad.

[@stevo728822]

otakurocklee Ok. Something else I realise in hindsight is that movies are seasonal. So action, CGI and family movies are more likely to be released around the school holidays. This list for March seems to be more adult orientated.

[@_kmCarter]

Wait, did he say at about 7:00 that most new writers have their ideas taken, rearranged, made into a slightly different movie and they never get paid??

[@andrewdomville3663]

Glad you uploaded the full version.

[@filmcourage]

andrew domville So are we. Also just as glad to have you check it out.

[@markrpope3]

andrew domville Nice infomercial. I guess you have to act like you have all the answers to sell a how-too book. People like him can make any job drudgery. There is a big gap between the picture he paints of naive filmmakers making films for discovery at festivals and the way he thinks films should be made. If all it took was data to make successful movies then how come Hollywood, which has access to more data than he does, has so many misses they make and so many successes they pass on. He probably would have cast Shirley Temple as Dorothy in the Wizard of Oz.

[@Badrysh]

Mark Pope I think his data is pertinent to Indie films. And, how writers can get themselves noticed. Data does not lie for there will always be outliers. Like he said his company makes 20-25 films a year and buys in equal amount. The thing to take from this interview is that there is a big gap in what film school teaches you and what is being bought. Also, for every 300 films hollywood churns out there are 1500 that go direct to video. Even for these DTV films there are writers and crew who get paid. Makes sense?

[@reticulan5]

Mark Pope If I was casting Oz I'd take Shirley Temple as Dorothy back in the day. She saved Fox from Bankruptcy and turned it into the biggest studio profit wise. From all accounts of recent research Fox wouldn't let her go even when MGM offered 3 of their biggest stars for Fox to use. Oz still became a classic hit Because everything about it was just magic (story, color film, happy songs, magic sets and costumes etc)

[@OliverWitherspoon]

A couple thousand dollars to tens of thousands of dollars for a script _if_ he nails it? That's peanuts! Is that really it? Give real life examples of high and low sales of scripts. Some people want to know what kind of money is in screenwriting. Dude doesn't answer the question.

[@TheGeorgeD13]

You either make nothing or a lot. Yes, it is peanuts, but that's it. It's how it works at first. It's rare to sell a lot on your first script.

[@pilotpwr]

He answers the question quite well. For your first screenplay you probably can only option the rights for a few grand but if you are lucky enough for it to be purchased it can be 10-15% of the budget. Were you looking for a specific dollar amount? That's impossible.

[@dave45032]

$2000? I know who I'm not dealing with. Sylvester Stallone got a way bigger offer $300,000, which is equivalent to $1,000,000 today. This is just one voice among many. I am looking somewhere else for answers. An excellent script cannot be worth that much.

[@ricardox7810]

4:44 So the question is whether a screenwriter is willing to go this route, to "play the game" but realistically it's the only game in town if you want to make a living as a screenwriter. It means you may never write what you want to write, but just what you can get work writing. Kinda ironic, but then writers should appreciate at least the irony. Doesn't this also point to something very seriously wrong with Hollywood at the moment, just writing what they think will sell, like comic book characters, isn't this a business model doomed to mediocrity and failure?

[@SteveHovland]

+Ricardo X The numbers in recent years speak for themselves- one big failure after another in terms of box office/budget, Spectre being the prime case. Right now Hollywood is the home office of tired ideas. Write what you want. Heads are going to roll until they figure out what works. You may have part of the answer.

[@ricardox7810]

Do you listen to Scriptnotes? They make the case that a few failures are all part of the biz, nothing new. Seems right. I'm definitely going to keep writing want -- I can't really imagine working any other way.

[@ricardox7810]

Is that a joke?

[@literaryartist1]

wow every insightful and an eye opener

[@robschneider8310]

I believe one benefits from having a clear, almost clinical approach to how the business works. Like this guy does. Having said that, I also believe this guy has a little bit too narrow a view in terms of identifying the genres that sell. He sure seem specialized in the tween girl genre, but this may just be his thing. Yes it's low-cost, high rental, tried and true and all that, but going so far as too say that every aspiring writer trying to break-in should dig this mine... I don't know.

[@JasonBrubaker]

This is great advice.

[@Thenoobestgirl]

I feel like some of these tips are less applicable nowadays. Maybe it's just me, but I feel like people are more attracted to the more unique stories rather than the cookie cutter ones, especially with TV shows, like The Queen's Gambit.

[@ThomasDavis5213]

Great info

[@Setorrs]

I m going to be a big hit in hollywood ... want to put on the big screen my dreams

[@Boowl29]

I'm confused, most people who are interviewed talk about writing about what you find interesting, what inspires you, what comes from you. This interview very much has a business mindset. Tween girl movies, Christmas family movies, kids movies with dogs. That seems a very different approach from the interviews I've seen so far. Interesting because it's probably a more realistic approach to writing, but others said that writing stories for the market/hollywood to sell doesn't work.

[@micheletaylor9093]

That is what is instructed. Write what you know about.

[@HORNGEN4]

l appreciate the interview and his concise explanation of the status quo of the business. Only a sociopath could go about creating art/entertainment to play a game or fulfill a business need. Of course there are many who do, and they are at the epicenter of what makes most of Hollywood stagnant, boring, and unimaginative at best. At worst, the relentless "upper middle class media machine" alienates people to the point of rage. It's contributing to our mental health disaster and institutional distrust. It is not a benign phenomenon.

[@contemporarymale]

This dudes talking about getting 2k to write a straight to dvd red box rental. 😂

[@devon.dulaney]

This is great if you want to understand what sells, but is really boring to hear as a writing. Perpetuate the same old shit? No thanks. Next!

[@DerekTComedy]

From the studio that brought you "12 Feet Deep"..... Comes "12 Paws of Christmas" the story about a family dog who has twelve paws after the daughter makes a wish for him to have more paws.....

[@CJohnson19121]

Many of these comments are dumb. He is clearly talking about fastest way to get credit. Other than that, write what you want.

[@dcrawf55]

At 22:52 he basically just said "We will then steal your idea and tell you to fuck off." - Nice.

[@Rubrick23.]

The guy breaks, the law before his first shower. Never go into a room alone with him.

[@manlymen552]

this dude is a total suit haha

[@crozzlydog3]

This was a very penetrative interview as to the expectations of Hollywood! Mr. Kirkpatrick help pull back the vail in reference to how a writer can bridge the gap on getting a script sold or optioned.

[@patriciafaithfull6360]

The questions are so lame. What is the audience here? dreamers? or actual writers???

[@gracefaithjanet2673]

Really great info!!!

[@roger8654]

this guy is a quack.Hollywood loves comedies. And who wants to see a high school movie in Russia? they dont have high schools

[@marcoarsenault2376]

I think hollywood loves comedies and will go to actual great writers, he's being more realistic working on the lower levels of hollywood more looking to the money making mid level movies.

[@HeadIndProductions]

Why do these people act so cocky? I mean yeah he works in film but he's no Tarantino. He did a movie called Roadside Massacre... I say again Roadside Massacre. HA! He is so belittling in the way he talks, so cocky, like he thinks he has conquered Hollywood. Yeah he's done much more than me, but why does that mean he can talk down to aspiring writers?

[@MacSmithVideo]

+Head Ind Productions he's not cocky at all. he just sounds experienced and confident. i think its in your head.

[@NA86737]

He's the type of guy that got into film cause he likes money. No passion or artistry.

[@marcoarsenault2376]

This is brutal insight lmao

[@HaxYou]

Holy shit, Ari Gold lost a lot of weight.

[@rosskstar]

So if you're a rookie and have an original idea keep that in your back pocket or else it will be rejected at best or at worst stolen and you will receive nothing for it anyway @6:45. 'First invest your time in learning to be an unoriginal cog in the Hollywood machine so you can build a network, learn the ropes and then can come out with your pet project when you'll be taken more seriously (and less likely to be taken advantage of).' What about the risk of building a reputation for creating unoriginal tripe? THEN when i come out with my great idea i can expect to be taken seriously? "So this is supposed to be the next Star Wars, huh?.....Didn't you write Freaky Friday? Yea, we'll get back to you" Something about this guy's advice makes me squirm. George R.R. Martin stuck to his preferred genre. He had to take on teaching jobs to make ends meet but never sold out to make tripe. Life is short - stick to what excites you.

[@manlymen552]

John RossStar but he wrote a book that got turned into a series.... George Martin is a book author not a screen writer.....

[@leonardotdias]

Watching this, I was like: "Twin girl movies"? Do Americans like films about twins? The only twin sisters I remember in cinema were the twins from The Shining! Then I googled a bit and found the word "tweens", which I didn't know. Ahah. xD

[@bonniegreatorex72]

Adam Goldberg actually got his start from just an idea of his home movies and look where he is today, never give up on your dreams!

[@MichaelDanielHikerLionKing]

This is great, but the interviewer was pushing her own agenda a couple times, He is explaining things perfectly

[@JorgePrietoNYC]

A script is product. It's a writers business card and once one delivers one that is successful, it's expected that you can deliver a second and third. If one is lucky to have an agent or manager to negotiate, it's a jackpot. Rocky by Stalone was a first time script and we all know what happened to that fin, best picture academy award winner. Great questions, Karen. Thanks for the second time I watch this. Times are changing now with the Netflix and Amazons now producing films and series. As far as pitching, be yourself, be human and most important LISTEN. Thank u BOTH, again.

[@TheGreatTimSheridan]

who plans films? the most sucessfull writers? or is there another careere, film acrhetect?

[@badandy9716]

In the early 2000's I met a very famous HW actor who was being type cast into one genre and he wanted to break out of it. I wrote a screenplay about him and made his agent the Antagonist! I would've loved to interview this guy - seems like he has some real stories that would've fit perfectly.

[@undeadman7676]

This video explains how Treasure Planet got made. The screenwriters were promised a greenlight if they continued writing movies like Hercules, and eventually the best disney movie ever was made. But disney just didn't market it well.

[@TOOFUTURETV]

Great stuff, ;)

[@roscoematthews3978]

for every wannabe obsessed with paydays and "breaking in", there are a thousand hungry writers banging out pages, doing drafts and creating the best scripts that they can. worry about representation when you've become a stellar talent

[@TheGreatTimSheridan]

"we are looking for a great writer". WHO IS WE? send me a message..

[@advadia5]

This has been one of the most informative videos I've watched on becoming a screenwriter.

[@MsScruffy4]

I watched this series and could not believe the ineptness. At one point the question was money for a big car crash - they got a little one. Duh--- why the POV up on a hill? You film the crash from "inside" the car where it is easy to make it big - cheap. The camera sees another car coming for a second - black -- noise - camera rolls. Then silence, a high pitch as sound comes back. They just survived a big car crash for $19.95 so to speak. Simple Easy No one thinks of it to solve that problem. And more of the same. Didn't learn much at all.

[@howardkoor2796]

It's too bad that you can't learn from his experience

[@tpayne115]

Question, how can you apply to "hollywood" is there a list of companies?

[@tpayne115]

@Ikea Lamp so cool, thanks

[@haney3435]

Seriously Scott.., Who farted?

[@SquirrelsForAll]

The bare bones aspect of what new writers need to know. This is without a doubt one of the most beneficial interviews I've yet to see. Questions are absolutely spot-on. Thank you for your hard work and dedication.

[@filmcourage]

Thanks! We interviewed Scott again and just released the first segment... kzbin.info/www/bejne/aXKnmKWnnsRgmpY Look forward to sharing more in the coming weeks.

[@SquirrelsForAll]

Thank you so much, it will be an absolute pleasure to watch the recent video. It's quite apparent you take this channel with a high degree serious dedication and therein expend a great deal of effort in each publication. Please know, your work is valued and is proving to be of the utmost worth. Thank you.

[@devonk298]

great candid advice!

[@rockout13productions]

if you have to ask "What should I write about...", you're most likely to write a crappie story, and some may even argue you shouldn't be writing.

[@bradebronson8835]

Part of what this guy is saying is in conflict with what most of the screenwriters are suggesting.... Look at what Hollywood needs and write that first.

[@llmri]

stevo728822 posted a list of movies at the top of the income chart, in his words. He disputes Kirkpatrick's claim about which are "golden genres." But let's look at a mediocre family film for a kid hero: Alexander and the Terrible, Horrible, not Good, Very Bad Day. They made it for about 28m. It grossed about 67m in U.S. box office. Profit 39m. No idea what it made in the 9 other countries of it's theatrical release, or how much it grossed in DVD/Blue-Ray sales. Or from Netflix or whoever is streaming it online. It was made by exactly the people Fitzpatrick is speaking of, an independent production company who made a deal with Disney. Tentpole films do gross huge amounts. They also cost huge amounts. Which are the most profitable films? Collectively, the ones in the golden genres. Because they are low budget enough to at least break even if they flop and have a huge profit margin when they succeed at all. Like this one, which was pretty "meh" as these pictures go. Those big studio films flop and studios are out a great deal of money.

[@markrpope3]

L.L. Emareye Did that 28m include marketing. Hollywood usually spend 30m on marketing no matter how much the film costs to make. That's why thy prefer the blockbusters. They have a higher success rate and the marketing costs a small percentage relative to the overall cost.

[@llmri]

Mark Pope The marketing of a tentpole often *exceeds* the production cost of the film. ALL figures you pull of IMDb for budget are production-only. There are no sources for marketing publicly available. And there's nothing to substantiate the claim that "Hollywood usually spend 30m on marketing no matter how much the film costs to make." And WTF or who is "Hollywood?"

[@jonnyvelocity]

L.L. Emareye I wanted to ask, how many of those were from debut screen-writers? Isn't that what we're talking about here?

[@llmri]

Jonny Velocity Not in this specific discussion, we're talking about the profit margin of films. Certainly the video is aimed at newb writers.

[@funnyciscoleon]

I’m sure this video has discouraged some the weak “herd” from their once thought out voyage.

[@mirandac8712]

This man is a serial killer. Just kidding. It's a good interview, very honest. Scott's a very nice guy.

[@airwaver5951]

Holy cow, now I know exactly the kind of executive that I would avoid at all costs. Cookie-cutting, homogeneous corporate dross seems to be his aspiration and acting like the gatekeeper to a world of imposition, arrogance and entitlement. Pass

[@mijames9999]

This guy's so negative he could walk into a dark room and develop

[@kriz7nwa]

Film Courage has the WORST GUESTS EVER!!! ALL CAPS BECAUSE ITS IS IMPORTANT, this guy has done 3 movie scripts (2 shorts and 1 full length) in +10 years in the industry, sure let me take an advice from some one who hasn't been "successful" in the industry that he is promoting.

[@filmcourage]

kriz7nwa We appreciate your feedback. To help give us a frame of reference, how long have you been making movies and what are your credits?

[@kriz7nwa]

Film Courage Am Quentin Tarantino, seriously? why is my filmography is in question am not the one selling a book or giving advice, focus on your guest, the guy doesn't even work in Marvista anymore. a good interview to the WORST GUESTS EVER!!! ALL CAPS BECAUSE ITS STILL IMPORTANT.

[@filmcourage]

kriz7nwa Our interviews cover a wide cross-section of those in the early stages of breaking into the business to those with 30+ years in the industry. In general, our guests have at least one feature film credit.

[@bradebronson8835]

+kriz7nwa You know that screenwriting is the most difficult craft to master right? It doesn't matter how successful you are in Hollywood. Do you realize how many awesome scripts are passed due to simply luck. 62 out or every 100,000 scripts are optioned every year. And out of those not even have are probably made into the big screen. Your chances of writing a "successful spec script" are slim to none so if you aren't an aspiring writer... I suggest you stfu because you do not know jack about the industry.

[@PVC_640_XXX]

Man, his most famous screenplay is rated 2,7 on Imdb... Who cares?

[@pilotpwr]

My physics teacher didn't discover general relativity - who cares. My English teacher didn't write Moby Dick - who cares. My art teacher didn't paint the mona lisa - who cares. That's right folks, we can't learn form anyones experiences unless they have had success. It's a fact that there is nothing to learn from failure or simply from working in an industry for many years!

[@xKendraDx]

A lot of what he's said is so contradicting to what I've heard other professionals say. But I'm a noob and I appreciate all advice. there are some great points here. Dramas dont sell. Everyone writes dramas and there's just too many. The examples he gave are of no interest to me as a writer. But I do focus on high concept ideas, just also something I would love to spend several months writing, and not just what I think hollywood wants.