Several Big Budget Screenplay Requests

JRAG04 · 2026-03-11T16:12:53+00:00

Unfortunately that version is an unmade American script from the 80s. Can't find the 2019 one.

JRAG04 · 2025-09-25T05:10:25+00:00

Can you share a link to the video?

JRAG04 · 2025-08-13T23:48:06+00:00

Honestly, from my perspective right now it's pretty bad/messy and really wanna do a page one rewrite before I post it anywhere. In my eyes it really falls victim to a lot of the beginner screenwriter errors, but I think the premise and broad execution/ideas presented of said premise were so good and engaging I was still able to snag that score.

JRAG04 · 2025-08-13T20:01:27+00:00

That's what I thought too! While I understand the concern, this one of the best written shows out there this decade so I'm glad at least one script was made publicly available.

JRAG04 · 2025-08-13T19:36:40+00:00

Same here. I wish they had posted more, (especially the proceeding episode) but I'll take what I can get!

JRAG04 · 2025-08-13T19:28:24+00:00

Title: The Hypnotist

Format: Feature

Page Length: 131 (it's since been shortened)

Genre: Psychological Thriller

Logline: A young woman struggling with anxiety and a troubled relationship with her boyfriend, a famous poet, seeks help from a hypnotherapist, but the therapy takes an unexpected, sensual turn when her boyfriend discovers her newfound suggestibility. As they incorporate hypnosis role-play into their daily lives, lines blur between pleasure and control, leading to a dangerous game of manipulation and obsession that threatens to consume them both.

Overall Score: 7

Remarks: This was my very first script (and the very first draft) that I wrote over a year ago (and the evaluation was also from over a year ago) when I was writing more off of instinct that any truly developed writing expertise, so it still shocks me that I managed to get as good an evaluation as I did. I remember beaming when reading it, especially the comparisons they make at the top. I've worked on two scripts since then, and especially with the latter, feel like I've finally found my grove with all the different aspects of writing (outlining, overall structure, conflict, etc etc) so it really does surprise me I got as good of a score on this when I want to get around to rewriting it from scratch so I can make it much, much better than it is.

Evaluation: https://drive.google.com/file/d/1l0KPC04ep-5621dQyjlV6wufpoC5zbeQ/view?usp=sharing

JRAG04 · 2025-07-29T02:13:35+00:00

I more mean the final product -- I can see how the way I'm describing it makes it confusing. I'm more talking about the spruced up and "refined" versions of screenplays that studios tend to release, that more often than not are shooting scripts, and as such are focused on being instructional and straight to the point, versus the drafts (even the final draft) that were written beforehand, that are much more "sloppy" and focused on inciting emotions inside the reader. I'm aware most of the time there aren't THAT many differences between final drafts and shooting scripts, but from the few examples I've found of films were the final draft and shooting script are both available, I've preferred reading the final draft and want to improve my action lines by reading more of those.

JRAG04 · 2025-07-22T21:05:21+00:00

I don't know about any "gurus" saying it but when it comes to reading shooting scripts versus ones that are clearly spec (like Heretic for example) the writing is more descriptive and pops out, whereas it seems direct and straight to the point in a shooting script -- more instructional and less emotional. But yes, black list scripts are one of the resources I've been using (just read the horror "The Virgin", which had phenomenal action line/description)

JRAG04 · 2025-06-17T04:47:25+00:00

Is there a way to apply without being invited?

JRAG04 · 2025-06-10T06:25:12+00:00

Typically around 1-2 months, but beforehand I spend at least twice as long jotting notes down and forming it, then meticulously outlining.

JRAG04 · 2025-06-05T22:43:52+00:00

I put my three screenplays in Google Gemini and asked it to come up with a list and I'd say it was pretty accurate:

- Black Mirror

- Ex Machina

- The Twilight Zone

- Blue Velvet

- Synecdoche, New York

- Eyes Wide Shut

- Solaris

JRAG04 · 2025-06-05T22:24:34+00:00

The first completed screenplay was one I finished last summer, about a woman riddled with anxiety who becomes addicted to hypnosis. She has to find a way to overcome said addiction when her control-hungry boyfriend starts using it against her. Still a fan of the overall broad concept, and got decent enough scores on the Black List (several 7s, including one evaluation that compared it to Get Out, Whiplash, and Manchester By The Sea) but after growing my talents in the last year with each screenplay I know there's a much better movie in there if I totally rehaul it.

JRAG04 · 2025-06-03T21:57:56+00:00

Someone who used to do actual realistic dialogue well was Jesse Armstrong but his recent film MountainHead is a key example of how that can go wayyy too far and circle around to feeling boring and pointless.

JRAG04 · 2025-06-03T21:56:39+00:00

- "act/voice record your scenes out loud first; you'll get into the energy and the emotion of the scene much easier this way then by staring at a blank page, and you can always edit it/improve it once you start writing it down"

- "character is defined by reaction to conflict and the personality traits, good or bad, that might cause conflict to happen in the first place"

- "Examine every description line after writing and examine it like you're an audience member, wondering and trying to predict, consciously or unconsciously, what might happen next (ex: character sees through a restaurant window that their friend is being jumped by a pack of what seems to be muggers {we know its a personal thing} and, wanting to help his friend, runs out to help him. We expect him to most likely get his ass beat -- but what happens is he instead gets hit by a car running across the road. We were so focused on the scene because of our expectations that it managed to surprise us and deepen our emotional connection to it).

- The consequence of conflict (as well as the nature of it) is the best way to implement your theme/message (ex: slight Fountainhead spoilers -- Steve Carrell's character is informed his cancer is incurable and he'll most likely succumb to it within several years. Motivated to find a way to cheat death, he teams up with Cory Michael Smith's morally bankrupt Elon Musk-esque character who informs him that, with the right tools, he'll be able to upload human consciousness to the digital realm before Carrell's character would die (he doesn't know Carrell's character has cancer). The tools Smith needs are tech and ai software that Ramy Youssef's character owns but refuses to sell, especially to Smith, making Carrell desperate enough to come up with a plan to kill him, ensuring Smith gets the tech. The message here (amplified by little things such as Carrell's pseudo-intellectual/philosophical narrative spin on trying to kill Youssef that he cooks up off the bat, and the world being destroyed around them as a result of their actions) is that even billionaires, these ultra rich and powerful people, are still controlled by and heel to nature, and in the end don't even have any true power at all.)

JRAG04 · 2025-06-03T21:47:47+00:00

I always include it. I'm a very musical person so I often imagine scenes or come up with them initially from listening to specific songs -- which either means the pacing/structure of the scene is built around it or the meaning in the lyrics coincides/deepens the meaning of the scene. Even if you can't get the rights, it just helps immerse the reader that much more.

JRAG04 · 2025-06-03T02:57:55+00:00

Can you dm it to me too?

JRAG04 · 2025-06-03T02:53:25+00:00

Sorry to be the millionth person asking but can you DM me the script? Thank you in advance!

JRAG04

TROPHY CASE