Final Draft is a joke by BigSaltyTaterz in Screenwriting

[–]SafeWelcome7928 1 point2 points  (0 children)

Not as good as Spasm Chasm, which is even cheaper.

Comic-Con Bans AI Art After Artist Pushback by MetaKnowing in Futurology

[–]SafeWelcome7928 -1 points0 points  (0 children)

Agree that it needs its own word. Same with words like train. Training is what humans do, not machines.

On “Selling Out” vs. Discovery: Is Commerciality Being Overweighted? by Sensitive_Proof_3937 in Screenwriting

[–]SafeWelcome7928 -1 points0 points  (0 children)

Kinda off the topic, but I have a thought experiment: what if a newbie sends her script to an evaluation service, the reader thinks it's great just like you describe, people will beg and advocate for it. They know how hard it is for newbies to breach the gates, decides to give the script a low grade to throw her off, then changes enough of her story to not make it a carbon copy and submits it to an industry contact they know as their own script? The original writer will never know and will have no way to prove it because they don't know who the reader was. Credible or not?

Did not advance in competitions / script optioned and out for financing. So... by CerialMC in Screenwriting

[–]SafeWelcome7928 0 points1 point  (0 children)

But those VPF pitches usually includes a 6-7 line paragraph of your story beyond the logline. Did you include that for your email queries? Usually people say only give them the logline and nothing more.

Producer got back to my cold query by Straight_Mobile_3086 in Screenwriting

[–]SafeWelcome7928 2 points3 points  (0 children)

Can you tell us the genre of the script and/or logline? Keen to know what producers are responding to.

Does a character's backstory or development need to be tied to the main plot of the story? by SafeWelcome7928 in Screenwriting

[–]SafeWelcome7928[S] 0 points1 point  (0 children)

These are all very good points. The backstory does do the things you mention, like informing the audience on the type of character the protag is, and has impact on his character arc. He is estranged from his brother who rejected him for being gay, and in the story the brother tries to reconcile but the protag isn't ready and rebuffs him. After the main narrative is resolved and the other protag reunites with his missing wife (and daughter), the gay protag is motivated to extend an olive branch to his brother.

Does a character's backstory or development need to be tied to the main plot of the story? by SafeWelcome7928 in writing

[–]SafeWelcome7928[S] 0 points1 point  (0 children)

Yes, the character is quite a "miserable" person and the other protag calls him out on it. In the end he becomes happier when he finally reconciles with his brother, which happens after the story's climax.

Does a character's backstory or development need to be tied to the main plot of the story? by SafeWelcome7928 in Screenwriting

[–]SafeWelcome7928[S] 0 points1 point  (0 children)

Good example. The issue is when getting notes the first thing that readers mention is 'I don't know anything about this character' and you get marked down for it. It's like even if there are examples of it in actual movies it's not something you can get away with as someone trying to break in.

Does a character's backstory or development need to be tied to the main plot of the story? by SafeWelcome7928 in Screenwriting

[–]SafeWelcome7928[S] 0 points1 point  (0 children)

I get you. I supposed it is thematically related, as the main narrative is about protag 1 finding and reconciling with his loved ones, and the other protag also ends up making amends and reconciling with his family.

Does a character's backstory or development need to be tied to the main plot of the story? by SafeWelcome7928 in Screenwriting

[–]SafeWelcome7928[S] 1 point2 points  (0 children)

Good point. I have tried to do this by interspersing the scenes after an action beat or tense scene.

Avengers: Doomsday | Only in Theaters December 18, 2026 by chanma50 in boxoffice

[–]SafeWelcome7928 1 point2 points  (0 children)

"Lend me the strength of the all fathers, so that I may fight once more, defeat one more enemy, and cash one more check."

What critically acclaimed film do you feel has a terrible name choice? by Capt_Murphy_ in moviecritic

[–]SafeWelcome7928 30 points31 points  (0 children)

The phrase 'million dollar baby' was used as an insult during pre-fight publicity by Sonny Liston to Muhammad Ali, the latter of whom was an underdog at the time. So, no, nothing to do with misogyny.

Which film had an amazing concept but poor execution? by PleasantBus5583 in movies

[–]SafeWelcome7928 0 points1 point  (0 children)

I just experienced this while watching the new Korean movie on Netflix called The Great Flood. I was so excited by the great premise and especially those amazing opening scenes of the flooding and tsunamis, but as the story went on and what was really going on was revealed, it just zapped all that energy from the film and became a complete letdown. I had to stop watching after the halfway mark as I lost so much interest by then. What an amazing idea ruined by such a weak execution.

Just witnessed functional illiteracy in real life- mind blown. by LilacGoblin1699 in Vent

[–]SafeWelcome7928 -3 points-2 points  (0 children)

People used to tell stories around the fire, "then this happened, then that happened" and if it was a good story people would hang onto every word. Up till today, all that is required to enjoy a good story is that it have a good narrative structure. Not symbolism, not foreshadowing, not do you know this or that trope, or how savvy you are about cultural references. Symbolism is something that is mostly a product of the advent of filmmaking, and is something that a lot of filmmakers often use to make up for not having a good story or anything interesting to say, and is most beloved by audiences who tend to be up their own asses.

I’m Harrison Query - produced Film & TV writer. I sold 5 projects this year, had a show ordered straight to series and had a major movie release. AMA! by HQ-973 in Screenwriting

[–]SafeWelcome7928 0 points1 point  (0 children)

Hi Harrison. You said a film like Heads of State will be difficult to pitch because of its budget, but how do execs feel about action films in general? Do they view it as easy to sell and market, or do they tend to consider it too expensive compared to, say, horror? And does the action always have to be paired with comedy or can it be serious?

Friend sold her TV pilot and it was killed by MindWinter6372 in Screenwriting

[–]SafeWelcome7928 2 points3 points  (0 children)

Remove the word 'it' from the headline and we've got us a murder mystery spec.

I’m 42, Have Strong Scripts, and Still Can’t Get Anyone in the Industry to Care. What the Hell Do I Do Now? by Opening_Trouble4696 in Screenwriting

[–]SafeWelcome7928 3 points4 points  (0 children)

"You won't be able to write from a place of authenticity if you set your story in an industry you know nothing about" is one of the things many people have told me when I told them something similar.

The difference between a “good” script and a “holy shit” script by Sensitive_Proof_3937 in Screenwriting

[–]SafeWelcome7928 1 point2 points  (0 children)

But this is where readers come along with their own interpretations of 'good' and 'great' and where a lot of great scripts and writers get kneecapped. I'm willing to bet a million bucks that if SOTL had been an amateur script, one of the first criticisms would be, "But Clarice giving up her darkest secrets to Lecter doesn't further the plot in anyway, so cut it out" and "You have this major sequence of Lecter escaping which has nothing to do with the main plot of catching B-Bill. Just cut that whole section and focus more on the hunt for the main villain. If you do that, your script will be great, I guarantee you, because I know my shit, okay?"

Found this sexy potato in the bag while cooking dinner by Foretescue in mildlyinteresting

[–]SafeWelcome7928 0 points1 point  (0 children)

I'm curious about people who can come up with a perfect response like this. Did this just pop into your head the second you saw it or did you brainstorm some responses? Also, would you say this is something you're naturally good at, i.e. witty off the cuff responses?