Saturday, June 13, 2015

BOOK REVIEW: Tough Love Screenwriting

Tough Love Screenwriting is a book that lives up to its name; it is a terse text that gives solid advice for any aspiring screenwriter.  I make sure to read all of the guide books on writing/film making that I can get my hands on, what sets this one apart is the tone of John Jarrell's writing, which is as entertaining as it is informative.  In fact, I stopped reading another book on the subject when I found Tough Love to be a surprising kick in the ass compared to some of the more academic guides that crowd the book shelves.  It is important to note that this author is a professional screenwriter, not a guru or teacher with no credits to his name.  John Jarrell has a list of credits which include Romeo Must Die (2000) and Terminal Invasion (2002).  He uses this real world experience to cover everything from story development with eccentric producers to the process of WGA arbitration to fight for screen credit and the money that comes with it. Perhaps the most important thing this book achieves is showing the struggles a professional writer must go through, and if you have the ambition and ability, John Jarrell will inspire you to keep pressing on until your career dreams are realized.

The tips in Tough Love are very direct and practical.  Fans of Writing Movies For Fun and Profit by Thomas Lennon and Robert Ben Garant will find Tough Love to be a great companion book that is written in a similar prose.  I cannot say that I agree with all of the advice Jarrell provides, but I agree with 98 percent of it, and for any book that tells you how to do your art; that is pretty damn good.


If you want a taste of what to expect; a podcast interview with John Jarrell can be found here.


- Curt Wiser is the Writer/Director of Cam-Girl and author of the suspense novel Box Cutter Killer.




Thursday, January 15, 2015

FIRST IMPRESSIONS: How to introduce your characters.


First impressions make a big difference, it's as true in life as it is in fiction.  There is no right or wrong way to do this in your writing but if you use a few time tested techniques when you introduce your characters, it will create a character people will be entertained by.  It will help separate your work from the stack of scripts waiting to hit the shredder.

Your protagonist should usually be the first character you introduce and this moment should largely represent who this person is.  Taxi Driver (1976) opens with Travis Bickle drifting down the darkened streets of New York, alone in his taxi Cab while his voice over lets us in on the personal thoughts that consume him.  We see the crime taking place in the streets and that Travis has grown used to it.  The first image of Trainspotting (1996) is of Ewan McGregor as Renton; a heroin junkie who is running to evade the police after committing various acts of criminal mischief.  What about that iconic opening to AClockwork Orange (1971); Malcolm McDowell's as Alex stares directly at us in a close up, he and his gang are dressed up in matching white outfits and fake eyelashes and the camera pulls back to reveal this surreal milk bar location in a future world while we hear Alex talk about the "ultra-violence" they plan on unleashing that night.  It helps if this scene relates to the theme and the rest of the story but ultimately it just has to be right for the character and leave a lasting impact.  You may have noticed that all three of these examples are larger than life; they are not things most of us get to experience. Entertainment is an escape for people, the last thing they want is a story and character that that just mirrors their own life.  That is to say that something has to be extraordinary; if the character's life isn't, then the situation they get wrapped up into has to be.  The protagonist in American Beauty is about an ordinary man who goes through a series of life changes before he is murdered.  We know this character is going to be killed from the beginning of the story, but why and by whom?  One of the best ways to do this is to not start the film from the beginning of the story.  For example look at the opening of FightClub (1999).  The film and the novel start with Jack; our narrator commenting through witty voice over about the mess he is in all while Tyler Durden holds the barrel of a loaded gun in Jack's mouth.  Then our narrator stops and says, “Let me tell you about how I met Tyler Durden,” and we are taken back through the story until we end up back where we started; at the height of the conflict, with a gun ironically in our narrator's mouth.

The second element you have to think about when introducing your characters in their first scene is to make that circumstance as interesting as it can be.  Everything should be taken into account; the setting, time of day, is it a holiday?  What is your protagonist doing?  You need to have an active protagonist, and whatever that activity is should add to the scene and the story, it could be exciting unique or humorous.  Sometimes it is the supporting characters in your story that are fascinating and we get to observe this person from the point of view of the protagonist.  The recent independent film Frank (2014) is about a struggling band but what makes it different from the many other movies on that subject is Frank; the eccentric band leader who wears a painted head over his own and never takes it off.  We are led into Frank's strange and fun lifestyle through Jon; who is the newest band member to join the group.  In that case it is clear that the screenwriter would not make Frank the protagonist because he wears a mask the whole time.  We are not able to see the emotions of Frank's facial expressions; that makes him a very hard character to relate to.  Another reason to make a secondary character the most interesting one in the story is to keep aspects of their life a mystery until they are later revealed.  A few other films that use this technique would be My Week with Marilyn (2011), The Silence of the Lambs (1991) and Almost Famous (2000).

Here is an example, this is how I introduced Cliff; the second character of my two act play Anxiety.  These early pages are crucial, it is the one moment that the whole story is based on.  It is after business hours and Jane had to stay late and goes into the bathroom of the office building where she works.  She is in the stall when a male janitor walks in to clean, but little do they know that once the door closes they are both locked inside the bathroom. There are many choices that could be made here.  What would you do to make this scene as interesting as it can be?  Is there any way you could build suspense around this circumstance by making it last longer?  Here is what I came up with:


















































































I am happy to say that this play Anxiety was nominated for an Outstanding Original Play award by the International Music and Entertainment Association.  Discovering entertaining ways of setting the scene like this might have had something to do with it, it couldn't have hurt.  Writing is all about possibilities, the choices you make, so embrace it.    




Curt Wiser is a filmmaker and Author, he is currently writing a guide book to screenwriting.          



Monday, November 17, 2014

ON CREATIVITY

This is for you if you know who you are.  If you know creativity can take any form and has no limits beyond Its creator.   For the artists who do not stop because the work is the ultimate reward.  For those who know the next best thing to being in the spotlight is to be operating it.  For the poets of note and the well versed musicians.  For those who are defined by ambition.  For all the responsible mothers and the son's of their daughters.  For the inventors of what is and should be someday.  This is for you if you do not try to define art because you are too busy making it.  This is for you, and you deserve it; because everything you do is for everyone else.   

- Curt Wiser is the Writer/Director of the thriller Cam-Girl and an author of suspense novels.  

Sunday, November 2, 2014

HOW TO SUCCESSFULLY CROWDFUND YOUR FILM


      Crowdfunding has always been a divine and abstract concept; it is the modern day equivalent of money growing on trees.  Almost everyone has what they believe is the next great invention idea or a screenplay this is sure to be a hit at Sundance if they only had the money to get that project off the ground.  But launching a successful campaign is not as easy as it looks at first.  Most of the crowdsourced film projects I have kept track of did not reach their goals.  That is way some people choose IndieGoGo, you can still get some money even if you do not reach your goal.  This is a defeatist way of thinking however, we all want our project to be labeled a success.  So how can you do it?  What goes into creating a successful crowdfunded film project?

     First of all it is important to manage your expectations.  Kickstarter statistics show that 90 % of the successful film and video projects have goals set under $20,000.  We are all attracted to the big paydays like the $1.4 Million Spike Lee raised or the heart-stopping $3.1 Million former Scrubs star Zach Braff used to finance his third feature as a director; Wish I Was Here.  I hate to say it but you do not have the name recognition of Spike Lee or Zach Braff, if you did you would not be reading this, you would be taking Hollywood power meetings and counting your money somewhere.  That is the irony here, the people you can make the most from crowdfunding are the ones who need to rely on it the least.  However, I do agree with Braff and the others who justify this by saying it is difficult for anyone to get a film financed.  So what does this mean for you and I, the independent filmmaker who is starting out?  If you have a feature script you want to get produced you could consider adapting that story into a short film and try to raise the funds for the short through crowdfunding.  Then that short can play at festivals and act as a calling card for your feature screenplay.  You would not be alone if you went this route, many features started out as short films; The Evil Dead, Grace, Napoleon Dynamite and Obvious Child, just to name a few.  People in the industry call making a short first or similar tactics as "proof of concept."  Try to pick a project that could be made properly on a small amount of money.  Kickstarter statistics state that the average amount a successful project receives is $7,825.  The average amount in the film and video category is even lower; $4,466.

     The other reason why it pays to have low expectations is because crowdfunding lives up to its name, it is crowded with competition.  One study shows that out of the 45,815 Kickstarter projects launched prior to 6/2/2012, the film and video category had the most submissions with a total of 13,502 campaigns.  Not only is the film and video category the most popular, but it has a much lower success rate than all of the Kickstarter projects put together.  Statistics show that around 50% of all Kickstarter projects are successful while only 24.1% of the film and video campaigns reach their goal.  These numbers tell us that it important to have a projects that stands out from the rest.  You need a professional looking video pitch that is short and likely to attack people.  It all needs to be appealing enough to get backers to pledge some cash.  Try to build an audience for your project before you launch it on a crowdfunding website.  

     Nothing in this world is free, not even free will. Crowdfunding is no exception.  To be successful you need rewards that your backers really want.  That is way strangers will give money to your creative cause, they will not be doing it out of charity, it is because they want something your project has to offer them.  Just like having a low amount for your goal set, the numbers show that you should offer some rewards in exchange for $20 or less.  As of June 12th, 2013, only 39.99% of the film projects that DID NOT offer a reward for $20 or less reached their goal, while those that did have rewards for $20 or less had a 45% success rate.  Some of the most poplar rewards are DVD's or digital downloads of the finished film, producer credit on the movie and IMDB and more exclusive things like movie props, tickets to the premier or being a featured extra in the movie.  Foe example, Blue Like Jazz raised $345,992 dollars and 3 backers gave $8,000 each to fly DonaldMiller; the author of the popular novel the film was based on, over to their home town to perform a private book reading.  When the indie romantic comedy Obvious Child got accepted into Sundance in 2014, they turned to Kickstarter and raised $37,214 to cover the travel and promotional expenses.  Two backers on the Obvious Child campaign paid $1,000 each to become VIP guests at a show of their choice with either of the two stand up comedians who were featured in the film; Jenny Slate and Gabe Liedman.  Five backers gave $500 each to have Jenny Slate record an outgoing voice mail message for their cell phone.  These rewards worked because people with name recognition were behind them.  Chances are you cannot compete with rewards like this so you have to work with what you have instead.  Pretend that you are a potential backer, are the rewards you are offering worth the amount you are asking for?  People like to brag to their friends that they are an executive producer on a movie or that they were a VIP guest at a film premier or got to spend a day on a film set.

     Then there is the question of how long your campaign should last.  You would think to have it up for the maximum number of days the site would allow right?  More days means you have more time to raise the money.  Surprisingly, the average number of days that successful Kickstarter projects had set to reach their goal is 38 days.  The reason behind this is one of the things discussed in the best selling book Contagious: Why Things Catch On.  By having an offer available for a limited time can make you stand out from the competition and it can encourage the consumer to act, in this case pledge money to your project.

     Lastly, here is a surprising tip that is not often considered.  Be the first to back your own project! The first thing bartenders do when they start their day is put some of their own money in the tip jar.  I have walked into a coffee shop in the morning as they open the doors to find that a few dollars are already in the tip jar somehow.  Nobody wants to be first to invest in something, if other people are spending their money than it must be a good project.  I am sure many times people directly involved with a crowdfunding project put in some of their own money to reach their goal.  It is likely that you will have to spend some of your own money on this eventually, so why not do it through your crowdfunding campaign?


I hope this helps you with all your fund raising endeavors. Please check out this IndieGoGo campaign for a movie I am working on called Medium Justice.  

- Curt Wiser is a filmmaker and writer of everything from novels, screenplays and award nominated play scripts.

SOURCES USED IN THIS ARTICLE:
1) Kickstarter Statistics: Informing your crowdfunding Campaign 
Written By Maxim Wheatley (June 12th, 2013)

2) Kickstarter Failures Revealed Published by appsblogger.com

Wednesday, August 13, 2014

HOW TO WRITE A SCREENPLAY IN TWO WEEKS

By Curt Wiser


     From July 23rd to August 4th, 2014; I wrote an 87 page first draft screenplay for a movie titled SlashCam.  Why would I put myself through that? It is no simple task writing a full length movie in 13 days.  I did it because this was my first writing assignment and after hearing the premise, I knew I was the perfect writer for the job.  After writing and directing my first movie; Cam-Girl, I had already done most of my research and knew it would be fun to tackle this subject in a different way.  The two week deadline was told to me upfront by the producer and he had good reason for it.  I understood his situation, he had a fairly well-known actor who agreed to be in the movie but had been waiting a long time for a script as it languished in development.  The fact that this producer's production company also represents this actor added to the sense of urgency; they needed to stay on his good side.  These kinds of deadlines can come up during a writer's career.  As we know from the James Cameron biography The Futurist, during a three month period in 1983 he had to write three screenplays; Aliens, Rambo: First Blood part II and The Terminator which was about to go into production.  In this case it was because the writing jobs for Rambo and Aliens happened to come in at the same time and he decided to take on the heavy work load.

     Deadlines like this could be related to a pending writers' strike if you are a WGA member or if could be due to a narrow window before production needs to begin.  It could be the availability of the project's lead actor that causes the time crunch.  This may be the only writing gig you will have for years if you are starting out and if you don't take the job, someone else will.  If writing a screenplay in two weeks is a mission you choose to accept, here are some tips that may help you.

  • AT LEAST HAVE A ROUGH OUTLINE BEFORE YOU START
           I always outline, I couldn't imagine not doing it.  In this case outlining was even more crucial because only had two weeks to churn out the pages and yet I wanted a strong structure for this story as I would for any other.  With a rough outline in place I could start knowing that this script would have a viable beginning, middle and end.  Now I know there are some writers out there that never outline because they think it limits creativity.  While I respect their process, if they expect to write a production ready, full-length screenplay in two weeks without an outline; good luck to them.  The way I look at my outline is like a road map; I have these paths and intersections that are laid out in front of me, but that does not mean I don't take a detour or two along the way.
      

  • DETERMINE YOUR PAGE QUOTA PER DAY

     That is the first thing James Cameron said he did when he took on the challenge of writing three scripts at once.  He knew he had three months to deliver these screenplays and he estimated a page count of 120 for each script, then divided those pages by all the waking hours he had to devote to this to find out how many pages he had to write each day to reach his goal.

One of the important questions to ask the producer, or who ever is offering a hard deadline writing assignment like this is; how many pages do you want?  Feature length screenplays range from 85-120 pages. I would never suggest any more or less than that.  Thankfully, this producer said 85-90 pages is preferred. After all this project; Slash Cam, is a Horror film that is set mostly in one location, it is not a Drama, Action or Science Fiction epic.  If your contact asks your opinion on a desired page count, play it smart; say 85 to 90 pages is all I feel we need.  Not only will this make it easier to make your deadline but I often find this to be true for most stories and nobody likes a movie that is too long.  By the time I was done outlining I did the math and learned I needed to write around nine pages a day to make the deadline. Well I succeeded, on a few days I wrote ten or eleven pages.

  • ASK ALL THE QUESTIONS YOU NEED THE FIRST TIME

     Calling the producers several times with questions will not only make you appear inexperienced and unprofessional but it will also waste time; the one thing you cannot afford to lose.  Every project is different, but here are eight questions that you should ask with any writing assignment.

1)  What is the genre?

2)  What is the title?

3)  Are there any movies you would like this script to feel like tonally?

4)  Do you have any earlier drafts, treatments or outlines?

5)  Can I read these earlier drafts?

6)  What elements in these earlier drafts did you like or dislike?

7)  Do you want there to be sequel potential by the end of this screenplay?  (They will likely say yes but be glad that you asked and maybe give you some ideas.)

8)  Are there any specific things you have access to that you want included in this script?


     That last question is very important and will require a lengthy rewrite if you do not ask it before hand.  In this case, the producer had many characters he needed in this story because the actors were already cast. He also had unique props that he wanted the production to take advantage of.  This is the way low budget movies maximize their production value, so embrace it, use these elements in creative ways that craft an entertaining story.

  • TIME MANAGEMENT AND STAYING AWAKE

      This really depends on the writer.  I am a coffee drinker, so caffeine was my close friend during this writing assignment.  You could always exercise or take showers more than once a day.  Academy Award wining screenwriter; Aaron Sorkin says that he takes showers often when he writes because it lets him return to the computer feeling refreshed and relaxed.

      You have to immediately cancel any social obligations you can.  At this time I was a single guy with no children, so this part was easy.  I spent long days writing in marathon sessions to get the first draft done, especially on the last two days.  When I went out to eat, I would write in a notebook and type it out when I got home.  Writing some of this script freehand got me away from my desk and kept me working.  That is how I managed my time, but you need to examine your own situation as it is different for all of us.  These differences make us unique, they make you the writer that you are.  So take that time sensitive writing assignment and work like hell, because afterword you will be glad you did.  Good luck.



Curt Wiser is a Screenwriter-Director and the Author of the suspense novel Box Cutter Killer.  





Tuesday, July 22, 2014

FREE SAMPLE CHAPTERS OF A NEW SUSPENSE NOVEL.






These two sample chapters are from the novel Box Cutter Killer and are used for these promotional purposes only with permission by the publisher; Wheelman Press.  This material is under copyright (2013) by Curt Wiser and all rights and restrictions still apply; any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review.

     This is a work of fiction.  Any resemblance to persons living or dead, or any similarity of events depicted herein to real life incidents, are purely coincidental.




  [ There are some formatting issues in this posting, I apologize and will work to correct it. ]















        CHAPTER 14


I am jostled out of sleep, my cell phone rings on the coffee table.  I hear some generic version of a pop song that I hate.
That’s the ring tone I use for any calls that come from numbers not
programmed into my phone.

I close my eyes, the bright morning sun pierces through my eyelids.  My head aches and all I want to do is go back to sleep.  I turn on my side, nestle my face into the back of the couch.  It doesn’t do any good.  That damn phone is still ringing; it vibrates so hard that it moves up against one of the empty beer bottles, it lets out a high pitched jingle.

I don’t want to answer the phone, everyone knows not to call me this early.  Fine, I’ll just get rid of this, turn my ringer off and pass out in my bed.
“Hello,” I answer. 
“It’s time to wake up,” The Caller says.     The Caller’s voice, his voice is strange.

It sounds altered, like a voice on TV when they interview someone who wants to conceal their identity.

“If you’re a fox maybe.... who is this?” I ask.
I recline on the couch and rub the sleep out of my eyes. “Someone who enjoys watching you,” The Caller says.

I sit up, that gave me the chills, the way he said it.  Don’t hang up Ges.
This has to be that deranged client of mine.     The guy who threatened to kill me.
“You’re going to have to be more specific man, I’m popular in
that regard,” I say.
Need to know who this is, this could be my only chance.     “My, what a pretty voice you have,” The Caller says.
Wish I could say the same for you buddy, he sounds like a robot on crack.
“I’m hanging up now,” I say.
“That would be a mistake,” he says urgently.       On my feet now, I’ve had enough.
“Give me one reason?” I ask.
“I’d ask what you’re wearing but I can see for myself,” The
Caller says.
I look all around the living room.  Nothing is out of place, no sign of break in.
“Don’t believe you,” I say.

This is just some prank; he’s just trying to scare me.  I’m not scared, don’t give him anything he wants.

“Pink and white elastic pants and a ‘Screw U’ T-shirt,” The
Caller says in his deep voice.
I’m scared now, try to contain it Ges.
My shirt has a design with the letter ‘U’ and a giant screw going through it.
How could he know that?
Quickly, I move to my front door and check the dead bolt.     It’s locked.
The Caller laughs.
I listen closely as I stand by the door, motionless.
“Do you know how easy it is to bump a lock?” He asks.

I am against the wall now, in the narrow passage by the front door. Think Gessica. He can see you, how?
What the hell does he want and why would he call me like this to get it?
Brace yourself.
You have to be prepared for anything. Because anything can surely come.
My baby.

I run as fast my legs can manage toward the baby’s room.
In the commotion it’s hard to hear my phone but it sounds like he’s laughing again.

I near the open door to the baby’s room.  Baby Girl is there, she is alright.
The window in the room, good, it’s locked.
My baby sleeps soundly, completely innocent and unencumbered.    What now?
“I always wanted to ask you girls,” The Caller says.
I have to check the windows in the living room, make sure the place is secure.
“I see that you have the word ‘GIRL’ printed on the ass of your pants,” he says.

I enter the living room and reach down toward my butt.  I can feel the smooth lettering that is ironed into the back of my sweatpants.  The soft
thick cotton material of the pants set the letters apart.
“Is the point of that to get strangers to look at your ass, or do you think putting it there is the only way they’ll get the message?” The Caller asks.

I stare out the large sliding glass doors that lead to the patio, the blinds are wide open.  All I can see is a vast grass field and the wide enclosure of woods.
It is one giant green void with patches of darkness between the trees, too many to count.  If he is out there, he could be anywhere.
“What no reply?” The Caller asks.  “That’s right,” I answer back.
You’ll learn to obey me soon enough,” he says.
Calmly, I step back further into the living room.  This way I’m not in plain sight from that patio window.
“How did you get my number?” I ask.
“They say the best thing about the internet is also the worst, anyone can use it,” The Caller says.

Maybe this guy is not really out there.  He could have put cameras in here somehow.  I could get my daughter, drive off in my car and go straight to the police.
He may have messed with my car.
It could have cinder blocks for wheels.
Only one way to find out.
I walk toward the front door.
I reach out to unlock the dead bolt.
“Don’t touch that door,” The Caller says so loudly it distorts the sound of his voice even more.
I retract my hand and turn around.
How did he see me?
I can see out the sliding glass doors from here, that must be it.         I cannot take this anymore.

This vulnerability, the not knowing what’s really going on here.
He has full control over this situation.     It’s time to change that.
You can do this Ges.
Do it.
I charge for the glass doors so I can close the blinds.
Then I’ll grab the cordless house phone and call the cops from my baby’s room to make sure she’s safe.
I fumble with the long plastic rod to shut the blinds.
Got it, I start to slide the blinds to the left to close --

-- I hear the muffled sound of a gunshot.

 I dive away from the window, shards of glass fall around me.          I hear everything and feel nothing.
Is this me on the floor?
Can this really be happening?
     A single shiver runs from my neck down my spine.
My heart beats so fast I can feel the blood course through the arteries on the sides of my neck.

This must be what they call fight or flight.  I remember learning about it in tenth grade health class but never thought I would be forced to experience it.  The whole thing about it making time slow down is bullshit.

My cell phone sits on the carpet about a foot in front of me.
I turn my head to look back; the slats of the blinds are open and only cover part of the window.

The sliding glass door on the left is shattered.  Jagged sections of the glass still cling to the corners of the frame.
The blinds sway back and forth, they make a soft clapping sound as they knock into each other.

    Well now I know he’s armed.  So I better move my ass.  I’m not scared anymore, I’m terrified.  Try to contain it Ges.  At least you’re still alive.  



















     CHAPTER 15

I grab my cell phone off the carpet as I go into a crouching position against the wall to take cover behind the mini fridge.  My hand trembles as I bring the phone to my ear.
“That almost scared the silicone out of ya’ didn’t it sweetcakes?
The Caller asks.
“Why are you doing this?” I ask.
“Glad you asked, would you be interested in changing your internet provider?” He asks with a laugh.
My mind races.  My whole body feels supercharged, like I could run a marathon but I can’t go anywhere.

If you want to live, listen carefully to my rules,” The Caller says. 

I stand, my back slides against the wall. “Rules?” I ask.
I don’t believe I’m hearing this.
Two loud clicks echo in my ear from the other end, it’s the unmistakable sound of a rifle cocking.
“I thought I said listen, see that’s when I talk and you don’t,” he says.

I swallow instead of speaking. My throat is dry, probably from all that beer last night.
“First rule, all the blinds stay open,” he says.
The Caller’s ominous voice is still altered, guess I’ll have to get used to it.

I feel something, not pain but some sense that I’m hurt.
“You had to learn that one the hard way, consider it a warning shot,” he says.
Then I see it, I look down in a state of shock.  A cut about the length of a clothes pin runs diagonally across my upper right arm.

“Second, you can’t hang up on me until the game is over,” he says.
It’s a thin wound, the bleeding isn't too bad.  I see what looks like a small piece of glass wedged into the bloody bit of exposed skin.

My eyes are fixed upon the cordless phone sitting in a charger on the pass through counter of the kitchen.  The phone sticks up at attention waiting for me to grab it.  I move for it.

“Third, slide that cordless phone in front of the window,” he says.
The Caller said that the instant I grabbed the phone.  I’m standing in front of the large dining room window.  It’s like I’m living in a glass house.

“Do it now,” The Caller says forcefully.
I slide the house phone on the dining room table then raise my free hand and step away from it.

That’s it, let him think you will play by his rules.  He’ll let his guard down, then you’ll get your chance.
      “That phone stays there as long as you’re not on it.... and yes,
I'll ask you to make some calls with it,” The Caller says. He’s enjoying this; I can hear it in his voice.
“The last rule, the game is not over until you call all of your
ex-boyfriends since high school and confess the ways you used and manipulated them,” he says.
“What?” I reply.
“If you succeed and they don’t hang up on you, I’ll leave you alone and you can call the police,” he says.
“Maybe I’ll just call them now,” I say.
I look down at the phone, ready to grab it and duck under the table.
“The best response time is four to six minutes,” The Caller quickly adds.
My attention turns to the window in front of me and The Caller’s voice.

“I can break in there and take care of you before they’d even be on the way, besides; you wouldn't want to leave your baby motherless would you?” The Caller asks.
That shakes me to the core.  I stand there, my mind and body are filled with violent rage.  I wish this guy was in front of me, right here, right now.
“Hello, you still with me?” He asks.
      “Stay the fuck away from my child,” I yell.
I move up to the window as if I was face to face with him.  The bright sun constricts the pupils in my eyes, I’m wide awake now.
“And in rare form I see, do you have any questions before we
begin?” He asks in a calm composed tone.
“Yeah just one, why me, why are you doing this?” I ask.       “That was two questions,” he says.
I hit the glass window, hard.
“Talk,” I say.
“I picked you because you made yourself available, you’re not exactly an introvert,” he says.
I start to slump as my captor’s voice continues, he does not stop.       “As for why I’m doing this, I hope you’ll learn that on your
own,” he says.
Okay Ges, you just have to stay strong.        “Now, let’s make some calls,” he says.
[ END SAMPLE ]


      Buy the novel on paperback or for the KINDLE from Amazon:  http://amzn.com/B00DYE6FO4

               Or for the Barnes and Noble NOOK:


            Box Cutter Killer is Published by WheelMan Press.



Wednesday, July 16, 2014

ATTACHING TALENT TO YOUR SCREENPLAY



     “Sure you can attach me,” she says.  Now, if you do not work in film or television this attachment business might sound like a parasitic relationship; it is far from it.  Being able to mention recognizable actors who agree to play a role in your script is usually a game changer and I would add by saying the casting process is the most important part of producing any performance driven art form.  The best writing in the world could fall flat if it is put in the wrong actor's hands, but a talented, dedicated actor who is the right fit for a role can elevate any lofty script to even greater heights.  It is ultimately up to the actors to make the story believable, that is their craft, the seamless magic trick that never ceases to amaze an audience when it is done right.  I have witnessed this myself.  When I was behind the camera and watched actress Erin Nicole Cline cry on cue during the most dramatic scene in Cam-Girl; a thriller that I wrote and directed.

     There is a larger truth at work here; the first thing most distributors look at when they consider a film is which actors are in it.  Can we sell this movie?  That is a distributors primary concern and one of the easiest ways to achieve these results is by having the iconic face and legendary name of a known actor on the cover of a DVD case or movie poster.  All you need to do is browse the shelves of a retail store or look closely at the movie posters as you walk toward the box office of your local movie theater before you plunk down twelve dollars for your ticket.  These actors along with the title; become the brand of the movie.  In some ways we benefit from the power these stars have.  Do you think a film like Fight Club would have been made if Brad Pitt was not in it?  Whether independent filmmakers choose to except this or not, your casting choices carry a lot of weight.

     That is why when it came time to start casting actors for my Romantic Comedy spec script 30 Night Stand, I wanted to find an actor or two who was not only perfect for the part but also had some name recognition.  The lead role of Sheila seemed like the best place to start because it is the sort of complex and interesting character an actor would want to bring to life.

30 Night Stand is about a woman who is cunning enough to turn a one night affair into an opportunity to live with a man rent free.

So who did I seek out to attach to this screenplay?  I was able to get the script to Annika Marks through Sarah Okun; the make-up artist who worked with me on Cam-Girl.  Sarah knew Annika from another production and I am thankful for that because Annika not only agreed to play the part but also gave valuable notes on the script that improved the story.  It can sometimes be hard for writers to take notes but when you get truly valid suggestions as I did, that is the best part of having someone else read your work and giving their objective point of view.  They can sometimes show you something that was right in front of your face the whole time.  It is the job of the writer to take that observation and come up with a creative solution that adds to the characters and the story.  After a re-write the 30 Night Stand script is in great shape and Annika Marks said I could officially attach her to the production.  Annika Marks is best known for her roles in films such as The Sessions and Mona Lisa Smile.  The Sessions is a critically acclaimed film based on the true story of Mark O'Brien; a poet-journalist who seeks out a sex therapist to show what his body is capable of because he is paralyzed and confined to an iron lung since childhood.  Annika Marks won an Audience Award along with the rest of the cast when it screened at the Sundance Film Festival where it also earned a Special Jury Prize.  Helen Hunt was nominated for an Academy Award as best performance by an actress in a supporting role.  Even though Annika Marks's character was not the focus of The Sessions; she clearly made a lasting impression as her character.  Alexandria Symonds of Interview Magazine put it this way; “It's a credit to Marks, whose career to this point has mostly been in theater, that she's able to find the subtleties in her character: she portrays Amanda as a conflicted, whole human being even as she is Mark's fantasy.”

     Attaching Annika to this project was only the beginning; months later I was thinking about who could possibly play the Sister of Annika's character and then an idea hit me.  Annika Marks has worked on the short film Skypemare; which also starred Horror icon Cerina Vincent (Cabin Fever).  When I brought up the idea to Annika that Cerina would be great for it, she agreed and got me in touch with Cerina.  Now Cerina Vincent has joined the cast and I am feeling better than ever about the possibilities of 30 Night Stand and what lies ahead.     

     Filmmaking is all about getting those small victories, sometimes they are hard earned or just dumb luck but if you have enough of these come together you will end up with a great movie.  There are many more decisions that need to be made before we go into production; like casting an actor to play the male lead for instance, yet I am looking forward to it because of the endless possibilities they hold.


- Curt Wiser is a filmmaker, animator and author, his suspense novel Box Cutter Killer is published by Wheelman Press.