Ashley: Welcome to episode #198 of the “Selling Your Screenplay Podcast.” I’m
Ashley Scott Meyers Screenwriter and Blogger over at – www.sellingyourscreenplay.com. Today, I’m interviewing Writer/Director, and producer, Shane Abbess. He recently did a
Sci-Fi film called, “The Osyrus Child.” We talk about writing the script and also how he was able to get this film financed and produced. So, stay tuned for that interview.
If you find this episode valuable, please help me out by giving me a review in iTunes. Or leaving a comment on YouTube, or retweeting the Podcast on Twitter. Or liking us on Facebook. These social media shares really do help spread word about the Podcast and are very much appreciated.
Any websites or links that I mention in the Podcast can be found on my blog in the show notes. I also publish a transcript with each episode. In case you would rather read the show or look up something else up later-on. You can find all transcripts and show notes on the website, just go to – www.sellingyourscreenplay.com/podcast, and look for episode #198.
If you would like my free guide, “How to Sell Your Screenplay in 5 Weeks?” You can pick that up by going to – www.sellingyourscreenplay.com/guide. It’s completely free, you just put in your Email address and I’ll send you a new lesson, once a week for 5 weeks. Along with a bunch of free bonus lessons. I teach the whole process of how to sell your screenplay in that guide. How to write a professional log-line and quarry letter. How to find agents, managers and producers who are looking for new material. It really is everything you need to know to sell your screenplay. Just go to – www.sellingyourscreenplay.com/guide.
A quick few word about what I am working on this week. A quick update on my crime, action, thriller, feature film, “The Pinch” that I am finishing up on. I am making some good progress on it, I got a trailer cut last week. I will link to that in the show notes. So, if you are interested at getting a look at the first trailer, have a look at that. It’s starting to feel like it’s coming together, which is really great. Even the movie, it’s a lot of moving parts. And it takes a long time, I mean, I’ve been talking about it in this Podcast we’re talking about years. You know, especially it’s so low, you have to go slowly. And you don’t just have money to throw at a project. And often times that can speed things up. So, it’s been a long process, it’s really starting to feel like it’s coming together. I mentioned this last week. But basically, I’m just waiting for now, the final sound, mix. I have a cut of the film that’s basically complete, with a few minor glitches. And once the sound mix is done. I will fix up those glitches. And we will get the sound done. But, basically, going to start having some conversations, hopefully this week or next. I’m just depending on how much time I have to start having conversations with some distributors. Just to start to see what kind of a reaction I’m going to be getting from distributors. And see if there is any that might be interested in taking this movie on? This is really, where the real work comes in. It’s going to be a lot of hard work. And you know, a lot of conversations and a lot of rejection. Because the vast majority of the distributors that I talked to, if not all of them, will probably not want to distribute this movie. Just because there is no cast. I think is going to be the biggest, you know, stumbling block that I run into.
There is no name cast, and that from the distributor’s stand point, that’s important for them to sell the films. So, that leads me to my next point, which you know, I do feel like this current cut of the film that I have. Which is all corrected, and has all the sound, has all the sound pieces, the sound mix. I feel that is good enough to start submitting to film festivals. So, I am going to start doing that this week, or next. As well. Maybe I’ll talk to distributors first. Spend a week or two talking to distributors. And then maybe I’ll start submitting to film festivals. But, I do think that if I can get the little buzz on the film festival circuit. You know, distributors can see hopefully people, and audiences will like it, this movie and distribute it. Distributors will then see that it’s alright, maybe be more inclined to pick it up, take a chance on it, a film like this. So, that’s kind of my strategy. I have some conversations with the distributors, see what kind of reactions I get from them? But, if I don’t get some sort of a deal. Then definitely hit the festival circuit hard. See if I can’t build a little buzz that way. And then ultimately then I’ll have to just figure out what my best options are after that. It’s very hard to tell, at this point, you know, where it’s all going to wind up. But, as I said, it’s the excite part. It’s all starting to call the last thing, it’s very gratifying just to kind of see things come together. And you know just all the hard work, just makes me feel like it’s worth it. And then, there are a lot of moments when you’re in the middle of classes where you feel like it’s never going to be over. And now, I just feel like, I can see some light at the end of the tunnel. So, that’s a great feeling. I mentioned this a couple of months ago. And I’m going to mention it again. And if you have some experience with film festivals. Please do drop me an Email. It’s very hard to tell, when you go in without a box or a film freeway It’s hard to tell, you know, how good these festivals really are. And if they are even worth entering? I’ve been to, and have submitted and have been to a number of film festivals that quite frankly are not worth entering. But, usually you don’t know that if you don’t actually go to the festival. So, if you have some experience, with a particular festival. Do shoot me an Email. And just tell me, yeah, this festival is good, and this is probably worth entering. Because you know, that first-hand information, you can only get by really experiencing it. And so, you have some experience with the festival, please do let me know.
And again, I just want to mention the webinar I did a couple of months ago, on “The Pinch” it’s called, “The Pinch” Producing a Micro-Budget Feature Film.” I go into great detail, on exactly how I wrote, directed, and produced this micro-budget film. Specifically, I talk about how to write a micro-budget screenplay, How to raise money to shoot your micro-budget screenplay. Which includes, information on how I ran my successful “Kick-Starter Campaign” which I did for “The Pinch.” And then I also dig into: Production, pre-production, and of course
post-production, the webinar is over 3 hours long. So, there is a ton of useful information in it. I worked hard putting this webinar together. So, I am charging a small fee to watch it. But, if you are looking to write and direct, and or produce a micro-budget film. I think this could really help you. There are a ton of producers out there who are looking for the next great micro-budget script. So, even if you’re a writer who’s looking to understand this market better. I think this webinar to you as well. Even if you don’t have any intention of producing any new material. You just want to learn how to write a, going through a webinar will give you some real nuts and bolts information on sort of production and understandings translating that script to a produced movie. I think writing a script, that can be shot on a micro-budget is a great way to meet up and coming directors, and producers, and get that some writing and producing credits. You can find this webinar at www.sellingyourscreenplay.com/thepinch. And the word – “The Pinch” is all one word, and all lowercase. I will of course link to it in the show notes.
So anyway, that’s a look into what I am working on. So, now let’s get into the main segment, Today I’m interviewing, writer/Director/producer, Shane Abbess, here is the interview.
Ashley: Welcome Shane to, the “Selling Your Screenplay Podcast.” I really appreciate you coming on the show and talking with me today.
Shane: Great to be here, good to be on.
Ashley: Yeah, perfect, perfect. Glad to have you. So, to start out, maybe you can tell us a little bit about your background. Where did you grow up, and how did you get interested in the entertainment business?
Shane: I always used to look at meetings, with it’s real sense of how you write, how you can be proud of the story telling talent. How you keep people around and put on size and try to keep people entertained. You know, the big issue in school, what it was like when we were young. It was amazing kind of it was a national revolution, to have one tell stories. And then all the stories I had in my head. I was like, how do you do that? I thought I would be a camera person. You got to write a script, direct, and edit, like, what’s next? And always tend to love story tellers. While we were on the set, every single person to think of. Very interesting comes of that when you’re trying to get into it. You write, I write a lot nearly, as for myself. And I write short stories. And then I write scripts. And scripts are very different from writing a book, or novels or stuff like that. But, it was sort of an outlet, you know, when my parents. And after high school, I just looked at writing scripts, for films. We were never going to get married, I knew that. I’d write a script, and I’d imagine how the film would look, what happened to that. I’d actually try and entertain myself. And then I would put it away, and then start a new one, you know. So, it was a real, I was always withdrawn, just to story-telling. It didn’t matter what aspect of, it was always a job.
Ashley: Yeah. And so, what just, and I know we just tight on time here. But, just maybe in a nut shell, what was some of your first steps, to actually turn it into a career. It sounds like your whole life you just enjoyed writing, you enjoyed stories, and story-telling. What were those sort of steps that actual tactical steps that you made to actually turn this into a career.
Shane: Well, I’ve met some of the best writers, you know, Billy Wright, and draws my back work, from a professional from a Hollywood, rise. And from me I knew really early on that I was going to direct as well. So, I was a different type of writer in the sense, that I wasn’t going to just write scripts and put them out there. I was a writer/director that would try to mold it myself, to entertain myself. Because it’s also writers. But, when you would meet this. Some of the best writers in Hollywood. And those guys and girls that were in that class, that were years. There were so engrained in their work. It’s more about learning. From them, for me to say that. In terms of making it, to a, for me it’s more. I’ll direct a film, from manuscripts. Or I’ll write a script out of an un-acted unit. When no one else is telling it at the time. So, in terms of getting it actually made. A script like that supported, nothing, you know, it’s a made, you know, I read a phenomenal script, that don’t have the support.
I think the fortunate/unfortunate thing that that is happening in the world right now is? That especially for writers, our own truth is, you know, given people are forced to be a lot more, they’re forced to understand the business a lot more. They’re forced to, you can’t just write a great screenplay with someone and go, “That’ll find it’s way into world, because it won’t.” You know, you’re walking away. It has to find, you have to write a lot, you know, if you’re going to be writer. You have to write a lot. You’ve got to give it a lot of care and attention doing that. And that was something I did a lot back in my early days, when I was writing, I wouldn’t just write, writing something and not worry, that it must be good. I’d write, days, sometimes terrible, can you tell me how to make it better? And I took a lot of criticism to heart, in the right way. I kept work it, working it, working it. And I looked at the best script, that other people considered to be the best. I looked around and I was falling short and failing. And then, a critical line to that, and then when I actually trying to do, getting into things made. It was about finding producers that had the same kind of mindset as myself. So, and you know, I wasn’t sending the wrong kind of script, to the wrong kind of producer who’s. And I’m glad on everything. There’s not that many lumps. It’s true, I’m working now, on a Black List script. It’s not picked up often. A one little writer Michelle Gowen and it’s made by separate hands with that script. Not read this, very timely, very different film. I look at sort as it will all come together in a film now. I think you know, I think opinions, the just of the opinions are like assholes if ever had one. But I think we’d be writing the true truth. Where you inherently know. So, it’s just amazing to know, right hand, that, that’s the sense of the turn-around. If the right producers, If the right director, the right financier. I would predict an amazing script, bar-none, where everybody’s just going to get behind it. And made is some more acessible on a more commercial level. You know, little things I happen to develop, especially when I’m writing, is this? Whom am I actually writing this for? So, the film might decide, a saw-bones retired is built in a June in there. Which is experiment a lot, because one of the things that came from Hollywood. Would be, the same development known, from ten different people across many, many years. So, you kinda got this formula starting. So, what happens if I don’t want to do that? What happens if like I want to amp up the scene here? Like, do I have to use, well if you want to watch the film you do. And then I say, I don’t regret that, I don’t feel that it needs to be better, I don’t feel that way. And it might be several different ways to put a film out there now. I think it might have been exciting for either one of us to experiment. Because of the environment of the business, is so risky virtue, that is so scared of that it had to be a $10-Million-dollar film. You can’t take that big of a risk, in terms of a $10-Million-dollar film, because you need it, that type of sale, I get it. Or, it’s so small and indie, and bizarre that you try to make it crazy type. Because there’s not the budget there to support these kinds anymore. In fact, I think it’s for young writers. It’s about finding your great indie space, to were as you want it made. And figure out how to get it made, with people who know how to do it. Are all, you know, there’s just the whole Hollywood thing. Same as amazing film and it gets picked up. It’s really winning the lottery in a way. So, it’s a social game. It’s a lot man.
Ashley: Yeah. So, let’s dig into the Osiris Child, maybe to start out you can give us a quick log line for it, kinda just tell us what the pitch is for this film.
Shane: A, the pitch is it was like a siren daughter, for the relationship and a guy can that be back on that in his entire life, right, in terms of that. He has to join forces with the very type of person that he distains. Is actually probably more suitable for the father than he is.
And to get a group of 24 agents that want to go and rescue the daughter, from a ten level narcissist. But yeah, the age nature of the film, that you’re already you can talk about. A nuclear melt down, you kind of have to out run monsters and may have a corporation that sounds really bad. But, that’s actually what the film is, you know, because that’s the sign of the 80’s, maybe is.
Ashley: And where did this idea come from? What was sort of the genesis for this?
Shane: You know, it was a lot of, I used to get scripts out of order. So, I would get sort of colorful out of order, here is Australia, I’m from Australia. Hence my hard to understand accent. The I guess the nine scripts, and then, I get an issue a form. I had to wait a year, because the comments wouldn’t turn up, I would return them. Then I would issue 20. And I’m sure all these other stuff, has happened. But I have no idea what it is? I have to invent that stuff myself. I have to imagine what happens between these chapters. I always said it would be really fun, this movie where you stood there, the very last chapter of the film, is the first chapter of the comic. The under age of the 20, there and goes. Does the origin of this character, change the way you feel about them? Which in this case is try. And that was a big thing for us. Was to get an example of who the characters were, then at the very end, no idea who those characters really were at all? This was all read in the story. This is the first time of the five-part story. So, it wasn’t how to make matriarch kind of thing, the whole family without. It was all just kind of open up, opening to something bigger. So, that’s kind of where it’s headed. Because it’s not stand alone story at all.
Ashley: Yeah, yeah. Now, I noticed that on IMDb, it looks like this is positioned as a you know, a one movie in a whole series of movies. And I’m just kind of curious, what you’re thought process is there for a film like this. Do you have the sequels already sort of planned out. Maybe just walk us through that process a little bit.
Shane: Yeah, first off, our story, Brian is a character, we planned 5 stories out along the way. So, we sort of renewed the big laugh in the film, this is sort of our aid to the story. I mean, you have to when you’re writing. You have to attack, what’s your budget to make it? You know, what are you going to do with it? So we sort of sorted out all that into the mention of the arc well enough to do it. But, because I think it follows a vision, that would have been better for us. Now, I find that writing, especially in movies. You know, I’m so aware of the audiences. I know the one thing that you can do, I have it today. It’s the one thing with the same bad guy gets out. He’s the one thing, and you’ve got to think, on television, you can spend 2 hours on that, you know? And look at Dennis Hine, that’s the one thing that same thing could go for years. Which you would have to turn into a movie. And just not just sit and try and tell it all. So, and you got fuel levels up. So, that’s the right idea for telling the story with tons of volume. And that and care in the world for box office, or success or what-not, it was just exactly what going to keep making the stories as we go. And sort of every night it was what you asked for, it’s on the film someplace, in the success we take. Audience will want to take part too. See, we would commit to a film no matter what. And I think that was the thing. Actually we didn’t want to try to jam everything in the first film. On the risk that we haven’t to make one, we just didn’t care. We said, even if we’re doing this outright, we’ll match this. We’ll match this with our own. We’re fine, we’re still going to keep on telling the story. So, yeah, that was kind of the account of what we’ve done, the best enjoy. We have the bravado, enginuity to thrive.
If you want to try and compare it, to the world, than you’ve got to have something that’s going to be more than just a movie. Just, this is buying into a much bigger film.
Ashley: Yeah. So, did you have like in just let’s just talk about, sort of the process of bringing the script to light. Did you have financing in place. Like you keep talking about this “We” and this team that you have. Did you guys have this film financed? Did you, writing the script, did you write the script, and then go out and look for financing.
Shane: No, we had this script, we already had the script and I think with the directors would be part of the script, I was one of the ones directing as well. It helps get it made. Because I know that part, you know that part of it. but if you got writing, at all. You got to have those pieces if you’re a director. Movie is the most end goal of where it was headed. I guess that’s what I said before? But, your will, you’ve got to know where you end goal is. You’re trying to get the right stuff out, like in your trying to do indie films with a flavor. You’re trying to do the next thing back? Are you a palate of what really hasn’t happened before as in terms of a writer, that never happened before? But that’s all really fun stuff. What’s the end goal of, how do you get there through that? So, I guess the answer for me, almost does so. But, how do you? We had a first draft, of out of order, certain impacted. And a piece it together is huge risks in this. Let’s just into the risks with this, in terms of the materialism there. The fact that it’s not why, it’s not a stand-alone film. And I would make sure the opinion that you have around us is ready to take the time is like a risk. Because you had, you couldn’t start a traditional CF system, because they’re not going to do it. And also I couldn’t look at it as a back in indie, just seriously big so. I had to write and around here in Australia, work is, to make that happen. So, I kind of knew what we had, a script. Who felt in a power group, and how we were going to make it, at what budget we were going to make it. I felt the flavor, that he was going to sell it as well. These are all things you have to know. Because a writer, as you know, you have to know, where the end game is. Because the industry is so many scripts, and so many things coming and going. Whether or not, like for me, it has to be amazing, highly recommended. And something he knows, I mean, there’s a lot of fields before it gets to me. So, you know, of all the scripts that have come and gone. It has to pass all that sort of people who already fit. So, I think that’s another thing, that’s where the tenacity of writing is at a little bit, the best writers do, is write. Also, liquidity is that Sci-Fi genre endemically it’s all back those writers, is write, writing, and writing. And it’s so good that good scripts is fresh, original, interesting, ideas. And you know, we would put it out. “The Silent” he put it out, some of the Australians in the making, and the next idea. I mean, someone else would say, he’s written in that spirit. And then the next period piece, I’ve got the next crack original one. Which then all of a sudden, it’s in demand. Because many people want to do it, keep going. So, like I say, there’s a lot of ways to try and give. It’s more about films, not as sort of I do directing, and producing sort of rare, marry the sort of people I’m going to give it to. But understands my creative, there’s one back in Gabriel, I’m ninety, you know, I read the film, made the finance itself, I directed it. And then you know, it’ll have enough for that. So, this year, a lot of help along the way, for sure. But, I’ll have much more of an idea of the rules. And I’ll have break them.
Ashley: Yeah, yeah, sure. How can people see the “Osiris Child?” Do you know what the release schedule is going to be?
Shane: Yes, “Osiris Child” is in America, through the 16th. It’s out now, on just exclusives and that. And it comes out in theatres and we have the all animated dates on November 6th.
Ashley: Okay, perfect. Shane, I really appreciate your time. And I wish you the best of luck with this film.
Shane: Thank you very much. See ya soon.
Ashley: Thank you, we’ll talk to ya later.
Ashley: I just want to mention two things I am doing at “Selling Your Screenplay” to help screenwriters find producers that are looking for new material.
First I’ve created a monthly newsletter that will be sent directly to producers. Every member of SYS Select can submit one log-line per newsletter, per month. I went and Emailed my large database of Industry contacts and asked them if they would like to receive this newsletter of monthly pitches. So far I have well over 400 producers who have signed-up to receive it. These producers are hungry for new material and are happy to read scripts from new writers. So, if you would like to participate in this pitch newsletter and get your script into the hands of lots of producers. Sign-up at – www.sellingyourscreenplayselect.com, that’s – www.sellingyourscreenplayselect.com.
And secondly, I’ve contacted one of the premier paid screenwriting leads sites. So, I can syndicate their leads onto SYS Select members. There are lots of great paid leads coming in each week from our partner. Recently I’ve been getting about five to ten high quality paid screenwriting leads per week. These are producers and production companies who are actively looking to buy material. Or are looking to hire a screenwriter for a specific project. If you
sign-up for SYS Select you’ll get these leads Emailed to you directly several times per week. These leads run the gambit from production companies looking for a specific type of spec. script. To producers looking to hire a screenwriter to write up one of their ideas or properties. Producers are looking for shorts, features, TV and web series pilots, it’s a huge aray of different types of projects that these producers are looking for. And these leads are exclusive to our partner and
On the next episode of the Podcast I’m going to be interviewing, Director, Producer,
Scott Whey. He recently did a film called, “Six Below, Miracle on the Mountain” We dig into this project. And also, how, as a producer, and director, he finds projects like this to produce. So, keep an eye out for that episode next week.
To wrap things up I just want to touch on a few things from today’s interview with Shane. There’s a ton of great information in this interview. But, I want to highlight 2 things that really stuck out to me. And I know the audio was a little muffled. So, I apologize for that. Hopefully you were able to hear it okay? So, the first thing is, and I hope everyone really listened when he said, “Getting the right script to the right team.”
This is so important, I feel like so many new writers look at things in much too simplistic, almost binary way. Is the script good, or bad? As if that’s going to be the ultimate deciding factor, on whether or not this is produced. But, it’s really not that simple, it’s a lot more nuanced than that. There’s a ton of, first off, there’s a ton of subjectivity, to this. In many cases, people can read into, a script can’t tell if it’s a good script or not? I had a film script, which I ultimately did sell. And it was actually never going to be sold. Although it was never produced. And I had sent the script around for years, and years, and years, and years. I had gotten a lot of options, and optioned it numerous times. But, there’s just one example of sending this out. I just want to mention real-quick. I sent this script out, to a very successful director. And he really liked it. He called me up, and was really, really, high on the script. And he went and took it around to his contacts. Didn’t ultimately wind up panning out. But, this was a really successful director. And again, he really liked the script. And after that didn’t work out. That, director, and another successful producer to read it. And he ended up literally telling me he thought it was complete garbage. So, as writers, I think we are always filled with self-doubt. Frankly, incidents like that is healthy. But, after this producer told me he hated my script. I remember thinking, is it really that bad? And thankfully I had, had this director tell me he loved the script, before this producer, you know, share on it. So, I remember just sort of thinking to myself, who is right? I mean, these were both like, successful people in the industry. And honestly, looking back on it, you know, from their perspective. I think they are probably both right. But, a lot of the enjoyment, from a script. Or, ultimately the movie is about what you as a person, and an audience member bring to the table as well. And I think that’s what Shane is talking about here. It’s not just about writing a good script. But, it’s about getting a good script, writing a good script, and getting it to the right people who will appreciate it. Certain production companies have certain niches, certain types of projects that they can ultimately sell. And so, again, you might send it to a production company, and they might not be able to use it. But, they might not even be necessarily experts at evaluating that type of materials. So, their opinions may not be particularly worthwhile for that particular script. So again, it’s just a complex sort of nuance thing. And it’s just, it’s not simple as, is it this one a bomb? It more that just this specifity of the right script, with the right people. Now, this isn’t to say that most scripts are good. And you should, and you should just persevere no matter what people are telling you. Now, don’t believe that, in that it’s not what I am recommending. Most scripts out there, frankly, are terrible, and especially if you’re new to screenwriting. You need to step back and take a long hard look at your work. This is why I think it’s important for screenwriters to enter contests. And use other services like my own SYS Select, or “The Black List”, or “Ink Tip.” Or even my SYS Script Analysis Service. Where we will give you a way to “Pass”, “Consider” or “Recommend.” Putting your scripts out there will start to give you some indication if your writing is up to par or not. Again, you don’t want to take any one person’s opinion too seriously. But, hopefully if you’re out there marketing your work. You’ll start to get some basic consensus of where you stand? Are you starting to get past the first few rounds of screenwriting contests. Maybe not with every contest and not with every script. But, maybe some of your scripts are starting to move past those beginning those first rounds of contest. Are you getting some considers from various script analysis services like the SYS Script Analysis Service. Are you starting to get some producers download your scripts on “Ink Tip” or “The Black List.” And maybe you can come back to them and say, hey, I’d like a script, what else do you have? I mean, these are the indications that you are sort of on the right track. And that you are starting to make some progress.
And I know, navigating this can be tricky, it’s not simple, it’s not straight forward. There is a lot of nuance to it. But, that’s part of why writing this whole thing is hard. Again, it’s not just about writing and re-writing and stuff, and self-evaluation. It’s the rejection, it’s the praise, everything, it’s really all of this is part of the process. Again, stepping back and taking a hard look at your project, and sort of deciding where you stand and being realistic. And again, include as a writer and can continue to market your script.
So, the second point I want to highlight from the conversation with Shane. And I think it fits right into what I talked about just a moment ago. Shane said, “Know your end game.” You know, he thought through the whole process. The budget level, who would be a good fit to produce this film? He even mentioned about the team in Australia, so he knew sort of where he was best situated with his network to produce this film. Who the audience was, he thought through that. Who the audience was, and even the market the film. This is very important, there is the advice that’s quite often given. That goes something like, write what you know, or write what your passionate about. And I don’t see what Shane is saying here, as being mutually exclusive to that advice. Again, it’s a much more, subtle nuance thing. Hopefully you can be passionate about the films, that have a market. Hopefully, you can write scripts from your unique point of view. That also have an audience. And I don’t want to make this seems like it’s simple, it’s not always clear which script is more marketable. I’ve had plenty of people on this Podcast, who have succeeded without giving any real consideration to who the market was for their film, it can work. But, I think you’re odds are better if you try and think these things through. a good bit as Shane did with his film.
And I’ll just finish up as mentioning my own thought process, on my next project, that I’m going to write, and direct, and produce. Because I know this isn’t as simple as it seems. I mean, you listen to a Podcast, and you hear a guy like me talking and it sounds like I have all the answers. And I’m suggesting this, or I’m suggesting that. And it’s just, I know that it’s not that simple.
So, as I’m winding down the post-production on “The Pinch.” I have two scripts I’m considering doing next. Again, both the scripts are written, so which script am I going to produce and direct? I have a sort of “500 Days of Summer” romantic comedy, which I polished up last winter. It could be shot on a micro-budget. It takes place at primarily at one sort of dive bar. And I also have a low-budget sexy thriller, horror script, that I wrote last spring. And I wrote this particular script, knowing that I’m, I might want to shoot it. So, budget was a big consideration. So, it was written with a micro-budget in mind. So, it could definitely be produced on a
micro-budget as well. So, I go back and forth. I like both scripts. I think they both have potential. On the one hand, I think sexy thriller, definitely has a better chance of making its money back. But then, on the other, hand, I think if it turns out well? I think the remainder the comedy has more long term for my career. Even if it doesn’t make it, it’s money back. It’s a much more thoughtful artistic film. And even if it’s half-way decent. I think it would be a great showcase for my writing and producing and directing. I don’t think a low-budget thriller, horror film. Unless it will really blows-up? Is really ever going to impress too many people in the industry. Even if it does make its money back, even after it makes a small profit. I think there is sort of more cache in these artistic films. You know, if I wanted to continue to build up my career and potentially maybe get hired by a producer to write and direct something. I think maybe a romantic comedy would make a better idea. Whereas if I actually really wanted to make a business model where I was making money producing and directing. I think maybe this sexy thriller maybe a better idea. So again, I’m really torn and I don’t have a great answer.
I haven’t really decided, what I’m going to do? I go back and forth, I’m probably lean towards the thriller. And maybe because it always has sort of this practical side. Sort of the bar barking at me. But, and the romantic comedy feels a little bit indulgent because it doesn’t feel as business wise, doesn’t feel like it has as good a chance, as I said, making it, money, whatever money I personally invest in it, or even friends and family. Or whoever Kick-Starter, just doesn’t feel like the romantic comedy has as much of a chance of actually earning its money back. So, I don’t know? But then again, you know, maybe making more artistic personal film is the best thing I could do for myself at this time for my career. So again, I’m really torn up in this. And I don’t have all the answers. So, I just don’t want to just like drop this Podcast and make it seem like, I have all the answers, I don’t. And I’m wading through a lot of this, these thoughts that I have on the Podcast. You know these are just the thoughts that occurred to me, now next week, I might change a little bit. I might be firmly decided to go one way or another. And again, I just mentioned it. Because I don’t want people to think that you know, listening to Podcasts are, or anybody in the industry. No matter how successful they are? They are the one’s who ultimately. These things are personal decisions and you’ve got to look at your own situation, and your own goals. And your own, you know, abilities, and skills, and talents, and experiences. Sort of figure this out, for yourself. There is no easy right answer to any of this. You know, it’s really what writing, screenwriting is all about. From the smallest decision in your script. I naming a minor character, all the way up to trying to decide to a concept has an audience. You know, writing is about navigating you know, difficult waters, where there is not clear cut you know, corrective, so called, “Right answers.” It’s just about making the decisions and you know, use your experiences, and get better. And then, better decisions. And hopefully that will result in a better screenplay.
Anyway, that’s the show, thank you for listening.