Best scripts to read

[Crynot]

What are the best scripts to read in your opinions that are most beneficial in learning the art?

I loved Alan Ball's American Beauty. Plus the Usual Suspects script is great.

Crynot

[Scarface]

Well i haven't read too many scripts. I've started a few but only finished a couple. Of those my favorite was American Beauty.

[Tuukka]

I usually read scripts for movies, that I have already seen. I don't want to spoil a movie experience by knowing the script beforehand. So far I have read only Barton Fink, Miller's crossing, Pulp fiction and Reservoir Dogs. All those films have superb/great scripts so I definitely recommend them.

[Crynot]

Tuukka,

I used to think the same way. Why spoil a great movie by reading about it first. However I now read a script before I see the movie any chance I get. This is the reason why - I would love to someday direct. What I do is I visualize how I would film the movie while I'm reading it, I then go see the movie to see If the real director and I were at all in sync. Make sense???

Crynot

[Brock Landers]

I know I always bring up P.T. Anderson, but his scripts are always full of great visual concepts and the dialogue is magnifique. Personally I really dig the "Hard Eight" script, but "Boogie Nights" & "Magnolia" both rank second...

useless info: When P.T. Anderson entered Film School he wanted to find out if it was worth it, so when one of his professors asked the students to turn in a partial script for an assignment, he turned in some scenes from David Mamet's great script for the so-so film "Hoffa"...copying them exactly like they were in the original, word for word...when he got the assignment back, the professor had given him a C+ grade...he decided after that that he did not need film school and dropped out, up to this very day he proclaims how fucking worthless it was...

[Crynot]

Yeah, I've heard that film school is worthless because you could go to the library and learn the same crap. But doesn't Film school help you get your foot into the business? I would love to go to a school out in Florida called Full Sail - ever heard of it?

Crynot

[Brock Landers]

Sometimes film school can get you in the door if you come up with a good short film or script while you are attending, or even meeting others who have graduated from there and gone on to film careers...a lot of them look back to their alma mater for talent...or sometimes hire because they went to the same school. I look at it like Bible College...if you are going into preaching or some hypocritical profession like that than it is helpful, but they don't teach anything but bible crap there, so you better hope after spending years there that you go into a bible-oriented career...because none of the courses transfer to any other regular college or school...same goes for film school...it's pretty much a waste to go unless you want to be in film really badly...because chances are most graduates don't go on to successful or even mediocre film jobs afterwards...you may want to have a backup plan...myself, I have a B.A. and am working on my Masters, as well as having a job, being a retired Marine and various other backgrounds since graduating High School...one of my friend's went to film school and now he is a auto finance manager, believe me the film school background didn't help him land the job...

[Crynot]

Yeah, I want to totaly get involved the Kevin Smith way. My dad just got involved in a gig that is supposedly going to make him richer than shit in a couple of years - If that happens I will give him the "hey you were never around when I needed you" line and hopefully he'll throw me a few bucks so I can make my own film.

Wishful thinking, but hey...

Crynot

[Brock Landers]

Hey...true story...P.T. Anderson got in the business because of his dad. His dad used to be the top voice-over guy for NBC back in the day and hosted some late-night horror/cult movie shows (he called himself the great Ghoulardi)...when P.T. was a kid his dad would bring over friends from da bidness and that is how he met the actor who would later portray "The Colonel" in "Boogie Nights"...P.T. often says that he got most of his filmmaking experience from watching old films, memorizing certain scenes and how the frame was lined up, etc...technical stuff, then practicing at home with his friends with an old camera his Pops gave him...

[Crynot]

Yeah, my buddy and I both have a hi-8 digital camcorder. I wish I could afford this video driver and softward for my P.C. from Pentical Systems called the DV500 - it is borderline professional - mainly used for people who film weddings and stuff, but it has a great editing program. The only problem is that it's around 1000 bucks - which I don't have lying around.

I would love to go out and film some of my scenes from my script.

Crynot

[Brock Landers]

A lot of the most successful directors storyboard out their own scenes...the Coen Brothers are infamous for it...you really don't need much artistic ability...although it helps. Also, if you got some locations in mind you might want to take a regular camera and get some normal snapshots of backgrounds etc...if you don't have what you need, invent it. Lots of directors didn't have the best materials yet got the job done. If you want some inspiration, there is a really cool documentary called "American Movie" that is about a young man who wants to become a director/screenwriter, gets discouraged, and in the end triumphs (to some degree, I mean he is no Spielberg but at least he tries). It is a recent award winner at Sundance and lots of critics loved it...I personally thought it was a masterpiece. It was both funny and touching at the same time...great filmmaking about a filmmaker...

[QUENTIN]

It is a great film, and it is up there with Rebel Without A Crew (thanx for the recomendation Tuukka) as things you should see if your trying to get into the biz. And it's also pretty funny, check it out.

And Brock do you know if Mark has reached his goal amount of tapes sold?

[This message has been edited by QUENTIN (edited 08-30-2000).]

[Brock Landers]

When I bought "American Movie" on DVD, I noticed that the short feature film "COVEN" was on the disc as an extra...so I investigated a little and since every DVD released has his short film on it, you could pretty much count it as one sold, since the studio that released it payed Mark for the rights to "COVEN", so yes, I believe that even if he never sold any before "American Movie" came out (which he did) than he has now easily surpassed his goal with the release of the DVD of "American Movie" featuring "COVEN" as an extra...remember Coven doesn't rhyme with oven because Mark doesn't like it that way...by the way, Mark is using the profits he received from both films to continue to work on "NorthWestern"...

[Crynot]

Cool.

I haven't seen either of those films. I will check them out.

Thanks,

Crynot

[Tuukka]

I don't think going to film school helps you that much. Of course you can use the school's equipment and you can get feedback for what you do, but otherwise it's pretty useless. There are many film school students who just take lessons, but they rarely do any short films. The only way to learn filmmaking is to make films. There is no other way.

So if you want to be a director, get yourself a video camera and start making films. After 15-20 short films you have learned everything that a film school can teach you. In fact you have learned MORE than any film school can ever teach you.

If you wan't to break in to the business, everything that counts is what you are able to do. If you have made great short films with your video camera and hopefully at least one 16mm short film, then of course you will get a job. Nobody refuses to take talented and hardworking employees. They might not finance your first feature film, but at least you can get TV work etc. to pay your bills and improve your skills.

[This message has been edited by Tuukka (edited 08-30-2000).]

[Brock Landers]

I must disagree about talent being the end all important thing to get ahead in filmmaking...sometimes, not always, it is all about who you know...I know some of the most untalented directors who have great jobs in film and other talented directors who are stuck working for these jerks or not working at all...also, a lot of really talented directors/screenwriters who think extremely highly of themselves have slammed doors in their own faces because of attitude...since Kevin Smith was mentioned, I will say that he has a great attitude about making film and knows when to be a jerk and when not to...this is key...like Kenny Rogers in "The Gambler"..."you gotta know when to fold 'em, know when to hold 'em..."...remember, talent + bad attitude = dick...at least until you are a "somebody" in the business...then you can shit on all the people you want to...

[Tuukka]

Yeah, talent and willingness to work hard are not the only things that count. Being a film maker is a very social occupation, and what kind of person you are counts a lot. You shouldn't be an asshole, but you shouldn't be too nice either, eitherwise people will use you to their advantage.

As for the knowing the right people... I believe it's not necessary to "know the right people". Check my new post about making films on your own, and you know what I mean.

[This message has been edited by Tuukka (edited 08-31-2000).]

[Brock Landers]

I enjoyed the post on making new films, but even though $4000 clams ain't much when it comes to making a "real" film, some folks don't even have that...true...digital filmmaking is really coming into its own with entire festivals devoted to it and film's like the recently released Sundance favorite "Chuck & Buck" being shot in it are proving the viability of this other format...if you can get it great...if not, check with your local public state college (U.S. of A-er's only)...many of them offer equipment and editing facilities on a free basis or for a nominal fee...film however still costs money...but you have the right idea Tuukka...