Screenplay - Blog Posts
I seem to have underestimated how difficult it is to write a movie script. This will not be done by Wednesday
I have officially decided that I am going to rewrite Frankenstein as an amazing YouTube movie titled Vicky F and Creepy C
My friends will star in it, I will be the screen writer... It's going to be a hot mess!!! :] can't wait to start filming, all I have to do now is... Well, write the script!
would y'all watch a live action BF series???? I've been really diving into screenwriting recently and I've contemplated writing BF as a live action show. I have a lot of ideas and I think my version would be about 75% accurate to the manga, but more modern and some expanded scenes and more time with certain characters( I absolutely love Nadia, Charlie, Griffin, and I was left wanting more from Arthur's character).If you'd watch it, how similar/ accurate to the manga would you want it to be? How much would you accept it to separate from the source material?Are there any characters you would want to see more or less of? Which platform would you imagine yourself watching it on?
Edit: nevermind 80s banana fish is superior to modern, I'm writing a draft and it just flows so much better with that setting and the political atmosphere of that time adds so much more to the themes.
a question for anime fans
I am very interested in writing screenplays and scripts, and for the last couple of years I've had the thought in my mind to write a live action television script for a particular anime. As an anime fan, I know I personally dislike many live action adaptations of anime (especially the death note Netflix version) but I really enjoyed the recent one piece show as someone who was too lazy to sit through the original 1000 episodes of the anime.i think it worked well and it gave me hope that someday these awesome stories can be represented with real people. As fans, I would like to know your opinions on what would make a good live action adaptation of an anime. What changes from the source material are acceptable? Do you get annoyed when characters are whitewashed or there is forced diversity or do you think it's okay? When it comes to female characters and actors how do you feel about changing their characters for more development and fleshing them out? What anime do you think would make a good live action series? What are the best live action series?
L9ve sports ever
This is my life and love to continue in features
Struggles with writing
I must admit something to everyone --- I have been attempting to write a screenplay for quite some time now.
The idea came to me while I was recollecting my film reviews and thinking about how most film critics haven't had a produced screenplay or actively participated in the filmmaking process (the notable exception to this is Roger Ebert and his script for Beyond the Valley of the Dolls. My educational background is in engineering, but one of my passions since high school was watching movies and films and becoming an amateur critic and cinephile. I love seeing the disparate genres and techniques, the history of American and international cinema informing and influencing specific artists and works, and evolving my idea of what makes a film or movie "good" or "bad."
However, I believed that my critiques would be limited in quality and understanding if I didn't at least attempt to participate in some part of the filmmaking process. In the film adaptation of High Fidelity, Rob Gordon, purveyor of "high pop culture," decides to try his hand at the music business by helping some local skater punks put out a record they recorded and he liked. As Laura, his girlfriend, highlights, he is now a part of the culture that he and his friends have observed and critiqued from a bird's eye view. With High Fidelity being one of my favorite films and with wanting to hone my critical eye, I was partly inspired by that plot development to participate in the filmmaking process by writing a draft script.
However, there have been several issues that have popped up throughout the process. The first and most important issue is that I haven't written fiction since junior high for assignments. I haven't lost my sense of imagination --- I've had several ideas for stories appear in my thoughts, and I can come up with a couple of big scenes that I feel would make a major impact. The problem is that I can't fill in the blanks when it comes to those thoughts. Since the beginning of college, I have been a glorified essayist as an amateur critic. Nonfiction has been my writing field. Writing critiques and essays come more naturally to me because the audience is me. The thoughts are mine. Everything said is what I want to say.
This informs of my second major issue --- Who is my audience?
Writing critiques and essays does require understanding of who the author wants to read his/her work, but the tailoring process, at least to me, is easier with these works because the end result is still clearly in the author's control. Compromises are made in the flow and diction, but the thoughts are pure.
When I write critiques or essays, my idea of the audience is people who want to read the "hows" and "whys" or for people who want to learn to read the "hows" and "whys." My critiques are never "cut-to-the-chase" works. I want to lay out what I thought was good and bad and then show why the structure is strengthened or weakened due to those proficiencies and deficiencies. Ideally, I want the "cut-to-the-chase" readers to read my critiques and become more inquisitive about the idea of "good" and "bad." Understandably, this is a flawed hope due to my writing approach being static and wanting more people to become elastic when it usually takes the approach to become more elastic to get the static readers. I still hold to my ideals, though, and it is why I see writing critiques and essays as a less compromising form.
My attempt at writing fiction stalls because my definition of the audience has now increased in size. I don't want to write a script that only caters to me (i.e. Michael Scott from The Office and his script for Threat Level Midnight). I want to write something that will keep someone's interest yet be authentic with the characters and their motivations. It's easy to write characters with my voice and thoughts, but I obviously can't make every character that way. It worked for Kevin Smith for a decade, but then it stopped working for Kevin Smith (one can only write so many permutations of Clerks before the idea loses traction). Once I think about the audience, I start to lose grasp of the idea, gaps begin to enlarge, and it all iterates until I have hit the point of overthinking.
My final major issue, and one that is specific to screenwriting, is this --- how the hell do I write something that is interesting for at least 90 minutes?
This issue is due to how the logical part of my mind works. I look at my ideas and develop a very basic plot. While looking at the plot, I fill in the blanks and realize that the plot could be completed in 15 to 30 minutes (if one thinks this is how writing for a television show works, that's only part of the battle --- a American season is at least 13 episodes, and coming up with a good story arc for several episodes is no easy task, so good luck coming up with the other 12+ episodes). Then I start thinking of subplots, but they start to appear arbitrary to the general plot, and the whole structure collapses in my head. The unwritten rule for a feature film is at least 90 minutes. If I can't come up with something that will hold for a third of that, then how will I be able to develop something for more?
I haven't even gotten to the actual writing part and have seen how difficult the process is. I have a deep respect for those who can write fiction in any medium. It takes a great deal of effort and focus just to get through the initial steps. Maybe I should focus on developing a short-film idea, maybe I'll never finish that screenplay or am not meant for fiction, or maybe the mental breakthrough will happen some ways down the road.
The goal of writing a screenplay is currently out of reach. It's frustrating as hell, but maybe I'll learn something from this journey to expand my horizons.
𝐒𝐇𝐀𝐙𝐀𝐌! 𝐂𝐈𝐓𝐘 𝐎𝐅 𝐁𝐑𝐎𝐓𝐇𝐄𝐑𝐋𝐘 𝐋𝐎𝐕𝐄
𝐂𝐇𝐀𝐏𝐓𝐄𝐑 𝐎𝐍𝐄 𝐒𝐂𝐑𝐄𝐄𝐍𝐏𝐋𝐀𝐘
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NOTE: Just wanted to upload the screenplay in it’s interned formatting of this story for those who would prefer to read this version! :D
Enjoy!~✨
——— ≪ ⋆⋅☼⋅⋆ ≫ ———
INT. SUPERSTORE - NIGHT (YEARS AGO)
A young BILLY, no older than four, stands near a shopping cart. His mother, MARILYN, a tired woman in her early 20s, rummages through her purse as she stops pushing her cart. She glances at Billy.
MARILYN
Stay right here, baby. I'll be back in a sec.
Unbeknownst to Billy, Marilyn is a local weed dealer within her community. She begrudgingly brought Billy along for a late night “meetup” since she wasn’t comfortable leaving him home alone at his young age.
As Marilyn rushes away, Billy's attention wavers, captivated by two young children playing with action figures and dolls. Their laughter fills the aisles as they run around, screaming and cheering.
Billy walks away from his mother’s shopping cart and approaches them with wide eyes.
BILLY
Woah! What toy is that?
CHILD 1
It’s Star Commander Ultra! He’s the bravest hero in the galaxy.
The younger of the two children chime into the conversation to brag about their toy as well.
CHILD 2
Well my doll is Princess Butterfly Sparkle Glitter, and she’s the bravest and the coolest in all twelve galaxies!
CHILD 1
There’s only one galaxy, Macy.
CHILD 2
You don’t know that.
As the two children settle their differences, they agree to let Billy in on their game as they run around the store shouting and having fun.
Suddenly a mother rounds the corner and shouts for her children to come. She makes a vague comment that she’s done shopping and they’re leaving the store now. The children hurriedly say bye to Billy as they run off to go catch up with their mother.
Billy is suddenly left alone. Anxious, confused, and unable to find the shopping cart where his mother told him to stay.
Billy frantically looks around. Panic sets in as he realizes he's lost.
Billy hurriedly rounds a corner, running face first into the legs of a police officer. A young blonde woman, OFFICER LINDSAY as he falls onto the floor.
OFFICER LINDSAY
Oh, whoopsies! Haha, that’s alright bud. You okay?
Although Billy is too stunned to reply, Officer Lindsay helps Billy off the ground. Her concern deepens as she looks around the store, realizing this child is unattended. She takes it upon herself to help Billy find his mother.
As Billy and Officer Lindsay roam the store looking for Marilyn, they eventually find her in a heated discussion with some of the employees at the store, supposedly about her suspicious activities. Marilyn’s face drops, as she realizes her son is being escorted by a police officer.
As Billy runs up to his mother to give her a hug Officer Lindsay is giving Marlyn a deep, powerful scowl as they are locked eye-to-eye.
EXT. SUPERSTORE - NIGHT
As MARILYN is led away by other police officers, OFFICER LINSDAY returns to BILLY, kneeling down to his level.
OFFICER LINDSAY
Hey bud, how do you feel about coloring books? If you want we could color together in this book that I brought with me.
She pauses for a moment as Billy looks around kind of confused, supposedly unsure of where his mother is.
OFFICER LINDSAY (CON’T)
I could really use your help with coloring these tigers, if you wanted to help me out.
Billy agrees, as is unaware of the circumstances that are going on around him, but he follows Officer Lindsay’s lead as she distracts him from the situation at hand.
Officer Lindsay takes Billy's hand, leading him away from the arrest of his mother. The shouts of the night slowly blend together as we fade to the next scene. Between scenes we timeskip to ‘current day’.
INT. SOCIAL WORKER'S OFFICE - DAY
As we transition scenes the sounds of the night slowly blend together into the sound of Billy’s social worker’s voice, MRS.KELLY. She is calling Billy’s name, trying to get his attention. BILLY (14) sits in a worn office chair outside of Mrs.Kelly’s office. Arms folded, staring off into space.
MRS.KELLY
(echoing during scene transition)
Billy… Billy.
Billy lightly flinches as he snaps back into reality, realizing he is being called.
MRS. KELLY
Come on in, let's talk.
Billy haphazardly tosses his backpack onto the open chair next to him as he does some light stretching, making himself comfortable, as he is evidently in no rush to sit down.
BILLY
Ah, how could I forget, ol’ reliable. You know, instead of you guys spending all this time and money trying to put me into a foster home, I could just live here instead.
They sit across from each other, the atmosphere charged. Mrs.Kelly is clearly annoyed with his snarky tone.
MRS.KELLY
Billy, you know we're running out of options here. I’m really gonna need you to get your act together.
BILLY's eyes narrow, a trace of bitterness in his tone.
BILLY
Uh-huh.
MRS.KELLY
You already know why you’re here.
BILLY
I do.
MRS.KELLY
And you already know what I’m gonna say.
BILLY
True.
Billy loosely crosses his arms as he settles in his chair, getting ready to imitate Mrs.Kelly as they speak over each other.
BOTH
(synchronized)
That I brought you in here today to tell you that you’ve been assigned to a new foster home.
Mrs.Kelly sighs, clearly familiar with Billy’s tone.
MRS.KELLY
Look, I know it's been a tough year for you. But this time has to be different.
Mrs.Kelly shoots Billy a serious look, piercing through his playful demeanor with an authoritative gaze.
MRS.KELLY (CON’T)
This time, you've got to give them a chance.
Billy's gaze hardens, his frustration bubbling beneath the surface.
BILLY
(challenging)
A chance? How many chances do I have to give? How many "homes" will I go through before you guys actually start listening to me? I don’t need a fake family to play pretend with. I have a family, I have a mom, they’re out there, looking for me.
Mrs.Kelly's expression softens, a mix of empathy and weariness.
MRS.KELLY
Billy, We’re not going to have this discussion again, we’ve been over this. You can do whatever you want when you’re 18, but for now the state is responsible for you. Which means I’m responsible for you, and I need you to try and play along, just a little longer.
Billy's guard waivers for a moment, feeling frustrated and unheard. His snarky attitude now takes a backseat to his more quiet exterior as he momentarily exposes his feelings of rejection and helplessness.
BILLY
But I’m tired of it. I just wanna make my own decisions instead of you guys and your “agency” shoving fake families and broken homes onto me like I’m some sort of charity case.
Mrs.Kelly leans back, sighing. She knows she's dealing with a determined young man who’s clearly had a rough start to life.
MRS. KELLY
You’re not a charity case, you’re a young man. A young man with a bright future ahead of you, and we’re just trying to do what’s best for you.
Mrs.Kelly pauses to make sure she has Billy's attention despite his sudden drop in bravado.
MRS.KELLY (CON’T)
I’m trying to do what’s best for you.
Billy nods, a hint of a reluctant acknowledgment. He lets out a sharp scoff.
BILLY
Yeah, I've heard that one before too.
End. ⚡️
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We get a lot of emails asking for the Skwerl screenplay, so we thought it’d be easier to just upload it here. This is the final shooting script - it’s pretty close to what ended up on screen, although some bits were improvised on set so don’t match what’s written here. There’s also a whole extra part to the ending which we wrote but didn’t shoot.
i love writing scripts it makes me feel so happy
