I finished the restructuring of "We-come". It's 90 pages long and a lot less complicated at the end. Plus I set up the story for a possible sequel. I even worked in the hero being in tightie-whiteies. I think I'll make that a meme of mine in every book...or script, so long as the actors have good legs. I'll need to go through it, again, to make certain I haven't totally contradicted anything within the story's timeframe and differentiate the characters a bit better, but it's close to completion.
Once that's done, then comes the fun part -- what the hell do I do with it? I guess I could post it on InkTip; a lot of people seem to want horror on there, and this could be done for a modest budget. I think. But they ain't cheap to use.
Then there are all the sites and blogs connecting screenwriters with producers -- Moviebytes, International screenwriters, Screenwriters' Network, to name a few. Start hitting them up every night and deal with the rejections I usually get from people who honestly do not really know what they want.
I guess I could make use of my LinkedIn page and reboot my website, but none of that seems to get much traffic. And all the horror script competitions had deadlines in June. We'll see.
Anyway...since I did finish on my deadline, I treated myself to one of my favorite movies -- "Rebecca", directed by Alfred Hitchcock and based on a novel by Daphne du Maurier. I saw this on a double bill with "Spellbound" at a revival theater in San Antonio and it got me started on my Hitchcock fetish. It's amazingly faithful to the book, which I read just after seeing the movie for the first time, and does fit closely to the 25/50/25 structure so prevalent in screenplays.
Of course, I ironed as I watched it; I can't just sit and enjoy a film, anymore. Not sure when that happened.
I saw the "Masterpiece Theatre" remake with Charles Dance as Maxim and I dunno who as the narrator of the story, and it was awful...except for Diana Rigg as Mrs. Danvers; I think she got an Emmy for that. The director and writers did everything they could to take the romance out of the story. Hitchcock's version may have been a fantasyland version of English country living, but it better fit the whole theme and emotion of Du Maurier's book.
I had to buy this cheapie version because I'd sold my Criterion edition when I was broke and they don't offer it, anymore. This was put out by the MGM Premier Collection. Not as classy, but it had a couple of short documentaries about the making of the movie and Daphne du Maurier, so it was worth the price on its own.
But I really do wish Criterion would bring theirs back into print.
Once that's done, then comes the fun part -- what the hell do I do with it? I guess I could post it on InkTip; a lot of people seem to want horror on there, and this could be done for a modest budget. I think. But they ain't cheap to use.
Then there are all the sites and blogs connecting screenwriters with producers -- Moviebytes, International screenwriters, Screenwriters' Network, to name a few. Start hitting them up every night and deal with the rejections I usually get from people who honestly do not really know what they want.
I guess I could make use of my LinkedIn page and reboot my website, but none of that seems to get much traffic. And all the horror script competitions had deadlines in June. We'll see.
Of course, I ironed as I watched it; I can't just sit and enjoy a film, anymore. Not sure when that happened.
I saw the "Masterpiece Theatre" remake with Charles Dance as Maxim and I dunno who as the narrator of the story, and it was awful...except for Diana Rigg as Mrs. Danvers; I think she got an Emmy for that. The director and writers did everything they could to take the romance out of the story. Hitchcock's version may have been a fantasyland version of English country living, but it better fit the whole theme and emotion of Du Maurier's book.
I had to buy this cheapie version because I'd sold my Criterion edition when I was broke and they don't offer it, anymore. This was put out by the MGM Premier Collection. Not as classy, but it had a couple of short documentaries about the making of the movie and Daphne du Maurier, so it was worth the price on its own.
But I really do wish Criterion would bring theirs back into print.
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