So kind of to divert back to RRB for a minute...Can you talk about your writing process for this particular film a little bit? Was it the same as for Corrado or was it different given the different goal? Did you do much pre-writing (outlining, note cards, etc) or did you dive in and let the characters speak to you (for lack of a less cheesy phrase)?
Red Ruination Blue - a production blog
- Thread starter taormina
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taormina
Hates to Rent
It starts like all movies - Zero. I am no longer funding these things in whole or in part. Still, I've got great financing prospects.
If you mean Morris Ruskin, no - I've never met him. He's the CEO. There is a standing invitation to meet him, of course. Brandon Paine, the Director of Acquisitions, I have met, and not only that, I am in contact with him every other day.
The only thing they would not negotiate on in the deal was to have sequel, prequel, and remake rights on Corrado. Weird, huh? They wanted those rights and would not budge. So I gave them to them. If I do a sequel, prequel, or remake, they get first shot. It's unlikely at this point but who knows....
They don't know about RRB at this point.
They would probably rep it in a second, but I need presales, not a commitment to rep. Still, they may be able to hook something up. It's kind of on my list to ask if nothing else pans out.
taormina
Hates to Rent
This is the question of the day for sure, man.
The process for writing Red Ruination Blue was much different than Corrado.
Corrado was in a sense a formula movie. It had a good little back story, but in the end it didn't take a rocket scientist to discern where the story had to go to meet the beats it had to meet. Still, because I was less experienced, it took about the same time to write as RRB - about 3 months.
RRB was different. The first thing that was different was the level of research required to make the story realistic. In many ways it's a technical movie, but the technicalities are in the background, not in your face like a Clancy movie. Every piece of RRB's world is culled from other places where events like these happened....
From Nazi Germany to Mogadishu in the early nineties....from the hyperinflation in Zimbabwe to the lawlessness of Argentina.....from the constitutional injustices after Katrina to the day to day propaganda filled life in North Korea, I had to research all of these topics to ensure that my portrayal of these types of events was accurate. You can make shi* up, but in a film like this, it can't be too blatant. It has to be plausible.
I've got a stack of paper a half inch thick filled with notes of all this stuff. From there I kind of ran with my gut, did 3/4's of an outline, and started writing.
I write in a weird fashion, too.....I'm constantly aware of my story structure as I write so I don't need to refer to a beat sheet...I know you should have your inciting incident by page 12, Turn to act II at page 25, mid point page 55, etc. I don't hit these exactly as they are just a guide, but I write conscious of them so my structure is pretty good.
Still, I will write about fifty pages, go back and rewrite the first 25....then write another ten and rewrite some more, etc......the story builds upon itself and reveals an ending to me, which I seldom know when I start.
I also do dialog only rewrites and action only rewrites. When it comes to dialog I find that my first pass will almost always be on the nose, and my subsequent passes will remove information and shorten the dialog. Less really is more.
This was also the hardest story I ever had to write. I had some wicked writer's block a couple times and became frustrated on many occasions. It was a nightmare.
I think RRB is some of my best writing ever, but we'll see what the reviewers think. Maybe I'm deluding myself, LOL!
Interesting point about the research. After you had done that (and I assume somewhat immersed yourself in information), how much did you have to physically refer back to your documentation? Or did you internalize it like your beat sheet and just kind of let it sit in the back and influence the writing?
Glad to hear that someone else suffers from the occasional writer's block ("It's not a block, I'm just...thinking
Did you come up with any good strategies for getting rid of the block and back in the flow? Given that this was so much more difficult to write than Corrado, which was more rewarding? Was all the pain worth the final result?
Answer as much or as little of this as you want, I'm just curious.
Glad to hear that someone else suffers from the occasional writer's block ("It's not a block, I'm just...thinking
Did you come up with any good strategies for getting rid of the block and back in the flow? Given that this was so much more difficult to write than Corrado, which was more rewarding? Was all the pain worth the final result? Answer as much or as little of this as you want, I'm just curious.
taormina
Hates to Rent
Interesting point about the research. After you had done that (and I assume somewhat immersed yourself in information), how much did you have to physically refer back to your documentation? Or did you internalize it like your beat sheet and just kind of let it sit in the back and influence the writing?
Glad to hear that someone else suffers from the occasional writer's block ("It's not a block, I'm just...thinking
Answer as much or as little of this as you want, I'm just curious.
I tried to internalize the research but there were so many elements I wanted to incorporate that I had to refer back a lot. Even then, I wanted to keep the film to under two hours, so I wound up only being able to keep the best material and chuck a bunch of it, which is probably how it should be. One could really do a 12 hour long doc on the topic....
Still no cure for writer's block. The closest thing I could come to it was to step back a couple days and do nothing and attack it from a fresh perspective. My writer's block usually revolved around the following topic...Shem's actions.
In the story Shem is kind of an anti-hero. He's the kind of guy who doesn't want to rock the boat. He is content to give up a little liberty for some extra security. He's kind of a milquetoast and that is his flaw.
There is a part in the story where he decides to fight back....and the problem is that I set myself up with this pseudo pacifist character who abhors violence, avoids confrontation at all costs, and doesn't like firearms. I couldn't very well set up a scenario where he grabbed a gun, pulled a Rambo and took the corrupt government down. It's not him.
How does a guy who doesn't fight back......fight back?
It was really hard, but in the end it came out great, I think. And a better, more realistic story to boot.
I'd say finishing this story was pretty rewarding, because there are several tear jerker moments and it's a muuuucccch deeper story.
Mapping out Shems mechanisim is Key if he is to become more than a character and rise to the status of being an Archetype representing something bigger than himself and thus possessing the ability to touch an audience through living out those Universal themes embedded in his particular journey.
Hope that helps.
DogDay.
P.S.
If you want my feeback send the script to me otherwise if you ever run into a writers block and need someone to fire some key questions at you let me know and I am on it.
Hope that helps.
DogDay.
P.S.
If you want my feeback send the script to me otherwise if you ever run into a writers block and need someone to fire some key questions at you let me know and I am on it.
taormina
Hates to Rent
Well, My DP has read half of the script at this point. He's actually pretty critical of my work in general, which is why I send it to him to read.
His comment so far?
"Extremely well written"
We spoke briefly about the movie, and he said due to the content we have to make a flawless movie technically speaking. We're leaning towards 35mm Anamorphic right now.
His comment so far?
"Extremely well written"
We spoke briefly about the movie, and he said due to the content we have to make a flawless movie technically speaking. We're leaning towards 35mm Anamorphic right now.
I havent read or maybe missed the part about Avi...If you wouldn`t mind working with him I think meeting him ( Which is not difficult to arrange ) and Morris NOW ( At this stage of the game ) would be very wise on your part. If you are willing to toil for 100K & BE% & have material the doors are open my friend...Pick up the phone isn`t that what you do? They will fix presales for you.
I completely understand the angle about Seq&Pre-quels this is text book stuff & common sence. It sounds like you signed things without too much legal advisory though. I hope those "Rights" had you also attatched to them so they can`t just take your concept and do as they plese with it ... Whether you want to move on or not "Corrado" is a very catchy Brand Name & they recognized that potential. Maybe you don`t mind throwing it away its like that line from Richard the Third " A Horse A Horse my Kingdom for a Horse" Thats what can happen when one finds themselves between a rock & a hard place...But all this is speculation since I have no idea what your contract is so forgive me if I digress.
There is still wiggle room because they havent gotten all those juicy deliverables yet so if anything doesnt really sit right before the ship leaves the harbour I would ratify any clauses with a lawyer at a second pass of negotiations.
Also you mentioned something about being approuched by an agency earlier don`t you think that might help since you are still on your own and havent hitched yourself to a proper producer as of yet ... ( Maybe you are signed I don`t know? )
Shore Line is struggling with how they are percieved and doing whatever they can to put a hip spin on what they have had to do to stay alive, they want nothing more than to be seen as credible...With that in mind if you would decide to make a couple of minor adjustments now is the time to have a sit down with them.
I personally think you are under estimating the potential worth of what you are sitting on. And no one is going to tell you either. You are sitting on Black Gold make sure you get a piece of that action.
DogDay.
how do you protect the concept of a film? i was under the impression that concepts and ideas are not copyrightable. do you mean moreso just having an added clause that the company can't make a prequel or sequel or anything using a similar concept playing off the characters from Corrado? kinda like how there's a Lost Boys II and Lost Boys III straight to dvd but none of the original characters in it
are you going with the same DP on this project? where did you find him upon hiring him?
taormina
Hates to Rent
I'm not sure about Avi - In the capacity of a film financier, he wants 100% of the film and will pay you no back end, only a producer / writer fee. Not a good deal. As soon as my script is locked I will start phoning - you're right, its what I do best...
The "un-legalese" version is this: If I make a sequel, prequel, or remake of Corrado they get to distribute it first. No big deal, fine. My contract with them is actually very good to me. I'm happy.
No, there is no wiggle room. There doesn't need to be. My contract is just fine, and I wil not renege on a deal I have made. It's my principle. Negotiate all you want before you sign, but only a cockroach negotiates after he signs.
I was approached by and had many standing offers from many agencies. I fel like Shoreline was the best. Not sure what you mean as far as being hitched to a producer. Talent agencies normally don't do this. I actually don't think Shoreline is struggling with anything - they're the 800 pound gorilla of sales agents and doing fine, as well as being well respected.
I have an over 80% stake in every dime they get. It doesn't get any better than that!
taormina
Hates to Rent
I could make Corrado without calling it such, change all the names and the storyline and be exempt from this, but the spirit of the deal is I will use them. I don't mind.
Think Rambo, Superman, Iron Man, Indiana Jones, Etc etc etc ... Think KFC ... Coca Cola. These formulas need to be protected so that the people who cook them up don`t get totally exploited.
Again I have no idea of what the contract between them is but I do think it is very interesting that "They" insist on getting a piece of the "Corrado" pie beyond their role as Sales Agents even if they were distributing it themselves I would be very careful with leaving over "Rights" for future productions ...
I am not saying its a bad deal I am saying that they see value and want it as cheaply as they can get in on it for. I am saying they should be granted that opportunity especially if there is no other interest out there, however I would make sure in the contract that they cannot spit out product and slap the "Corrado" name on it without XYZ being fullfilled from their end.
Remeber how much Mahattan was baught for. Thats what happens when it is a buyers market.
I see still a window for leverage though adam says it was a good deal so that is realtive and for him I guess and hope it is. But haste makes waste and before they get it all in their hands and he can be cut out of the loop I would see over that point.
DogDay.
Again I have no idea of what the contract between them is but I do think it is very interesting that "They" insist on getting a piece of the "Corrado" pie beyond their role as Sales Agents even if they were distributing it themselves I would be very careful with leaving over "Rights" for future productions ...
I am not saying its a bad deal I am saying that they see value and want it as cheaply as they can get in on it for. I am saying they should be granted that opportunity especially if there is no other interest out there, however I would make sure in the contract that they cannot spit out product and slap the "Corrado" name on it without XYZ being fullfilled from their end.
Remeber how much Mahattan was baught for. Thats what happens when it is a buyers market.
I see still a window for leverage though adam says it was a good deal so that is realtive and for him I guess and hope it is. But haste makes waste and before they get it all in their hands and he can be cut out of the loop I would see over that point.
DogDay.
taormina
Hates to Rent
Yes, the plan is to use Dave Fox, my old DP. I found him years ago. He shot my 35mm short, my TV pilot, and Corrado. I know him very well and am comfortable with him.
taormina
Hates to Rent
They can't make anything - it's me who does the making. If I make another Corrado product they get to distribute it. No big deal.
Alright after reading your last words I feel relief...You have enough self respect not to allow yourself to get raped...That was my only concern.
Sounds like a good deal...Although if some sharp cookie ever wants to do something with "Corrado" in the future they will have to deal with Shore Line for better or for worse so it makes sence to have that card. Its nice to be bought out by the big boys and there are no givens but if you don`t have a ticket you can`t win the lottery. So I think I see a ryhme behind their reason.
I agree with you about signing, but because of the nature of buisness being the eternal tug of war about who winds up with which end of the stick, I believe strongly in scrutinizing anything before putting pen to paper.
But you seem to have pulled off a very sweet deal however you managed that, more power to you.
I do see their point of view also since they are indeed taking a risk on you there must be something in it for them if you hit. Makes sence & why not thats fair enough.
I guess my caution towards them is biased based on stories from people I know who have dealt with them in the past. But every deal is as unique as every relationship.
Good for you.
DogDay.
Sounds like a good deal...Although if some sharp cookie ever wants to do something with "Corrado" in the future they will have to deal with Shore Line for better or for worse so it makes sence to have that card. Its nice to be bought out by the big boys and there are no givens but if you don`t have a ticket you can`t win the lottery. So I think I see a ryhme behind their reason.
I agree with you about signing, but because of the nature of buisness being the eternal tug of war about who winds up with which end of the stick, I believe strongly in scrutinizing anything before putting pen to paper.
But you seem to have pulled off a very sweet deal however you managed that, more power to you.
I do see their point of view also since they are indeed taking a risk on you there must be something in it for them if you hit. Makes sence & why not thats fair enough.
I guess my caution towards them is biased based on stories from people I know who have dealt with them in the past. But every deal is as unique as every relationship.
Good for you.
DogDay.
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