Any famous DVXusers? Anyone "make it" yet

[HenryMurdoch]

I come on the boards once in a while... not famous... still haven't directed a feature... but have done 7 features as a producer... the last two... selling at this AFM... one stars Vivica A Fox and Brad Dourif... the other... Robert Patrick, Tom Arnold, Andrew Keegan (10 Things I Hate About you)...

It takes time and hard work... not sure of your age... but seems like everyone in the their 20's things... okay I made a short film give me 50m to make a movie... some of us... just turn out low budgeted films and end up making a good living at it....

Hopefully I won't get hate mail from everyone under 30... : )

haha, well that's awesome man. There is hope! Someone amongst us has a foot in the door at least. I am under 30, it's like you know me personally!

Seriously, thanks for posting. It can be a very discouaring process. Right now I'm just trying to continue shooting what I can and work my way up gradually with features, hone my skills and writing. I'm not the egomaniac who feels he's the greatest thing on the planet and is asking for 50 mil. I'm just trying to put in my time and work hard. But again, it can be discouraging since statistically you want to see examples of people who have done it. You also look for examples so you can find paths to take, developing some sort of strategy.

 

[Alex H.]

But yeah I see your point and realize it is true. I've come to the realization though that although there are limited spots, there isn't limited money. The money does flow Barry. It's out there and I want in on that action. From Wall Street to Main Street. People want to fund movies, and actors want to be in them so there careers don't spiral down the toilet. You got at least what 500-1000 a/b list actors with free time to do at least 3 movies a year each. Get the right script and the right actors together and fight for funding and the dream can come true.

Yes, there is money out there. But you are shooting yourself in the foot right here and right now. It's out there on the 'Net now. and once it's on the 'Net, it never goes away. Show up in Burbank and say "there's money here and I want some of it," and see what happens.

There are two options here: know something valuable, or know someone important. Of course, one takes s**tloads of time and toil, and the other is 99% likely not to happen (or to yield results if it does). I'll let you figure out which is which.

As for "success" and "making it" in this industry... we've already established the odds that becoming the next hot thing in Hollywood directors are slim to none. So what is it you really want to do? I contend that there are tons of success stories on DVXUser, because there are talented folks around here who do what they love doing (and even love doing what they do), and some even make a little cash from it. And many of those who don't make cash from their own films are actively employed in the creative aspects of this industry and are able to do their own stuff on the side as labors of love.

Look at Jason, founder of DVXUser. Suceess? Hell, yeah. He started something that has garnered a butt-load of attention. And why is DVXUser so populated? Because technology has advanced to where lots of folks of all skill levels and demographics have access to tools unheard of even 10 years ago. And some seasoned pros love to hang out and help the little guys figure things out. Jason started this beast as a labor of love, and look at how many lives are impacted and how many people world-wide benefit from these forums.

Is Barry a success? In my book, yes. Again, took on some things that are more labors of love (crimes of passion?) and has influenced countless indies and wannabes.

And what about me? In my book, I think so. I'm not famous. I'm not infamous. You've never heard my name. But I served my time in local broadcast and went to national cable networks. I've worked with Food Network and HGTV celebrities, Emmy-award nominated producers. I've met famous people, I have some crazy stories from the road that have nothing to do with anyone notable... just my friends and co-workers from the networks. And I know my way around an audio kit. I'm not a director. I'm a sound guy. Albeit a sound-guy-turned-indie, after I bought a camera and started shooting.

And I took a higher calling, that's now my "day job," but I still freelance. I take on indie projects. I have my own Final Cut/ProTools Suite. I do my stuff now. I do projects that matter. Maybe not to millions of people, and certainly not for millions of dollars, but projects that matter to some. To me.

You can focus all your time and energy on trying to be the next Coppola, Kubrick, Woo, etc. Do that, and you'll never get there. Find a satisfying, rewarding, creative outlet in the industry and build yourself up within that or even on the side, and maybe some day you'll be there. And even if you aren't, you'll still have some great stories to tell and might even consider yourself a success.

 

[HenryMurdoch]

There is a massive amount of talent and knowledge on this forum. And there are staggering odds against making a living as a feature film director.

Some will carve their own niche (training videos, "project rant", web series, target market films like Brandon's pursuit of "Christian" films, etc). But "Hollywood" success? Extremely difficult to materialize.


Yet it is the acknowledgement of that reality that prepares you to succeed. Ignoring that and living in "la la" land is a sure route to failure. Acknowledging the enormity of what you're up against is the first step in finding a way to succeed anyway.


No, actually, that IS the point. The only way a director is going to "break through" is by having something unique to say, in a unique way. Those who try to replicate the "hollywood" film on a budget, are going (frankly) nowhere. Hollywood's got a million aspiring directors who can do that. But someone who can deliver a "Blair Witch" or a "Napoleon Dynamite" or "Memento"? Those are few and far between.

Have a truly unique voice, and (if it resonates with audiences) you'll have taken a huge step towards commercial success.

Good point, at the same time you have to feel the sentiment of most directors out there is that they can do it better. It's like when you watch a movie and have to cut it off because it's boring or too ridiculous. Seems like that's why everyone gets into directing, because they have at least a mild confidence that they can do it better than say "Freddie Got Fingered" or whatever film you think sucked and cost a good amount of money.

But again, that goes back to writing really. Not so much directing. Blair Witch could have been directed better, with better cameras, but it was more about the story. It's like Dov Simens says, talent is NOT the most important thing. It's the script/story that is number 1. He actually listed talent as #7.

But anyways, I agree, you do need a unique voice, people get bored and at the end of the day, it's about entertaining people.

 

[jpastuch]

Yes, there is money out there. But you are shooting yourself in the foot right here and right now. It's out there on the 'Net now. and once it's on the 'Net, it never goes away. Show up in Burbank and say "there's money here and I want some of it," and see what happens.

There are two options here: know something valuable, or know someone important. Of course, one takes s**tloads of time and toil, and the other is 99% likely not to happen (or to yield results if it does). I'll let you figure out which is which.

As for "success" and "making it" in this industry... we've already established the odds that becoming the next hot thing in Hollywood directors are slim to none. SO what is it you really want to do? I contend that there are tons of success stories on DVXUser, because there are talented folks around here who do what they love doing, and some even make a little cash from it. And many of those who don't make cash from their own films are actively employed in the creative aspects of this industry and are able to do their own stuff on the side as labors of love.

Look at Jason, founder of DVXUser. Suceess? Hell, yeah. He started something that has garnered a butt-load of attention. And why is DVXUser so populated? Because technology has advanced to where lots of folks of all skill levels and demographics have access to tools unheard of even 10 years ago. And some seasoned pros love to hang out and help the little guys figure things out. Jason started this beast as a labor of love, and look at how many lives are impacted and how many people world-wide benefit from these forums.

Is Barry a success? In my book, yes. Again, took on some things that are more labors of love (crimes of passion?) and has influenced countless indies and wannabes.

And what about me? In my book, I think so. I'm not famous. I'm not infamous. You've never heard my name. But I served my time in local broadcast and went to national cable networks. I've worked with Food Network and HGTV celebrities, Emmy-award nominated producers. I've met famous people, I have some crazy stories from the road that have nothing to do with anyone notable... just my friends and co-workers from Scripps. And I know my way around an audio kit. I'm not a director. I'm a sound guy.

And I took a higher calling, that's now my "day job," but I still freelance. I take on indie projects. I have my own Final Cut/ProTools Suite. I do my stuff now. I do projects that matter. Maybe not to millions of people, and certainly not for millions of dollars, but projects that matter to some. To me.

You can focus all your time and energy on trying to be the next Coppola, Kubrick, Woo, etc. Do that, and you'll never get there. Find a satisfying, rewarding, creative outlet in the industry and build yourself up within that or even on the side, and maybe some day you'll be there. And even if you aren't, you'll still have some great stories to tell and might even consider yourself a success.

Exactly, those guys weren't trying to make anything except movies they loved. I know Coppola started out making ragtag movies with a tiny tiny crew. They did it because it was fufilling and what was made them happy, even if they had to work other jobs just to make ends meet.

 

[CallaghanFilms]

...Look at Jason, founder of DVXUser...

Bluto: ...Was it over when the Germans bombed Pearl Harbor? Hell no!
Otter: Germans?
Boon: Forget it, he's rolling.

 

[Alex H.]

Bluto: ...Was it over when the Germans bombed Pearl Harbor? Hell no!
Otter: Germans?
Boon: Forget it, he's rolling.

Bluto's right. Psychotic, but absolutely right.

 

[Barry_Green]

Exactly, those guys weren't trying to make anything except movies they loved.

Everybody always brings up Rodriguez as their vaunted example. I love to point out two things about Rodriguez:

1) read his book. He doesn't talk about "instant success" in there, he talks about making so many short films that... well, he compares it to someone learning to play guitar, how they have to practice until their fingers bleed. That's what he did, in making his short films.

Forget the "10 minute film school" stuff, and read how he actually did what he did.

2) He spent a lot of time making films that were commercially floppish and really didn't accomplish much ("The Faculty", anyone?) He made those because those are the films that the studios TOLD him to make. But he bartered a deal with the Weinsteins on "The Faculty" -- he said "give me a little money (comparatively) to make the film I WANT to make", and Harvey said "okay, I'll do that, but first you have to do one for me" (which was "The Faculty"). So he did. And then Harvey let him go off and play with his $30m. The result? Spy Kids. Ruled the box office for EIGHT WEEKS IN A ROW at #1. And what was it, really? It was an extension of the kind of films he used to make at home, for fun, with his brothers and sisters. When he embraced his own unique voice he found extreme levels of success. He went back to what he loved.

 

[Jason Ramsey]

I'm going to break my own rule a bit...

Who are you?

I love how you come on the boards here and shi* on everyone and *assume* to know what everyone here has or has not accomplished. And, assume that no one here has been successful, and/or directed/produced/etc million dollar or 300k films or whatever... How do you know this? b/c you aren't reading about it all over the boards?... Well, Barry already laid out the cold, hard fact that the success rate in this business is incredibly low, akin to winning the lottery. At least your definition of it. Here's another reason why you might not have heard from some of these folks... maybe they're out working instead of burning up bandwidth with useless banter in order to appease you and your own lack of self-esteem that you are projecting onto an entire board!

Sorry.

As far as success rates in the industry go... I'd say the membership of dvxuser has a pretty damn good success rate from what I've seen over the last few years. But, then, what do i know...

My personal advice to you would be to take a long look at what you define as success.

Oh, and off the top of my head... you should take a look into the person who created this board... He's come quite a long way in the last 6 or 7 years... online and off.

Later,
Jason

 

[HenryMurdoch]

I just try to tell it like it is. If it's discouraging, it's not because I'm making it discouraging, it's because the odds are what they are.

You will never, in your life, ever see a shingle hanging outside the Paramount or Warner Brothers lots saying "Now Hiring: Directors." That isn't gonna happen.

I think baseless platitudes and "you go, man, you just keep at it" are pointless and, in fact, harmful. I think folks need a good assessment of the ground truth, and a strategy. Watch the American Idol auditions, watch the parade of clueless bad singers, and think about how many people have encouraged them to just "keep following your dream". Well, look -- if you can't sing, then singing isn't your thing, and the more time you spend chasing after something that's NEVER GONNA HAPPEN, the more time you spend cheating yourself out of pursuing what your true gift and true talents are. So misplaced encouragement is detrimental.*

*and yes, we all know of the example of Yoko Ono.


I'm not going to stand here and encourage anyone to go $30,000 in debt to make their movie, thinking that it's easy to sell it. It's nearly impossible, especially in these market conditions, to sell anything! Sure, you can get a distribution agreement, but getting PAID -- that's the nearly impossible part. It's a simple case of supply and demand -- there are 3,000 people making their own indie films every year, so the distribs know that if one person demands payment, well, they can just take a film from another person who's so desperate for "prestige" and "recognition" that they'll GIVE their film away for a "distribution deal" that means they'll never see a dime. But hey, they can say that their movie's on NetFlix and in Blockbuster... sigh.

Look, simple fact is: this business is HARD. There are plenty of dream-hucksters out there trying to tell you "just go do it, man, don't let anything stop you" and I think that's just plain irresponsible. Make your personal art, yes, but when it comes to running up forty large on your credit cards? OH HELL NO. Don't even think about that. You're talking about someone ruining their life, having to file for bankruptcy or carry around a staggering load of debt for the rest of their lives, on a misguided and misinformed notion that there's some massive pool of money out there just waiting to be thrown at anyone who completes a 90-minute video presentation? No way do I want to be part of that.

I don't want to discourage anyone from doing what they feel drawn to do. But I don't mind being the hard voice of reality because when all the fantasy gets stripped away, that's all that's gonna be left is the harsh, cold reality.

So here's what I say: raise money from someone who can afford to lose it. Because that accomplishes three things:
1) It keeps you from drowning yourself in debt, which leads to so many miserable complications including things like bankruptcy and divorce...
2) It forces you to come to terms with the fundamental weakness of your story, if there is one. Because look: if you can't convince ANYONE to bankroll your production, no matter how hard you try, then it's overwhelmingly likely that your project just isn't very good! So stop NOW, before you torch a lot of money on it, and fix it. When you can successfully pitch it to investors, then you can expect a much more welcome reception from distributors. But come on... if nobody will buy into your project BEFORE you make the film, why would you think they'll be rushing to buy into it AFTER you make the film?
3) It forces you to have an extreme level of discipline and responsibility over the whole project. If you have any shred of decency you'll treat that investor's money as what it is: a sacred trust, a belief in you as a person, in your talents, etc., and you'll do anything and everything to make sure that your investor has every possibility of getting paid back and making a good amount of dough off your efforts.

Regarding what constitutes a "feature" -- of course things can go "wrong"... I forgot who said it, but someone once said "if there was a perfect formula for movie success, there never would have been an Ishtar." And Gene Shalit's review was priceless... he said "Ishtar Ishtarrible". Yet it cost a whole lot of money to make, and it starred Dustin Hoffman at his peak, so how could it go wrong? <famous last words>

You want a chance to direct a Hollywood film? Here's the choices:
1) Marry a famous producer's daughter
2) Write a killer screenplay that studios get in a bidding war over, that is intense enough that you can stipulate that one of the terms of sale is that you must direct it.
3) Have a unique voice or style (Nolan, Raimi, Burton, Tarantino, Woo) that catches on with audiences and is clearly identifiable in your work.

That's about it. You find another way, let us know. And examples from 20 or 40 years ago (like Spielberg's staking out a trailer on Universal's lot) don't count anymore. I can tell you that a friend of mine, one of the biggest box-office producers of all time, started out as a mechanic on the lot, and worked his way up as a driver and then all the way up to producing major $100m+ features. And I can also tell you that that path worked when he was doing it 50 years ago, but it doesn't work anymore. And even then, he's a producer, not a director.


Nope. Doesn't mean a thing. If the film's going to be shot on film, they don't care whether the director's shot on film before. They'll just hire a cinematographer and crew and post team who's shot on film before. The only thing the director needs to know (differentiating film from video) is primarily the budget on how many takes he's allowed. But even then, you still have to be conservative, because even though "tape is cheap", crew time and location fees and food and everything else that goes into a production ISN'T cheap, so you have to stop the "take 10" and "take 23" nonsense and get the shot in the can and move on, whether it's film or video.

Wow, great info Barry. Very candid and upfront, really appreciate the time you took to post that. I also respect you 100 times more for being so honest and not pulling punches or telling people what they want to hear. The problem is conflicting information, a producer/director friend of mine mentioned just a few days ago how frustrating it is that you hear one thing and the next minute someone is saying the complete opposite. Who are you suppose to believe. I told him, ask for examples or look for examples whenever someone states something and it will help you sort through the BS.

Again very informative. I really do feel though that the answer is writing/directing. I've done some research and if you look at most of the people that have "made it', they tend to be prolific writers in there areas. I do feel like Hollywood in general tends to not care about it's directors. Studios easily have a list of directors at their disposal, don't like what they are offering, NEXT.

So it's almost impossible to have any traction unless you are a writer/director with a distinct voice. I've been on the fence in regards to the whole shoot on film or not debate lately. I have a long list of examples of people that wrote and directed their first 3 or so features on film. I can't think of many examples of any directors breaking through via some digital feature work to go on and direct on film. Maybe you can?

 

[Mattykins]

Well that's awesome! Perhaps I underestimated the reality of just how difficult it truly is to "make it".

Yeah - you did.

All you managed to do is piss off the greatest resource you have. That being a network of 50,000 people. Many of whom are willing to help each other off.

 

[Alex H.]

Many of whom are willing to help each other off.

I thought that cost extra...

 

[HenryMurdoch]

Wow. You are a d****bag.

Listen, I am not famous. I've only directed a few pieces. Of them, I only talk about one. I have a business idea in the works because there Hollywood is hard to break into. But I'm working on getting through the door.

I have met a good deal of producers and talked with them. I've had numerous conversations with former development execs. We have forum members here who work actively in Hollywood. All of them are incredibly smart and have worked years and years to get where they were/are.

I'll tell you what. I have the number for Columbia. Give them a call and say "Hey, I'm a really good film maker. I want to be a director for you."

They will hang up. Even if they didn't hang up - they wouldn't care. Because you don't have an agent or a decent body of work.

You want to make it? Start networking. Start working in film. Work your way up. There are thousands of ways to make it. And I can tell you one way is not coming onto the most well traveled film site on the interwebz and blasting every member that tells you how it is.

Films go to DVD. Some Hollywood features (most) suck. But the plan is to make money. Most films fail because they suck. Most indies fail - because they suck. Make something that doesn't suck and you will go places.

PS> You will find out when you don't suck when people start calling you.

I love your posts, you get really passionate about it. I can tell your heart is in it. But look, I know I'm a dbag, I'm also an ahole, and if you catch me on a bad day, I'm a real sob. Who isn't. But when you say stuff like make something that doesn't suck and you'll go places, you aren't really offering anything constructive to the conversation. You are stating things that nobody can disagree with. It's like me showing up and saying the sky is blue. Well thanks for that! What can I say, I cannot disagree. Am I a dbag for pointing out that you are pointing out the obvious. Perhaps.

Seriously no offense to you, I'm not trying to insult you or be mean. I'm just saying, come on man, how about some more thought into it. If you were on my team and you said lets make something that doesn't suck, I'd be like, well ok, nobody sets out to make a project that sucks. And if you want to really get technical, there are so many things that can go wrong that are often out of your control that if you can complete it, it's a miracle! Let alone if it doesn't suck. It would be awesome if it didn't suck.

 

[HenryMurdoch]

I'm just curious - why do you ask? You've received answers from many directions, and yet the answer you're fishing for hasn't hit you yet. On the one hand, you've asked an incredibly loaded question, and framed it as "you guys are all wannabes... but I've directed a movie..." and - so?

Some people's success is being able to operate a camera and take shots their favorite ASC would look at and give an approving smile. For them, that IS success. Being able to do it as well. For others, it's being able to get the sound perfect, as in capturing it at the source. Others yet, its being able to pull off the part, maybe cause a tear to be shed - or the lighting was perfect. Others still, because it's there... (you know, like that mountain?).

You've obviously determined what being successful means to you. Could you tell us, what is successful and what isn't?

It seems to me, that what you're actually asking is, "how do I get the funding to do what I want to do? - has anyone else done that?"

If that is the actual question or series of questions you're asking - then ask them. Otherwise the way you're framing your questions suggests to everyone you've already assumed the answer, and we just haven't gotten it yet.

(my $0.02... think I'll eat relax and eat a peach...).

Well if that is how it sounded, I apologize for the confusion. When I mentioned I have filmed some stuff like a feature, I did follow it up with but many people have. As in, it's not at big deal and that the real value is in continuing.

What I was referring to was making it, not success. You are pointing out something I cannot disagree with. There are many people that have achieved success and that's great. I'm referring to making it in the context of Robert Rodriguez, Kevin Smith, Christopher Nolan, etc. In the context of becoming a director who directs million dollar films.

Peaches are great, I'm eating reeses peanut butter cups myself, have really been craving them a lot lately.

 

[Alex H.]

But when you say stuff like make something that doesn't suck and you'll go places, you aren't really offering anything constructive to the conversation.

I disagree. That's the only accurate answer that can be given right now. As has already been mentioned, there is no perfect formula.

And hell, if Matt had the golden answer about what would be the next big thing... if anyone had that answer around here... do you really think that answer would be posted for all to read. No... whoever discovers that certain something is going to pursue it him/her self.

The complexity of that answer is in its simplicity. And from everything else that has been said here: find your voice, find your story, and find your vision. Develop it. Expect it to take years, and be sure to have some stable income while you do that. Even better, get some stable income working elsewhere in the industry if at all possible... and that as well is going to take some hard work and dedication. And if your voice, your story, and your vision are incredibly new and different and amazing, it'll sell.

But then, it's a broken record at this point in the thread... (click) in the thread... (click) in the thread... (click) in the thread...

 

[HenryMurdoch]

The more you post, the more I keep picturing you as Jack Lemmon's character from Glenglary Glen Ross.

Well maybe someone will benefit from this thread in some offbeat raped in prison but got my own prison cell sort of way. In all seriousness, we are just a group of people talking about what we are passionate about, it's nothing personal, just ping ponging some thoughts around. :beer:

 

[Mattykins]

IAnd hell, if Matt had the golden answer about what would be the next big thing... if anyone had that answer around here... do you really think that answer would be posted for all to read.

I don't have a golden answer. All my posts somehow wind up being sexual somehow. If you want a golden sexual answer. I'm game.

As for the career-changing golden answer - I'll keep that one to myself.

 

[HenryMurdoch]

And my point is: do something noteworthy! Do something that is unique, that has a voice, and that audiences just can't get enough of.

If you do that, you will be positioning yourself for success.

If you just take 12 kids into a house and chop 'em up over the course of 90 minutes... who cares?

Simple fact is: the democratization of video production equipment has made the career accessible to hundreds of thousands of kids who never would have been competing before. So the cost of entry is lower, yes -- but that means that EVERYONE is competing. You have to be different. You have to stand out.

Do something nobody's ever seen before, and make it be GOOD. Something that audiences love. That they stand and cheer for.

Do that, and you'll be well on your way. Then sell yourself to agents as quick as you can, and ride it while you're hot, have them book you a "real" gig, and you'll have a chance.

It's funny you should say that, I talked to a producer that worked for Fox and Disney and she mentioned that taking 12 kids into a house and chopping them up as being one of the most common first feature films. I know the idea is nobody cares but you just keep seeing it done over and over again at the indie level and at the hollywood level.

That's my strategy, I'm trying to do things people haven't seen before or if anything, that aren't seen often.

One thing I am worried about is a remark I read online that the same time next year, everyone will have a Red Epic and competition will be really difficult. I guess we'll see.

 

[Alex H.]

One thing I am worried about is a remark I read online that the same time next year, everyone will have a Red Epic and competition will be really difficult. I guess we'll see.

It's the user, not the tool.

Lots of folks still have DVX cameras. And I've seen some amazingly brilliant stuff shot on the DVX, and I've seen some real poop.

And who gives a rat's ass if "everyone" will have a RED Epic next August? By then, RED will be announcing their next camera with the 12" imaging chip and everyone who bought the Epic in the last three months just because they could will be pissing themselves that they didn't wait just 90 more days.

And then there will be those who are still shooting on an Epic... or a RED ONE... or even an HMC-150... that have some serious vision and are able to make it reality based on what they have at that moment.

 

[Mark Harris]

There is Ruairi Robinson.

Although, his big project has since fallen through, they offered him one of THE biggest and most anticipated films of my generation, and that is not hyperebole; Akira.

He was on DVXUser. There, happy?

 

[Nektonic]

Although, his big project has since fallen through, they offered him one of THE biggest and most anticipated films of my generation, and that is not hyperebole; Akira.

We also have Sad Max, who while not a director as far as I know, did production design on James Cameron's upcoming big budget film Avatar. That is surely nothing to sneeze at.

As far as breaking into the big leagues as a writer-director, I think a good way to go about this is by not taking the easy way out and just doing a safe genre film like you guys mentioned, a slasher film for example, unless you are a horror aficionado and are extremely passionate about those types of films. Even still, you would probably need to do a unique take or interesting twist on the slasher film to stand out from the generic ones. I guess a good example would be something like Scream back in the late 90's.

I'm no success story (not yet at least), but I'll give you an example from my perspective as an aspiring writer-director. I'm a sci-if nut. That is mainly what I want to write. The big thing I've realized is that I am just wasting time if I merely churn out a bunch of standard or safe space opera screenplays, because the studios feel that it is just easier to remake stuff like Star Trek, Battlestar Galactica, or some other old movie or show like Lost in Space versus risking millions on someone's spec script.

What I've done is gone and come up with two different original sci-fi sub-genres of my own. I'm not going to give away what they are just yet, and who knows, they might not become some hot sub-genre like cyberpunk did in the 80's, but what this does is gives me an advantage by putting my work on its own terms a bit so as to not be lumped in with every other script that is similar to stuff that has come before. At the very least it might help stick out enough to get my foot in the door, even if my spec scripts don't ever come close to getting that coveted green light. Plus, for me, part of the fun of the whole adventure is setting foot in some unfamiliar territory. I wouldn't ever want to just write rehashes of older films unless I was getting paid very well to justify it.

So I guess the point of my somewhat meandering babbling is that a good way to differentiate yourself from the herd as a writer-director is to have your own creative voice, and to be able to write-direct in that original voice with confidence. Now, your creative voice doesn't have to be something as wild or bizarre as those of Tim Burton, David Lynch, or David Cronenberg. It just has to stand out and be compelling.