Corrado Part II

ChipG said:
And yes I agree there are many other things you can be a success at in life that do not have anything to do with money. But, Damn! it is nice :)
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I know the feeling. To be honest a lot of people consider me successful because I've made (completed) my films but I've got jack squat to show for it. Gimme the 1 billion and keep the Oscar. If I can have both, great but Oscars don't pay rent unless you sale that badboy. I'm still constantly promoting and such and I make sales here and there but next time this thing has to be ramped up. (One of the reasons I'm starting so early with the marketing).

I know what I have can sale because the distributor wanted it, but they wanted it for free. Screw that. I know a guy who would come to your house and smack the taste out of your mouth if you told him you wanted the rights to his film with no money upfront.

-Nate
 
Kubrick71 said:
Good luck on the new screenplay/film Adam, I'm sure if you succeed in your goals the inspiration meter around this thread will just explode.

I dig your enthusiasm with celluloid, and if you can get that 5M financing where shooting film won't really affect the overall budget much, then hell yeah! But just in case I wouldn't overlook that the 'epicness' of your movie won't lay in the negative, it will be uber cool to shoot film and lend street cred to those less informed, but i think you could make digital work just about as well. Soderbergh shot his 4hr CHE digitally and I haven't heard that mentioned once as a drawback to the movie. But anway, whatever you work with in the end good luck!
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Don't get me wrong, I like digital....I love RED. I just want a look that I feel it can't deliver for that film. Film, digital, it's just a tool. I'd like to shoot a movie on RED real soon.
 
That "subject" is getting popular. I guess the Mayan Calendar really spooks people.

Adam, you probably can't say but how much do you expect to sell CORRADO for?
 
Kholi said:
That "subject" is getting popular. I guess the Mayan Calendar really spooks people.

Adam, you probably can't say but how much do you expect to sell CORRADO for?
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Mine is more or less about the end of the world AS WE KNOW IT rather than just the END OF THE WORLD. No supernatural, religious, or paranormal in my story.

As for Corrado, not sure yet. I would hope to get 7-800K in foreign. Not sure about domestic.
 
New to the thread. I read the entire old thread a few months ago and found it very interesting and informative. Adam, I really appreciate you taking the time to do this. I was concerned about the quality of the film due to the responses of many posters (I couldn't see the trailer), so when I saw this thread last week, I sought out the trailer, and I have to say, I think it is actually very good. I'm pretty critical, but I wouldn't go out of my way to tell you that it sucked if it did, but I will go out of my way to tell you I thought it accomplished what you were setting out to do. I was at the AFM, and it was on par with most of the stuff I saw that was selling there, so I think you've got a good shot. I've got financing for a couple of films that is based on attachments, so I'd love to chat with you for a few minutes if you get the chance. Congratulations on the film and the accomplishment.
 
Lifesamovie said:
New to the thread. I read the entire old thread a few months ago and found it very interesting and informative. Adam, I really appreciate you taking the time to do this. I was concerned about the quality of the film due to the responses of many posters (I couldn't see the trailer), so when I saw this thread last week, I sought out the trailer, and I have to say, I think it is actually very good. I'm pretty critical, but I wouldn't go out of my way to tell you that it sucked if it did, but I will go out of my way to tell you I thought it accomplished what you were setting out to do. I was at the AFM, and it was on par with most of the stuff I saw that was selling there, so I think you've got a good shot. I've got financing for a couple of films that is based on attachments, so I'd love to chat with you for a few minutes if you get the chance. Congratulations on the film and the accomplishment.
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Cool, thanks for the kind words. Drop me a PM if you want to chat and we can exchange contact info that way.
 
was it originally "red light blue light" ?

there's something oddly cool about "red ruination blue" - ruin nation, right there in the middle. so patriotic. so not. awesome.
 
First glance I thought it said "Red Nation Blue" meaning blue (depression) for the ****'s that's gonna go down.

Adam, you are a very creative and savy business man, but a better director and producer.

Can't wait to hear more about it but I know it's on a hush hush level until production is done.

Want to hear all about it after you complete it!
 
Rubber,

it wasn't red light blue light, but I can't tell what it was supposed to be without revealing some plot. I'm glad you like the title.

I wanted something in the vein of "A Clockwork Orange" or No Country for Old Men" A title that didn't make a whole lot of sense until you see the film (or even after, for that matter!)

Chip! Thanks man. Wow. 200,000 views, we've come a long way, people! Glad you like it. When the script is complete and my cast is attached I'll post a full synopsis.
 
The Writing Process:

As you know I am going through the writing process for Red Ruination Blue right now. This is relevant to this thread because I didn't really get to go there with Corrado's thread; it was already written by the time I posted my first blog about it. I write a certain way and thought I'd share it. It's the same way I wrote Corrado.

I've read many screenwriting books and screenwriting blogs out there. There is no shortage of information about this topic on the net. My favorites are:

www.johnaugust.com
www.unknownscreenwriter.com

and there is another one called Sex In a Sub - it's a link off of unknownscreenwriter's page. Those three are really good writing resources. I don't really refer to them anymore; once you write a few screenplays you get the gist of it and form your own habits.

I've written about ten screenplays so far. I think I'm pretty good at it, but not great. My strengths are pace and dialog. My character development still needs some work. The script for Corrado got me an agent when I made Sizemore an offer, so I suppose you can say I am a decent writer.

Here is an insight into my process:

1. My screenplay ideas usually start with one scene in my head. That's it. An entire story is built upon one image and just branches out from there. In Corrado, it was the scene where a hitman (Corrado) walks in and blows away a couple eating dinner in a restaurant. That was it. I built the whole story from there.

2. I never know the ending of the story when I write it. Probably don't know it until about page 75. It's just the way I roll. Some experts will tell you to do a number of things before writing a screenplay...first, write a logline. Then a synopsis. Then a treatment or an outline. Then take cue cards and number the scenes and flesh them out....blah blah blah. If it works for you, great. Use it. It does not work for me. Mind you, my method has pluses such as spontaneity, and has minuses such as gnarly writer's block if you don't think five pages ahead.

3. When I start writing, I will try and write every day. Some days I can do twenty pages, some days barely a page. You can't force good writing. But you must write every day, even if it's one line to advance the story. Leaving a story for two weeks untouched is the kiss of death for me. I have a half dozen unwritten stories in my repertoire. They'll probably stay that way. Red Ruination Blue is motoring along. I am on page 64 within five or six days of writing. A personal record for me even though speed is not part of the process. This idea just seems to flow....

4. I do a first draft, then I go back and tweak. I can't say I do multiple drafts as is recommended. I will tweak for weeks, though, and name my files rev1, rev2, rev3, etc. even though they are not true rewrites. More like heavy polishes. By the time Corrado was shooting I was on revision four of that script.

5. I keep a one page sheet of notes that I want to incorporate into the story. Red Ruination Blue is a very technical film with lots of research and factoids interspersed in the dialog and story. There are a whole host of things I want to make sure get into the story, so I write them down.

6. I don't do character sketches.

7. I plan out arcs for the main character as soon as I start writing. It's sometimes simply a sketch on a piece of paper of an arc, then put the character's beginning, middle, and end persona or feelings to ensure that the character always changes throughout the story. Not much of a movie if the main character doesn't undergo some sort of change or transformation. It could be from good to bad or the reverse. I disagree with some screenwriters in that I don't believe every character should have an arc. Some characters simply don't change throughout a film (example: T1000 in Terminator 2, the corrupt DEA agent in the Professional). Bad guys usually stay bad.

Remember, there are only two things that will get you name talent in your movie:

1. Money
2. A great script.

Here is Wisdom: If you don't have a lot of money, a great script will get you name talent. If you have tons of money and a poor script, you might still get the talent, but most actors will not readily commit to a horrible script no matter how much money is offered.

By the way, the actor's industry term for a rotten script and good pay is called a "money gig" , and most actors realize they can only have some many of these in their repertoire without diminishing their standing in the acting world. And it better be worth their while ($$$) to do a money gig (paging Halle Berry: Catwoman), cause they know they're going to win a razzie for it.

You don't have that kind of jack so go write a great script instead.
 
Sex In a Sub -

Link please?

NOW!

Adam, it's people like you that can tollerate people like me, and I thank you for it!
 
Cool. I suddenly got a bunch of hits on my blog from this message board, came over to see why...

The blog is just me bitching about stuff, my website http://www.ScriptSecrets.Net has a free script tip every day - usually a full length article about some aspect of screenwriting using a recent film as an example. Hmm, that sounded spammish... sorry.

And, the script really is the key to everything else. A good script opens doors that are locked and bolted and heavily guarded. A great script costs the same to print out as a crappy script or a script that needs a couple more rewrites. Problem is, once you put that script that needed rewrites on film, it's too late to do much about it.

- Bill
 
I am so glad you are back i read every freaking page of the last thread you had open and you have inspired my brother and I in many ways. We have started making a feature a reality. And most of it is from reading your former thread. Thank You so much man.
God bless,
Pauly
 
wcmartell said:
Cool. I suddenly got a bunch of hits on my blog from this message board, came over to see why...

The blog is just me bitching about stuff, my website http://www.ScriptSecrets.Net has a free script tip every day - usually a full length article about some aspect of screenwriting using a recent film as an example. Hmm, that sounded spammish... sorry.

And, the script really is the key to everything else. A good script opens doors that are locked and bolted and heavily guarded. A great script costs the same to print out as a crappy script or a script that needs a couple more rewrites. Problem is, once you put that script that needed rewrites on film, it's too late to do much about it.

- Bill
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Hey Bill, great! We've never met, but I used to read your blog really frequently. It indirectly prompted me to make my film, Corrado, and to blog about it here. I've never actually got a chance to talk to you. I constantly receive e-mails thanking me for my blog and people stating what an inspiration I've been.....I'm so happy to finally be able to tell you what an inspiration you've been, publicly.

Thank you, sir!

All others, heed this man - he's got something like 20 feature length scripts produced!!!!
 
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