GITS: The Twitter Conversations — Script Readers (Part 8)
Twice last year, we did a live Tweet Chat with three people you should follow: Amanda Pendolino [@amandapendo], Nate Winslow [@nate_winslow], and The Bitter Script Reader [@BittrScrptReadr]. For two weeks, I will be reprising posts I ran on the blog including the transcripts of those conversations. Read on, then go to the bottom for some exciting news:
Back in May late one night, I stumbled into a Twitter conversation with @amandapendo [Amanda Pendolino], @BittrScrptReadr [The Bitter Script Reader], and @nate_winslow [Nate Winslow]. These three all have different things going on in their lives, but one bit of business they have in common: they read scripts, covering them for Hollywood industry insiders (production companies, agencies, etc]. In other words, they are professional script readers and as such serve as the first line of defense in the Hollywood script acquisition and development system.
Our conversation that night evolved into a spontaneous Q&A about the experience and perspective of professional script readers about screenwriting. You can read a transcript of that conversation in these GITS posts:
Part 1, Part 2, Part 3, Part 4, Part 5.
The response to the conversation was excellent, and I received lots of email and tweets asking for it to happen again so others could join in with their questions.
So on Monday, June 25th between 7:30–9:00PM Pacific, we held a second conversation with the same trio. I will be posting an edited transcript of the conversation every day this week, essentially picking up from the first chat.
BSR [Bitter Script Reader]
GITS [Me]
NW [Nate Winslow]
AP [Amanda Pendolino]
Here is Part 8 of GITS: The Twitter Conversations — Script Readers:
markmazur: Have you ever read a script and passed it up that eventually became a show / movie?
BSR: Yes. And most of the time, the ones I passed on BOMBED
mlemcdonald: Can you be unbiased re: genre despite your own genre preferences?
BSR: Absolutely. I can filter out most of my own biases and look at it as a piece of material
NW: I would certainly hope so. That’s one of the big parts of the job description: you’re reading w/ your boss in mind.
NW: Being able to filter yourself out is crucial.
AP: I’d like to think so. I always compare the movie against its genre, not against my tastes.
BrandiLGulledge: Outside of found footage type scripts are there stories that people seem to constantly be writing now?
BSR: Horror and Comedy are always perennial. A lot of first timers tend to write Drama, though.
NW: Just make me care.
AP: pull me in! ideally I won’t look at the page number for a long time because I’m entertained. Character is a big part.
BSR: Genre fatigue can be a factor, but it makes the well-executed ones stand out that much more
doctornurseman: What are your initial thoughts when a script opens up with a voiceover? (cliche? don’t care?, etc.)
BSR: If the VO is good and has a strong voice, I’m on board. If it’s immediately expositional — I groan
NW: It better blow me away. Or justify itself. Too many VOs are just stating what is happening in the scene.
AP: usually I think voiceover is lazy/cliche, but of course plenty of good movies use it. Just prove it adds something
GITS: Debbie Moon asks: How far does budget affect your decision? Less likely to recommend a big-budget or CGI-driven script?
BSR: okay, this is an interesting one. It depends on who you are reading for and what kind of movies they make
BSR: when I read for an agency, sky was the limit. When I read for a prod co, I knew what they’d spend on
BSR: That said, some costly genres (period, WWII) suffer from such low return that the writing had better be DAMN good
NW: Depends on who I’m reading for. I’ve read for smaller finance co: I’ll pass on a $150m tentpole bc it’s too pricey
NW: Definitely dictated by who you’re reading for and what they’re making currently. Or what they can make.
This excerpt hits on a lot of different subjects, so let me zero in on one:
“Just make me care.”
If you followed the TED talk series by Andrew Stanton, you will know the derivation of that idea: Make me care. So simple, yet so powerful. Perhaps even our most fundamental task as a screenwriter, to build some sort of connection between the reader and key characters in our story, particularly the Protagonist. I hear this over and over again from people in Hollywood: They want to feel something when they read a script. Not like melodrama, but if it’s a comedy, make them laugh. Drama? Make them cry. Action? Make them cringe. Thriller? Make them shriek.
Make them care. One key to your script’s success.
For Part 6 of the script reader conversation, go here.
For Part 7, go here.
Tomorrow: Part 9 of the GITS Twitter Conversation with Amanda, Bitter, and Nate.
Some background info:
The Bitter Script Reader has spent many years — “perhaps too many,” he says — working in development and as a reader at production companies and agencies. For over three years, he’s blogged regularly about the missteps he’s seen writers both young and professional make, and implored his audience to avoid those same writing pitfalls. You can find him at his blog and check out his videos on his newly-launched YouTube Channel.
After working for a motion picture literary agent at a major talent agency, Amanda Pendolino went on to become a professional script reader for a few different production companies. She is also developing some feature comedies, in addition to an original sitcom.
Nate Winslow moved to Los Angeles last year and spent the majority of his time reading scripts and writing coverage for a production company and an A-list director. He’s currently working at the production company Defender Entertainment.
[Originally posted July 18, 2012]
Here’s the exciting news: We will be doing another live Tweet Chat, offering you an opportunity to pose questions to Amanda, Nate, and TBSR. Date: Wednesday, April 10th at 10PM Eastern / 7PM Pacific. Hashtag: #GITSTC. So book that date and remember that hashtag.
Be sure to read this 10-part series to see the territory covered, then come up with some fresh new questions to ask these guardians at Hollywood’s gates.
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