I think it needs more info about the difference between typical sut-com and one-camera comedies. From writing in film-format for one and not the other, and to what makes say, Sex and the City different from 1 hour dramedies like Ally Mcbeal. That is, I think you need to cover more in-the-middle ground. Like the soap-opera elements (an ongoing structure) in recent TV drama's like Lost.
On the topic of spec screen adaptations of existing works, maybe a section on whether it's better to get the screen rights before writing the screenplay, or just writing the thing and letting the studio work out the film rights if (I mean, when) your screenplay sells.
I've never really gotten a good solid answer to this. Maybe there isn't a solid answer.
6 comments:
I think it needs more info about the difference between typical sut-com and one-camera comedies. From writing in film-format for one and not the other, and to what makes say, Sex and the City different from 1 hour dramedies like Ally Mcbeal.
That is, I think you need to cover more in-the-middle ground.
Like the soap-opera elements (an ongoing structure) in recent TV drama's like Lost.
My two cents
On the topic of spec screen adaptations of existing works, maybe a section on whether it's better to get the screen rights before writing the screenplay, or just writing the thing and letting the studio work out the film rights if (I mean, when) your screenplay sells.
I've never really gotten a good solid answer to this. Maybe there isn't a solid answer.
I'd love to hear more about working with a writing partner, or a team, as well as the best ways to handle rewrites (from someone else's draft).
ME.
Keeping the trophy wife happy.
Getting your squire as much/many women/men/booze/cash/gadgetry as he/she can handle.
Post a Comment