Post by MenelaosGkikas on Apr 11, 2022 16:38:31 GMT
Republished from my Maker's Dust Blog, August 18, 2021
Hio folks, I believe creative potential should begin with the end in mind, so, this is the topic of my today’s campaign in terms of writing and movie predictions! I’d like to point out a few cases relative to the statement that writing and literature are not math. Furthermore, being in the middle of getting grades for my screenplay, how can the reality of art override statistics and working for the golden ratio? So, let’s put first things first:
Screenwriting coverage, meaning, screenwriting consulting in terms of addressing a Hollywood office finds screenwriters in the middle of the ocean of notes, analyses and lots of performance indices in terms of measuring the effectiveness of the script. To override a reality means to know it too well so that you can break the rules. There are 3 different aggregated evaluations for screenplays that should be confronted by every writer’s creative fantasy so to improve, the grades pass, consider and recommend. Even with Hollywood offices, 87% of scripts get a pass, 10% of scripts get a consider and 3% of scripts get a recommend which is the first Joker of seeing your dreams at the big screen! So, here is where reality gets in and the reality of math gets critically altered…
A screenwriter is being evaluated for overall impression of the script, concept, plot, structure, characters, dialogue. Most importantly, he gets analytical and tangible notes on all the above, being provided with specific suggestions for improvements that can be either something objective or a more general concept. In terms of screenwriting, the writer for his characters is something like their own creator, their God, so it is important to create characters with strengths and weaknesses, characters dealing with conflicts and finding out how they behave in extremes, but more importantly characters that are not invulnerable. For me, this is where the initial vision and dreaming of Hollywood has to reoccur. For what once has been considered fluid, dynamic, flexible and in the middle of a pack of creative goals’ setting, mere validation sometimes makes it static, stiff and a bit sad. To use a scientific term, it’s all about fluid dynamics!
Now, what it truly means to fight painting by numbers and how can working for the golden ratio be overridden? Based on the above, it’s clearly understood that how a writer thinks, takes creative decisions and transforms his word in a piece of paper can determine in the long term his/her economics. We become what we think about… Script coverage judges express from the very beginning that marks should not get you down and that pros deal with the fact that changing lines of dialogue or little scene expressions rarely solves the issue. Pros find the note under the note, meaning, we have to go beyond borders and see behind the script. Judges may be wrong about what’s not working but they may be right that something is broken… So, what’s the surrounding mentality of what’s working and what’s broken? Can a creator discover everything on his/her own?
Writers and especially screenwriters should first of all determine the sources and the ecosystem of their ideas and visions. Even though we all acknowledge that no two writers are ever the same, there has to be an emotional and creative investment on the art, to make it function. Specifically, to know your themes (especially if a writer wants to work on a ‘fine line’ of projects), what inspires you, what influences you and what you’d like to achieve. Even better to know inside out your own thought model. As I have stated above, our thoughts in a process of 10 minutes determine the money we will get in the future! Putting in the same scale art and statistics we discover that gravity holds a special place for art, if the creator learns to open up and more importantly if he insists on assisted self-discovery that can be shaped by numerous forces, who we are and who we are not… Have a great time folks!
Hio folks, I believe creative potential should begin with the end in mind, so, this is the topic of my today’s campaign in terms of writing and movie predictions! I’d like to point out a few cases relative to the statement that writing and literature are not math. Furthermore, being in the middle of getting grades for my screenplay, how can the reality of art override statistics and working for the golden ratio? So, let’s put first things first:
Screenwriting coverage, meaning, screenwriting consulting in terms of addressing a Hollywood office finds screenwriters in the middle of the ocean of notes, analyses and lots of performance indices in terms of measuring the effectiveness of the script. To override a reality means to know it too well so that you can break the rules. There are 3 different aggregated evaluations for screenplays that should be confronted by every writer’s creative fantasy so to improve, the grades pass, consider and recommend. Even with Hollywood offices, 87% of scripts get a pass, 10% of scripts get a consider and 3% of scripts get a recommend which is the first Joker of seeing your dreams at the big screen! So, here is where reality gets in and the reality of math gets critically altered…
A screenwriter is being evaluated for overall impression of the script, concept, plot, structure, characters, dialogue. Most importantly, he gets analytical and tangible notes on all the above, being provided with specific suggestions for improvements that can be either something objective or a more general concept. In terms of screenwriting, the writer for his characters is something like their own creator, their God, so it is important to create characters with strengths and weaknesses, characters dealing with conflicts and finding out how they behave in extremes, but more importantly characters that are not invulnerable. For me, this is where the initial vision and dreaming of Hollywood has to reoccur. For what once has been considered fluid, dynamic, flexible and in the middle of a pack of creative goals’ setting, mere validation sometimes makes it static, stiff and a bit sad. To use a scientific term, it’s all about fluid dynamics!
Now, what it truly means to fight painting by numbers and how can working for the golden ratio be overridden? Based on the above, it’s clearly understood that how a writer thinks, takes creative decisions and transforms his word in a piece of paper can determine in the long term his/her economics. We become what we think about… Script coverage judges express from the very beginning that marks should not get you down and that pros deal with the fact that changing lines of dialogue or little scene expressions rarely solves the issue. Pros find the note under the note, meaning, we have to go beyond borders and see behind the script. Judges may be wrong about what’s not working but they may be right that something is broken… So, what’s the surrounding mentality of what’s working and what’s broken? Can a creator discover everything on his/her own?
Writers and especially screenwriters should first of all determine the sources and the ecosystem of their ideas and visions. Even though we all acknowledge that no two writers are ever the same, there has to be an emotional and creative investment on the art, to make it function. Specifically, to know your themes (especially if a writer wants to work on a ‘fine line’ of projects), what inspires you, what influences you and what you’d like to achieve. Even better to know inside out your own thought model. As I have stated above, our thoughts in a process of 10 minutes determine the money we will get in the future! Putting in the same scale art and statistics we discover that gravity holds a special place for art, if the creator learns to open up and more importantly if he insists on assisted self-discovery that can be shaped by numerous forces, who we are and who we are not… Have a great time folks!