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THE SCRIPT is, in many ways, the final result of this daunting task. After I completed the script, I read it a few times for quality assurance, and then attempted to find a studio or producer willing to take the risk on the project. I sent out notes and cover letters, hoping for a response. Nothing. The script was a disaster. My writing was unlike anything seen on screen before. It was not a conventional screenplay. It was not a comedy. It was not a drama. It was not a sports movie. It was not a family film. It was not even a romantic comedy, although there was a love story. The script was a hybrid of genres, with a few unconventional twists thrown in for good measure.
So, when I was asked to write a screenplay, I, like the other three or four screenwriters who are in the same situation, was more than a little nervous. First, I did have to write a script that was good. Second, the odds of getting a movie produced or made and being cast in the leading role were against me. Third, the odds that an 18-year-old kid like me could possibly rise to the top of the heap were ridiculously long. And finally, I had to write the script in the most challenging and difficult of all screenwriting modes -- a Play-by-Play fashion.
Celebrity screenwriter, producer and director Gary Goldstein (The Mothman Prophecies, Pretty Woman) teaches screenwriters how to sell a spec script, option a screenplay, get managers/agents or a producer to make a film project happen and how to get hired as a writer. Download for free 827ec27edc