OK I know there are industry standards we have to follow the best we can but here's the problem. After quite a few rewrites, doesn't matter number, length of time I've worked the project, I cannot seem to trim my feature to less than 145 pages, keep it's integrity. In 145 pages I have 2 half page dialogues, maybe 2 or 3 four sentence actions. The rest is 1/10, 1/8, 1/6, 1/4 , 1/3 page dialougue, a lot of one, two sentence action, few three sentence actions. There are a few heavy dialogue area's necessary to evolve mission, mystery. It's not greed that has kept me from a collaborator, consultant, I guess if there is some 140 page apprehensive, forboding, horrific, arrogant time constraint rule that this has to be 140 pages perhaps someone out there who has run into the same problem has a resolution they actually tried, not a suggestion. A good screenwriter can trim sure, but an elaborate, really good story trimmed, even for screen, seems destructive at this point. What would you guys do? I appreciate any opinions. Now is perhaps when I should go back to Logline, rework a little, nail the synopsis , get it in a manager, agent, director or producer's hands. 10 rewrites, not trimming, tried, how to pitch with 145 page stipulation? Thanks for letting me rant, vent frustration, it just needs to be the length it is, it really does. On a humorous note I guess I feel like a women who goes in to get her hair cut short for the first time. Is managable more beautiful? LOL!
Screenwriting : Kinda Erked, Where to Trim? by Michael Lee Burris
Kinda Erked, Where to Trim?
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The sweet spot for a screenplay is 110 pages (or less) and it is not some arbitrary number. Screenplays average out to a minute a page, and movies tend to be shown in a cinema every 2 hours... plus they need a few minutes to clean the cinema and seat the audience. A script that is 110 pages or less allows for a showing every 2 hours. The fewer showing per day (due to longer running time) the less money a movie will make. Yes, there are big blockbusters that are longer... but those are based on big popular existing properties (LORD OF THE RINGS) and there are plenty of examples of long movies that did well... but were sunk due to too few showings per day. Those longer movies that didn't make as much money because they were longer is why scripts over 120 pages are a problem. "I cannot seem to trim my feature to less than 145 pages, keep it's integrity. In 145 pages " A screenplay is a precision document: a part of a movie and that part must fit. If it does not fit (due to length in this case) it has no "integrity". It is broken. It does not fit. The best advice I can give on rewriting is to alternate screenplays. Write script B, the rewrite script A, then write script C, then rewrite script B, then write script D, then rewrite script C, and keep going for the rest of your life. You aren't going to get a manager with a script that length, so your best bet is just to put it on the shelf and go on to the next. Keep writing new scripts.
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You need to look at your screenplay. I bet you could find ways to trim. I agree with William. Keep it to 110-115 or less. If you can get it to 90 pages then the theaters can add one extra screening per day.
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Wow, your post is even long. JK. I would say if you can't find anything to trim and want it trimmed, then hire a QUALIFIED Script Doctor to make the incisions. Or at the very least, get a second opinion. Goodluck.
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You might take a look at how many scenes you have. It should be around 40. When I am stuck, I make a list of scenes and make sure something HAPPENS in each scene. Not just "they get to know each other" but "Sue asks Sam for a divorce" kind of thing. You will start to see entire scenes that really do need to go even though it breaks your heart because you love that scene. Also trust your audience. You may be leading them by the hand, telling them things they can figure out and want to figure out on their own.
Yeah guys and gals, you are probably right, shelve it , move on. I wonder how many unknowns ever broke-in with an epic. It will just need marketed that way eventually. I have a lot of other stuff so maybe it's good I now have what I consider an epic shelved. I need to go back to my outlines, brainstorm idea's, find one to develop and write a shorter limited location screenplay. I also have a lot of television, some even polished. Once I break-in though ,this epic will get where it needs to be. I probably should submit my polished sitcom "pilot" somewhere soon too. Thanks for the minute input info William I knew that but others may not. Television should be double spaced 39-44 pages on average for a 22 minute sitcom. For an hour spec. 46-47 minutes 39-49 pages single spaced from what I've researched. I've always enjoyed epics at the movies myself, Avatar, National Treasure, etc. They are harder for movie theater's to market though I'm sure. Just another reason not to take a chance with an epic from an unknown no matter how damn good it is. Perhaps that shorter, limited location one will be much easier now. Mine was written on epic scale because it's global which eventually will help with marketing it. That simple really I guess. Better quit rambling, peace out, good luck with your projects everyone. Back to writing for me.
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I suspect I should stay out of this, but... Based on your two posts here, I'd guess you're a writer who loves spinning out streams of words and those words roll effortlessly off your fingers. That's a great talent to have if you're a novelist, but not so much if screenwriting is your thing. In many ways, screenwriting is about writing tight -- the opposite of the freedom novelists, especially literary fiction types, can enjoy. There is a sort-of-rule in screenwriting: the more famous you become (meaning, the more screenplays you have produced and that also do well at the box office), the longer your screenplays can be without scaring away producers.
I was gonna stay off here but Richard Toscan made me think a bit. Richard you are right, the dialogue is heavy and if it was anything but mystery, sci-fi I would agree. The problem is in this instance we are talking issues of man's survival, existence and possible evolution so the dialogue kind of has to be in there. Not to be arrogant but it is an intelligent screenplay. I usually like to write comedy and it is somewhat different from my norm, but it just works out the way it does. I'm hopeful that the action, story interest, counteracts the dryness that can come with heavy dialogue and I did a lot of action insertions between the lengthy explaining dialogue. That is my biggest concern with the length in all honesty, keeping the lengthy, explaining dialogue from becoming dry. I still just can't trim it much.