Asier Jon Odriozola's Lounge Discussions

Hi Miksa

Thank you for jumping in and sharing your thoughts.

They’re brilliant, specially your suggestion (just in case) to change names, locations, etc…

The writer has written the book based on actual interviews with key players, with the end result is a spy thriller… except that is not fiction. As a result there many angles I’d like to explore… and serialise.

Of course with the pilot, I would like to balance those with the deeper insights that hold the full series together and engage audiences throughout.

Which brings the next thought. I was planning to write the pilot myself, but on second thoughts I’m open to work with a good screenwriter with experience in adaptions. Do you know any that you’d recommend?

Thank you

Asier

Hi Chris

Thank you for you feedback, very much appreciated.

Securing the IP is the first step for certain, and I’m not proceeding without that sorted first.

I just wanted to follow on form the authors suggestion to contact their agent to check if the book’s rights were available.

However the agent volunteered their process information, which raised my alarm bells. Also I could see how they’d like to move around me from the outset, hence me double checking next steps with you guys.

Also your suggestion of possibly the TV & Film person arranging an expensive option, is completely out of bounds for me. I can only afford a small amount to secure the rights. Then develop a pilot, package the pitch and give it my best shot with my studio contacts. Of course and like you say, I might have to take that with the writer separately.

Also I understand that at some point either the studios or the networks might bring their own team to further develop the material.

If so, how do you think I could protect my project?

In any case, I’ll try to get a media lawyer involved.

By the way, this being my first adaptation, do you know or could you recommend any screenwriter with adaptations experience?

Thank you.

Asier

Hi Dan

Thanks for your post. Absolutely! That should be my next step with the agent. Thanks you. Asier

Asier Jon Odriozola. Listen to Dan MaxXx.

Dan Guardino, good point. The way Asier Jon Odriozola describes it, the relationship with the agent went south from the get-go.

I LOVE seeing creative solutions!

While I would be terrified to put my camera on a rig like that I'm very impressed with the footage.

Very creative on their approach and commitment, I loved those long shots... yes, very impressive.

Nice work! Necessity is the mother of invention!!

Hey Dan--welcome! Utilize the resources you find here. Explore the site: make connections, check the Happy Writers pitch sessions to find any that apply to you and any other resources here---get to know the site. It can be of surprising and unexpected help. Good luck in your film endeavors!

Big wave, Dan. Great to have you here. And a big thanks to Daniel for the post above ^. Couldn't have said it better.

Waving back. Nice to meet you, Dan. I agree to Daniel and Richard. You will see, this network can really work wonders. Enjoy it!

Waving back too, lots of positive energy here. Let's turn it into a Mexican wave of creative energy as well ;-))

Yes Asier---pero mas como buena honda!

Hi, Krystol. I'm new to Stage 32 and am hoping to make some lasting, productive connections. Hope we can bounce ideas back and forth.

Of course, anytime.

Sure we can!

Welcome to Stage 32, Krystol. Make sure to invite others. It's a great platform. RB the founder and CEO gave a great Webinar yesterday morning.

I agree that it needs something more. "Unable to forgive or leave her" suggests a static plot line. There must be something the husband does, or attempts to do, in order to resolve the conflict.

Maybe replace the ending with something like: "and is forced to..." (fill in the plot). Not those words exactly, but something with a "punch".

When a naive husband discovers his wife's affairs, he,,,,,

Maybe he can't leave her, but he can make her and the guy/woman she's cheating with pay. Why should he be the only one suffering? Maybe he hopes as he gets rid of the competition, she will turn back to him for love if he's still there. Of course, he couldn't let her know he knows or that he's the one getting rid of the other lover. Got to make it complicated.

Very nice! Maybe you could hint at why he can't forgive or leave her, such as he's religious or a pastor or whatever the reason. "A loving, yet naive pastor discovers…" Good luck!

Yes lenses are potentially the isue here. As mentioned cine lenses are designed differently,and keep focus in a zoom, and have different mechanisms. Incidentally I am putting the finishing touches to my Stage 32 WEBINAR happenng on the 29th April at 1pm PST. It is called "Intro to shooting on DSLR" and this is one of many areas of interest covered. Also sound recording, recording the data, rigs, and much more. It isnt advertised on Stage 32 yet, but it is happening. Get an early bird discount ! Talk soon. If there is any experience of DSLR shootuing you want to add then let me know and I will see how it can be included. best John Keedwell GBCT

Hi John Very happy to hear about your webinar. Might I ask how can I register? Also during your webinar, if you could please elaborate, about the best quality yet most affordable gear out there, and what in your view are the best options (basic-moderate-advance) kits, I think that would be terrific. Asier Jon

you'll need a follow focus and someone to pull focus. check out zacuto.com. And record sound separately using the zoom h1n or similar

Yes, ken, follow focus is a skilled art, and unfortunately a great many don't know how crucial it is.. If the shot is out of focus, or hunting through the focus then it is both distracting and unprofessional. If shooting a documentary then it may not work, depending on the subject,. Yet a drama, the lower depth of focus is desired as a "look" by many, (and is often why the Canon 5D is chosen due to the larger sensor size). the focus can be extremely critical at wider apertures and longer lenses. Again it all depends on the subject matter, how it is lit and the treatment of the visuals and story, so there is no one answer. If in doubt find yourselves a good experienced focus puller and shoot a picture with that area all in hand. It will be a better film because a focus puller (or nowadays the 1st assistant camera) will bring more than the focus elements, they bring a whole lot more. Lets be professional in whatever situation we are in

If u can't afford all this then shoot with a smaller sensor, especially for documentary you'll use lots of depth of field. I shot docs for many years and always use the hyper focal distance (gives you maximum depth of field at a given f-stop for a given focal length)