Christopher Vance: Screenwriter in Atlanta, Georgia.

Hello Christopher, thanks so much for connecting. Your profile is fascinating, I hope work is going well.

Quick question? How do you turn a novel into a screen play, any good tips?

Lets be honest...Atlanta is killing it right now in tv and film production thanks to it's tax incentives. I've managed get a lot of work as a PA in camera, sound, and other departments. I was also able to meet a lot of other talented filmmakers who had the same strive as me. With all that being said, do you really think Atlanta is the best place for emerging screenwriters and directors?

Before I secured my first gig as a PA, I was already coming up with a strategy to move to Los Angeles. I just needed to work ad save up some money. As time goes by, Atlanta their tax credit program. It didn't take long for studios and production companies to announce they were coming here to make films. At that point I said to myself "well I guess I'm staying here". As I was working on different projects, I took the time to write treatments and scripts to pitch. That's when I realized that it's just the prod companies and studios that were coming to Atlanta and not the literary/ talent agencies or management companies. Sure there are a few over here but there aren't that many as there are in LA and NYC.

I've been pitching for over a year now and have been getting very helpful feedback. I make sure that each pitch is a meaningful one, written or verbal, but I think having an in-person/ face-to-face pitch would benefit the screenwriter/ director even more. In my opinion, the intimacy itself could make the person that's pitching more confident on the fact that he/ she was able to get into a room with an executive. That is why I'm still considering moving to LA or NYC.

So my questions (if applicable)...to all the screenwriters and directors that are just starting out. (If it applies to you)

1. Do you think you have a better chance of pursuing your screenwriter/ directing career if you move out to LA or New York?

2. If you're moving to Atlanta, do you feel confident that you'll launch your career and establish yourself as a seasoned filmmaker? (Assuming you're going the indie route)

3. Any other thoughts on the topic.

I understand that a possessory credit goes to the producer or director due to DGA’s guidelines, but what about the screenwriter? Yes filmmaking is a collaborative process and the director is the person that adds his vision and brings it to life or however you may put it. The thing is, in a lot of cases, the concept of the film came from the screenwriter alone. Plus the concept is a vision itself.

I would understand if the director or the producer was the one that wrote the concept down on paper and later brought on a screenwriter to write the script but it just sounds odd that the only credit a writer would get besides “written by/ screenplay” by is “story by” and not “A film by…”. I did some research but couldn’t seem to find a film where a screenwriter got such credit. So my question is…

1. Was there EVER a screenwriter that was given a possessory credit?

2. Despite DGA's guidelines for the credit, is there even the slightest possibility for a screenwriter to negotiate a possessory credit for the film they wrote. (Kind of like how a director would negotiate it with the studio, pro comp., etc.)

I understand that a possessory credit goes to the producer or director due to DGA’s guidelines, but what about the screenwriter? Yes filmmaking is a collaborative process and the director is the person that adds his vision and brings it to life or however you may put it. The thing is, in a lot of cases, the concept of the film came from the screenwriter alone. Plus the concept is a vision itself.

I would understand if the director or the producer was the one that wrote the concept down on paper and later brought on a screenwriter to write the script but it just sounds odd that the only credit a writer would get besides “written by/ screenplay” by is “story by” and not “A film by…”. I did some research but couldn’t seem to find a film where a screenwriter got such credit. So my question is…

1. Was there EVER a screenwriter that was given a possessory credit?

2. Despite DGA's guidelines for the credit, is there even the slightest possibility for a screenwriter to negotiate a possessory credit for the film they wrote. (Kind of like how a director would negotiate it with the studio, pro comp., etc.)

ShaCayne Jackson, a Production Assistant from Atlanta, Georgia was just hired for the project titled "Short Film Crew "The Fear in You"". Congratulations!

Hi Ty! I tried to send you a message but none of them have gone through. If you can please send me your contact info through this email so we can stay in touch than that would be really great.

cvance2k12@gmail.com

Hello all, "Running with Wolves" is a female led feature film from writer-director T.J. Chester based on her novel series 'Running with Wolves'. As a contributor to this project, I am helping to spread the word about this life-thrilling concept. If you would please be so kind to show your support and tell all your other friends, it would be very much appreciated. You can find more details in the link below, including the trailer/ proof of concept video.

I will be shortly in Cannes this years from may 17th till may 20th or 21th

I will be a lot at the UK pavilion.. and like meet some members of STAGE 32 of course

have a great time,

DON CLOVIS

www.joytofilms.com

Joyto Actions Films Ltd

I've been really curious about this and wondered if any other screenwriter has gone through the same thing. Lets say you came up with an idea and you see it as a feature film. You get feedback and start making improvements day by day. After some time you realize that you see your concept as a series and start switching around things to write your script as a pilot. When you ask for more feedback, you receive more praise for it as a series than it was as a feature. You was 100% sure your idea was better off as a feature at first, but began to admire it more as a series.

So comes the million dollar question for all my fellow screenwriters (aspiring, intermediate, veterans, etc.). How do you know if one of your concepts/ ideas is a series or a feature film? Do you bounce back and forth of the thought of it being a feature or a series, or do you just know right away that "this idea will be in this format"?

Hey thanks for the add!

Thanks for the network add!

Christopher Vance, a Director from Atlanta, Georgia was just hired for the project titled "TEISHA". Congratulations!

Hi Christopher. I'm RB, Founder and CEO of Stage 32. As a screenwriter, producer, actor and filmmaker, I know first-hand the challenges all creatives face finding work, landing representation, launching projects, securing funding and simply making the connections that will make a difference in their careers. That's why I created Stage 32. Since our launch in September of 2011, the community has grown to 1,000,000+ members representing every country on the planet making Stage 32 the social network uniquely populated with the most creative people on Earth.

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Thanks for joining the movement and for being a part of this most talented and inspiring community. I very much look forward to your contributions.

Thanks, and have a creative day!

RB

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Hello Christopher -

Welcome to the community! I'm Amanda Toney, the Managing Director at Stage 32. Since 2013 I've been proud to oversee Stage 32's Next Level Education, which provides you the most up-to-date tools necessary to become a better creative.

Over the years Stage 32 has worked with over 500 industry executives and professionals to teach online webinars, classes and intensive labs exclusively for you - our Stage 32 community. We bring you instructors who have worked directly on some of your favorite films, TV shows or theater productions to teach you in-the-trenches information that you won't find anywhere else on producing, directing, financing, writing, packaging, acting and more.

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