Hernán Crespo's Lounge Discussions

Thanks, Dan. What are you up to these days?

If you don't mind my asking, how do you pay for all that?

Thanks Francisco. As Beth points out, script notes are far more helpful. Dan also reminded us that what was once a practice for screeners to give their bosses a quick summary, has become a cottage industry which makes money, but seldom meets a writer's expectations. These readers are either overwhelmed with scripts or have gotten lazy in their treatments, either way, a market requiring $100's for this service will eventually adjust with the added competition of free-loaders looking to make easy money or the disillusionment among their customers.

Thank you, Dan Guardino. I've adapted four, each one in the series takes place in a different part of the world between 1820-1850 with the same protagonists, a husband and wife, aristocrats with crime solving ability. Since producers haven't beaten a path to my door, I would be interested in having a more experienced co-adaptor and since the scripts are already in Final Draft format, it shouldn't take too much work. Here are two loglines for Quebec and Egypt, take your pick (I also have Brazil and Tanganyika).

Patriote Peril: After her sister's lodge is consumed by fire, a woman finds a bloody carriage that held her husband, sister and brother-in-law.

(Patriote Peril is based on true events of the infamous Partriote rebellion by French Canadien reformers).

The Forth Conspiracy: A man faces financial ruin when a well-meaning friend introduces a writ at Parliament which could confiscate his manor. As the rival Forth family moves to take over his estate, he races to Egypt to find the original property title.

I totally missed it -- coverage from Stage 32 - if it was sent on a screenplay I submitted August 16, 2017. I'm starting to wonder if I made a mistake submitting.

Great, Dan. Thank you.

Like Dan said. Because it may have a special kind of transition between scenes, you may want to add a CUT TO or something of the sorts.

That's very helpful Hernán, muchas gracias.

Scene heading for every new location.

Congrats!

Kudos and congrats, Lisa! From the trailer, it looks as though you and your cast and crew have done some beautiful work here. I'll look for it on Amazon.

Good work getting the film made and sold. That's a real achievement.

Huge Congrats, Lisa!

Can you tell us how you got to Indie Rights and what your experience has been like?

Bienvenido!

Hi Chris!

“...Who will or won't play the character shouldn't affect your work...”

But aren’t you sometimes writing roles or characters specifically tailor-made for a particular actor?

I always have an actress/actor on my mind when I create a character. You can mention the name, maybe on the pitch or after but you must be aware that on the 98% of the times the producer and/or the director will have the final word.

My man. Got a question about the backstory. Where did you learn how to tell stories?

Of course Philipp, but that's something you do to fuel your own creativity. That actor's intention of playing the role or even his/her knowledge of the character's existence, shouldn't interfere with the creation of the screenplay. As a writer you probably won't have that much to say about who ultimately ends up landing the role.

Thank You, everyone, for your comments I appreciate it. Even though its a story about an Angel I Had........ (well it's not that important) and Yes, it shouldn't matter what this actor thinks even if I wrote it for him. If he doesn't like it then maybe it's time to seek other actors whom may seek this opportunity. and THANK YOU, for the advice on making sure I Copy Write the story first before presenting it. The thought never even crossed my mind that an actor, actress, producer, or a director can steal the story if they like, Then copy write it themselves, and take full credit for my screenwriting work while I end up with nothing for My efforts including having my name on the screenplay or script. So I thank you all for your feedback. I look forward to posting future post and your feedback which will be always appreciated. Well, Happy Writing, Producing, Directing everyone. And Thanks Again.

I would suggest, only tease and hint the affair. Make it heat up gradually in suspense... and make it to be observed from the point of view of another character and not the audience directly...

Please make the beginning as interesting as possible and let the hook flow throw the episode and only 'rest' during the low points of the protagonist...

LindaAnne et al, good suggestions but remember the inciting incident MUST not be the norm, it is something that kicks the protagonist into action, so it’s important to establish what the ‘notm’ Is before you can invite change. If the protagonist is having an affair right away , then that is the normal world with normal rules for them and the inciting incident would actually be the affair having to end for some reason.

But remember that first act reversal is a decision - a choice between two paths - the transition is an active (and usually wrong) choice made by the protagonist rather than simply happening to them (which is the inciting incident). Absolutely 3 worlds - the world the character knows the rules of (act I), the new world with new rules (act II), the return to the old world with new knowledge (act III) - whether these are physical or metaphysical worlds. Three acts, two connected choices.

I've been thinking a lot about the plot, taking all your advice and comments into account and was thinking: what if the affair leads into a relationship?

Also, would it be possible to start with a "flash forward" on e.g. the kiss or any other moment that's later in the script, then insert the main titles and then continue with what's now the beginning that I already have...? I've seen tv shows do that but I don't know if it also works in a movie.

You should read a few notorious and worshiped screenwriting books to start getting a sense on how successful stories of any media are effectively told in a dramatic fashion.

You started story pantsing and then quickly turned toward plotting. It feels to me that a best way for you to deal with that story is to imagine your protagonist as other version of you and then just live and breathe a fairy tale with your prince Shrek or whatever with engaging obstacles, dramatic events and uncertain resolution that makes us all eager to read about.

My writing playlist consists of Slayer, Morbid Angel, Butcher Babies, In This Moment, and Sister Sin. It's great for writing horror. It probably wouldn't be so great if I were writing romantic comedy.

I have done a modicum of research into energy and vibrations; also I have heard repeatedly of the 'Mozart Effect'. I love the violin concertos etc. and the inspiration or, if not inspiration, then the feelings of calm, wellbeing in creating the scenes. Not quite horror stimulation - anyone else with experience the Mozart Effect?

I listen to my iTunes library at a low volume and find that it keeps me from getting distracted. My mind tends to wander and with the music on, I find that I can concentrate on my writing and not think about the dishes that need washing, etc.

Goth, 80s new wave and heavy metal, and classic rock gets me in the mood.

I only listen to music when I have a song in my head that I think would play out during the scene. When I play said song, I get super pumped and feel like I crank out an awesome scene. Then I go back quiet.

I WISH I could write with music on all the time. But I can't. It distracts me. I read what I write out loud a lot, and I can't do that with music in the background.

Great good luck to you Hernan - excellent score, far-ranging visuals and imaginative collating of both!!