Enzo Bellani's Lounge Discussions

Share it with a colleague first. Coverage isn’t meant to help you look for mistakes or story problems. Coverage is for producers and talent managers to see if the script is ready to shop around.

Welcome, Enzo! This is what we do. Look for SCRIPT SERVICES on your top bar. Scroll to see options. Or post your pages and offer feedback for feedback. You'll read their story, they read yours. You'll get all the feedback you can handle.

FADE IN — I wish you the best: cheers and much success on your project.

I have been participating in classes in ScreenwritingU; one of the first things that is focused on is: Is it a marketable concept; i.e,, high concept? If it isn't then this is probably a learning script. Title is key and logline. If that can turn people on and they say "Wow I want to see that," You may have a marketable script. Feedback is so valuable. Have you post title and logline to see how people respond?

Thanks for that advice Dan Guardino and good question Quinn Butterfield.

Your voice will not be lost.

There are no two words in the English language that mean the same thing, they come close, but never the same thing. If your character melts into a chair, they melt into a chair (sounds like summer in Sydney).

The most important thing I have learned from reading a lot of scripts. The more clever you try and be, the worse you look. People don't want to see your writing, they want to see your movie. Don't use words that send people diving for a thesaurus. That will instantly break their connection to your work. They should never look away from your pages.

The structure your story takes is up to you. Start at the end, jump around, tell it backward. If it works it works. If it doesn't, well... you know the outcome.

Readability is something completely different. I am reading a script for someone. It is nearly unreadable. It is a collection of words that read all interesting and spooky but mean nothing from a film point of view. It would probably be a better novel. It is not a story to be told visually.

Lastly, if you are going to do something unusual. I am a big fan. Do it well and you will look like a master. Do it poorly and you'll look like a gymnast that face plants. Don't try the backflip till you know you can stick the landing (that is correct, I have no idea about gymnastics).

Your voice is the screenplay, without you the story would not have been written. Unfortunately, if you plan on submitting your work to someone else to possibly produce it, then they will ultimately pick your script apart anyway. Reason being is that you had a vision to write the script, when the Director and or Producer gets the script they will adjust your vision on paper to line up with their vision for filming the story. In many cases if it is a big Production company your script will get up to at least 5 revisions before the first frame is filmed. So, unless you plan on filming your own script you must be prepared to accept the changes the Production Company makes. When you submit your script you need to be able to sell it to a Production company and negotiate whatever you can up front concerning the creativity within your script and just walk away (this is a harsh but true reality), unless you negotiate with the company to be a part of the Script revisions. I learned this myself while writing my first Screen Play. I hope this helps.

...I thought about that too Enzo. We have a 30sec/40sec/60sec teaser/trailer.

I know Richard.

Hello Rutger, I have a short film that has transitioned from onsite festival screenings to online fests, despite lockdown. I encourage you to consider your motivations and goals for each scenario, onsite vs. online.

Online options can potentially transcend geographic boundaries and could very well mean a much larger audience for your work. Is the short meant to be a calling card for other work or a feature, which would mean that the increased exposure would benefit your network, brand, etc.? Or distribution? So geoblocking and pay-wall enforced elements are a higher priority, for example. Perhaps an outline of your reasoning for holding back?

Many online fests have pay-walls in place, are honouring geoblocking, upholding premiere status, and employing other initiatives to ensure the fairest treatment possible. However, despite a Film Festival Survival Pledge movement (including “temporarily waive policies limiting screening and competition eligibility of films produced within a specific timeframe to include films that were eligible in the previous festival cycle.”), some of next year’s festivals may not consider 2020 films when there are 100s or 1000s of current year films to consider.

As a programmer for festivals and organizations, I anticipate that your short will have even more competition during the next festival season, as current films and the films held back from this period vie for screening slots. There’s also the very real possibility that festivals’ next editions will be presented on a smaller scale, reducing the overall number of screenings slots or duration of the festival, with hopes of financially recovering from revenue losses. It's a moving target... Ultimately, it comes down to strategy and what you most want for you and your work. Good luck!

As Richard "RB" Botto says, the time is now! Check out yesterday's Deadline article: https://deadline.com/2020/04/swsw-stage-32-maggie-gyllenhall-festivals-c...

Great opportunity, but Cannes was the first we festival. Never heard of them again. Slight changes we got into the official festival anyways. End you have to be qualified for at least one festival if I read it correctly? Bu great for people who already qualified for a festival that got canceled!!

Hi Enzo, welcome to stage 32!

Thanks man. Im looking forward to networking and hopefully work with some writers.

Hi Enzo and welcome to the Stage! :)

Welcome!

Welcome Enzo. I would say this is by far the most informative platform. Hope to work with you sometime, sir.