Hey guys. Quite a few of you e-mailed to say you wanted a forum to discuss my new favorite script, Hot Air, which I reviewed in the newsletter. Since discussing awesome scripts was what this site was originally made for, how can I deny you that opportunity? Here’s some Hot Air. What did you think??

Genre: Drama
Premise: New York’s most hated conservative talk-radio host has his world turned upside-down when his 16 year-old niece shows up at his doorstep.
About: I heard about this script a couple months back. Someone told me it was really good. I read the logline and thought, “That sounds abysmal,” and have forgotten about it ever since. Going back through my files, I spotted it, rolled my eyes, and said, “Okay fine, I’ll give it a shot.” It was hard going at first, but the script keeps getting better and better til the very last page. This is Reichel’s BREAKTHROUGH script, believe it or not. He got representation off it at The Gotham Group and CAA.
Writer: Will Reichel
Details: 112 pages

DDL-21At first he might seem like an odd choice, but looking back at Gangs of New York, I think Daniel Day Lewis would love to play this character.

My friends, welcome to the number 1 Black List script of 2014. But Carson, you say, how can you possibly know what the number 1 Black List script is six months before the Black List comes out!? Well, I knew The Imitation Game was going to run away with it two years ago, didn’t I? And then last year with Draft Day I knew… well, okay, I had no idea that Draft Day was going to win. But that’s beside the point. Hot Air has great characters, it has the whole political slant going for it (The Black List loves it some politics), and it has echoes of past Black List winners, like Juno.

Oh no! you’re now saying to me. Not another Juno! Let me ask everyone, when did you all start hating Juno? Because all during its script run, everyone loved it. Then all during its movie run, everyone loved it. And then all of a sudden, everyone hated it. Actually, none of that is important. Hot Air really isn’t that much like Juno. That’s what’s great about the script – it doesn’t quite feel like anything you’ve read before. Or Juno. Man, I hated that movie.

I have never listened to Rush Limbaugh, but my impression of Lionel Macomb, our hero, is that he’s a unique cross between Limbaugh and Howard Stern – he’s a conservative New York shock jock who gets angry for the people, who’s tired of these damn liberals for giving out all these free rides, dammit!

His topic of the month is border hoppers, or more specifically, illegal aliens and their children. Should the children get U.S. citizenship or should we send them back to Mexico? You can guess where Lionel comes down on this issue. “Send ’em home!” he tells his audience, who’s most assuredly pumping their fists in agreement.

The thing is, not as many people ARE pumping their fists for Lionel lately, as they’re moving over to the hot new show on the block, Garret Whitley. Whitley is also a conservative, but his strategy is the opposite of Lionel’s – he kills ’em with kindness. The worst part about Whitley’s rise? He was a former disciple of Lionel himself!

As if that isn’t enough to think about, Lionel gets the shock of his life when his 16 year-old niece, Tess, shows up at his door looking for a place to stay. Now you’d think if your homeless teenaged niece showed up, you’d give her a bed to sleep on. Except this is Lionel Macomb, who basically tells her to fuck off.

To be fair to Tess, it’s not her fault. It’s Tess’s mother (Lionel’s sister) that Lionel truly despises. Sis is a selfish drunk who’s been screwing people over her whole life, including Lionel. He doesn’t need any of that in his life right now.

But Tess is a resourceful little gal, and after a threat to get on Twitter and let the world know that her uncle is willingly sending her into the arms of the very social services sector he rails about every morning for ripping off Joe America, he relents to let her stay a week until they can figure out a more permanent solution.

While Lionel would love to ditch Tess, his lawyer points out that the more they allow Tess to traverse around New York on her own, the more likely she is to get into trouble, which could come back to haunt him. The lawyer suggests a strategy – keep Tess close so she can’t hurt you.

So Lionel starts bringing Tess to work, where she learns the ins and outs of the talk show circuit, namely that whenever someone of importance wants to take on Lionel in his coveted radio ring, they hang up on him and go to the next guy. Lionel isn’t exactly a fraud, but he’s getting softer in his old age. Tess believes that if he debated some real people, maybe his ratings would stop slipping.

Lionel is reluctant at first, but as Whitley starts to widen the gap in their head-to-head matchup, Lionel realizes Tess is right. If he has a shot at staying relevant, he’s going to have to take on his nemesis. But if he’s spent the last five years playing it safe, does he still have what it takes to hang with the big boys? We’re going to find out.

Okay, so is this yet another “broken person comes into another broken person’s life and both of them teach each other something” story? Yes. But it’s a really good one, about as good as you’re going to see. Put frankly, this is how you fucking do it.

There are so many good things about this script, I don’t know where to start. First, Lionel is written REALLY WELL. When this guy spouts out his bullshit over the air, you fucking believe it (sorry about all the “fuckings.” Lionel has rubbed off on me).

Not only that, but Lionel is the kind of character we call “Actor bait.” I can’t stress it enough. If you want to get a script made, write a part that an actor can’t refuse, that an actor would die to play. The character of Lionel gets to spout out some of the most aggressive insane passages of dialogue any actor will get to say on screen, ever. Of-fucking-course actors are going to kill to play this part.

Speaking of, you usually want one “dialogue-friendly” character in your script. Someone who naturally has a lively, interesting way of speaking. If you write dialogue-friendly characters, you tend to get awesome dialogue. Here we have two. We have the over-the-top Lionel, and we have the clever and chipper Tess. Whenever these two say something, it’s usually interesting (i.e. Lionel: “How’d you know where I live?” Tess: “I followed the trail of fire and brimstone.”).

Then there were a lot of little things I noticed. Although the time frame for Tess’s stay actually stretches to 4 weeks, it’s constantly re-upped, giving the illusion of urgency in every section. So at first, she’s only allowed to stay for the weekend. Then it’s a week. Then, when things haven’t been figured out yet, it’s another week. This “series of deadlines” works so much better than if we would’ve said straight out, “You can stay for a month,” as that would of felt like too much time to the reader. Very clever!

Reichel also keeps the pressure on our protagonist as his ratings slip and the advertisers threaten to drop out. This keeps the stakes high during a storyline that could’ve easily felt blasé (guy sits in a booth and talks to people). Those advertiser meetings are tough on Lionel and we feel his pain as things get worse. The thing about stakes is they force your character to act. If your hero were to sit around and do nothing, he’d be screwed. Because there are stakes, Lionel has no choice but to take on Whitley in the end.

Also, Reichel takes a time-tested premise and spins it a little. Typically, in this scenario, it’s the daughter who shows up at our hero’s doorstep. But in this case, it’s the niece. Now technically this is the less compelling choice, since there’s less at stake with a niece than a daughter. But a spin is only as good as its execution, and what’s great about this twist, is what Reichel does with it. Reichel uses the niece to explore this whole complicated brother-sister backstory between Lionel and Tess’s mom that evolves in the most unexpected but satisfying way. I loved it.

Then there were the subplots. When you have a straight up character piece centering on two characters, that relationship isn’t going to be enough to carry the whole story. You have to build in subplots – meaty little conflict-laden relationships that need to be explored in their own right.

Lionel’s past and subsequent rivalry with Whitley was perfect. Lionel’s relationship with his girlfriend/publicist who was happy to fix Lionel’s public life but tired of fixing him privately was also great. And Tess’s relationship with a senator’s intern where (spoiler) she ends up getting played, was yet another awesome thread.

But when you REALLY know that you’re dealing with a hotshot is when subplots interweave with one another. Tess’s relationship with the senator’s intern actually weaves into Lionel’s brawl with Whitley in the script’s climax.

It’s so disappointing to read scripts where it’s clear the writer hasn’t put any effort into the story. When you’re deftly interweaving subplot threads with one another and making them pay off in the climax?? You’re a baller. There’s no way you’re coming up with that in a single weekend. That kind of thing takes time and dedication.

I loved this script! And I don’t even like or care about the world of conservative radio talk show hosts. If I have any complaints, it’s that maybe Lionel started to be too nice to Tess too early. I would’ve liked to have seen them spar more. And Tess also needed a little more room to breathe. Lionel is SUCH a big personality that Tess disappeared at times.

But yeah, other than that, this was awesome. Top 25!

[ ] what the hell did I just read?
[ ] wasn’t for me
[ ] worth the read
[x] impressive (Top 25!)
[ ] genius

What I learned: A cliché can work for you IF you build an honest backstory around it. Tess walks around with an old polaroid camera, taking pictures of everything. I’m not going to lie, when I saw, “Pretty alternative girl with a camera,” I winced a little. But when we find out WHY she has the camera (it was her only honest connection with her mother, who used to own and use the camera herself), it made sense.

  • K.B. Houston

    So, a conservative chastises an entire faction of people he’s never come in contact with only to change his mind when he’s personally affected by their plight and in the process realizes that these humanoid creatures are actually REAL human beings too?

    Sounds about right.

  • lesbiancannibal

    I loved this but… just couldn’t get Breaking Bad’s Saul as Lionel out of my head.

    I see you’ve gone with Daniel Day Lewis. He might play it better.

    • Jonathan Soens

      Saul actually works nicely as a conservative.

      I caught that actor when he was a guest on a podcast (I believe it was the “Comedy Bang Bang” podcast, which deals with a lot of actors with improv backgrounds). He stayed in the character of Saul Goodman throughout his appearance that episode.

      It was before the Obama/Romney election, and he went off on a funny tangent where he mentioned he was “for Romney” because of his position against regulations.

  • Citizen M

    OT: I wonder if Google’s Ngram viewer will enable us to predict the next big thing to write about. It seems vampires are hot. Thank you, Twilight.

    • Malibo Jackk

      Werewolves are really taking it on the chin.

      • Poe_Serling

        It’s a cyclical thing. ;-)

      • Hadley’s Hope

        I would be interested in a TV series that combines Sons of Anarchy with werewolves. Basically, werewolf biker clubs.

    • gazrow

      Good to see zombies are on the rise!

      • Poe_Serling
        • gazrow

          Lol. They’re pretty cool!

      • Hadley’s Hope

        Idea for a satirical zombie flick:

        ON THE RISE

        A sexy corporate spook working for big pharma abducts a brilliant silverfox of a biologist for a cross country quest to find a radical new cure for erectile dysfunction, amongst the rising dead. If Mother Nature can raise the dead, perhaps the old girl can still manage to pitch tents in the collective pants of men everywhere, and make our plucky heroine filthy rich.

        • gazrow

          There was an AF script a year or two back that was not a million miles away from this idea. Can’t remember the name of it myself, but I bet Poe can. :)

          • Poe_Serling

            That AF premise above isn’t really ringing any bells for me; however, I do recall a amateur script about someone working at a corporate office filled with monsters or some such thing.

          • gazrow

            Hmm… pretty sure you had the script in your top ten amateur scripts of that particular year? Seem to remember that all the blood of the male only victims was being drawn to a certain area of their anatomy due to a Viagra type chemical ending up in the water supply or something?

            Or maybe I imagined the whole thing?! Sure hope not. Would be pretty scary if I did!! lol

          • Poe_Serling

            “…pretty sure you had the script in your top ten amateur scripts..”

            You’re right. That script was a wild and wooly ride.

          • gazrow

            Yaaay – I found it!! Phew! Thought I was losing the plot! lol


          • Poe_Serling

            Zombie Reserection!!!!!

          • Somersby

            I remember liking that one a lot. Well written tongue-in-cheek B-movie
            fare. I’d be interested to know if the script ever got picked up or
            generated interest.

          • gazrow

            “I’d be interested to know if the script ever got picked up or generated interest.”

            Me too – I believe the writer had another script called “PARASHITES” which was meant to be even funnier?!

          • Hadley’s Hope

            These sound like better than Sharknado kind of material for the SyFy Channel. They should hire this writer or make some of this person’s specs. I bet that Zombie Reserection would be popular with that audience.

          • Hadley’s Hope

            Wow! Just goes to show that ideas really aren’t all that unique 99% of the time. Good thing I don’t actually want to write about zombies anymore.

    • ripleyy

      Cannibalistic Serial-Killing Zombie Werewolves is just itching to be the next best thing. I can feel it.

      • Casper Chris

        Still won’t beat vampires.

        • gazrow

          Dude, vampires suck!! :)

          • Casper Chris

            Took me a moment… sigh.

          • gazrow


    • Poe_Serling

      ” It seems vampires are hot.”

      This week’s AF script Black Autumn will put that notion to the test.

      “A WikiLeaks-type website reveals classified footage of a Marine unit’s horrific encounter with a vampire in the wilds of 1971 Vietnam.”

    • Nick Morris

      There would probably be a steadily rising spike around 2000 for creepy, black-haired ghost girls had they been included.

      • witwoud

        And a tiny spike in 2005 for were-rabbits.

    • Hadley’s Hope

      Damn, kaiju/giant rampaging monsters didn’t even make it onto this graph.

      Vampires can still be interesting. They have enough flexibility for variety, everything from sparkly Twilight to the creepy crawly style creatures that will appear in the upcoming TV show The Strain.

      I never thought I’d say it, but this zombie fan is tired of the undead hordes that continue to shamble across our screens. I gave it a chance again with the latest season of The Walking Dead, but I just can’t go on. The only “zombie-like” thing I’d be interested in at this point would be a sequel/prequel to 28 Days/28 Weeks later. I suppose a sequel to the PS3/PS4 game The Last of Us would also be something worthwhile too. Other than those two, I’m completely zombied out. Zombified?

      • Nick Morris

        I’m still sticking with THE WALKING DEAD, but otherwise, my zombie needs have pretty much been met for now. Not even Romero himself can revive them.
        28 YEARS LATER could be cool, though…

        • Hadley’s Hope

          They could have had a whole franchise of sequels and prequels.

          The prequels covering the initial outbreak and pandemonium:

          — 28 Minutes Later
          — 28 Hours Later

          Then the sequels taking place after 28 Weeks Later:

          — 28 Months Later
          — 28 Years Later

          Much like World War Z (the novel moreso than the movie), it would show the initial breakdown and fall of Europe, and possibly the globe, then exploring the aftermath and rebuilding of society in the sequels.

          Speaking of WWZ, I think that book and film sort of capped off the zombie genre for me. The book in the sense that it took zombies and explored so many interesting angles and conflicts with an epic scope. The movie adaptation, while an okay big budget zombie flick, was a disappointment in comparison to the source material. I believe that is what boarded up the windows in terms of little old me continuing to follow the zombie craze. (besides The Walking Dead on AMC, is the zombie craze even a thing these days?) I suppose with some time out of the pop culture spotlight, zombies might rise again one day to capture our collective fears and imaginations again.

          • Nick Morris

            How about 28 DAYS EARLIER? Business as usual in London and no one would suspect a thing, lol!
            I still love zombies too. They could just use a break.

          • Hadley’s Hope

            It could work. Maybe as a webseries that leads into 28 Minutes Later. It could focus on the laboratory we saw at the beginning of 28 Days Later. Focusing on the development of the rage virus as well as the animal rights activist people snooping around.

          • Nick Morris

            Sweet. I’m in! Like a reverse DAY OF THE DEAD with hordes of infected test subjects and crazy experiments that take place before the outbreak. As it is, I’ve always found 28 DAYS LATER a little too Romero derivative (prefer 28 WEEKS LATER, really), but this could be interesting.

          • Linkthis83

            You could morph this into a genre switching trilogy. Like, the part that takes place up until the HORROR, is a romantic comedy. Like BREAKING THE CHAIN. The end of the rom-com turns into the horror flick that is 28 DAYS LATER which then turns into the sci-fi 28 MILLION YEARS LATER when a space ship called Prometheus lands on what remains of Earth. Only, the samples they take contain the rage virus and they begin attacking each other on their return to their home planet (which will then get infected when it arrives…and repeat)

          • Nick Morris

            [xx] genius

          • Linkthis83

            If I ever get the chance, I think a genre-switching trilogy would be awesome to do. And I naively believe it would work. And be so much fun.

          • Nick Morris

            Yeah. Edgar Wright’s “Cornetto trilogy” sort of toyed with that, except that those were ultimately all comedies.

          • Hadley’s Hope

            The first part (romcom) could be titled 28 KISSES LATER.

            Jennifer Lawrence stars as an American studying in London. She meets the love of her life, who then turns into a rage zombie. Chaos ensues.

          • Linkthis83

            Honestly, Hadley, I had toyed with jumping in with my 28 ______ LATER suggestions but didn’t want to derail the conversation. Like:


            (and just keep doing that with anything you can think of)

            If I were creating this genre switching trilogy, 28 KISSES LATER is the exact title/story to go with. Brilliant!

          • Hadley’s Hope

            Yes, 28 WEEKS LATER is excellent. I like the first film a wee bit more, but the sequel kicks ass too.

      • Citizen M

        Actually, “monster” was three times more popular even than “vampire”. But it could be part of “monster truck” etc, so I left it off the list.

        • Hadley’s Hope

          Sentient monster trucks on the loose!

          • Nick Morris

            I would go see that.

          • Hadley’s Hope

            Can Larry the Cable Guy handle high-octane action?

          • Linkthis83

            Like MAXIMUM OVERDRIVE but with monster trucks, or trucks that transform into monsters? Transformer monsters? TRANSMONSTERS?

          • Nick Morris


          • Marija ZombiGirl

            MONSTER MAN. With a monster truck ! A pretty fun movie :)

          • Nick Morris

            Ha! “UR Next”.
            I must find this movie…

    • Poe_Serling

      Based on the chart…

      It’s also kind of interesting to note that ‘cannibal’ was the top creature/monster/etc. from 1900 to almost the mid 1960s.

      Personally, I’m familiar with a couple of films from the ’30s that touched on the subject of cannibalism: Sweeney Todd and Dr. X.

      But after that…

      It seems that the cannibal cycle of films should have hit their peak in the ’70s with the whole influx of Italian productions exploiting this sub-genre.

      • Nick Morris

        Yeah, I’m drawing a blank on any actual pre-70’s cannibal films. There must have been lots of cannibal-related literature around back then.

      • Wheatman

        The cannibal popularity was surprising to me. Past Sweeney Todd and the Hannibal Lector-related films, I can’t think of any. Apparently, I need to educate myself on this subject.

        • Poe_Serling

          Perhaps, like Nick pointed out below, the chart takes into account all forms of media during that time period.

        • Nick Morris

          Eli Roth is looking to usher in a cannibal comeback this September.

          Looks pretty crazy.

          • Linkthis83

            “I know, I just think I should be doing something about the rainforest.” — not gonna lie, I laughed at that line.

            And before I knew what the title was I thought, “They should call this THE GREEN.” All it’s missing is Liam Neeson.

          • Nick Morris

            Ha! You never know. He could show up…

          • Linkthis83

            True, he does have a particular set of skills.

          • Nick Morris

            If anyone can save them, it’s Liam.

          • klmn

            Looks like fun. Anyone have the screenplay for this?

            kenklmn at yahoo dot com

            Thanks in advance.

          • Linkthis83


          • Nick Morris

            I’d like to check this one out too, Link, if you don’t mind.
            nickwriteshorror at gmail dot com

          • Linkthis83


          • Nick Morris

            Got it. Thank you, sir!

          • http://www.stubbdog.com lorenavp

            would you share as well? thanks!

          • http://www.stubbdog.com lorenavp

            lorenavp at stubbdog dot com

          • sanjay

            Could you please send hot air script to sanjay.madhavan27@gmail.com.

      • kenglo

        Poe – I’m sure you can appreciate this – THE ABOMINABLE DR. PHIBES

        • Poe_Serling

          And what a cast – Vincent Price, Joseph Cotton, and, the always fun to watch, Terry-Thomas as one of the doctors.

          • kenglo

            I saw this when I was a wee child in the early 70’s. I think I was 10! Scared the bejesus out of me! Classic!

    • klmn

      Shouldn’t there be a lot more choices than those 5?

      • Citizen M

        Try it yourself and report back to us.

        Incidentally, “crooked politician” beats “bent cop” eight to one.

  • gazrow

    Have this script if any one wants it. – gazrow at hotmail dot com

    • maxi1981

      I would love to read it gazrow. max_pichon at hotmail dot com

      • Dan J Caslaw

        I’ve sent it along to you Max.

        • sotiris5000

          Hi Dan. Any chance you could send it my way please? email is my disqus username at gmail dot com. Cheers dude!

          • gazrow

            Sent it.

          • kenglo

            Should change your name to ‘askandushallrx’ lol

          • gazrow


      • gazrow


    • sotiris5000

      Cheers dude. I just sent you an email.

    • Wheatman

      If anyone’s still feeling kind– cub dot coran at yahoo dot com

      • Linkthis83


      • Casper Chris

        My kindness is depleted.

        • Wheatman

          There’s a film idea.

          In a world where people are born with a limited amount of kindness, one man must choose whether to use his last drop on his wife considering divorce or his boss who’s considering firing him.

          • Hadley’s Hope

            The stakes:

            An average nice guy who always finishes last uncovers the truth, that a kindness feedback loop is killing people. Killing them with kindness. Now he must find a way to stop the killer feedback loop before it reaches critical mass.

            The irony:

            This ultimately selfless act of heroism by Mr. Nice Guy is itself a huge act of kindness, one that could send the feedback loop into overdrive and kill the world’s population!

            The resolution:

            Mr. Nice Guy has to give into his darkside at the last second in order to quash the killer kindness energy waves. He must unleash his inner jerk, which allows him to find balance and not be such a pushover anymore… until the sequel where he becomes a power hungry exploiter of kindness, rising through the ranks of the corporation he works for.

  • Randy Williams

    Michael Douglas seems to be playing him here.

  • Andrew Parker

    Can I bet you an AOW review this doesn’t end up #1 on the Black List?

    I think the writer shows some considerable skills, particularly in the plotting and dialogue department. My slight hesitations are:

    1. Lionel never felt terribly authentic. He felt like a light dramedy version of a conservative talk show host, rather than an actual one. Even his rhetoric, which was mainly delivered via the unfortunately uncinematic medium of radio, wasn’t that strong. Would it be better served if he was a politician or political consultant or lobbyist?

    2. Not a lot of conflict. His niece seemed pretty agreeable and cool and sarcastic. And without conflict, how can you really have drama?

    3. The setup did feel a little overly familiar — Randy Williams posted that Michael Douglas trailer below, but it actually also harkens back to another Michael Douglas movie from a few years ago — “Solitary Man”. A few shades of Kevin Spacey’s “Father of Invention” thrown in also.

    Once again, some very good skills on display — some of the niece’s dialogue was quite inventive. But I think your #1 Black List claim might be hyperbolic. Definitely Black List quality though.

    • Magga

      Talk Radio, The Fisher King

    • Andrew Parker

      One other thing I forgot to compliment — specificity of locations (Frying Pan restaurant, Griffon Shears building, etc). And it wasn’t obvious NY locations either.

      Even if you don’t live in the place you’re setting a movie, do a little a google research and include specific locales to pretend like you know the area well.

  • Citizen M

    In Thursday’s “opening scene” article I suggested one alternative was showing a protagonist being good at his job. This script’s opening scene is a good example of that.

    • ElectricDreamer

      I think there’s variations on your formula there as well…
      For instance, you can intro a flawed protag FAILING at something he loves too.
      Showing what protags ENJOY and DESIRE is an invitation to get invested.

    • Casper Chris

      But that’s not the reason it works. It works because what he’s saying, or perhaps more importantly, how he’s saying it, is fucking interesting.

      Which leads back to the rule of all rules: JUST FUCKING ENTERTAIN US.

      Had it opened with a mechanic changing the tires of a car and being very good at it…. okay, maybe that could still work, to an extent… but still…. how about a secretary being very good at typing? Yawn.

  • Logline_Villain

    A very well written script. Kudos to Mr. Reichel.

    Note the little things that add up to a professional script. As in, the formatting is close to perfect. For instance, there are zero WIDOWS (the script kind) in HOT AIR (okay, there appears to be one on the next to last page of script). Compare that to many a lesser script where it’s not uncommon to find 10 widows in the first 5 pages.

    All those widows scream two things to the reader: 1) The writer is too lazy to clean up 1 word; and more importantly 2) That if the writer is consistently too lazy to clean up 1 word, they’re almost certainly too lazy to clean up the macro issues that may plague their script as well.

    KILLING THOSE WIDOWS should be part of any final check before submitting a script.

    Micro choices impact how our scripts will be viewed on a macro level.

    Hot Air is worth reading not only for the solid dialogue and action lines that add up to a well-constructed story, but also as a reminder for how a script SHOULD look…

    • IgorWasTaken

      I like widows, sometimes.

      Let’s say you have 3-to-4 short action paragraphs, and each one of them is 2 lines – and each one ends with a complete line, close to the right margin.

      I think that looks blocky, and it’s easy for your eyes to get lost on the page.

      But make one of the paragraphs 3 lines, with just a word or two or three on the third line – it breaks things up visually and makes the whole page look “lighter”.

      Now, would I have a 3rd line with just one 2- or 3-letter word? Probably not. But a word with at least 5 letters? Yeh, no problem.

      • GoIrish

        I think eye-tracking studies would actually support this idea…brings a whole new dimension to screenplay formatting:

    • pmlove

      Reminder to writers: address 2) first, then 1).

    • JakeMLB

      I wouldn’t go so far as to say that it’s a necessary check before submitting a script. Widows don’t end up on screen. Sure, a lot of writers obsess over them but it’s hardly a prerequisite to a good script and plenty of professional scripts don’t bother. Story trumps all. Not saying you shouldn’t try your best to eliminate them but you don’t need to obsess. Almost every line you write is likely going to be rewritten anyways.

      • IgorWasTaken

        Yay! One more SS’er who agrees with me. But I’m still losing to the Villain, 8-2.

        • Linkthis83

          Igor, my vote wasn’t really about the widows. I normally could care less about certain aspects of formatting. I was upvoting the props to the writer and the quality of the script. I don’t subscribe to belief that a script with, or without, widows indicates anything about the writer or quality of script.

          I upvoted Jake because, well, he definitely captured my “it doesn’t matter” belief. I’m also a proponent of “do whatever you want in your script” if you think it helps or serves a purpose for your script/story.

          Also, upvotes don’t mean that someone/something is right.

          And your example below was atrocious ;) It’s like you came up with that in the moment off the top of your head. Geesh.

          (*note: The above statements haven’t been proven, or disproven, to be either true, or untrue. — If you have doubts, perhaps you should reference this SS article again:


          I get so frustrated with some of the things that get said on here that it forces me to go find out for myself (which I should be doing anyway – don’t let the others do my work for me). So in that article I posted snippets from other articles of what readers pay attention to. It got 14 upvotes (if that matters…lol). There was also a twitter conversation that I compiled into one document and created a link for:


          I know you’ve been around SS a while, maybe even longer than me. My philosophy is always to pick a paradigm and embrace it. And when an experience makes you challenge it, then adjust accordingly)

          • IgorWasTaken

            Thanks, LT.

            Yeh, around here, even the very notion of “voting” – what it is, what it means – is an issue. (the Breaking the Chain kerfuffle)

            And as for upvoting (and Disqus no longer shows the count for down-voting; Ugh! The Facebooking of the Internet), I can see different people using different reasons.

            It seems you’re good to go if you see a noteworthy element; others want to be in overall agreement with the post; while I’ve seen people post replies, “Dude, that is a great post. And that part about the __ was so amazing. Thanks!” But then, they don’t bother to click the up arrow. So, there ya go. I’m more an “overall agreement” kinda voter.

            Now, as for the specific issue of “widows”. LV’s original post, and all those up-votes did make me roll my eyes. Obviously, I disagree with LV.

            I look at formatting this way: Doing something “different” may cost me, but in each case, does “different” make things clearer on the page – enough so that the upside is bigger than the likely downside?

            If “We see” makes things really clear, is it better to just write that rather than writing around it? Same with “MORNING” and “AFTERNOON” instead of just “DAY”. Leaving out a slugline for the first scene. Leaving a 6-line action paragraph as (OMG!) 6 lines, just because it simply reads better that way. Using 2 or 3 action wrylies in a single block of dialogue because it helps keep the pace going.

            Anyway – Again, thanks.

  • cjob3

    I remember Howard Stern talking about Oliver Stone sitting in his studio for a week or so, observing his show. Stern was all excited because he thought it meant Stone wanted to use him in one of his films. Turns out, Stone was just researching Talk Radio.

    • Casper Chris

      Strange. I usually never let anyone watch me while I work without asking them why they’re watching me. I guess for Oliver Stone I could make an exception though.

  • mulesandmud

    Anybody ever get their hands on UNDERSTAND by Eric Heisserer?

    • Casper Chris

      No, don’t you understand?

      • Casper Chris

        now, look at that… gazrow’s terrible humor has rubbed off on me…

    • kenglo

      What’s that one? Heisserer is a great writer…..I’d like to read it….

  • ElectricDreamer

    The plot is way too close to a very famous 2008 Korean comedy: SCANDAL MAKERS.

    Barry Sonnenfeld was attached to direct, but the film’s been in turnaround for years.
    If that project never got off the ground, I don’t see this spec getting any better traction.

    Also, Hot Air has a fraction of the fireworks of the original blockbuster idea.
    The choices the Korean film made brought much more CONFLICT to the table…

    In the film, the talk show DJ gets an early 20s daughter… and her TODDLER SON!
    Also in the prologue, the protag’s future daughter anonymously calls in to his show.
    She even challenges him on the air at times. How fucking cool is that shit?
    I’ll take clever character interaction over a random vintage Polaroid camera any day.
    These two examples from the film’s opener have way more conflict and structure.

    Will is a talented writer, but I don’t get why Route One Films would pick this up.
    Interesting sidebar: at one time Route One was supposedly backed by Korean financing.

    • http://screenplayamonth.tumblr.com FilmingEJ

      Holy shit, this is exactly what I was thinking with Scandal Makers. You just read my mind ElectricDreamer, I now owe you a soda.

      • ElectricDreamer

        Thanks! Birch Beer is my favorite. Sarsaparilla is dandy too. ;-)

        I’m watching SCANDAL MAKERS right now. No comparison.
        There’s so much more conflict and jokes in the first twenty of the movie.

        • Hadley’s Hope

          “Say, friend, you got any of that good sarsaparilla?”

          • ElectricDreamer

            The Dude always abides.

  • thedudespeaketh

    I don’t know, Carson. I’m on page 18 and I’m not feeling it. I mean, it’s okay, reminds me a lot of “I Ought to Be in Pictures” but I’m not blown away with it. I’ll keep reading.

  • IgorWasTaken

    OT: Has anyone figured out why sometimes, seemingly at random, posted comments end up in the moderation queue?

  • Brainiac138

    There have been others who have thought the same thing, but I think it was because of Cruise in Tropic Thunder that made them think he might be able to take on Lionel.

  • Marija ZombiGirl


  • gazrow


  • Kirk Diggler

    A guy like Limbaugh doesn’t get paid 60 million a year to be an iconoclast, he gets paid 60 million a year to carry water for the Koch Bros and The Waltons and Wall Street. If he could make that kind of money to champion the proles guys like him and Hannity would go there in a heartbeat.

    • IgorWasTaken

      To carry water? Uh, no. He gets paid that money because advertisers want to reach his audience.

      IOW, he gets his big bucks for the same reason that Howard Stern gets his big bucks. And the same reason the NFL and NCAA football get their big bucks.

      You attract a huge audience, people pay you big bucks to advertise.

      • Kirk Diggler

        He gets paid the money because radio stations are predominately owned by conservatives, Clear Channel being an example of that. They favor right-leaning programming and Boss Hog delivers because he is willing to sell what the plutocrats want him to sell. Advertising is all done in bulk, it’s all part of the game. Individual stations could never sell out Limbaugh’s time slot on their own because A LOT of advertisers are put off by his racism and sexism and homophobia. Without the bulk national sales of whatever sex pill he’s selling this week the Fat Man would flounder.

        • IgorWasTaken

          No, not so much.

          If what you say were true, then local stations wouldn’t carry the show. But, they do carry the show.

          • Kirk Diggler

            Yet it’s true.

          • IgorWasTaken

            So then, how do you think local stations make money when they carry Limbaugh’s show? Where does their revenue come from?

            IOW, you’re saying local stations don’t sell local ads? No local advertisers want to advertise on the show?

            Of course, there are national ads. That’s how Limbaugh gets paid. The money for local ads goes to the local stations.

          • Kirk Diggler

            Rush Limbaugh offered his show for FREE to many smaller stations in what’s known as barter deals. This is how he built his empire in the early 90’s. Many of these smaller stations across America still pay little or a nominal fee. In the long run it saved these stations money because they didn’t have to pay on air talent nor did they have to sell advertising for that slot because it was all pre-sold national ads that were packaged with his show. Big stations in big markets are the ones who pay to broadcast Limbaugh, and are the stations with a sales force that are capable of driving local ad sales for his show.

          • IgorWasTaken

            A “barter deal” just means (generally) that (a) the station gets the program for free, and (b) the station gets X number of slots to sell on their own, and they get to keep that money.

            Barter deals on radio and TV have been around for many years – and longer than Limbaugh.

          • Kirk Diggler

            What’s your point? This is how Limbaugh has managed to infect so many stations across America that otherwise wouldn’t carry his show. His average viewer is 66 years old yet you are going on about advertisers coveting his audience… I mean seriously? He is being kept afloat and propped up by powerful interests. No advertiser wants his demographic, his audience is dwindling. He’s a dinosaur and you know what happened to them.

          • IgorWasTaken

            My point is: You claimed that Limbaugh is on the air only because of some cabal involving the Koch brothers. As if the Koch Brothers have sent “enforcers” who make the stations run the show. I mean, really? He’s “infect[ed] so many stations across America”?

            I claim he’s on the air because he’s making money for the stations that carry him. Same reason why most anyone gets to stay on the air.

            That’s our disagreement. You think there’s political intrigue behind it all; I think it’s just people making money by standard-model advertising.

      • Brainiac138

        While Limbaugh still attracts a large audience, his audience is shrinking and shrinking fast, and it doesn’t look like he is going to regain any of it.

        • Kirk Diggler

          Key quote from that article that mirrored my comments.

          “but the real problem has been a lingering boycott that has caused Fortune 500 advertisers to avoid Rush like the plague.”

          • IgorWasTaken

            Yeh, pretty soon, Limbaugh will have to turn to Kickstarter.

            Limbaugh’s Fortune 500 problem is old, old, old news. KD, your argument has been that local stations can’t find local buyers of local ads. Well, that ain’t the Fortune 500.

        • IgorWasTaken

          That link to Politicus USA. That site labels itself as “Real Liberal Politics”.

          In any event, as I replied to Kirk, that “news” is old news. After 20+ years – yes, Limbaugh’s having trouble in major markets. Especially since back when he insulted a female law student at Georgetown. And even before that.

          He claims he has 20 million listeners. Let’s say he has only 10 million. Oh, gee.

          • Kirk Diggler

            He’s thrilled to have to have you schilling for him.

        • Randy Williams

          Maybe Glenn Beck has picked up some of it. Who, by the way, just purchased a movie studio in Texas where Prison Break was shot. Currently developing three scripts and taking meetings. Stop bashing them and start pitching.

  • gazrow


  • gazrow


  • IgorWasTaken

    Do they exaggerate? Do they use hyperbole to express their views? Do they say that some politician missed the best policy solution by a thousand miles, when they believe the politician missed it by only a few?

    Yes to all of those.

    But do they say things when they actually believe the opposite? I don’t think so.

  • Citizen M

    I thought this was pretty good up to the TV show. I didn’t think Lionel’s conduct was realistic, and in fact I found it hard to understand why anyone was doing what they were doing after that. But up to that point, yeah, a class script.

  • IgorWasTaken

  • Logic Ninja

    I second that motion! If anyone’s feeling particularly generous, please send to jaybird1092 at yahoo.com.

    • pmlove


  • Will_Alexander


    It has come to my attention that my AOW script, THE SORCERER, may be the kind of script people would be much more willing to dive into if they knew it had been vetted a bit beforehand. That makes sense.

    It was one of what I believe were five finalists last year for The Sundance Institute’s Alfred P. Sloan grant for film projects from the world of science, and it has gotten me a few meetings including with Charles Roven (Dark Knight Trilogy, American Hustle) and Langley Park (Gangster Squad). It was also one of a few scripts that got me my manager.

    As a writer, I’ve got a novel adaptation under option with an indie company, and am working with another producer on a series idea.

    I didn’t mention any of these things before because I just wanted to see how the script would do against whatever competition there was. I still want that. But if people need a bit of a reason to be confident their time will pay off (which makes sense) then maybe these facts will help.

    If anybody wants to take another dip into the amateur offerings from the weekend, The Sorcerer awaits your scrutiny. Thanks. And I do apologize for the distraction and the shamelessness.

    • Linkthis83

      I’m really glad you withheld that information. That way you got an unbiased reaction to your script.

      It felt like I was reading a story with movie substance, but like I said, it just didn’t feel accessible. Not in script format. I believe it’s possible to work visually.

      Since it has been vetted, I’m extremely interested to know if those in the business find your opening to be completely fine and accessible. If you don’t mind sharing some of the feedback you’ve received from people other than amateurs.

      • Will_Alexander

        Only notes I ever got on the opening were from my manager, and I did at least three distinct opening 10-12 pages that he and I then worked with. He felt that starting with Tesla on screen was important, but that getting directly into the FBI investigation was equally important. I think I agree with that, and what is there is kind of a compromise of all the things I think need to be there.

        Main notes I got from execs were along the lines of, “I really wanted this to be a caper in the vein of Sherlock Holmes” from Roven’s guy, and “The Current War has kind of beat you to the punch here, plus Johnny Depp’s had a Tesla pic in development for a while” from Langley Park.

        I’m not 100% sure those meetings weren’t favors for my manager, though, as I’ve had others (including another with Langley Park) that were based on reads of other scripts and were pretty different in substance. There are generals where you shoot the shit and there are generals where they tell you three different books they’re working on and listen to you pitch three more things and they ask to read them and actually do. Sorcerer meetings had a lot of shit-shooting.

        Actually got a read from Smoke House and didn’t know it until I was meeting with them about something else and they mentioned it. Said they weren’t sure anybody really wanted to see a Tesla movie — at least not a straight-up bio-pic that would cost a lot of money to produce.

        But, no execs mentioned having any trouble with clarity or accessibility in any part of the script. They also didn’t write me a check, though, so…

        • Linkthis83

          Really appreciate the reply. I’m an amateur for real. Nowhere near where you are at in the process.

          My notes/feedback are coming from the perspective that an amateur hasn’t gotten to the stage you are. So I’m thinking about readers and low level people they are trying to impress. That is why I gave you the feedback I did. I was trying to figure out why I wasn’t engrossed in this story that had so me elements that interested me.

          After finding out about your successes (minor I know), then I wouldn’t advise you change the opening. It’s the subject matter that seems to be holding them back, not the entry path into the story.

          Does that mean it’s not an actual investigation story? I thought was going to be a fantastic angle. That we’d get to learn about Tesla and the intrigue/drama around his life. I thought that was the promise being made in the opening pages. But like I said, I wasn’t too certain I was keeping up like I thought I was. Lol.

          You can tell your execs that I would go see this movie if it were at the theater today. That’s one in your corner :)

          Well, again, thank you very much for responding. It’s great to get the real info from what it’s like “in the room.” Good luck with everything, man. I truly mean it.

          • Will_Alexander

            We’re all amateurs for real until somebody pays us.

            Your feedback (along with most everyone else’s) is invaluable for a number of reasons: you don’t know who the hell I am, you’re not dealing with a manager who may have three OTHER clients you REALLY love so you’ll do him this one solid to keep the next conversation from being awkward, and — most importantly — you’re the audience. You, and everyone else who doesn’t (yet) make movies for a living are who I’m writing for; the other folks are just people I have to get through to get to you.

            It makes sense that they would be less confused, too. All anybody here had to go on was a logline, but the execs had a 10 or 15 minute conversation with my guy trying to sell them on it before they ever even said they’d look at it. They knew what they were getting into.

            Bottom line is it’s not working right now because even people who are into it — or into the subject matter — aren’t loving it. I still think there’s a great movie in there and I just have to keep chipping away at it.


          • Randy Williams

            Your script reminded me of Doctorow. (Ragtime, Billy Bathgate, World’s Fair) I think only Bathgate was made into a movie. But, is there a market for stories like this anymore?

            I think the market is looking for more intimate stories.

            My mother is a big fan of Tesla. But, her image of him is from those old Art Bell radio shows where he was presented as this romantic almost alien figure, a Klaatu.

            Maybe make the story smaller. Use the movie, “Life of Pi” as a template. An investigator or writer is interviewing someone about their supposed connection to Tesla and the search for the ray gun. Provide a twist based on history with some mystery of what may or may not have happened. That would be a movie mom would like to see.

          • Will_Alexander

            Your mom sounds like a pretty awesome person.

            There actually is a thread in the script like what you mention. After the investigation, which leaves more questions than answers, one of the FBI agents has gotten some terrifying news and tracked down Tesla’s old assistant. The FBI agent wants to know what Tesla was actually able to accomplish, and the assistant wants to know what happened to all of Tesla’s work that was taken by the government. As they go back and forth at each other, the story goes back to their individual stories (or, in the assistant’s case, what he had heard from Tesla).

            It hopefully feels pretty intimate. I want that part of the script to have almost a fireside, storytime feel to it.

            So, there are three threads: An FBI agent and Tesla’s assistant getting information from each other, the FBI investigation after Tesla’s death, and Tesla’s life.

          • JakeBarnes12

            Hey Will,

            Based on my own experiences in meetings, and you probably don’t need me to tell you this, “we wish it was more like X” or “Person Y has beaten you to the punch” are clear “no’s.”

            Again, just in my own experience, it’s a waste of time to then produce a Sherlock Holmes-type caper or whatever they say they really wanted; the same places won’t take another serious look.

            The big question I guess you’re facing is to put more time into the project in the hopes that other places will be interested.

            The big advantage of a manager that most complete outsiders don’t have is that you can pitch an idea and he can tell you, as happened to me several times with a “great” idea I thought I had, that there are a bunch of projects with the same/similar idea out there and none of them are selling.

            Personally, when I heard that I moved on to something else. Sure, you can tell yourself your take is gonna be so great it sells it, but that’s time maybe better spent on something fresh.

            It’s always a tough call.

            Finally, just curious; are you hip-pocketed or signed with your manager?

          • Will_Alexander

            Yes, I consider anything but a check to be a functional No. At best, it might be a, “Maybe, but let me see if I can get some other folks on board with this.”

            I would not put my other stuff aside to work on this exclusively, but I want to see a Tesla movie made (a real bio-pic, not a fictionalization) so badly that I know I’ll keep working on it. It may be something I can’t get made until I’ve proven myself on other projects, and that’ll be fine.

            I’m not going to rewrite it to be something else, I just want it to be better at being what it is.

            I have signed with my manager and, God bless him, he works his ass off for me. I really hope to be his biggest earner just because I feel like I owe him.

            Thanks, Jake.

          • JakeBarnes12

            Cool, man.

            End of the day, you got a real passion project, you gotta see it through.

        • Malibo Jackk

          They’re speaking in broad terms, which is probably more to the point.
          (Any script can be re-written.)

    • gazrow

      “I do apologize for the distraction and the shamelessness.”

      You do what you gotta do! Good luck for AOW/AF!

    • ElectricDreamer

      Never be afraid to promote yourself if believe you can stand up to scrutiny.
      But as others have said, it’s best that you waited until some opinions rolled in.

      In the front 20 of your script, I felt a classic five-act structure starting to unfurl.
      Giving you a very appropriate page count for that format.
      Hopefully, I can dive into a full analysis of your Tesla tale on a future AF.

    • TomG

      Hey Will, I gave it another try but didn’t get drawn in. I share your admiration for The Prestige and the idea that the very best scripts and movies require an investment, but also create an emotional connection. In the Prestige IMO the conflict of the dueling magicians pulls casual viewers through the deep complexities of the story. I was thinking of other biopics where the protagonist isn’t an easy sell. With Amadeus they made a brilliant choice to tell it through Salieri, thereby instilling a resonant conflict to drive the story. In A Beautiful Mind they make us temporarily believe the madness Nash believed. If Tesla doesn’t have a resonant personal connection to manifest the theme you want to convey (human cruelty?) then you may need to invent one or exaggerate something close. Maybe make Edison your monster? As much as I love complexity, I can’t think of a commercially successful biopic that leaves the central character a mystery (even when it’s the truth, as it often is). If you want to discuss further send me an email at tomgarf1 @ gmail.

      • Will_Alexander

        I really, really appreciate this, Tom. And I make take you up on the email correspondence.

        An earlier draft leaned a bit more toward a Prestige kind of opening, starting with Tesla and Edison already clearly at each other’s throats. I kept geting notes similar to what I’m getting now, that people weren’t connecting with Tesla. So I went back and put in things from before Tesla and Edison met, hoping to create that bond with the audience. Maybe if we see what he goes through before getting to Edison, and then what he goes through with Edison, we’ll be ready to go all the way with him…

        It just needs more work. I just flat haven’t cracked it, yet. The only way it works is if the audience is dying to know after 5 to 10 minutes who Tesla was, what he was able to actually accomplish vs just CLAIM to accomplish, and what was driving him. Even then it may not work, but there’s not a chance without that.

        I think I can do it, but it’s a couple drafts away. Thanks, again.

  • gazrow

    Hot Air – Really liked this one.


    My only criticism – I felt Lionel lost his cool way too quick with very little goading during the live TV debate. Still, some great writing on display. Kudos to the writer.

  • pmlove

    I think Carson could do a whole article on stakes, because I think it is the most difficult element of GSU and, I believe, one of the ways to make your script stand out.

    So many scripts and stories defer to either death, the end of the world or financial ruin as their stakes in order to ‘maximise’ them, the downside being they can often feel inorganic or rote.

    Making the stakes personal to your character can make your script stand out and also help you build your character.

    That was one of the nice things about Breaking the Chain (sorry to bring it back) but its stakes were driven by personal themes. He could lose his friend. His wife. His relationship with his family. These were the things that were at risk. Things that mattered to him and him alone.

    For those who want a pro example – Pulp Fiction’s ‘Gold Watch’ section. There’s absolutely no reason for Butch to go back for the gold watch. No stakes attached. Except that it means everything to him. It’s a goal that is only applicable to that character. Death, saving the world, financial ruin. They apply to everyone. That can make them boring choices.

    Now, I haven’t finished Hot Air but if the stakes are personal enough, them I’m in.

    • Hadley’s Hope

      It’s funny how these days the stakes can’t just be stakes, they gotta be STAKES — OMG THE WORLD IS DOOMED, THE ENTIRE GALAXY IS IN PERIL AHHHHH!!!!!!

      Even some of the big influential blockbusters such as Jurassic Park worked without some villain trying to blow up the world. The stakes in JP where basically that of ‘don’t get gobbled up by the dinosaurs’. Kind of similar enough to ‘don’t get fired’ (which leads to no money/no food/no home) in my book. Survival. Just different shades of it and at a different level of intensity.

      Every movie hero/protagonist does not have to be James Bond or Sarah Connor in some daring quest to save us from evil.

  • JakeMLB

    Personal stakes can be just as large as external stakes like saving the world. Depends on the character and how the stakes are presented in the script. Career is pretty important to most people past the age of 30 and I’d imagine it’s particularly important to these caricature TV/radio pundits whose livelihoods are anchored to their persona. Lose the show and you lose your livelihood. Those seem like pretty big stakes to me.

  • IgorWasTaken

    Anonymous “Reader” wrote: “I was hoping for a better example.

    Well, it’s a made-up-on-the-spot example. Do you expect a Rembrandt in the picture frame you buy at the store?

    Anonymous “Reader” wrote: “How does one ‘look outraged’, and a ‘look of revenge’ — this is something you would explain in dialogue as it/if it pertains to story.

    “How does one ‘look outraged'”? Really?

    “this is something you would explain in dialogue”. Seriously? In any event, I disagree.

    “This tells me your script (the one you are working on), is overwritten and you lack confidence in your reader.”

    Well, thanks. Notes from a psychic reading of my script. Based on three short sentences that I posted here – sentences that are not in any of my scripts.

    And so… I posted an example. As an example. Sorry it disappointed you. Maybe I’ll do better next time.

    • Hadley’s Hope

      Mr. Igor, you should be going through at least ten drafts of your comments before you post anything to Disqus. Bare minimum. Maybe twenty since you are obviously a new user of internet technology. Just because the edit button exists, doesn’t mean you should abuse it after the fact.


      — This entire comment not to be taken serious at all. No offense meant (widow).

      • IgorWasTaken

        Well, it takes a lot of work to create widows. And ’til someone replies, a widow-maker I shall be.

  • yovita

    where can I find a copy of the script? google won’t help.

    • gazrow

      I have it – gazrow at hotmail dot com

  • pmlove


    • Sullivan

      Me too pretty please.

      Jasondiggy at hotmail dot com

  • andyjaxfl

    Someone needs to make vampires frightening again.

  • carsonreeves1

    I saw Edge of Tomorrow instead of Jump Street. Still trying to figure that whole debacle out. I thought the film was pretty good, but it was weird how they created this whole artificial plotline to explain why the heck a 50 year old was grunt soldier. I guess if Tom doesn’t sign on, the movie probably doesn’t get made, but still. The main character needed to be 20, like the script.

    • Hadley’s Hope

      I actually liked the idea of a military PR guy who was good at smiling for the CNN cameras was ripped out of his cushy existence and thrown into the meat grinder of combat.

      If Arnold can come back as a grandpa terminator in sequel after sequel, I can live with a middle aged dude in the lead for this flick.

  • Will_Alexander

    I suppose, but I am looking for a job in Hollywood, here…


  • Ali G

    Please please please could someone send this script to me – endeavour@hotmail.co.uk. I’m a British TV writer and this one sounds like a goodie!

  • tgraham22

    Where would I find the “Hot Air” script?

  • august4

    What I’ve learned: It DOESN’T matter what rules you break, as long as that PARTICULAR reader likes it, it’s “IMPRESSIVE.” Ha… Carson has mentioned numerous things he hates: walls of dialogue, the double line action technique, writing unfilmables… a character’s inner thoughts, etc… they’re all in this, but no mention of them here because he liked it. I’m not saying it’s not a good read… it is, but that’s my entire point… You can stop focusing on nitpicking techniques… they are ALL IRRELEVANT… just focus on a solid idea and engaging writing, and then it’s ALL up to that PARTICULAR reader.

  • Sanjay

    Hi friends,
    Can someone send me the script of Hot Air.
    Mail ID is sanjay.madhavan27@gmail.com..

  • Linkthis83

    Which one you after? GREEN INFERNO or HOT AIR?

  • El_CapitanMorgan

    Can I get a copy of “Hot Air” ?

    I would so apreciate it! tmorgan175 at yahoo.com

  • carsonreeves1

    Welcome Smishsmosh!