Jessica Hall. JESSICA HALL! Back again, now with click-able links! We decided to bring this outfit into the present day. Lots of adaptation-type news. This Rothman pitch sounds kinda interesting. A comedy-horror set in deep space? Can’t say it’s not original. The rest of the stuff doesn’t complete me unfortunately. :(

Universal picked up a pitch from writer Rodney Rothman for mid-six-figures. THE SOMETHING is described as an ensemble comedy/horror hybrid set in deep space. While this is Rothman’s first solo writing gig, he has several other projects around town and made his start as the youngest head writer in the history of “Late Night With David Letterman.”

Nick Pustay (RAMONA AND BEEZUS) will adapt the first book in Maggie Stiefvater’s YA series, SHIVER. Story centers on a bittersweet paranormal romance between a teen who becomes a wolf each winter and his girlfriend, who helps him find the secret to staying human.

VLAD, the re-imagining of the Dracula myth, will be rewritten by Scott Kosar (THE MACHINIST), shepherded by director Anthony Mandler. Actor Charlie Hunnam (SONS OF ANARCHY) wrote the original draft. Brad Pitt’s Plan B is producing for Summit.

Mike Newell (PRINCE OF PERSIA) will write and direct an untitled project about the mysterious death of former KGB spy Alexander Litvinenko. He’s working with 2009 Black List writer David Scarpa (LONDONGRAD). Project is set up at Warner Bros.

Hoping for a new franchise, Ralph Winter and Terry Botwick acquired the rights to Dean Koontz’s “Frankenstein” series. Project places the doctor — a socially prominent and successful businessman — and his super-human original creation in modern-day New Orleans. No writer has been announced.

Oscar nominated writer Geoffrey Fletcher (PRECIOUS) will write an untitled project about the true story of the 1971 Attica state prison rebellion in which 32 inmates and 10 hostages were killed. Doug Liman (JUMPER) will direct.

Writer David Scinto (SEXY BEAST) will make his directorial debut with NIGHT FLOWER. Ray Winstone has signed on to star.

Kevin Lima (ENCHANTED) will direct AVON MAN, written by Kevin Bisch from his pitch. Fox bought the project as a vehicle for Hugh Jackman, who plays a man who loses his job as a car salesman and becomes a successful Avon salesman.

Oscar nominated writer Oren Moverman (THE MESSENGER) will polish and direct ALL APOLOGIES, the Kurt Cobain biopic. David Benioff (BROTHERS) wrote the current draft for Universal.

Playtone producers Gary Goetzman and Tom Hanks are currently out to writers for the remake of the French film SUMMER HOURS. Pic tells the story of three children letting go of their childhood as their dying mother’s home is evacuated of their belongings.

Genre: Spy-Thriller
Premise: (from IMDB) When a group of villains destroy a CIA-operated safe house, the facility’s young house-sitter must work to move the criminal who’s being hidden there to another secure location.
About: This is a first time spec sale for David Guggenheim, but he’s not a complete foreigner to the business. David is a senior editor at US Weekly and, as Variety is reporting, the brother of Marc Guggenheim, one of FlashForward’s early showrunners. His other brother, Eric Guggenheim, may have given him some tips, as he’s a screenwriter himself, penning the 2004 film, “Miracle.” This particular spec sale is noteworthy as it’s the first big sale of the year (selling for 600k) and doing so without any talent attached. Between approving photos of whale-esque Kirstie Alley and Tiger Woods’ many mistresses, Guggenheim has another project he’s developing with McG titled, “Medallion.” Universal nabbed the spec after a multi-studio bidding war. Scott Stuber (The Wolfman) will produce.
Writer: David Guggenheim
Details: 111 pages (undated)

Matt Weston is an eager 28 year old worker for the CIA living in Rio De Janeiro with a Brazillian beauty who puts Matthew McConaughey’s baby mamma to shame. I say “worker” because he’s not quite an agent yet. In fact, Matt is barely above Ace Ventura on the company totem pole, relegated to the job of a “housekeeper” at a safe house. What this entails is hanging out at a special CIA approved “apartment” all day, awaiting any CIA agents who need a place to crash – sort of like a hotel room where you know you’re not going to be killed in the middle of the night (well, as we’ll learn, not even that is guaranteed).

On the other side of town is Tobin Frost, a 55 year old ex-CIA field officer. Imagine Jason Bourne in 20 years. That’s this guy. But Frost has gone off the grid for over a decade, and is believed to be selling CIA intel to anyone with a Swiss Bank Account or some juicy intel of their own. He’s apparently hit the motherload, as the latest information he’s acquired has him hunted by a lethal assassin named Emile Vargas. Frost may have been able to handle this guy a quarter of a century ago, but even the best have to admit when they need help. Problem is, the only nearby help is the very institution he’s betrayed, the American Embassy. So Frost does the unthinkable. He walks right into the Eagle’s Den.

The Americans send Frost over to Matt’s safe house until the CIA can get down here and extract him. But let’s just say Frost won’t have to worry about purchasing the weekly discount. The Safe House is immediately attacked by mercenaries we believe are led by Vargas. Frost and Matt somehow escape, and quickly find themselves on the run. Matt’s given orders to bring Frost to a second [not so] safe house four hours away, but Frost seems to have other plans, namely to get the hell away from Matt and out of Rio.

The script shifts its focus to two things after that: Action and more action. Safe House at times feels like one gigantic action sequence, and I have to admit, it’s written quite well. Guggenheim follows the unwritten spec rule of keeping everything lean and rarely, if ever, burdening us with a 4-line chunk of action. In fact, almost every action description is 2 lines or less, making sure that things read faster than a Shani Davis 200 meter run.

During all this action, we get a nice debate going between the idealistic Matt and the cynical Frost, mainly on the merits of whether it’s worth it to be a CIA agent, but also on Frost’s reasoning for obtaining the information that’s gotten him into such hot water. Although Safe House never pretends to be anything more than a high-octane thrill ride, there’s some interesting discussion about idealism and trust, as well as the many shades of gray involved in the spy world. In fact, after a few pow-wows with Frost, Matt starts to wonder if the agency he’s held in such high esteem is as honorable as he once believed.

While the action does get repetitive at times, Guggenheim keeps it fresh with Frost repeatedly escaping Matt, and Matt having to go capture him again. And even though Frost is to Matt as Kobe is to Luke Walton, a nice twist is that Frost was Matt’s case study back at the Farm, so many times, Matt knows where Frost is going to be before he does.

Safe House is a fun spec, but there were a couple of things that bothered me about it. First off, I knew nothing about safe houses going into this script, and I can say that I don’t really know much about them now either. I mean, if you asked me the biggest lesson I learned about safe houses, it would be that they’re not safe at all! Every safe house they go to is breached within minutes. There are obviously extenuating circumstances here, but even taking those into account, from the way these places were described, they seemed to be no different than a local hotel room, except for a CIA officer holding court. I guess I expected them to be more heavily fortified or something. Or have some special qualities. Maybe a better explanation of what these things are in the next draft would be helpful.

I also would’ve liked a few more twists and turns before the final act, and a better explanation for why Frost flipped on the agency. His explanation was a little too general for my taste (his reasoning amounted to that the agency lies too much). A specific event that triggered this decision would make his motivation more personal, and his character deeper and more interesting as a result.

But those things are by no means deal breakers. Like I said, the script is still fast-paced and fun. And the specific reason behind why Frost is being chased plays out to a satisfying conclusion.

So why did it sell? Well, all we can do is speculate, but I’ll give it a shot. It did exactly what we talked about the other day in my article about surprise box office hits. It took a popular plot model, in line with the Bourne films, and added a twist, throwing a bit of a “buddy cop” angle at it. It also told the spy story from a unique perspective, that of the “safe house,” and I don’t think that’s been done on the big screen yet.

Safe House is worth the read.

[ ] What the hell did I just read?
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius

What I learned: So lean. People don’t understand why spec scripts have to be so lean. It’s because an unknown to little-known writer is basically given ten pages of leeway before a seasoned reader mentally checks out on them. You have to be lean to survive, to prove to your reader that you won’t burden them with a bunch of unnecessary nonsense. You’re saying right away: Listen buddy, I’m not going to waste your time. I’m keeping it bare-bones. This is never as important as it is in the action genre, where everything has to move FAST. How are you going to convey a fast action script with huge paragraph chunks? Finding a four-line paragraph in this script was like trying to find a salad in New Orleans. Spec scripts gotta be leeeeaaaaan.

Genre: Thriller
Premise: A group of oil drillers on a plane ride home, crash in the arctic tundra, where they become hunted by a vicious pack of wolves.
About: Many probably know Carnahan as the upstart testosterone-filled director who broke out with “Blood, Guts, Bullets, and Octane.” He went on to make the well-received “Narc,” which led to a pre-couch-hopping call from Tom Cruise to become the next director in his Mission Impossible super-franchise. Things fell apart, Carnahan followed up with the all-over-the-place dud “Smokin’ Aces,” and that promising future seemed to be slipping away. Thank God for the ghost of Mr. T, because Carnahan jumped onboard the director-for-hire train and took on The A-Team. It was there that he apparently pitched Bradley Cooper his long gestating project about a group of plane crash victims trying to survive a pack of wolves. Cooper signed on and the movie is apparently a go (though where in the Bradley Cooper go-picture cycle it is, I’m not sure).
Writers: Joe Carnahan and Ian Mackenzie Jeffers (based on the short story ‘Ghost Walkers’ by Ian Mackenzie Jeffers)
Details: 120 pages (6/21/07)

Hell fucking yeah.

Plane crashes.

Wolves.

People trying to survive.

The Grey is a dark eerie thriller that deals with the most primal of human experiences: survival. Oh, and it does so in a way that puts all recent survival stories to shame. Because this script rocks.

We’re in the Arctic Tundra. An oil drilling station up in the coldest regions of the world. When your company gets up near the equator, you don’t exactly attract the lawyers and doctors of the world. You get the ex-cons, the fugitives, the murderers. The people no one else will accept.

In the middle of it all is Ottway, a sad, frustrated, conflicted man who it so pains to be away from the woman he loves, that he simply can’t take it anymore. Combine that with being out in this vast depressing ice desert, stuck with all these cro-magnums, sunlight peeking out two hours a day at most, and you understand why he’s out here, away from the other men, with a gun to his head, considering ending it all. But something…some unknown force…brings him back from the edge. He’ll live. At least for one more day.

Lucky for him and the others, the company is flying the team back to Anchorage for a little recuperation. So everyone jumps on a 737, and they take off into a blizzard. Ottway drifts off, but less than an hour into the flight, there’s a large jolt, a twist, a turn, metallic wheezing, and the plane goes tumbling down. Twisted metal, fire, fuselage everywhere. Almost everyone’s dead. Just a handful of men survive. There’s Ottway, Luttinger (a bear of a man), Flannery (a sort of Bill Paxton type from Aliens) and Pike (the troublemaker), along with a few others.

Nobody’s able to keep their shit together. They are out in the middle of the North fucking Pole, employees of a company they know is too cheap to send out a rescue team to find them. But the only one who understands the true severity of their situation is Ottway, and he quickly takes charge. They need to set up a fire and they need to find food. Fast. As the others gradually slide out of shock, they begin to notice they have visitors. Wolves. Off in the distance. Staring. Pacing. Observing.

But these aren’t ordinary wolves. They’re bigger. More viscious. Unafraid. A genetic result of being forced to hunt bigger pray out here in the middle of nowhere. So they’re stronger. And they’ve never seen humans before. So they’re not afraid of them. They simply see them as another animal species invading their territory. And for that reason, they need to be killed.

And that’s exactly what they start doing. Instantly picking off our men, one by one. At first they wait for them to walk off alone, to go the bathroom. But soon they’re impatient with even that approach, and literally run into the group, grabbing their prey, and pulling the helpless men back to the pack, as they’re chewed apart alive.

It would be over much quicker if it weren’t for Ottway. He’s been out in the middle of nowhere before. He’s hunted animals. Wolves in fact. He understands them. And he’s their only chance at survival.

And the assessment is that out here, they’re toast. They need to get to the forest, where they’ll have cover. But if dealing with hungry killer wolves weren’t bad enough, the lawless Pike disagrees with nearly everything Ottway suggests. Pike wants to be the leader here, and his continual insubordination is threatening to kill them from the inside before they’re killed from the outside.

There are no big plot twists here. No surprises. No trickery or unique structure. It’s a very simple story. Group of Men vs. Group of Wolves. Battle for survival. And what makes it so compelling, is that the men are so grossly overmatched. They’re out of their element, starving, freezing, and the only one that understands the gravity of their predicament is a man that just yesterday wanted to end his life.

What I loved about The Grey was just how realistic it all was. You could feel the ice on your fingers. You could hear the wind kicking up the snow. And Carnahan and Jeffers supplement it with an “in your face” style full of italics and underlines. Normally that stuff annoys me, but here, it feels appropriate, as it embodies the immediacy and second-to-second struggle these men are going through.

And there’s something about Ottway that just makes you root for him. I love characters who want to end their life, only to be thrown in a situation where they must fight for it. Outside of the irony, it’s moving to see that moment a character realizes just how valuable life is. Ottway spends much of the opening speaking in voice over and his words are so real, so intense, they pierce you, bonding you with this man forever. As the odds become stacked higher and higher against him, you pray that beyond all reason, he’ll somehow find a way to survive, to find shelter, to find help. And yet, instinctively, you know no one’s coming to help him.

And then of course there’s the wolves. Oh the wolves. They’ll do what no other wolves would dare do. Run right into the pack, snatch you away, and chow on your throat as they drag you back to their kill den. This ain’t the French-kissing Taylor Lautner kind of wolf, nosiree. But the most terrifying of them all is the Alpha Male, the wolf that’s even bigger than all the other abnormally large wolves. Watching him observe these men from a distance, seeing eyes that almost appear intelligent, plotting, is what brings the reality of this situation to bear. And one of the cooler threads was the parallel between the alpha male relationship to the wolves in the wolfpack, and the alpha-male relationship to the humans in the human pack. As we jump back and forth, we realize these carnivores aren’t that much different from each other. It was all just done to perfection.

If there’s something that can be improved, it’s probably the secondary characters. Outside of Flannery and Pike, none of the other men stood out. And there’s a lot of places you can go with a pool of murderers and ex-cons. I thought that could’ve been fun to explore. But this is a 2007 draft, so I have a feeling they may have addressed that issue. Still, I hope they haven’t messed with anything else. This was an intense harsh thrill-packed ride from cover to cover, and I think it works perfectly the way it is.

[ ] What the hell did I just read?
[ ] wasn’t for me
[ ] worth the read
[x] impressive
[ ] genius

What I learned: Voice over is one of those things that, unless you know what you’re doing, you just shouldn’t fuck with. But when done well, it does a great job of quickly connecting you to the main character – helping you identify with and care for them in a manner that’s just not possible without hearing their thoughts. I dare you to read the opening 10 pages, hear Ottway’s voice over, and not sympathize with him, not want to root for him.

Back before the internet, film studios used to spend untold millions on predicting the box office. The closer they could get to predicting a movie’s opening weekend, the more accurately they could plug the numbers into their “hit-maker” equation for the next round of summer tentpoles. Of course studios still spend a ton of money playing Nostradamus, but let’s face it – These days, anyone with a love for film and a few key movie blogs bookmarked can predict a film’s opening weekend within three million dollars. We know the hits before they hit us. We know the duds before they’re dumped on us. It’s not like the mid-nineties, where guessing a movie’s opening gross made you some sort of internet rock star.

However, even with all their tools and their stat-charts and their polling and their surveys and their test-screenings. And even with our Playlists and our Slash-Films and our First Showings and our Colliders…every once in awhile a film comes along that bucks the predictions. You would think this would be cause for celebration. But oh how it is not. It is a cause for fear. If a movie ends up being way bigger than the professional trackers thought it would be, that means they didn’t do their jobs. So everyone scrambles to try and figure out: What the hell went wrong?

Their answers quickly turn into a list of excuses. And most of those excuses revolve around two words: “Middle America.” Middle America can pretty much be used as an excuse for any miscalculation ANYWHERE. I’m not just talking about movies. You accidentally put too much ketchup on your hot dog? Middle America’s fault. Your boss is pissing you off? Middle America. Celebrity Trump? Middle America. Okay, maybe that last one is true. But come on, let’s be serious for a second. We can’t pin all our bad predictions on the that pudgy central section of the country. Sometimes, we have to take responsibility for our actions (the key word here is “sometimes” – not always).

So it’s with this spirit that I want to take a look at five surprise hits and see what we can learn from them as screenwriters. I do not claim to have all the answers here. I merely want to figure out what I believe we can learn from each film, and open up a discussion for you guys to add your thoughts.

Now I know a lot of people are going to point out that marketing and casting and directing had a much bigger effect on these box office successes than anything a screenwriter did. While I won’t discount that there are many variables involved in a film’s success, I will say that it all starts with the writer, and he/she has a much bigger impact on that final number than he/she’s often given credit for. The writer (assuming the idea is theirs) is responsible for two things: A great concept – something that can be easily presented and marketed in posters, TV spots, and trailers. And secondly, of course, a great story – something that moves audiences, something that titillates, excites, and entertains them. The former brings them into the theater, the latter brings them and their friends back. Except for adapted material, writers are responsible for both of these things. So keeping that in mind, let’s see what we can learn from these surprise hits.

ZOMBIELAND
Rough Projected First Weekend Gross: 12-15 mil
Actual First Weekend Gross: 24 mil
Rough Projected Total Gross: 35-42 mil
Actual Total Gross: 75 mil
Written by: Rhett Reese and Paul Wernick

What we can learn: People kept trying to get me to read this before it came out but as his been my M.O., I wasn’t exactly thrilled by another zombie clone. Then I saw the trailer and I realized this was anything but the newest boxcar on the stock zombie train. This was a film that took the zombie premise and turned it into something fun. That fun is what brought so many people into the theater. But where Zombieland excels, is in how it keeps you in the theater. The script does something rare for a film aimed at a young audience – it put its characters first. In a world where we’re used to zombie films birthing cardboard cutouts whose depth is measured by how many three-syllable words they can use, Zombieland dares to go deeper. And in a straight comedy no less. Each of these characters is trying to overcome a lifelong series of walls they’ve put up to guard against the world. Each of these characters is trying to learn how to connect with other human beings. In other words, they’re going through the same types of things that a lot of us are. Columbus has led his entire existence shutting himself off from the world. Tallahasse hides behind his anger. Wichita refuses to trust anyone besides her sister. These clearly defined characters are what separates Zombieland from so many other horror films out there. Now you may be saying, “Carson, do you really believe that character development has anything to do with why this film did well at the box office?” Hell yes I do. Giving us characters with depth in a genre known for its lack of depth is exactly what gave this film such a fresh feel. When you don’t do that right in a horror comedy, you get Jennifer’s Body, a movie that by all accounts should’ve left Zombieland in the dust at the box office. It co-starred two of the hottest young actresses in Hollywood for Christ’s sake. And yet still it bombed. So never underestimate the power of character depth, particularly in genres where it’s usually ignored.

DISTRICT 9
Rough Projected First Weekend Gross: 20-23 mil
Actual First Weekend Gross: 37 mil
Rough Projected Total Gross: 60-70 mil
Actual Total Gross: 116 mil
Writers: Neill Blomkamp and Terri Tatchell

What we can learn: There are two ways to approach spec screenplays. Two ways to write a screenplay that sells. The first is to take a known formula, and execute it perfectly. Think the heist flick Inside Man, the buddy cop film 48 Hours, or the romantic comedy Notting Hill. None of those movies rewrote the book on screenwriting, but they were all expertly executed for what they were. The reason I don’t favor this approach is that it’s really hard to execute anything perfectly. Of course it *seems* easy – but once you start writing, you realize it isn’t easy in the least. It’s much smarter (and easier) to do it the way District 9 did. Take a well-known story and find a new angle to it. I just talked about this yesterday in my review of “The Resident.” We’ve seen “Fatal Attraction”-type thrillers a hundred times. But we hadn’t seen it with shifting points of view. Same thing happens here with District 9. We’ve seen the “aliens invade earth” plot a thousand times. Aliens come down, aliens try to wipe out or enslave humans, humans fight back. So director Neill Blomkamp said, “Well what if aliens came down, and instead of them trying to enslave us, we tried to enslave them?” Every single thing you knew about the genre was flipped on its head. Every area you explored was going to be unique because it’d never been done before! This is why District 9 feels so fresh and new. And fresh and new is what brings people into the theater. So when you get an idea, you need to challenge yourself. You need to ask yourself if it’s been done before. And if it has? You need to pick at it and pry at it and flip it and redesign it until it’s unique. I’ll give you a scary fact. The number 1 reason a screenplay fails is that its concept isn’t interesting enough to be made into a movie. So stop worrying so much about what’s happening IN your story, and make sure it’s a story worth telling in the first place.

TAKEN
Rough Projected First Weekend Gross: 10-12 mil
Actual First Weekend Gross: 25 mil
Rough Projected Total Gross: 50-60 mil
Actual Total Gross: 145 mil
Written by: Luc Besson and Robert Mark Kamen

What we can learn: Taken explores one of the most powerful dramatic situations there is, the kidnapping. The genre itself is pretty simple. All you have to do is: a) Make us fall in love with a character. b) Have that character get kidnapped. c) Have our protagonist try to find him/her before it’s too late. But while most writers enjoy focusing on “b” and “c,” they forget that the key to making the genre work is “a.” WE – MUST – LOVE – THE – CHARACTER WHO GETS KIDNAPPED. Period. Surprisingly, writers don’t spend enough time introducing us to this character. As a result, we don’t care if our hero finds them. And if we don’t care about the chase in a chase movie, honey child, you don’t have a movie. HOW much time you should take introducing the character is up to you. But the less time you give us with them, the more impactful those scenes must become. Great writers can make us fall in love with a character in a single scene. But for most of us, it takes longer. Taken actually takes a big chance– spending a full 25 minutes with the daughter before she’s kidnapped. In my opinion, this was the big risk that made Taken work. The first act definitely dragged in places, but because we were around this daughter so much, because we were allowed to see the love our protagonist had for her, it solidified our understanding of their relationship, and sent our desire to see them reunited through the roof. – A side note to all this is that the “kidnapped” genre is very similar to the “revenge” genre. In both cases, our protagonist is going after the bad guy. There’s one key difference though. In the kidnapped genre, there’s the benefit of the character being found alive. This not only gives us the hope of a happy ending (translates into: more marketable) but it includes a natural ticking time bomb. Every second that our protagonist doesn’t get to our bad guys is an extra second where the kidnapped character could be killed. In that vein, it’s a smarter genre script to write than revenge, because in the revenge script, there is no urgency or ticking time bomb (they’re already dead) and there’s no hope for a possible happy ending (did I mention they were dead). I liked “Edge of Darkness,” but it was clear as soon as the daughter died that the script was going to end very darkly. Unfortunately, as great as this formula is, the market’s been saturated with Taken-like scripts for the better part of a year. So you’ll have to wait awhile to write yours. The only way to make it work now is to put another spin on it (read “District 9” above). Set it in the Old West. Show both points-of-view. But please, don’t write another staright-forward Taken clone.

THE BLIND SIDE
Rough Projected First Weekend Gross: 14-18 mil
Actual First Weekend Gross: 34 mil
Rough Projected Total Gross: 50 mil
Actual Total Gross: 245 mil
Writer: John Lee Hancock (based on the book written by Michael Lewis)

What we can learn: Whoa. Just give me a second here. Whoa. This is the one movie surprise that I still haven’t wrapped my brain around. And for that reason, I’m very tempted to blame Middle America. But being the good soldier and screenwriting-warrior-in-search-of-truth that I am, I will look to find another reason why The Blind Side became the most shocking surprise hit of the year. Maybe I should explain why I’m shocked first. It’s quite simple really. The screenplay for The Blind Side wasn’t very good. The story, as far as I could tell, is about a well-off family who takes a homeless kid in who ends up parlaying the opportunity into an eventual career in the NFL. Despite this, there isn’t a single down of football played until page 60! The first 59 pages are dedicated to the family getting to know the kid. Sixty! Pages! To make matters worse, despite all that extra time, the character development outside of Sandra Bullock and the boy is paper thin. But alas, as I dug further into this scrap pile for meaning, there IS something I realized we could can learn from it. It doesn’t exactly explain why the film made 245 million dollars. But it does help that struggling screenwriter looking for an advantage over his competition: Write a screenplay with a compelling female lead character. Remember, the majority of writers out there write screenplays with male protagonists. This leaves virtually no options out there for A-list actresses in search of a great lead role. This forces them to search out meaty parts on the risky independent circuit (i.e. Charlize Theron in “Monster”). And the problem with that is, that world is extremely hit or miss. So when a Super Femme A-Lister finds a great leading role AND that role is in a film that will actually be seen? They’re going to fight over that can of meat like a pack of rabid wolves. Once you have an A-Lister like Bullock attached to your project, you’re going to get your big payday, and your shot to become next year’s surprise shocker being debated on a tiny screenwriting blog. Like The Blind Side.

THE HANGOVER
Rough Projected First Weekend Gross: 30-33 mil
Actual First Weekend Gross: 45 mil
Rough Projected Total Gross: 90-100 mil
Actual Total Gross: 277 mil
Written By: Jon Lucas and Scott Moore

What we can learn: Let’s get something out of the way quick. The Hangover gained a lot of momentum coming up to its release. So it wasn’t a total shocker like a few of these others. But nobody, and I mean nobody, expected it to make 277 million dollars and finish as the 6th highest grossing movie of the year! With that said, let’s get into it. — If there’s any film on this list that owes its success to its screenplay, it’s this one. The script was widely accepted as one of the funnier scripts around town before it was made (It was in my Top 25 before it came out), it didn’t have any stars to guarantee an opening weekend, it went up against the best of the best – the 150-200 million dollar behemoths studios put out in the summer, its word-of-mouth was the best of the summer. If you are a comedy screenwriter and you are looking for your next idea, The Hangover is your bible. But what is it you’re specifically supposed to take away from this film’s success? Well, it reinforces one of the oldest and most important rules of screenwriting: Concept Concept Concept. The Hangover did 90% of its work before it was ever written: It came up with a high concept highly marketable idea that inspired an endless supply of comedic scenarios. I remember reading an earlier version of the script, and there were 3 or 4 main sequences that were different from the final film. And they were all just as funny. Legendary producer Lynda Obst once said about the film “Flashdance,” which was famously developed for over 10 years and had dozens of different incarnations, that in the end it didn’t matter. It was the concept of a female dancer who was a steel worker that ensured the movie would succeed. Same thing holds true with The Hangover. So before you do any writing, you need to make sure you have that great concept. But how do you know whether you have that great concept? Well, you gotta do something that not a lot of writers are comfortable doing and it’s something that Blake Snyder used to publish entire books about. You have to pitch your ideas to people and you have to force them to be honest with you. Preferably, do it to their face or on the phone. It’s so easy to tell if your idea is good just by the look on someone’s face. Do they look confused? Is there a long pause? Are their eyes dead as you explain it to them? Are they drifting? These clues tell you everything you need to know about your concept. You know your idea’s good when people immediately get excited about it. When their eyes come alive, when they’re offering suggestions or actively engaging you as you explain it to them. Another approach I’ve learned is effective is to mix in your idea with a few other ideas you have, and then include some other movie ideas as well (good ideas of films in development that the general public doesn’t know about). Send that list out to 20 of your best friends and ask them what their top 3 favorite ideas are. If your idea isn’t consistently finishing 1 or 2, I’ve got bad news for you, it’s probably not good enough.

To summarize, right now you should be thinking of a high concept idea that flips a typical plot on its head, where someone gets kidnapped, the lead role is played by a woman, and all of the characters are well-developed. Anyone care to pitch their new concept in the comments section?

Genre: Thriller
Premise: A woman moves into a large apartment, only to realize that someone may be watching her…from the inside.
About: The Resident will star Hilary Swank, Jeffrey Dean Morgan and Christopher Lee. Newcomer and hot video director Antti J. Jokinen is directing from a script that he co-wrote. The new production arm of Hammer Films is producing. They are probably best known as the company who will bring us the American remake of “Let The Right One In.” And they are not in any way affiliated with MC Hammer. As far as I know.
Writers: Robert Orr and Antti J. Jokinen – rewrite by Erin Cressida Wilson
Details: 99 pages (April 9, 2009 draft)

“Hi, I’m not crazy or anything. Totally normal guy. You can trust me. Here’s a flower I made out of skin from my last girlfriend.”

Hilary Swank’s film “Amelia” was one of those doomed projects from the outset. It had to be made, because in this age of biopics, Earheart’s story is too compelling not to make, but – and I hate to say this because of how Hollywood it sounds – there’s something about Earheart’s look that doesn’t appeal to me. I don’t know if it’s the short hair. I don’t know if it’s the energy. I don’t know if it’s the subject matter, but just like I wasn’t interested in watching Johnny Depp play gangster dress-up, I wasn’t interested in watching Hillary Swank play doomed pilot dress up.

And here Swank is, by most accounts a perfect choice for the role, getting sucked into that black hole. She could’ve given the best performance of her life, and no one would’ve known because nobody showed up to see it. So when you’re a star and have a public bomb, the next project you choose is an important one. Hollywood may be a little more tolerant of their actors than their directors, but string a trio of duds together, and you’re looking at a co-starring role opposite Val Kilmer in a movie called “Passion Kill” that’s cutting side-deals with local Redbox Kiosks to have their poster featured on the new release panel.

Hillary Swank right before hair and make-up.

And when you’re in that quagmire, the thriller is the perfect genre to take a chance in. Because when you think about it, you’re really not taking that big of a chance. Thrillers are cheap to make, so if the studios realize they’re bad after they’re done, they can skimp on the advertising and cut their losses. We the consumer don’t notice that “Big Name Actress A” is in a new film, so when it bombs bigger than Nagasaki, it does so under the radar and the star’s profile is kept intact. It’s like getting a mulligan. On the flip side, a good thriller has the potential to really break out. Silence Of The Lambs, Seven, Kiss The Girls, Double Jeopardy, The Ring (Horror-Thriller), these kinds of movies can propel a struggling actor/actress back onto the radar. It’s the movie equivalent of low-risk high-reward.

So it’s no surprise that Swank has hinged her next effort on the genre. Now all you need is a good script and it’s back to battling for Oscars. Simple, right?

Juliet Dermer is an ER doctor whose life drastically changes when she finds her husband in bed with another woman. Forced to go on her own for the first time in a long time, she faces a far more challenging task than fixing a marriage. Yeah, I’m talking about finding an affordable apartment in New York. After the expected glut of garbage options (studios barely bigger than a walk-in closet) she happens upon a beautiful sprawling living space in an old building, and guess what? It’s going for 1/10 the asking price of similar apartments. One of the first lessons my dad ever taught me was that if it’s too good to be true? It probably is. Juliet’s father obviously never taught her this lesson.

I heard Morgan spent an entire month practicing hiding for this movie. As we can clearly see, it paid off.

Max, a studly man’s man who looks an awful lot like that guy who died in Gray’s Anatomy (not that I’ve ever seen it) is the kind but slightly odd owner of the building. About as comfortable in a social situation as your local Spelling Bee champ, Max spends every waking hour working on and improving the building. He plays off the super cheap apartment price by pointing out its many problems (including an underground maintenance train that runs through every so often). But you still get the sense that it’s just a little…too cheap. Well, at least we get that sense. Juliet, on the other hand, is fed up with looking. She just wants a place to sleep at night and this building, with all its imperfections, is far and away her best option.

So Juliet moves in, and her and Max begin a slow but meaningful friendship. During this time, she’s sizing him up. Here is a man who could have any woman in the world, yet has such a warped sense of his self-worth, he’s barely able to look them (or her) in the eye. Now to you or me that might equal: Red Flag. To Juliet though? Boyfriend material!

In the meantime, Juliet’s picture perfect apartment is starting to show its imperfections. All the things she fell in love with about it initially, don’t seem so charming anymore. That warehouse-type space? It sure causes a lot of shadows at night. And she knows its not possible but every once in awhile she feels like someone might be…in those shadows. Watching her.

Oh yeah, this looks healthy.

Juliet then makes the intriguing decision to invite Max over for dinner, afterwards hopping into the bedroom with plans to go to the bone zone. Only right before the deed is done, Juliet has a change of heart, and tells Max that the date was a mistake. Uhhhhhh…yeah. This is going to go over well. Cause the guy who sometimes acts a little “weird?” The guy who has a key to every room in the building? Those nights you think you’re being watched? Well, they might be more connected than you think, sister.

As I was reading The Resident, I couldn’t help but feel like it was too plain. I really like simple thrillers, and for the most part, I was enjoying myself, but I wanted something more from the material. Luckily, after we head into the second act, I got my wish. The Resident shocked me by jumping back in time, and telling the same story but this time from Max’s point-of-view. This was exactly the twist I needed and it really works. We begin to see why Max is so strange, and just how deep that strangeness goes. But the reason it works so well, is that we learn that Juliet was right. She was being watched. And now we get to see where and how Max watched her. Now I’m not going to lie. The Resident makes some questionable choices with this technique, flipping back and forth between terrifying and silly. But for most of the story, we’re pretty fucking terrified by what’s going on.

There’s quite a few things I enjoyed about the script. First of all, it does a great job at shaping sympathy for both characters. Everybody knows how awful it feels to be cheated on, so we like Juliet right away. But strangely, we also sympathize with Max. The guy’s clearly had a fucked up childhood and when it comes down to it, Juliet screwed him over in a big way, so when we’re in Max’s point-of-view, spying on Juliet, there’s this tiny evil part of us that almost understands him. As much as you can understand a fucked up psychotic weirdo potential serial killer who watches a woman from the shadows of an apartment, of course.

I’m also starting to better appreciate how writers texture their screenplays. Once you’ve done all the heavy lifting (plot, character, structure), how do you give your story a distinctness that sets it apart from everything else? I loved how Orr, Jokinen and Wilson placed this building over an underground maintenance train that rolls through every once in awhile, shaking its bricks and rattling its pipes. We’ve seen this kind of thing before, but making it a maintenance train – a train devoid of any human beings – almost ghost-like – that’s what really got me. It’s a minor detail and yet it brings the building alive, almost makes it a character. It’s easy to forget how much of an effect those kinds of things can have on a reader.

The Resident is a cross between Fatal Attraction and Psycho. It’s got enough going for it to justify its existence, and I quite enjoyed the read.

[ ] What the hell did I just read?
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius

What I learned: Where I’m from, there’s two type of folk. Those who ain’t. And those who are knee-high on a grasshopper. Which type ain’t you ain’t? You all come back now. — Okay, that’s not what I learned. But that is the funniest line I’ve heard in ages. And 10 extra credit points for anyone who can tell me what show it’s from. – As for what I learned. This script was a great reminder to never give up looking for a different way to tell your story. Most beginner/amateur writers would’ve written this story with a straight-forward approach. And while it probably would’ve been decent, it wouldn’t have stood out the way it does by switching POVs. So take a step back from the script you’re working on and ask, “Is there some way I can make this story different from every other story like it?” You don’t want to force anything. In other words, switching POVs wouldn’t have worked for every script out there. But I guarantee you there’s something you can do to make your script stand apart from the pack.