Latest / Bulletproof Screenwriting™ Podcast / BPS 450: From Video Games to the Big Screen: The Filmmaking Journey of Nicole Jones-Dion

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BPS 450: From Video Games to the Big Screen: The Filmmaking Journey of Nicole Jones-Dion · Bulletproof Screenwriting™ Podcast

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Speaker 2: Welcome, Welcome to another episode of the Bulletproof Screenwriting Podcast.
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Speaker 3: Enjoy today's episode with guest host Dave Bullis. My guest
1:39
Speaker 3: is a screenwriter, producer, and director. She co wrote Tech
1:43
Speaker 3: and two. She successfully crowdfunded her film Debris, and now
1:48
Speaker 3: she's working on a ton of other stuff which we're
1:50
Speaker 3: going to get into on the show with Nicole Jones Dion. Hey, Nicole,
1:55
Speaker 3: thanks all for coming on the show.
1:56
Speaker 4: Oh thanks for having me.
1:58
Speaker 3: You know, it's my pleasure to cole Is. I think
2:01
Speaker 3: you're the first person who have had on who is
2:03
Speaker 3: also a member of the Screenwriting You Alumni series. I'm
2:08
Speaker 3: pretty sure you are the first person. Oh cool, Yeah,
2:11
Speaker 3: it's uh yeah, I don't know why I haven't had
2:13
Speaker 3: anybody else on there yet on here yet, excuse me,
2:16
Speaker 3: because you know it's that that group is always doing
2:18
Speaker 3: great things. And one of the reasons I wanted to
2:21
Speaker 3: have you on here is because every time I turn around,
2:24
Speaker 3: you're always up to something new. You're you're always creating
2:27
Speaker 3: some great content. So that's why I wanted to have
2:30
Speaker 3: you on. I think everyone could learn a lot from you.
2:33
Speaker 3: So just to get started, you know, just learning more
2:36
Speaker 3: about Nicole Jones Dion, I wanted to ask, you know, Nicole,
2:39
Speaker 3: what made you get started in screenwriting and the film
2:42
Speaker 3: industry in general.
2:43
Speaker 4: You know, it's funny because when I moved to La
2:45
Speaker 4: oh God, a long long time ago.
2:47
Speaker 5: I don't want to say exactly how long go give
2:48
Speaker 5: away my age, But when I moved out here, my
2:51
Speaker 5: intention was never to get into films or screenwriting.
2:53
Speaker 4: It was to get into the video game industry.
2:56
Speaker 5: So I started out working in video games and then
2:58
Speaker 5: I kind of segued into comics. And then the stories
3:00
Speaker 5: I was coming up with, people were like, oh, put
3:02
Speaker 5: the make great movies. And I was like, oh, that's
3:04
Speaker 5: such a crochet. I don't want to be that cche
3:06
Speaker 5: Hollywood treen writer and you know, flash forward and here
3:09
Speaker 5: I am. So I think because I started out working
3:14
Speaker 5: in that comic book and video game space, a lot
3:16
Speaker 5: of my my cream plays and the genres that I'm
3:18
Speaker 5: naturally drawn to are are these like you know.
3:21
Speaker 4: Fun sci fi action.
3:23
Speaker 5: Or you know, horror, you know, just just these really
3:26
Speaker 5: fun fanboy type projects. And and you can see that
3:29
Speaker 5: in the films that I've done, you know, if you
3:30
Speaker 5: look at you know, like Dracula The Dark Prints, which
3:33
Speaker 5: we did John Voight, that's a very even though it's
3:35
Speaker 5: a Dracula film, it's more of a fantasy epic, you know,
3:38
Speaker 5: sword and sorcery type take on the Dracula mythos.
3:42
Speaker 4: And then kak In Too, which is based on the
3:44
Speaker 4: video game series.
3:45
Speaker 5: You know, I kind of got that gig, you know,
3:47
Speaker 5: directly through also of Dracula, and then also because I
3:49
Speaker 5: had that tie with the video game industry and.
3:53
Speaker 4: You know, and then writing for the Sci Fi Channel,
3:55
Speaker 4: which I did last October.
3:58
Speaker 5: I did an original film for them which aired as
4:00
Speaker 5: part of their Thirty Days of Halloween heories that was
4:03
Speaker 5: called They Found Hell Uh. And And now I'm I'm
4:06
Speaker 5: transitioning into directing, and I just directed my first feature,
4:09
Speaker 5: which is called Stasis, which is another sci fi kind
4:12
Speaker 5: of action films. But it's funny, a lot of people
4:15
Speaker 5: think of me primarily as a horror writer. But my
4:19
Speaker 5: the genesis of my career in the start of it
4:21
Speaker 5: is really more in that sci fi video game type space.
4:25
Speaker 3: So did you find that, you know, the video game industry?
4:29
Speaker 3: You know, I actually uh made a project for the
4:34
Speaker 3: video game industry kind of sort of, And what I
4:36
Speaker 3: found is when I reached out to them, a lot
4:38
Speaker 3: of them were kind of leary, always about going and
4:41
Speaker 3: making things you know about you know, uh, you know,
4:44
Speaker 3: different projects because of you know, X, Y and Z.
4:47
Speaker 3: So I want to ask, you know, Nicole, did you
4:49
Speaker 3: find it it's harder or easier? And I know this
4:52
Speaker 3: is that that's a very run stroke. Did you want
4:55
Speaker 3: it's harder or easier in the video game industry to
4:58
Speaker 3: get your foot in the door than it is the
5:00
Speaker 3: film and TV industry?
5:02
Speaker 5: I think, I mean it the video gaming hastry changed
5:04
Speaker 5: a lot since I worked in it.
5:06
Speaker 4: I mean, just to kind of put it in perspective.
5:08
Speaker 5: When I was doing it, it was during that weird
5:11
Speaker 5: time when they were doing live action video games, so
5:13
Speaker 5: it was almost like a choo short adventure movie that
5:16
Speaker 5: was kind.
5:16
Speaker 4: Of a friend.
5:17
Speaker 6: So now I'm dating my belt, people will know that
5:20
Speaker 6: era and at the time and that ended up being
5:24
Speaker 6: a failed experiment because you ended up with all the
5:26
Speaker 6: costs and expense of making a movie plus all the cost.
5:28
Speaker 5: Expense of making a video game. And so they got
5:31
Speaker 5: away from that really fast. And now was you know,
5:33
Speaker 5: the way that the computer graphics have advanced, It's like
5:36
Speaker 5: you're getting like these amazing photo realistic results without having
5:39
Speaker 5: to do like a live action shoot.
5:42
Speaker 4: But I would say because.
5:43
Speaker 5: Of the costs involved in video games, it's definitely easier
5:46
Speaker 5: to do films because you can go out and shoot
5:48
Speaker 5: a little movie on your iPhone. Now, whereas with video games,
5:52
Speaker 5: you know, you've got programming and and and the solid
5:55
Speaker 5: modeling and the video you know, all the TEP that's
5:58
Speaker 5: intrinsic as part of that process.
5:59
Speaker 4: I think, I think it is the harder not to crack.
6:03
Speaker 3: Actually, now, you know, you know, I remember all of
6:06
Speaker 3: those live action video games too. I think there was
6:08
Speaker 3: one called fox Hunt. And I remember, you know, trying
6:12
Speaker 3: renting those games. I'm thinking to myself, this can't be
6:14
Speaker 3: the future ken it And uh yeah, I remember that
6:17
Speaker 3: era where everyone was doing at least everyone had one.
6:20
Speaker 3: It was someone called Psychic Detective. I remember that one.
6:22
Speaker 4: Let me begin, there was kind of the big one
6:24
Speaker 4: with Mark Cambell was.
6:25
Speaker 3: Yeah, I remember that one too.
6:26
Speaker 5: Yeah, weird, it was a weird time.
6:30
Speaker 4: I think people kind of trying to forget that era
6:33
Speaker 4: I even existed.
6:35
Speaker 3: Yeah, I remember that so well. Uh so, you know,
6:39
Speaker 3: you went to the video game industry and you know
6:41
Speaker 3: you you tried your hand at that, and I agree
6:44
Speaker 3: with you completely. The video game industry has changed immensely
6:47
Speaker 3: because I have friends who work in the video game industry,
6:49
Speaker 3: and you know, even when I was pitching some of
6:51
Speaker 3: my projects, things have changed even five from five years ago, now,
6:55
Speaker 3: you know, I mean, and now look at us now,
6:57
Speaker 3: Nicole Pokemon Pokemon Go was the new you know, the
7:00
Speaker 3: new craze, and they're they're they're making a mobile nes
7:03
Speaker 3: system for sixty bucks, and you know, I'm sure that's
7:06
Speaker 3: going to be a number one best seller as well.
7:08
Speaker 3: So it's like the retro now is making a whole
7:12
Speaker 3: everything stickleholes. I'm trying to say, yeah, no, it's amazing.
7:14
Speaker 4: It's amazing. I mean, an augmented reality. It's such a
7:16
Speaker 4: fascinating thing.
7:17
Speaker 5: I'm trying to avoided the Pokemon Go phenomena just because
7:21
Speaker 5: I have this addictive personality, and I know, once I
7:22
Speaker 5: get sucked in that did it, I'm done. There goes
7:24
Speaker 5: my productivity for the rest of my life. But I
7:26
Speaker 5: did play Ingress, which is a platform that it was
7:28
Speaker 5: based on, and I think augmented reality is just fascinating.
7:35
Speaker 5: The gameplay experience is really really interesting, and yeah, I
7:40
Speaker 5: think there's it could be the way of the future,
7:42
Speaker 5: at least way of the future for right now. It's
7:44
Speaker 5: a fun little trend. I'm definitely keeping an eye on it.
7:47
Speaker 5: I mean, Nintendo's market value went up like seven billion
7:49
Speaker 5: dollars with a weekend just based off this one game alone.
7:53
Speaker 4: So yeah, it's an exigning time.
7:56
Speaker 5: It's deciding time to be in video games, film, TV, anything,
7:59
Speaker 5: because is it just the wild West right now, you know,
8:01
Speaker 5: with all the new cable outlets and Netflix and Hulu
8:04
Speaker 5: and everybody doing all this original content. It's interesting because
8:09
Speaker 5: the rules are all changing and they're changing daily and
8:12
Speaker 5: like trying to keep you know, you can't even chase
8:15
Speaker 5: trends anymore because the trends are changing, so it's like
8:18
Speaker 5: trying to figure out, you know, to have to get
8:19
Speaker 5: one step ahead of that curve and and stay ahead
8:22
Speaker 5: of the rest of.
8:23
Speaker 4: The flock, you know, it's fun time.
8:27
Speaker 3: Yeah, and even with crowdfunding, you know, I noticed all
8:30
Speaker 3: the video games now or we're just being crowdfunded because
8:33
Speaker 3: they were you know, basically they company would say, hey,
8:35
Speaker 3: we can't take a chance on these video games so
8:38
Speaker 3: that you know, the developers you know, would go out
8:40
Speaker 3: and they would go make, you know, raise funds on Kickstarter.
8:43
Speaker 3: And I was shocked at seeing some of the prices,
8:44
Speaker 3: you know, some of the amounts that they were raising,
8:46
Speaker 3: because I was thinking of myself, Wow, you know these
8:49
Speaker 3: you know, I'm granting you know, these are the head developers,
8:51
Speaker 3: you know, and they're coming out and saying, you know,
8:52
Speaker 3: this is us doing this. But but still, you know,
8:54
Speaker 3: I was a little shocked that they were getting the
8:55
Speaker 3: private the amount that they were Yeah.
8:58
Speaker 5: Well because a lot of these the video game got
8:59
Speaker 5: based on the board game companies too are using crab
9:01
Speaker 5: funding almost as a way of doing pre.
9:03
Speaker 4: Sales for the product. It's also as a way to test.
9:05
Speaker 4: Thanks could you.
9:06
Speaker 5: I do a lot of work now with Sean Cunningham.
9:08
Speaker 5: This is the creator Friday at thirteenth and they just
9:10
Speaker 5: did a big crowdfunding campaign for the Friday. The thirteenth
9:14
Speaker 5: video game, which they just previewed at E three a
9:17
Speaker 5: couple of weeks ago, and the gameplay looks amazing. So
9:20
Speaker 5: if you're a fan of I'm gonna go do a
9:21
Speaker 5: little pitch here. But if you're a fan of A
9:23
Speaker 5: Friday the Thirteenth franchise, this looks really cool.
9:27
Speaker 3: Well, and I'm a huge brand of it, so I
9:28
Speaker 3: can't I can't wait for the video game, by the way.
9:31
Speaker 3: But anyways, we know, you know, as we we follow
9:34
Speaker 3: your career, I know, you know, you obviously transuh you know,
9:37
Speaker 3: translated out of out of video games, and he started
9:40
Speaker 3: doing doing more feature films. So how did you get,
9:42
Speaker 3: you know, attached to writing you know, Dracula the Dark
9:46
Speaker 3: Prints that one.
9:47
Speaker 5: It was such a long story, but I had met,
9:51
Speaker 5: uh where to begin.
9:53
Speaker 4: So I had written an adaptation of an image graphic
9:57
Speaker 4: novel called The Scribbler.
9:59
Speaker 2: Well be right back after a word from our sponsor,
10:05
Speaker 2: and now back to the show, which I'd.
10:10
Speaker 5: Done for Kicktart Entertainment. They went on to do a
10:12
Speaker 5: Wanted with Angelina Julie and Davis mcilvoy And so at
10:16
Speaker 5: the time that we're going around shopping my script, approaching
10:18
Speaker 5: different directors, and one of the directors that they had
10:21
Speaker 5: introduced me to as a possibility was this gentleman by
10:23
Speaker 5: the name of Perry Tail. And then the writer's strike
10:26
Speaker 5: happened and that project ended up never going anywhere.
10:28
Speaker 4: But Perry and I stayed in touch over the ears
10:30
Speaker 4: and we collaborated on a bunch of projects.
10:32
Speaker 5: And he had been approached with, you know, the possibility
10:36
Speaker 5: of writing and directing this Dracula film, and he's like,
10:40
Speaker 5: I need help with the script.
10:41
Speaker 4: Do you want to come on board? And I was like, absolutely, dude,
10:43
Speaker 4: you're my guy, you know. And so we we worked.
10:47
Speaker 5: On Dracula together, that we worked on Tech and together,
10:49
Speaker 5: and then he just produced my first feature film. So
10:52
Speaker 5: it's one of these ongoing, you know, long term relationship show.
10:55
Speaker 5: It's one of the things with this industry. It's all
10:57
Speaker 5: about building relationships, finding champions, whore willing to go out
11:00
Speaker 5: there and you know, put their necks out for you,
11:04
Speaker 5: and making that really good first impression and then that'll
11:08
Speaker 5: it'll just carry. You can build a creator out of that,
11:10
Speaker 5: or at least get your foot in the door.
11:12
Speaker 3: So when you let your foot in the door, were
11:14
Speaker 3: you mainly doing, like script out of patients, or did
11:17
Speaker 3: you come in with already having some of your own
11:19
Speaker 3: original material already written?
11:21
Speaker 4: Oh gosh, I had probably at the time I did Dracula, I.
11:24
Speaker 5: Probably had at least fifteen specs already on the shelf
11:28
Speaker 5: that had won various contests and had been optioned. Nothing
11:31
Speaker 5: that had actually gone into production at that point. So
11:34
Speaker 5: with Dracula and Tech and those types of things, those
11:37
Speaker 5: were all writing assignments that I was brought on to
11:40
Speaker 5: either fixing fisting scripts or develop ideas from scratch with
11:43
Speaker 5: the producers. Yeah, but I would say that Stasis, which
11:48
Speaker 5: is the script the Future that I just wrote and directed,
11:50
Speaker 5: is the first time I actually pitched an idea. I
11:52
Speaker 5: was hired to write my original idea. Everything prior to
11:55
Speaker 5: that had been somebody else had an idea or had
11:58
Speaker 5: an existing script that needed work, which is what percent
12:00
Speaker 5: of the industry is is developing other people's stuff.
12:04
Speaker 3: So before you know, you wrote Drag, before you came
12:07
Speaker 3: on the project of Dracula, you had written fifteen spec scripts.
12:10
Speaker 3: So my question then is, Nicole, how did you find
12:12
Speaker 3: the time to write fifteen specs scripts?
12:14
Speaker 6: Oh?
12:15
Speaker 5: You just do it.
12:16
Speaker 4: You just I have no life, and I think. I
12:18
Speaker 4: mentioned I have an addicted person at healthy so instead.
12:21
Speaker 5: Of once I actually had to give up video games,
12:24
Speaker 5: I had to give them up cul Turkey, which is
12:26
Speaker 5: really hard. And but one of the things I used
12:29
Speaker 5: to fill the void then is I just write. I
12:31
Speaker 5: write constantly. I write every day all the time. I
12:34
Speaker 5: have no lis. I have no real family out here
12:37
Speaker 5: in la I mean, I have my husband, but all
12:39
Speaker 5: my family's back East, So it's I don't have a
12:41
Speaker 5: lot of the normal day to day distractions that other
12:43
Speaker 5: people have, and I can just immerse myself completely in
12:46
Speaker 5: my work, which is.
12:47
Speaker 4: Fine because I love it.
12:49
Speaker 3: So, you know, just speaking about your work, you know,
12:52
Speaker 3: could you deal with just a glimpse in, you know,
12:54
Speaker 3: into your process. You know, is there a certain time
12:56
Speaker 3: of day you write? Is there anything any siller, special
12:59
Speaker 3: rituals you go through just to get sort of put
13:01
Speaker 3: yourself in that in that writing mindset.
13:03
Speaker 5: I tend to because I'm kind of a night out
13:06
Speaker 5: and I get because I tend to.
13:07
Speaker 4: Write things that are darker.
13:08
Speaker 5: Anyway, I work better at night, which kind of sucked
13:13
Speaker 5: to with you're working vampire hours.
13:14
Speaker 4: It's hard to associate with the real world. But yeah,
13:19
Speaker 4: and as far.
13:19
Speaker 3: As rituals, I don't really have any rituals.
13:21
Speaker 4: I do have a.
13:22
Speaker 5: Treadmill desk that I use just because sitting is is
13:28
Speaker 5: not good for you all day, but I like working
13:31
Speaker 5: on that, and yeah, I just do it at night.
13:33
Speaker 4: It's like something about when the sun goes down, that's
13:35
Speaker 4: when my creativity is at it. It's peak.
13:39
Speaker 3: So do you do you subscribe to any method like
13:41
Speaker 3: the USC sequencing method, you know, like you know the
13:45
Speaker 3: three X structures say the cat? Do you do you
13:47
Speaker 3: subscribe to any of these of these methods?
13:49
Speaker 4: I do kind of a blend. I do Save the
13:52
Speaker 4: Cat with you know.
13:53
Speaker 5: What Cryspto called the many movie method, which is essentially
13:56
Speaker 5: the sequencing method. I kind of do an overlay of
13:58
Speaker 5: the two event a lot of the structuring tools, they're
14:03
Speaker 5: all very similar. There's a lot of overlap anyway, and
14:06
Speaker 5: if you just look at the things that they have
14:07
Speaker 5: in common, I would say those are the things to
14:10
Speaker 5: focus on.
14:11
Speaker 4: You know.
14:11
Speaker 5: It's like they all have turning points and act breaks
14:14
Speaker 5: and inciting incidents, and.
14:17
Speaker 4: There's there's some subtle differences.
14:18
Speaker 5: But I found that by using Fath the cat with
14:20
Speaker 5: the mini movie method that seems to cover most of
14:22
Speaker 5: the bases.
14:24
Speaker 3: Yeah, I've noticed there is a lot of overlap too,
14:28
Speaker 3: especially with the USC sequencing method and Chriss Maini movie method.
14:32
Speaker 3: You know, but I think Chris so to me, I
14:34
Speaker 3: really do like that Mani movie method. And I find
14:36
Speaker 3: that that, you know, breaking in eight sequences really does
14:38
Speaker 3: help me sort of plan out the movie, if you
14:41
Speaker 3: know what I mean, right, and it.
14:42
Speaker 5: Breaks it down into these smaller, bite sized chunks, who's
14:45
Speaker 5: not so daunting. So when you're first starting out, you're
14:47
Speaker 5: not looking at a blank page. You're thinking, oh my god,
14:49
Speaker 5: I have to write ninety or one hundred and twenty pages.
14:51
Speaker 4: Now.
14:51
Speaker 5: I was like, oh no, I just have to get
14:52
Speaker 5: to the next sixteen pages. And that's a lot more manageable.
14:56
Speaker 5: I can do, you know, fishing pages in a day
14:58
Speaker 5: or two and then you're like, okay, onto the next day.
15:02
Speaker 3: So when when you're sitting down to write, you know,
15:04
Speaker 3: you sort of what what do you sort of need
15:07
Speaker 3: before you write? Meaning do you need to sort of
15:10
Speaker 3: outline this heavily or write even a treatment, or do
15:13
Speaker 3: you just sort of get a starting point and just
15:16
Speaker 3: sort of a map from there.
15:18
Speaker 4: I'm a huge fan of outlining in advance.
15:20
Speaker 5: And I think this is a really good skill set,
15:21
Speaker 5: especially if you want to be a working writer in Hollywood,
15:24
Speaker 5: because a lot of these producers, and I'm just going
15:27
Speaker 5: to hire you to write the script, they're gonna need
15:28
Speaker 5: to see outlines, They're gonna need to see treatments in advance.
15:30
Speaker 4: And it's just it's a skill you're going to have
15:32
Speaker 4: to learn. So you may as well practice those muffles
15:34
Speaker 4: while you, you know, you're working on your own specs.
15:37
Speaker 5: For me, I'm so, I do have this one thing
15:39
Speaker 5: where it's like I can't write a script until I
15:41
Speaker 5: don't know what it's called.
15:42
Speaker 7: And it's this weird hamp I have. So I have
15:44
Speaker 7: to start with the title, and it's so dumb, and
15:47
Speaker 7: the title will change, but I have to have to
15:48
Speaker 7: leave the title and then and then on a solid
15:51
Speaker 7: log line. I always refer back to my log line,
15:53
Speaker 7: So I'll first things first, I write the title, I
15:55
Speaker 7: write the log line, and then I start breaking out
15:57
Speaker 7: the bare bones of it, you know, doing like the
16:00
Speaker 7: breaking it up into the four acts, one act, the
16:03
Speaker 7: first half of the second act, second half of the
16:04
Speaker 7: second act, and then the third act. At least having
16:06
Speaker 7: like a sentence for each knowing what that backbone is
16:10
Speaker 7: for the story, and then I'll start getting deeper into
16:14
Speaker 7: that they have the cat or the many movie breakdown.
16:16
Speaker 5: But yeah, I have to have it leaf at least
16:20
Speaker 5: the three or four page outline flash treatment before I'm comfortable.
16:24
Speaker 4: Starting actually writing the script.
16:27
Speaker 3: You know, something I've I found out recently is something
16:31
Speaker 3: where I basically I can't write unless I can build
16:36
Speaker 3: the movie and then break it down again, you know
16:37
Speaker 3: what I mean. Like it's sort of building and rebuilding,
16:39
Speaker 3: building and rebuilding, and because I don't know why, but
16:43
Speaker 3: I'm terrible with titles anymore, Like titles to me, you
16:45
Speaker 3: know what I mean, Like I just if I don't
16:47
Speaker 3: know the title, what I do is I just sort
16:49
Speaker 3: of go past because I'll end up obsessing over the
16:53
Speaker 3: title and I'll, like, you know, I can't figure.
16:55
Speaker 4: Out what it is.
16:56
Speaker 5: Spend to day looking up titles. Also another thing I
17:00
Speaker 5: get hung up on it. This is just my weird
17:01
Speaker 5: little brain. I have to know what my characters' names are,
17:04
Speaker 5: and names have to ask significance to the story somehow,
17:07
Speaker 5: which you know this is.
17:08
Speaker 4: I can't just call them John and Jane. It's like
17:10
Speaker 4: they have to have a meaningful name. I don't know,
17:14
Speaker 4: it's just my own little quirk, I guess.
17:17
Speaker 5: But yeah, and for me, if I going back to
17:19
Speaker 5: that log line, even like if I start to write
17:21
Speaker 5: and it's not feeling like it's something's not working out,
17:24
Speaker 5: go back to that log line.
17:25
Speaker 4: Not always because my sanity check.
17:27
Speaker 5: It's like, is this because you want to make sure
17:28
Speaker 5: it's high concept and marketable and you can sell it
17:30
Speaker 5: and people get it and just as few words as possible.
17:33
Speaker 5: And if I start to stray from that log line,
17:36
Speaker 5: I go back readjust course and then dive back in.
17:41
Speaker 3: Yeah, you know, I oftentimes too where I just put
17:44
Speaker 3: in like you know, like you know, guard A guard B.
17:46
Speaker 3: You know, I'm just trying to fly through it. But
17:48
Speaker 3: I think you know, your method has a lot of
17:51
Speaker 3: validity to it because character suggests plot. And you know,
17:54
Speaker 3: if you have a character and just sort of map
17:56
Speaker 3: that character out and everything, you know, he or she
18:00
Speaker 3: would dictate you know what they do. You know what
18:01
Speaker 3: I mean, because for instance, you know, a a upbeat
18:05
Speaker 3: you know, you know, uh, you know, law abiding citizen
18:08
Speaker 3: is going to handle problems differently than you know, maybe
18:10
Speaker 3: somebody you know, you know born and they you know,
18:13
Speaker 3: they they've decided to take a criminal life, if you
18:15
Speaker 3: know what I mean. And they both had to, like,
18:16
Speaker 3: you know, get something from somebody. They each have incredibly
18:19
Speaker 3: different methods of how to how to get that thing
18:20
Speaker 3: from that person.
18:21
Speaker 4: Yeah, and one of the things I'll do too. And
18:24
Speaker 4: I'm sorry, I can't remember which.
18:27
Speaker 5: Book I got this from, but when you're when I'm
18:29
Speaker 5: looking at the outline for the story, it's like you
18:31
Speaker 5: break it down.
18:32
Speaker 4: By plot, and then I'll go through and I'll and.
18:34
Speaker 5: I'll split it out and say, Okay, what are my
18:36
Speaker 5: three major characters doing in each of these sequences? And
18:39
Speaker 5: you always you have your protagonist, your antagonist, and whoever
18:43
Speaker 5: the emotional character is, sometimes just a love interest or
18:46
Speaker 5: a best friend or a mentor. But make sure that
18:48
Speaker 5: each of them is doing something in every scene. And
18:50
Speaker 5: the other thing to keep in mind is if you
18:52
Speaker 5: want to have a compelling story, the antagonist is the
18:56
Speaker 5: hero of his own story. So they need to be
18:59
Speaker 5: doing something in our position to the protagonist every time.
19:02
Speaker 5: And so that's I'll break it down and I'll say,
19:04
Speaker 5: I'll have the plot and then like a one, then
19:06
Speaker 5: it's description about what each my my protagonists, my antagonists
19:10
Speaker 5: and my emotional character are doing in that scene as well,
19:14
Speaker 5: and that helps them.
19:15
Speaker 4: You can see in.
19:16
Speaker 5: Character arcs and theme, you know, having a theme is
19:19
Speaker 5: also very important. And that's a kind of a controversial
19:22
Speaker 5: topic because I know some people have different definitions about
19:25
Speaker 5: what seam is, but you know, it's just some sort
19:27
Speaker 5: of statement about the universal human condition, you know, working
19:30
Speaker 5: that and that's where that emotional character usually comes in,
19:33
Speaker 5: helping resonate, you know, to become a change agent, to
19:35
Speaker 5: bring your protagonet from wherever they are at the beginning
19:38
Speaker 5: of the film through their character arc to the end
19:41
Speaker 5: to that changed person at the end. And you can
19:44
Speaker 5: figure all that out in the outline. It's so much
19:45
Speaker 5: easier to do it in the outline stays and write
19:47
Speaker 5: your whole script and then realize how nothing changed or
19:52
Speaker 5: it doesn't have the heart that it needs. I'd much
19:54
Speaker 5: rather do all that work up front in the outline stage.
19:59
Speaker 2: We'll be right ba after a word from our sponsor,
20:05
Speaker 2: and now back to the show.
20:08
Speaker 4: When it's easier to fix and and see those problems.
20:13
Speaker 3: Yeah, and you're you're you're ready to because you know,
20:16
Speaker 3: as I've found, you know, and reading other scripts and
20:18
Speaker 3: you run my own scripts. The antagonist is sort of
20:20
Speaker 3: the person leading the film because they're the sort of
20:22
Speaker 3: the ones you know, in a superhero movie, that's the
20:25
Speaker 3: super the superhero you know, uh, meets the antagonist when
20:28
Speaker 3: the antagonist launches their plan, you know what I mean.
20:30
Speaker 3: Like and you see that in the Avengers movies. So
20:32
Speaker 3: the antagonist and even in horror movies like you know,
20:34
Speaker 3: Fire the Thirteenth, Jason's the one sort of you know,
20:37
Speaker 3: going through the film, and he's taken out these teenagers
20:39
Speaker 3: one by one up until one of them finds, you know,
20:42
Speaker 3: oh my gosh, where's my friend that they go look
20:44
Speaker 3: for they find our dead body. Then Jason springs and
20:46
Speaker 3: attacks again here stuff like that. You find the antagonist
20:48
Speaker 3: really is sort of the engine of the whole story.
20:51
Speaker 5: Yeah, and that's why you have to spend much time
20:53
Speaker 5: developing your antagonists as you do your protagonist, and you know,
20:56
Speaker 5: and and make them real, flesh them out, don't don't
20:59
Speaker 5: come up with the two dimensional you know, mustache twirling villain.
21:02
Speaker 5: And it's like, give them a goal and a motivation
21:05
Speaker 5: and a reason for doing what they're doing, and just
21:07
Speaker 5: you know, be evil for the sake of being evil. Okay,
21:11
Speaker 5: sometimes you can get away with that, but I think
21:14
Speaker 5: sympathetic villain dirt least empathetic villains are are always much more.
21:18
Speaker 4: Powerful and much more effective.
21:21
Speaker 3: Yeah, very true. And you know you touched on theme.
21:24
Speaker 3: You know, I was talking to another write about this
21:26
Speaker 3: about whether the theme should be one word. I've also
21:29
Speaker 3: heard theme should always be a question. You know, you know,
21:31
Speaker 3: what would you do to achieve your goal? You know,
21:34
Speaker 3: big question mark at the end there, you know, because
21:36
Speaker 3: I've seen you know, like you were saying, you know,
21:38
Speaker 3: it's always a statement about the the human condition. And
21:41
Speaker 3: somebody will have said, well, it should be a question
21:42
Speaker 3: that the movie answers, if you know what I mean.
21:44
Speaker 4: Yeah, I mean I don't.
21:47
Speaker 5: I don't have like absolute you know, when it comes theme,
21:50
Speaker 5: it's like, yeah, sometimes it takes a form of a question.
21:52
Speaker 5: Sometimes it's a statement. It just has to be something
21:55
Speaker 5: universal and that everyone can relate to. And I would
22:00
Speaker 5: also caution against, you know, writing from a soap box.
22:04
Speaker 5: You know where you're you're you have an agenda that
22:06
Speaker 5: you're trying to preach down onto people. I think that
22:09
Speaker 5: usually falls flat in the in the telling. It's I
22:12
Speaker 5: think it's much better to take something like a universal
22:14
Speaker 5: theme and then explore from different angles and maybe leave
22:17
Speaker 5: the ending ambiguous. It's like what is you know, like
22:20
Speaker 5: raise this big question, but then maybe there are several
22:22
Speaker 5: answers and this is just one of many, you know,
22:25
Speaker 5: And and the attack and I think in the in
22:26
Speaker 5: the best stories, the antags and the protagonists are both
22:30
Speaker 5: trying to achieve the same theme.
22:32
Speaker 4: I guess, or approach that same theme, but from different directions.
22:35
Speaker 5: And you know, maybe you agree with it, maybe you don't,
22:38
Speaker 5: but at least now it opens a.
22:40
Speaker 4: Thought provoking conversation about who we are as humans and
22:45
Speaker 4: that sort of thing. I don't know, kind of cool.
22:48
Speaker 3: Yeah, I think that is an actual way to put it.
22:51
Speaker 3: And you know, because you know, I think when we
22:54
Speaker 3: when when we when we get better? I think, you know,
22:56
Speaker 3: as I've realized too about when we get better at
22:58
Speaker 3: certain things, like you know, for instance, you were to
23:00
Speaker 3: talking about writing the treatment in the outline, there's a
23:01
Speaker 3: skooes you need to have. And that's also something that
23:04
Speaker 3: I've realized too, is that you know, as we the
23:08
Speaker 3: more the more of what we do, the better we
23:10
Speaker 3: get at it. You know what I mean that's usually
23:12
Speaker 3: a rule, you know, a rule film, so to speak.
23:14
Speaker 3: And so when we when we're writing a theme or treatment,
23:18
Speaker 3: or even when we're writing you know, the script itself,
23:20
Speaker 3: We're we're always trying to get better at doing those
23:22
Speaker 3: fine details. And that's that's a trick of screenwriting though,
23:25
Speaker 3: because we're always trying to put all these different skills together,
23:28
Speaker 3: you know what I mean, building a world, building a character,
23:30
Speaker 3: writing compelling action lines, writing compelling stories. You know, it's
23:33
Speaker 3: it's and themes and all that stuff. That's why screenwriting,
23:36
Speaker 3: I think is so challenging at the end of the day.
23:38
Speaker 4: Yeah, and there's always room to grow. There's always room
23:40
Speaker 4: to learn new things and try new skills. I'm always
23:44
Speaker 4: trying to get better.
23:45
Speaker 5: I'm never you know, I've had four films made and
23:49
Speaker 5: a fifth one that's in post production right now. And
23:51
Speaker 5: I'm not an expert. I don't claim to know at all.
23:54
Speaker 5: There's always things out there to learn from other people,
23:57
Speaker 5: read scripts from from professional writers who are better than you,
24:00
Speaker 5: and push yourself.
24:01
Speaker 4: To get to that next level because there's always room
24:03
Speaker 4: to grow.
24:04
Speaker 3: Absolutely, And speaking of some of those movies, you know
24:07
Speaker 3: you had tech and two because you use Revenge. You
24:10
Speaker 3: know that that movie came out in twenty fourteen, so
24:13
Speaker 3: you know, you know, how did you get you know,
24:16
Speaker 3: how would you get aboard that project?
24:18
Speaker 5: Well, it was the same people who had done Dracula,
24:20
Speaker 5: so it really like Dracula was like approving ground and
24:23
Speaker 5: then they're like, oh, well, we'd like to bring you,
24:25
Speaker 5: we'd like to invite you back for Tecan. And Tecan
24:28
Speaker 5: had its own unique challenges because originally our vision with
24:31
Speaker 5: that one was we wanted to do something that was
24:34
Speaker 5: very very true to the video game and very true
24:36
Speaker 5: to the fan, because the director who was attached at
24:38
Speaker 5: the time was like a huge tech fan, very passionate
24:40
Speaker 5: about it, and we pitched them this awesome, awesome thing,
24:44
Speaker 5: and that's not what they wanted to do. They wanted
24:46
Speaker 5: to do something different, and so there's been some a
24:48
Speaker 5: little bit of pushback from the tech and community because
24:51
Speaker 5: they're like, this isn't really a second movie, and I'm like, dude,
24:53
Speaker 5: I wish you could have seen the original treatment because
24:55
Speaker 5: that was it was awesome, and you know, maybe some
24:58
Speaker 5: day that movie will get made. It's just in this case,
25:01
Speaker 5: the producers wanted to do something a little different, so
25:03
Speaker 5: we at the end of the day, I'm just a
25:05
Speaker 5: hired gun. You know, you'd give them what you You're
25:08
Speaker 5: there to make the producer.
25:08
Speaker 4: Happy and give them what they want.
25:10
Speaker 3: So yeah, yeah, you know I agree with that completely.
25:14
Speaker 3: You know, that's why you know, I have had friends
25:17
Speaker 3: in simple situations and you know, at that point, yeah,
25:20
Speaker 3: you you know, like you just said, you realize you're
25:22
Speaker 3: the hired gun. You know, the producer, it's whatever. You know,
25:25
Speaker 3: since they hired you, you're you know, you have to
25:26
Speaker 3: deliver what they're looking for, you know. And I have
25:28
Speaker 3: friends who are who've had similar situations. When who are
25:30
Speaker 3: try and always force the issue and you know, things
25:34
Speaker 3: didn't go well. Let's just say that, Nicole.
25:36
Speaker 4: Yeah, Like you know, you have to remember if you're
25:39
Speaker 4: writing U spec that's yours. You can do whatever you want.
25:41
Speaker 5: But if you're writing for someone else and you and
25:44
Speaker 5: your job then is to take their vision and make
25:46
Speaker 5: the best possible version of that vision. You know, even
25:51
Speaker 5: if you don't necessarily agree with the vision, that that's
25:54
Speaker 5: not what you're there for. I mean, you can raise
25:55
Speaker 5: objections or whatever, try to, but at the end of
25:57
Speaker 5: the day, you work for them. It's their idea, give
26:00
Speaker 5: them the best possible version of their idea that you can.
26:04
Speaker 3: Yes, yeah, I concur and you know, speaking of your projects,
26:07
Speaker 3: we actually she moved and talked to you about Debris,
26:11
Speaker 3: which is, you know, your short horror film. You know,
26:13
Speaker 3: you actually raised just about twenty thousand dollars on Indiegogo.
26:17
Speaker 3: You raised three hundred and thirty percent over your goal.
26:21
Speaker 3: So I have to, you know, ask us, you know,
26:23
Speaker 3: I have to ask, you know, can you just give
26:24
Speaker 3: us a little bit about what Debris about? And I
26:27
Speaker 3: want to ask you too about you know, your crowdfunding campaign.
26:30
Speaker 5: Yeah, you know, Debris was really funny because it was
26:32
Speaker 5: the first time I tried to do crowdfunding and I
26:34
Speaker 5: was like, oh, I don't know what I'm doing.
26:36
Speaker 4: We're gonna do this, this is going to be a mess.
26:38
Speaker 4: So I only originally asked for.
26:40
Speaker 5: Five thousand, which wasn't going to be nearly enough to
26:42
Speaker 5: get the film made. But I'm like, I don't, you know,
26:44
Speaker 5: I don't know if I'll be lucky if I get that.
26:46
Speaker 5: And then the fact that we were able to raise
26:48
Speaker 5: you know, almost twenty was mind blowing.
26:50
Speaker 4: I mean I got to the point where I'm like, well,
26:52
Speaker 4: who are you people? And why are you giving me money?
26:54
Speaker 4: I don't understand, and I wish I could.
26:57
Speaker 5: I wish it for me a little nia so I
27:00
Speaker 5: could like replicate it at will. And I've done another
27:04
Speaker 5: craft finding campaign since then for another short film called
27:06
Speaker 5: Death Date, which is also successful, but not the same
27:08
Speaker 5: runaway train that Debris was. And I think the difference.
27:12
Speaker 5: Debrie just had this really cool concept, like a really
27:15
Speaker 5: high concept that people resonated with.
27:16
Speaker 4: Into the concept behind Debris is in the aftermath of
27:21
Speaker 4: the Fukushima tsunami, you had the curse down on his luck.
27:24
Speaker 5: Pretor Hunter is out with a metal detector on a
27:27
Speaker 5: California beach and finds a curse Samurai sword that's washed
27:30
Speaker 5: up on the beach from the Fukushima tsunami wreckage, and
27:36
Speaker 5: then he brings it home and the bad things happened.
27:38
Speaker 5: But I think by having this, you know, people love Damuriz.
27:43
Speaker 4: There's a huge like cult following.
27:46
Speaker 5: I guess this's around Samurais and the fact that the
27:48
Speaker 5: story itself was based on an actual Japanese legend, and
27:50
Speaker 5: there's been a variety of films made in Japan about
27:53
Speaker 5: this particular store and the bad things that happened to
27:56
Speaker 5: the people who own it. But I thought this was
27:58
Speaker 5: kind of an interesting put counting out Eastmes actually have
28:00
Speaker 5: this very ignorant American finds the sword, doesn't realize.
28:03
Speaker 4: It's dangerous, and then what Yeah, as his life slowly unravels.
28:07
Speaker 4: So yeah, we made the short.
28:09
Speaker 5: Film and it I think it's been in probably all
28:13
Speaker 5: god over, It's been in over a dozen festivals, like
28:15
Speaker 5: genre festivals, been nominated for a bunch of awards, won
28:19
Speaker 5: a couple of awards, and so with that one, now
28:22
Speaker 5: I'm trying to turn it into a feature if possible.
28:26
Speaker 5: So I've written a future version of the script, going
28:28
Speaker 5: out to different producers to if I can find someone
28:30
Speaker 5: who'd be interested in tackling the subjects on a broader
28:33
Speaker 5: on a bigger scale, because there's interest. I think it's
28:37
Speaker 5: I think it's a project that people like and would
28:39
Speaker 5: be like to see more.
28:41
Speaker 4: Of, you know, more of this story, more of the sword,
28:43
Speaker 4: and make it bigger. More.
28:46
Speaker 3: Is that online anywhere?
28:47
Speaker 4: For I want to check out the trailer.
28:49
Speaker 5: Of the field online, because it's still technically in the
28:51
Speaker 5: festival circuit, I can't release the film itself.
28:54
Speaker 4: Well, probably we'll see where things are at by the end.
28:57
Speaker 5: Of the year, but I think we'll probably finish our
28:58
Speaker 5: festival run by the end of the year and then
28:59
Speaker 5: maybe well, either release. We're also looking into getting distribution
29:03
Speaker 5: deals internationally, so it might be available on I don't know,
29:08
Speaker 5: video on demand or something TD, whatever markets are available
29:12
Speaker 5: out there.
29:13
Speaker 3: Cool, you know, yeah, I definitely think there was a
29:15
Speaker 3: market for something like that. And you know, when I saw,
29:19
Speaker 3: you know, how how much by the end, I saw
29:20
Speaker 3: how much this is? How much this is raising? Which
29:23
Speaker 3: I think I donated five dollars to this or can't
29:26
Speaker 3: oh fail under my pleasure because I you know, I
29:29
Speaker 3: checked on I checked it. I checked on it a
29:32
Speaker 3: couple you know, a couple of weeks later, and I saw, well,
29:34
Speaker 3: you know, this is almost ending, and I was like, wow,
29:36
Speaker 3: Nicole is killing it. I was like, well, here three
29:40
Speaker 3: past their goal. I mean, and I thought, you know,
29:42
Speaker 3: either somebody a huge contact list or somebody, well, I said,
29:45
Speaker 3: you know, somebody did something right, you know somewhere. You know,
29:48
Speaker 3: either you have a massive contact list. You you know,
29:50
Speaker 3: you have a rich, very rich relative donate you know
29:53
Speaker 3: money into it.
29:54
Speaker 4: Wait, don't I have no rich relatives?
29:56
Speaker 2: I went, We'll be right back after a word from
29:59
Speaker 2: our sponsor. And now back to the show.
30:07
Speaker 5: No, this was evidently like the Bernie Sanders of the
30:09
Speaker 5: crowd money campaign, with a lot of small donations, you know,
30:12
Speaker 5: and they did to add it up over time.
30:15
Speaker 4: And No, it was really.
30:18
Speaker 5: Phenomenal just to watch the response to this idea and
30:20
Speaker 5: this little film. It was really gratifying, and it gave
30:22
Speaker 5: us a lot of confidence that we were making a
30:24
Speaker 5: story that people wanted, the people wanted to see, and
30:28
Speaker 5: that resonated with people, and you know, and that at
30:31
Speaker 5: the end of the day, that's really what it's about,
30:33
Speaker 5: you know, telling stories that people want to hear and.
30:36
Speaker 4: Maybe make them think a little bit along the way.
30:38
Speaker 3: Yeah, I concur and you know, obviously, you know, the
30:41
Speaker 3: the concept was popular as well as you were saying that,
30:44
Speaker 3: and you know, there's always a crowd for an audience
30:49
Speaker 3: for horror of any kind, you know what I mean.
30:51
Speaker 3: There's always gonna be an audience for horror.
30:53
Speaker 5: Yeah. Well, and it's funny because you know, the when
30:57
Speaker 5: I was doing all the research for Debris and then
30:59
Speaker 5: the feature your link script for Debris, I stumbled on
31:01
Speaker 5: this other Samurai story and so I'm like, okay, I
31:05
Speaker 5: have to write this one. It's true story set in fuel, Japan,
31:08
Speaker 5: And and that was a script that ended up winning
31:10
Speaker 5: the grand prize at the Palm Street.
31:12
Speaker 4: Film Okay, you're writing competition. So it's like I went
31:16
Speaker 4: to my little samurai pace, I guess, and it's it's great.
31:21
Speaker 4: I love it.
31:21
Speaker 5: I love action films, I love martial arts films, and
31:24
Speaker 5: and so it's like I also I always caught some writers.
31:27
Speaker 4: About, you know, pigeonholing, because Hollywood will pigeonhole you. And
31:30
Speaker 4: I'm like, you know what, this is a hole I
31:32
Speaker 4: got stuck in.
31:33
Speaker 5: It's one I wouldn't mind living in because I just
31:34
Speaker 5: love that space so much.
31:37
Speaker 3: Yeah, and you actually, by the way, congratulations because you
31:39
Speaker 3: just did. You just did win the Palm uh Palm
31:43
Speaker 3: Palm Street competition. I always have U was it on Monday,
31:46
Speaker 3: I believe or today.
31:48
Speaker 4: They just announced the winners, like Monday your truth day
31:50
Speaker 4: of this week. Yeah, so that that's that's very new.
31:52
Speaker 5: And you know, and that was kind of interesting because
31:55
Speaker 5: I don't normally enter contact because I'm a genre writer generally,
31:58
Speaker 5: and and those unless it's a genre of competition, don't
32:01
Speaker 5: do well in these broad mainstream contests.
32:04
Speaker 4: But in this case because it was it was.
32:06
Speaker 5: Actually an action drama, you know, set in feudal to
32:08
Speaker 5: pant with Samurais.
32:09
Speaker 4: And Fingi's and it's just like going you know, all
32:11
Speaker 4: kinds of blood in action.
32:13
Speaker 5: Hey, you know, this one might actually the standard chance
32:15
Speaker 5: and then it ends up winning to a Grand Prize.
32:17
Speaker 4: So that was really gratifying.
32:20
Speaker 3: So, you know, I know you can't talk too much
32:22
Speaker 3: about it, but so I wanted to ask obviously, is
32:25
Speaker 3: you know what upcoming projects that you what upcoming projects
32:29
Speaker 3: you're working on that you can actually talk about, if
32:30
Speaker 3: any even you need to talk about.
32:32
Speaker 4: I mean, well, let's see.
32:33
Speaker 5: So there's my my feature film that I directed, Stasis,
32:37
Speaker 5: which is currently ampost We already have distribution lined up
32:40
Speaker 5: for that, which is really exciting too. So that film
32:42
Speaker 5: is supposed to be ready for Asam which is in November,
32:45
Speaker 5: and that's kind of the ya sci fi film. It's
32:48
Speaker 5: been called Terminator for teens, so if you like time
32:51
Speaker 5: traveling terminator type things, you know, check it out when
32:54
Speaker 5: it comes out. I think that'd be really cool. What
32:57
Speaker 5: else I'm working I'm right now I'm trying to raise
33:00
Speaker 5: money for my next feature, which is a horror script
33:04
Speaker 5: that based loosely on actual events, so I don't want
33:08
Speaker 5: to get too much away about that, but that one,
33:09
Speaker 5: in fact, seems like a phone with you. I have
33:12
Speaker 5: a call with the producer for that, so that that'd
33:15
Speaker 5: be nice to get that started production before the end
33:18
Speaker 5: of the year. And yeah, not Aten' just you know,
33:22
Speaker 5: I always got things going on. We're still in post
33:25
Speaker 5: production on Death Day, which is the other short film
33:28
Speaker 5: that I did after Debris.
33:29
Speaker 4: It's a meeting with my editor next week. We're gonna
33:31
Speaker 4: try to lock picture on that soon. And I don't know.
33:34
Speaker 4: I mean, he's got multiple irons in the fire, you know,
33:38
Speaker 4: waiting for something to hit. Just keep on chugging.
33:42
Speaker 3: Yeah, and then that has excellent advice to the cole
33:46
Speaker 3: Before we go, I have one Twitter question come in,
33:50
Speaker 3: and that was Nicole, what do you look for when
33:54
Speaker 3: you're deciding to be involved with a particular project?
33:58
Speaker 4: That is always a million.
33:59
Speaker 5: Dollar question, right, It's like it has to it has
34:01
Speaker 5: to appeal to.
34:03
Speaker 4: Me at some level.
34:04
Speaker 3: I don't know.
34:05
Speaker 4: It's hard to say. I'm because I have this genre background.
34:09
Speaker 5: I love what I guess if it were literature, if
34:12
Speaker 5: it called speculative fiction, basically Twilight zone type stuff.
34:15
Speaker 4: Things that appeal.
34:17
Speaker 5: To me personally are things that am really cool twists
34:20
Speaker 5: at the end, or are just thought provoking in some way.
34:24
Speaker 5: I love like old sci fi from like the seventies
34:28
Speaker 5: and eighties, when it was like some sort of like
34:29
Speaker 5: social message, but it was buried within the context of
34:32
Speaker 5: the film, you know what I mean, Like with Soylent
34:33
Speaker 5: Green and Planet of the Apes and logans around those
34:37
Speaker 5: types of films I really like from a sci fi perspective.
34:40
Speaker 5: On the horror side, I'm drawing more towards what I
34:46
Speaker 5: call hidden realities, so less flashers, more paranormal, more occult, more.
34:54
Speaker 4: Supernatural type stuff. Yeah, I don't know. I did have
34:59
Speaker 4: to some cool like if it could be made into
35:01
Speaker 4: a video game or comic bookcase is are, I'd like
35:03
Speaker 4: it because that's where's my world, that where I come from.
35:09
Speaker 3: Uncle. Very cool. You know, it's been a pleasure having
35:11
Speaker 3: you on And before I go, I just want to
35:13
Speaker 3: ask Nicole, where can people find you out online?
35:16
Speaker 5: Oh?
35:17
Speaker 4: I'm on Facebook. You find me on Facebook. If you
35:19
Speaker 4: like weird news, then totally follow me on Twitter. I'm
35:22
Speaker 4: at Navarus and O V A R I S.
35:25
Speaker 5: I post all kinds of wacky, weird news stories, conspiracy theories,
35:30
Speaker 5: and every now and then I'll toss on a screenwriting kip,
35:32
Speaker 5: just you know, for good measure. Yeah, but that's and
35:37
Speaker 5: I'm on LinkedIn to you, but mostly I like, I
35:38
Speaker 5: live on Facebook and Twitter, so that's a good place.
35:40
Speaker 4: To look for me. Yeah.
35:42
Speaker 3: I saw the tweet you just put it out on
35:44
Speaker 3: National predicts the end of Western civilization.
35:46
Speaker 4: Yeah, you all love yeah, stuff like that.
35:48
Speaker 5: Let's talk with the stuff after the world stuff, conspiracy theories,
35:51
Speaker 5: killer virus is gonna wipe that humanity.
35:54
Speaker 4: If you like that stuff, follow me on Twitter. It's
35:56
Speaker 4: full of it.
35:59
Speaker 3: Nicole. I want to say thank you so much for
36:01
Speaker 3: coming on and I wish you the best of luck
36:03
Speaker 3: with everything. And I will see you in the screenwriting
36:06
Speaker 3: you Facebook group and well you know, we'll be chat
36:10
Speaker 3: in screenwriting there more. And you know, if you ever
36:12
Speaker 3: need anything, please let me know.
36:14
Speaker 4: Awesome, thanks so much, Davis a great I want.
36:17
Speaker 3: To thank Dave so much for doing such a great
36:19
Speaker 3: job on this episode.
36:19
Speaker 2: If you want to get links to anything we spoke
36:21
Speaker 2: about in this episode, head over to the show notes
36:23
Speaker 2: at Bulletproof Screenwriting dot tv. Forward slash four fifty. Thank
36:27
Speaker 2: you so much for listening. Guys, as always, keep on writing.
36:30
Speaker 5: No matter what.
36:31
Speaker 2: I'll talk to you soon.
36:33
Speaker 1: Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproof
36:37
Speaker 1: Screenwriting dot tv.