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BPS 485: The Screenwriting Blueprint Every First-Time Writer Needs with David Hohl · Bulletproof Screenwriting™ Podcast

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Speaker 2: Welcome to the Bulletproof Screenwriting Podcast, Episode number four eighty five.
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Speaker 1: the craft and business of screenwriting while teaching you how
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Speaker 1: to make your screenplay bulletproof. And here's your host, Alex Ferrari.
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Speaker 2: Welcome, Welcome to another episode of the Bulletproof Screenwriting Podcast.
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Speaker 2: I am your humble host Alex Ferrari. Now, today's show
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1:33
Speaker 2: Enjoy today's episode with guest host Dave Bulliss.
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Speaker 4: With Me today is David Hall. David is a screenwriting
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Speaker 4: teacher and currently runs Horror Movie School and online film
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Speaker 4: school that focuses on the craft of making horror films.
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Speaker 4: He is also a producer and director, which will get
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Speaker 4: in today in the show.
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Speaker 5: Dave, how are you great? Thanks, I'm excited to be
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Speaker 5: on your show. Thanks Dave.
1:58
Speaker 4: Oh, thank you very much for coming on. This is
2:00
Speaker 4: actually the second time because the first time the recording
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Speaker 4: got a little messed up. But hopefully, Yeah, I was
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Speaker 4: a charm.
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Speaker 5: Right, Yeah, I hope, So I hope second time that
2:10
Speaker 5: third time, but it was fun, so I look forward
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Speaker 5: to it again.
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Speaker 4: Great, So you actually already know the question, So if
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Speaker 4: it sounds a little rehearsed, it's like, well, David, it's
2:20
Speaker 4: like almost like David.
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Speaker 5: Well, I was just thinking about that today and I
2:23
Speaker 5: was thinking, all my answers will probably be completely different
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Speaker 5: because they're just off the top of my head.
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Speaker 4: Good, So then it's really like a total, totally new
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Speaker 4: that's right.
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Speaker 5: Yeah.
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Speaker 4: So the first question I have for you is, you know,
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Speaker 4: what advice do you have two people that are writing
2:39
Speaker 4: their first screenplay?
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Speaker 5: Okay, for people that are just fresh into it and
2:45
Speaker 5: don't have really any education, and you're I'm assuming you
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Speaker 5: were talking about that right, yes, Well, I mean there's
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Speaker 5: a few people that might go on the route of
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Speaker 5: going to film school and UCLA or USC or whatever
3:02
Speaker 5: it be, but you know, that's not an option for
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Speaker 5: a lot of people because it's rather expensive, and personally,
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Speaker 5: I think there's there's better ways to get in. And
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Speaker 5: the first thing I would just recommend is get as
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Speaker 5: many good books as you can. With the internet nowadays,
3:20
Speaker 5: you can see you know, the reviews on the books
3:22
Speaker 5: and see you know how well screenwriters like them. So
3:27
Speaker 5: just try to find some good books, study him for
3:31
Speaker 5: a few months, read as many screenplays as you can,
3:34
Speaker 5: watch as many movies as you can, especially ones in
3:37
Speaker 5: the genre that you're interested in, and then start writing
3:44
Speaker 5: but I would recommend you know, learning how to do
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Speaker 5: an outline and doing that properly first, and then and
3:51
Speaker 5: then going in doing your first draft, and then going
3:55
Speaker 5: and meeting people that are screenwriters or screenplay consultants or
3:59
Speaker 5: writers group. It's like, I know, you had a writer's group.
4:04
Speaker 5: It's very helpful, and you can run your material by them,
4:07
Speaker 5: and then after you get it to a pretty good level,
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Speaker 5: then you can send it to a consultant to give
4:13
Speaker 5: you final critiques before you send it out into the market.
4:17
Speaker 5: You really don't want to send it out early because
4:21
Speaker 5: if you send it to producers before it's at its best,
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Speaker 5: then you know, if there's problems in it, they're going
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Speaker 5: to remember that, and then if you submit something again
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Speaker 5: in the future, they might not be interested in reading it,
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Speaker 5: even if it's ten times better at that point.
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Speaker 4: Yeah, you know. I also heard Dave that like certain
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Speaker 4: screenwrining competitions, they actually will take the name of the
4:43
Speaker 4: script and the writer and then they actually have their catalog,
4:47
Speaker 4: so if you do submit it again, they actually will
4:49
Speaker 4: base it upon that. So I know, the Nicole Fellowship
4:54
Speaker 4: actually mentioned that in A Q and A, and they
4:56
Speaker 4: were like, make sure this is as good as it
4:58
Speaker 4: possibly can, because if you submitted again and you know
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Speaker 4: we have on database. And thanks for mentioning my screenwriters group, Dave,
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Speaker 4: which is the first RAND screenwriters group. You know, we've
5:08
Speaker 4: been a meeting for over a year now we finally
5:10
Speaker 4: have a name.
5:12
Speaker 6: Okay, great, and you.
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Speaker 4: Were gracious enough to come in as a guest and
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Speaker 4: which was very good.
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Speaker 6: Yeah.
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Speaker 5: Well, I really recommend that I'm putting a group together.
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Speaker 5: You know, it gives you people to talk to that
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Speaker 5: have a like mind. You can share, you know, new
5:27
Speaker 5: things like maybe you know, the people in the group
5:31
Speaker 5: don't have a whole lot of money, so you know,
5:33
Speaker 5: one person can go to one seminar, another person go
5:35
Speaker 5: to another seminar and then sort of share the information
5:39
Speaker 5: amongst each other.
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Speaker 4: Yeah, that's a really good idea. And so Deve, I
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Speaker 4: want to follow up with that question. I wanted to
5:48
Speaker 4: ask what challenges did you encounter when you were writing
5:50
Speaker 4: your first screenplay?
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Speaker 5: Yeah, my very first screenplay I did. I believe I
5:56
Speaker 5: was seventeen years old. I was in high school still,
6:00
Speaker 5: and I thought I want to do that movie stuff.
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Speaker 5: Let me, I can write a screenplay just like anyone else.
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Speaker 5: So I just wrote a screenplay, and you know, I
6:09
Speaker 5: had my ideas of what characters I wanted and the
6:14
Speaker 5: basic ideas and had some scenes in my mind, and
6:17
Speaker 5: so I went about and I wrote this script and
6:19
Speaker 5: had some cool scenes, and I think it probably had
6:23
Speaker 5: some good dialogue For a seventeen year old.
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Speaker 6: I'd probably not like it now.
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Speaker 5: But when I went back and read the entire screenplay,
6:32
Speaker 5: it really didn't have any focus. And that's because I
6:36
Speaker 5: just wrote off the top of my head. I didn't
6:37
Speaker 5: realize that there was this whole art to screenwriting and
6:42
Speaker 5: having structure and knowing how to do outlines and things.
6:46
Speaker 5: So I would suggest to others to really learn outlining.
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Speaker 5: And that was my biggest challenge, is trying to write
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Speaker 5: without doing those things that I just recommended. I ran
7:00
Speaker 5: like one or two books. But nowadays, there's a lot
7:04
Speaker 5: of a lot more education out there. There's more seminars.
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Speaker 5: A friend of mine, David Freeman, has a great seminar
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Speaker 5: called Beyond Structure.
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Speaker 6: That's one.
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Speaker 5: Michael Haig has seminars Chris, So you know, there's a
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Speaker 5: lot of great seminars out there, and then there's specialty
7:22
Speaker 5: seminars for different genres. I have a class on horror.
7:28
Speaker 5: So I would just recommend getting the education and learning
7:30
Speaker 5: how to do outlining before you go into it, because
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Speaker 5: that was my biggest mistake when I first started.
7:37
Speaker 4: And that's something I found out too, is that outlining
7:40
Speaker 4: is so key because you have to know where your
7:42
Speaker 4: story begins and where it ends, and you need to
7:45
Speaker 4: see that in a whole you know, whether it's you know,
7:48
Speaker 4: just one sheet so you could see like you know,
7:51
Speaker 4: just in one glance, or whether it's like you know,
7:53
Speaker 4: running it over the span officult pages to add in
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Speaker 4: like a beat sheet. It's just important to know you
7:58
Speaker 4: know what's going on the scenes, everything in what's happening
8:02
Speaker 4: in those scenes, and then you can really start to
8:05
Speaker 4: develop that mood from there.
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Speaker 5: Yeah, and when I did my first screenplay, I did
8:11
Speaker 5: know what my beginning and end was, but I didn't
8:13
Speaker 5: know all of the signposts along the way. I just
8:17
Speaker 5: sort of tried to fill it in as I was writing.
8:21
Speaker 5: And just because you some people think just because you
8:25
Speaker 5: have an outline, it means you're being rigid and you're
8:27
Speaker 5: being formulaic and that you're not being creative, but that's
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Speaker 5: really not true. The structure just gives you the spine
8:34
Speaker 5: of the story, or if you look at it as
8:38
Speaker 5: building a house, it's a blueprints of the structure of
8:41
Speaker 5: the house. But that doesn't mean you can't be creative
8:43
Speaker 5: and go in and paint the walls however you want them,
8:46
Speaker 5: or put the trim on the on the ceiling, or
8:50
Speaker 5: the door knobs a certain way, so that once the
8:54
Speaker 5: structures there, it gives you freedom to go in and
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Speaker 5: do all the the real creative stuff.
9:00
Speaker 6: Opinion.
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Speaker 4: Oh yeah, and I agree on that too. And you know,
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Speaker 4: and speaking of resources, there's other places online now where
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Speaker 4: you can literally pull off screenplays and you can pull
9:10
Speaker 4: off even like, you know, things like about sequences and
9:13
Speaker 4: about you know that you were speaking about the signposts
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Speaker 4: in the road. Were you speaking about like the nine
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Speaker 4: main beats, like you know, like an inciting incident the.
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Speaker 5: First Yeah, generally those things. Yeah, they're different according to
9:26
Speaker 5: who you talk to in terms of terminology. But the
9:28
Speaker 5: basic that's what I meant by signposts, the basic plot points,
9:33
Speaker 5: you know, the major plot points and then the lesser
9:36
Speaker 5: plot points along the way.
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Speaker 4: So, David, what challenges do you encounter when you're writing
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Speaker 4: a screenplay?
9:42
Speaker 2: Now?
9:44
Speaker 5: Now, well, I joked last time about it being my
9:47
Speaker 5: daughter because she's five and she's always tugging my leg
9:50
Speaker 5: gasking for something. It's actually true. So I'd say the
9:52
Speaker 5: challenge is just working in a schedule with everything else
9:59
Speaker 5: that's going on.
10:00
Speaker 3: Life will be right back after a word from our sponsor,
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Speaker 3: and now back to the show.
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Speaker 5: And I know that's something that a lot of people
10:15
Speaker 5: have problems with. There's a lot of people interested in
10:17
Speaker 5: screenwriting that work full time and they have kids, or
10:21
Speaker 5: they have spouses, or they have other obligations. So just
10:26
Speaker 5: being able to schedule things and having a time where
10:30
Speaker 5: you can really get in and write, that's a challenge.
10:35
Speaker 5: And you just have to be persistent. You have to
10:37
Speaker 5: just write it out. You know that it's this time,
10:41
Speaker 5: and you know you could be creative.
10:43
Speaker 6: Piece.
10:43
Speaker 5: Some people say there is no time, I have no time. Well,
10:47
Speaker 5: that just means that your priority is low. If your
10:49
Speaker 5: priority is not to do it, then you won't do it.
10:52
Speaker 5: But if it is a priority, then you will do it.
10:55
Speaker 5: Even if it means waking up an hour early and
10:59
Speaker 5: you know, getting to work an hour early and getting
11:02
Speaker 5: your laptop out before and writing a few scenes or
11:06
Speaker 5: or something, you can you can do it.
11:09
Speaker 4: Yeah, And You've had a lot of writers doing that too,
11:11
Speaker 4: where they've either gotten to work early or they stay
11:14
Speaker 4: late just to knock out something and and you know
11:16
Speaker 4: that with that extra hour or so, right right, so,
11:21
Speaker 4: and Deeve, your approach to writing is you know, I
11:23
Speaker 4: know you break it out into eighths. Do you want
11:26
Speaker 4: to talk more about your your real method?
11:30
Speaker 5: Well, uh, yeah, I won't go into a lot of
11:34
Speaker 5: detail because that might take some time, and people can
11:38
Speaker 5: learn that on my website too, but it's basically it's
11:43
Speaker 5: based on the sequence method from USC where they break
11:48
Speaker 5: it down into sequences. And the reason I like that
11:52
Speaker 5: is because they're bite sized pieces that you really you
11:56
Speaker 5: could understand what each second is attempting to do within
12:03
Speaker 5: the story. And then also it gives you a goal,
12:07
Speaker 5: a really clear goal that you know you can make.
12:10
Speaker 5: And then once you make that goal, you know of
12:12
Speaker 5: the twelve pages or so or fifteen, depending on what
12:18
Speaker 5: you're shooting for. Once you make it, then you just
12:21
Speaker 5: go on to the next and then you have another
12:23
Speaker 5: clear goal. So I think it it's easier to get
12:26
Speaker 5: through the whole script doing that. And my real outlining
12:30
Speaker 5: technique is basically taking that sequence method and putting it
12:34
Speaker 5: onto a outlined template where someone can just easily, you know,
12:40
Speaker 5: put in the major plot points of each of the
12:43
Speaker 5: reels and then build it and you can look at
12:49
Speaker 5: it from an overview, it's like a bird's eye view
12:52
Speaker 5: and see this entire structure of the screenplay and you
12:56
Speaker 5: can play around and move move the scenes around and
12:58
Speaker 5: things until you know it's really clear, and then you
13:02
Speaker 5: can write a first draft really quickly. And that's that's
13:04
Speaker 5: my goal, and I found it very successful when I've
13:09
Speaker 5: been hired to do something with a tight deadline. You know,
13:14
Speaker 5: I've had to write features in three weeks, which is crazy,
13:18
Speaker 5: I think, and uh, you know, but if I have
13:22
Speaker 5: the outline, then three weeks is actually actually a long time.
13:27
Speaker 5: You can do it quicker than that. So usually if
13:30
Speaker 5: I had three weeks, I would spend you know, a
13:33
Speaker 5: whole week just doing the outline, and then I would
13:35
Speaker 5: zip through the first draft, you know, in the in
13:39
Speaker 5: the two weeks or less. So that's what a nutshell
13:44
Speaker 5: of the out the real outlining method.
13:48
Speaker 4: You know, And I've faild that that also helps a
13:51
Speaker 4: lot with outlining, just sequencing it out and breaking it
13:53
Speaker 4: into eight you know, so you have you know, you
13:56
Speaker 4: have two sequences in act one four and Act two
13:58
Speaker 4: and then two and act three, and it really helps
14:01
Speaker 4: to sort of just see this and break down in
14:03
Speaker 4: the medical pieces. It really helps you. Now you can say, hey,
14:06
Speaker 4: this isn't as much as just if I said, you know, okay,
14:09
Speaker 4: we're going back one Act two and then that two
14:11
Speaker 4: dec three and then you know, to a conclusion.
14:14
Speaker 6: Yeah.
14:14
Speaker 5: And that's why, you know, in the early days of screenwriting,
14:18
Speaker 5: when people just had Sidfield's book, they always would say
14:22
Speaker 5: the same thing that as soon as they got into
14:24
Speaker 5: act two, they would get lost and bogged down and
14:27
Speaker 5: and it would take forever because there weren't really those
14:31
Speaker 5: clear sign posts along the way. So it got difficult.
14:38
Speaker 5: And the whole idea of reels, you know, come from
14:43
Speaker 5: when in the theaters they actually used reels of film
14:47
Speaker 5: and they were broken down into it wasn't just one
14:50
Speaker 5: giant real the entire movie. They'd have to switch the
14:54
Speaker 5: reels and so they would be in in you know,
14:58
Speaker 5: I think they were eleven minute twelve minute reels and
15:02
Speaker 5: then they would switch it over.
15:03
Speaker 6: So that's the idea of a reel.
15:05
Speaker 5: And if you'd take those eight of them, they pretty
15:08
Speaker 5: much come to the exact perfect length of a feature.
15:12
Speaker 4: So and when we talk about all the resources online
15:17
Speaker 4: and you know, you could learn aline pretty much anything. Now,
15:20
Speaker 4: on the subject of one, what was some of the
15:22
Speaker 4: reasons why you started horror excuse me, the horror movie School.
15:27
Speaker 5: Yeah, it's Horror Movie School dot com. And the reason
15:29
Speaker 5: I started it is because when I worked in Hollywood
15:34
Speaker 5: after school, the first job I had was in post production,
15:39
Speaker 5: and I had that for several years, and I saw
15:43
Speaker 5: all of these films come in, you know, where we
15:46
Speaker 5: would do the post production, we would do music, we
15:48
Speaker 5: would do sound effects, editing and all that. And I
15:55
Speaker 5: got to see, you know, the films worked on, and
15:57
Speaker 5: they were mainly independent films, but you know, they were
16:00
Speaker 5: anywhere from a few hundred thousand dollars to you know,
16:05
Speaker 5: maybe ten or fifteen million dollars as independent films. And
16:10
Speaker 5: I got to see them being worked on, and then
16:13
Speaker 5: I got to see what happened to them, you know,
16:16
Speaker 5: in a year or two down the line. And I'd
16:20
Speaker 5: always find that the horror movies ended up on the
16:26
Speaker 5: shelves of Blockbuster or or sold distributed, and I'd see
16:31
Speaker 5: them and I'd rent them even and I'd say, hey, hey,
16:34
Speaker 5: this is one of the ones I worked on. But
16:36
Speaker 5: the other ones, the comedies, the dramas, they disappeared, and
16:42
Speaker 5: I figured they're just shown at Christmas time at the
16:45
Speaker 5: director's house, you know, for their family or something. And yeah, yeah,
16:51
Speaker 5: so they you know, they spent five hundred thousand dollars
16:54
Speaker 5: of their life savings and now it's just something that
16:57
Speaker 5: their friends watched. And you know, that's sad because maybe
17:02
Speaker 5: it was a really good story. But the thing that
17:05
Speaker 5: I learned was that genre is something that really sells
17:09
Speaker 5: and it's something that you don't need star power for.
17:12
Speaker 5: So that comedy, you know, if it had a star
17:15
Speaker 5: in it, it might have been very successful because people
17:18
Speaker 5: would have wanted to see it. But if there's no
17:21
Speaker 5: one in it, they recognize no one's going to want
17:23
Speaker 5: to rent it. But horror, they're going to want to
17:25
Speaker 5: rent it simply because it's horror and because it's the
17:28
Speaker 5: cool idea. It's a star unto itself. That's what I say.
17:32
Speaker 5: And so I figured that I can help people learn
17:36
Speaker 5: this genre. It's something I've been working on for many,
17:39
Speaker 5: many years, and it's something that can help people break in.
17:44
Speaker 5: There's a lot of producers out there looking for low
17:47
Speaker 5: budget horror things to mil make, and you know, once
17:51
Speaker 5: you break in, then you can do what you want.
17:53
Speaker 5: You know, you could be Sam Raimi and you know,
17:56
Speaker 5: do Evil Dead and then decide you want to go
17:58
Speaker 5: do a West or a Spider Man or something. But
18:03
Speaker 5: if you love horror, you know you can stay in
18:05
Speaker 5: it too. It'll just give you a way in.
18:08
Speaker 4: Yeah, because you look at movies like Power them Activity,
18:11
Speaker 4: and you look at other, you know, other movies like
18:13
Speaker 4: a Blair Witch Project, they were basically like a no
18:16
Speaker 4: to well they would be classified as like a no
18:18
Speaker 4: to micro budget films and then they had minimal locations,
18:23
Speaker 4: but they really folks on the horror and they did it.
18:25
Speaker 4: I mean, both those movies did extremely well. And I
18:29
Speaker 4: know they're outliers obviously because you know, because they've both
18:31
Speaker 4: made a couple of hundred million dollars. But yeah, that
18:34
Speaker 4: is real point though, because if you know, if we had,
18:37
Speaker 4: let's say, five thousand dollars to make a movie which
18:41
Speaker 4: is basically considered no budget, if we were we could
18:44
Speaker 4: actually you know, get one location, whether it's someone's house
18:47
Speaker 4: or what have you, and then you know, we could
18:50
Speaker 4: actually film the movie.
18:50
Speaker 5: There exactly, and and you know you can do that
18:54
Speaker 5: with a drama too, but the difference is you have
18:58
Speaker 5: a lot better chance of selling the horror film or
19:01
Speaker 5: getting someone to you know, rent to watch it whatever,
19:06
Speaker 5: just because it's the genre. You have a fan base
19:09
Speaker 5: built in already.
19:11
Speaker 6: Yeah.
19:11
Speaker 5: I mean, I think Paranormal Activity the last time I checked,
19:15
Speaker 5: which maybe something's changed by now, but I think it
19:19
Speaker 5: was the most successful film of all time in terms
19:22
Speaker 5: of return on investment. The amount of money put in
19:25
Speaker 5: according to how much they made. It was just insane
19:30
Speaker 5: how much they made.
19:32
Speaker 4: Yeah, it really is. And you know a little side fact.
19:35
Speaker 4: One person I had on the on my previous show
19:39
Speaker 4: actually used to work with Orange Ptelli and they worked
19:42
Speaker 4: together at Sony and they actually were both coders. And
19:47
Speaker 4: Or one day just quit because he said, guys, I
19:50
Speaker 4: sold a movie to Sony or whoever. He said, that's
19:54
Speaker 4: what I do now. And they thought there was kidding around.
19:58
Speaker 3: We'll be right back after a word from our sponsor.
20:04
Speaker 3: And now back to the show.
20:07
Speaker 4: He was serious. And now that guy's into filmmaking now.
20:10
Speaker 4: And his name was Scott McMahon, and he just had
20:12
Speaker 4: him orran on his podcast to discuss to discuss how
20:16
Speaker 4: he did it. So it's actually if you want to
20:18
Speaker 4: look up Scott's podcast, I'm gonna put the link on
20:22
Speaker 4: the show notes. But it's really really interesting how he
20:24
Speaker 4: talks to Orn about how the movie got discovered and
20:27
Speaker 4: how Orn was able to get to get it to
20:29
Speaker 4: where it was.
20:30
Speaker 5: Oh, that's great, I'd love to hear that. What's the
20:33
Speaker 5: website address again.
20:35
Speaker 4: It's I forget what he I think it's called Filmmaker
20:38
Speaker 4: Fridays is his podcast name, but the guy who runs
20:41
Speaker 4: is called Scott McMahon. I'm gonna put the u RL
20:44
Speaker 4: on the show notes.
20:45
Speaker 6: Oh okay, fantastic, And you.
20:47
Speaker 4: Know, just to just continue with the online learning, you know, Dave,
20:51
Speaker 4: do you ever think that like online learning or you know,
20:55
Speaker 4: distance learning is sometimes is called do you ever a
20:57
Speaker 4: thing that will replace standard universities.
21:00
Speaker 5: It's never going to replace it because the universities are
21:04
Speaker 5: too large and they have the reputation, and there's always
21:06
Speaker 5: going to be someone that has a lot of money
21:09
Speaker 5: and a lot of time and wants to have that,
21:14
Speaker 5: you know, just the name saying they went there. I
21:19
Speaker 5: don't think it's necessary to go there. There's lots of
21:21
Speaker 5: people that have been successful that haven't gone to the
21:24
Speaker 5: major universities. And there's a lot more people that now
21:29
Speaker 5: have access to education and learning. Like I was saying before,
21:35
Speaker 5: there's a whole lot of people out there that you know,
21:37
Speaker 5: they have to support themselves, they have to have a job,
21:40
Speaker 5: they have to you know, help their families or what
21:44
Speaker 5: have you. And online learning gives them the opportunity to,
21:47
Speaker 5: you know, when your kids go to sleep, you pull
21:50
Speaker 5: out the computer at any time of the night and
21:52
Speaker 5: you can get that education. You can do the practices,
21:55
Speaker 5: you can learn from seminars, audio video, what have you.
22:00
Speaker 5: You know, whenever, even at lunchtime at your job. So
22:05
Speaker 5: there's no excuses for not doing it because there's so
22:08
Speaker 5: many opportunities out there, and it just online learning just
22:11
Speaker 5: is great. I mean I use it all the time still.
22:16
Speaker 5: Whenever there's a little class or seminar that I want
22:19
Speaker 5: to learn, I go online and.
22:21
Speaker 6: I just do it when it's convenient.
22:24
Speaker 4: That's great because you know, and even like there's apps
22:26
Speaker 4: now for the phone, you're withe there of Android or iOS.
22:30
Speaker 4: You know, I've all sometimes out because I'm taking some
22:32
Speaker 4: all that classes right now, and I can just pop
22:34
Speaker 4: it open and I can go through a lesson right
22:36
Speaker 4: then and there.
22:38
Speaker 6: Yeah, that's that's great.
22:40
Speaker 5: Technology makes it easier, and not only classes, but just
22:43
Speaker 5: like things you're doing, you're doing this podcast. It's a
22:46
Speaker 5: great educational tool for people to learn things. And you know,
22:52
Speaker 5: a lot of times you'll learn things that you'd never
22:53
Speaker 5: even learn in in a film school in places like this.
22:58
Speaker 4: And it's also a good place in network because you're
23:01
Speaker 4: people with different experiences and you may not expose to them,
23:05
Speaker 4: you know, without that. Yeah, and then so Dave, just
23:10
Speaker 4: to move to production now, you wrote and directed a
23:13
Speaker 4: feature length film called In Search of Lovecraft. What challenges
23:18
Speaker 4: did you encounter when you made that movie?
23:23
Speaker 5: Well, primarily, I am a screenplay consultant. That's what I've
23:26
Speaker 5: been doing for over I think it's over fifteen years now,
23:30
Speaker 5: and that's what I'm known for mainly.
23:33
Speaker 6: But I've done production also.
23:35
Speaker 5: When I very first started, you know, when I was
23:37
Speaker 5: a teenager, I was doing national commercials Prodigy and Macy's
23:42
Speaker 5: and Dodge and things like that. I would work in production.
23:46
Speaker 5: So I've always worked in production. And when I was
23:49
Speaker 5: studying screenwriting, when I moved to Los Angeles, I also
23:52
Speaker 5: did a whole ton of low budget films with students
23:56
Speaker 5: and some.
23:57
Speaker 6: Really low budget horror movie s features.
24:00
Speaker 5: I worked in production, but I'm always the script person,
24:04
Speaker 5: the script analyst. But I was talking with my wife
24:07
Speaker 5: and we were just saying, you know, do you think
24:11
Speaker 5: you can make a feature? And I said sure, And
24:13
Speaker 5: it was sort of a bet. You know, before your birthday,
24:15
Speaker 5: which is in three months, can you get a feature
24:17
Speaker 5: put together? And so just for the experience, I did it.
24:22
Speaker 5: I wrote it really quickly and started casting it and
24:27
Speaker 5: got all the locations and got some really cool locations. Actually,
24:31
Speaker 5: we're the only production at least at the time, which
24:36
Speaker 5: was I think three years ago, to ever shoot at
24:40
Speaker 5: Quait Tower in San Francisco, because normally they wouldn't give
24:43
Speaker 5: you permission to go in and shoot. But we sort
24:46
Speaker 5: of talked our way in with the manager and got
24:54
Speaker 5: into shoot there, that and that. So that was cool,
24:56
Speaker 5: and we have a lot of high profile San Francisco
24:58
Speaker 5: locations that we shot in. The biggest obstacle was time.
25:06
Speaker 5: We'd run out of time because we had almost no budget.
25:10
Speaker 5: We shot the whole thing in ten days, and so
25:15
Speaker 5: all of these things I had on my shot lists,
25:20
Speaker 5: you know, I would say, Okay, we're on this shot. Now,
25:23
Speaker 5: now get the dolly ready. I want to do a
25:25
Speaker 5: dolly shot here, and at the same time, you know,
25:29
Speaker 5: boom the arm up so we can get a shot.
25:31
Speaker 5: So dolly shot with a boom and they'd say, no,
25:35
Speaker 5: I don't think so, we.
25:36
Speaker 6: Don't have the time for that.
25:37
Speaker 5: We're going to put it on sticks and shoot it,
25:40
Speaker 5: you know, straight, And a lot of that happened. So
25:43
Speaker 5: that was disappointing, and that taught me just that the
25:48
Speaker 5: next one I do. I just need a bigger budget
25:50
Speaker 5: so we have more time, more time.
25:54
Speaker 4: Yeah, And that's what we've learned too, is I would
25:57
Speaker 4: much prefer to have more days, yeah, and make them
26:00
Speaker 4: less hours because I mean you hear sometimes like fourteen sixteen,
26:04
Speaker 4: eighteen hour days. Oh yeah, it just grinds out your
26:07
Speaker 4: crew more than anything.
26:09
Speaker 5: Yeah, we were doing for ten days. We did eighteen
26:14
Speaker 5: to twenty hour days every day, and yeah, the only
26:19
Speaker 5: thing that kept the crew from mutiny was having really
26:23
Speaker 5: really good food. So would I would definitely don't skimp
26:27
Speaker 5: on food if you're making your crew work a lot.
26:31
Speaker 4: Yeah. I was actually shooting a zombie trailer with a
26:35
Speaker 4: friend of mine and business partner Chris Witt, and we
26:37
Speaker 4: actually had this catering company actually donated food to us,
26:42
Speaker 4: so like all the lunches were like this amazing food
26:45
Speaker 4: each day and because I'm glad they worked out that
26:50
Speaker 4: way because it was raining every single day we were shooting,
26:54
Speaker 4: just like putting the cast out there was so brutal.
26:57
Speaker 4: It was cold, and you know, I think that is
27:01
Speaker 4: one thing I really made up for it was the
27:03
Speaker 4: fact that we had awesome food.
27:04
Speaker 5: Yeah, that always helps. And I need to talk to
27:08
Speaker 5: you sometimes and how you got it donated.
27:10
Speaker 6: That's pretty good. You know.
27:13
Speaker 4: It's uh, different producers. I always say, different producers at
27:16
Speaker 4: different skill sets. At times it's just you know, connections
27:19
Speaker 4: or it's just me like you were able to you know,
27:21
Speaker 4: talk your way and the shooting in certain locations and
27:25
Speaker 4: you know, I forget told me this, but someone said
27:28
Speaker 4: that a producer with a large rollodex is actually like
27:31
Speaker 4: your best is like your best asset, because yeah, you
27:33
Speaker 4: just call around and that's true.
27:36
Speaker 6: That's true.
27:37
Speaker 4: So if you were to make another film, Dave, do
27:40
Speaker 4: you think you would go to the crowdfunding route?
27:43
Speaker 6: Say that again, which route?
27:45
Speaker 4: The crowdfunding route? Do you think you mean? You sick Starter,
27:49
Speaker 4: you go, I I I might.
27:53
Speaker 5: I think, you know, I know several people that had
27:56
Speaker 5: success and that. One of my friend did a short
28:02
Speaker 5: film successfully and got funding through that. Another friend did
28:06
Speaker 5: a documentary any budget that I want to work with now,
28:11
Speaker 5: I think it'd be probably too much to raise through that.
28:16
Speaker 5: I know there's been some success. I know there's a
28:18
Speaker 5: there's this game maker. I'm a big Lovecraft fan, being
28:21
Speaker 5: horror or a person, and there's this game designer named
28:25
Speaker 5: Sandy Peterson who designed the Colikathulu horror Lovecraft game, and
28:30
Speaker 5: he did a Kickstarter to raise ninety thousand dollars to
28:34
Speaker 5: make a new Lovecraft game and he ended up raising
28:36
Speaker 5: I think one point four million instead of ninety thousand.
28:41
Speaker 5: So you can definitely succeed if you do it right
28:45
Speaker 5: and you have some kind of a name there. But
28:50
Speaker 5: I think I'd be more likely to go private investor
28:55
Speaker 5: route and just do a you know, business plan and
29:01
Speaker 5: and and get a lawyer and go to private funding.
29:06
Speaker 4: Yeah. And you know, I've often talked about this, maybe
29:09
Speaker 4: you could do a mixture of the two, because I've
29:11
Speaker 4: talked about this to other filmmakers and just to say, like,
29:15
Speaker 4: you know, maybe not crowdfunds your entire budget. Maybe crowdfund
29:18
Speaker 4: maybe you know, twenty thirty percent. Could use that as
29:22
Speaker 4: almost like a proof of concept. But but you know sometimes,
29:27
Speaker 4: you know, I've got into discussions before about if you
29:30
Speaker 4: need to crowdfund like five thousand dollars, is it really
29:34
Speaker 4: quote unquote worth it? And some people say yes, some
29:36
Speaker 4: people say no. But you know, I see what you
29:40
Speaker 4: mean about, you know, having a name attached, because you
29:42
Speaker 4: have to have you know, the perks have to be right,
29:44
Speaker 4: the project has to be you know, it has the quality.
29:47
Speaker 4: You know, everything has to you know, there's a whole checklist,
29:50
Speaker 4: and you know, I did a podcast with John Tregronis
29:53
Speaker 4: a couple of weeks ago. I'm going to have them
29:55
Speaker 4: on again.
29:57
Speaker 3: We'll be right back after a word from our sponsor
30:03
Speaker 3: and now back to the show.
30:06
Speaker 4: And we always get into that about you know, sometimes
30:10
Speaker 4: filmmakers just they set this unrealistic goal and there's absolutely
30:14
Speaker 4: no way they're ever going to make it, like you know,
30:16
Speaker 4: like you know, five hundred thousand dollars, this simple zombie movie,
30:21
Speaker 4: and you're like, what what's called through five hundred thousand dollars?
30:24
Speaker 6: Right?
30:24
Speaker 5: Or or how do we you know, who are you?
30:27
Speaker 5: Why are we going to give it to you?
30:28
Speaker 4: Yes?
30:29
Speaker 5: Exactly know when when we can, you know, do it
30:31
Speaker 5: ourselves or give it to some person we've heard of.
30:36
Speaker 5: And if I'm not exactly sure, but I've been told
30:40
Speaker 5: that in crowdfunder, you know, if you know, correct me,
30:46
Speaker 5: that you can ask to raise a certain amount and
30:49
Speaker 5: if you don't hit that goal, you still receive the funds,
30:53
Speaker 5: while in Kickstarter you don't receive any funds unless you
30:57
Speaker 5: meet the full goal.
30:59
Speaker 4: Yes, go go or indiegog. I keep calling it indie
31:02
Speaker 4: a go go. But in indiego go you can have
31:05
Speaker 4: it set either way, whether it's you know, whether you
31:08
Speaker 4: meet the goal and you get nothing, or you meet
31:10
Speaker 4: the goal and if you don't meet the goal, you
31:12
Speaker 4: still get something, So you can have it set either way. Kickstarter,
31:16
Speaker 4: it's all or nothing, so you're a dollar short, you
31:18
Speaker 4: get absolutely nothing.
31:20
Speaker 5: And I in a way, I think I like that
31:21
Speaker 5: better because then that way the people that are getting
31:24
Speaker 5: involved in giving you money know that the project is
31:27
Speaker 5: gonna you know, go forward, as opposed to you know,
31:31
Speaker 5: you get partial funding and then it might not ever
31:34
Speaker 5: be finished.
31:36
Speaker 4: And you know, there's been discussions about that you know
31:39
Speaker 4: online too, about you know, what is actually better, and
31:43
Speaker 4: really it does come down to the project. You know,
31:45
Speaker 4: I was all gonna try grown us about this, and
31:47
Speaker 4: he I didn't even know about this, but there's a
31:50
Speaker 4: whole zombie like you know crowd in within Indiego Go,
31:54
Speaker 4: and basically he was tooling out the idea of just
31:57
Speaker 4: having your hashtag go go zombie because there's so many
31:59
Speaker 4: zombie projects on there and they all get funded too,
32:02
Speaker 4: which is which speaks a lot about the horror genre
32:05
Speaker 4: and the zombie, the zombie subgenre. And so Dave, just
32:12
Speaker 4: to continue with the whole conversation about your projects, What
32:15
Speaker 4: are you working on next?
32:18
Speaker 5: Well, I'm working a lot on you know, student things.
32:22
Speaker 5: I have the Horror Movie School dot com. And then
32:24
Speaker 5: I have my consulting business, so I do screenplay consulting
32:28
Speaker 5: for a lot of writers. I just talked to someone
32:31
Speaker 5: today actually about a really really big project which I'm
32:36
Speaker 5: not going to say until I get it, you know, signed,
32:39
Speaker 5: but that's something I'm working on. And then I have
32:42
Speaker 5: my own inspect projects that that I'm working on. I
32:46
Speaker 5: think I mentioned to you this before. I'm actually getting
32:51
Speaker 5: away from horror on this project and doing a kid's
32:54
Speaker 5: Disney type Disney type film because I have some a
32:59
Speaker 5: good friend that works in directing for Disney, and so
33:04
Speaker 5: that's an open opportunity. And also I'd like to have
33:07
Speaker 5: something that my daughter can watch and I can tell
33:10
Speaker 5: her I did it. I can't show her any of
33:12
Speaker 5: my horse but I mean, my true love is still horror,
33:18
Speaker 5: but I like to be diverse. I mean, I watch
33:22
Speaker 5: romantic comedies too. It's not that I'm stuck only in horror.
33:25
Speaker 5: It's just happens to be my specialty.
33:28
Speaker 4: And speaking of hard Disney, we were just talking about
33:30
Speaker 4: Escape from Tomorrow.
33:32
Speaker 5: Yeah, yeah, you turned me onto that last time, and
33:36
Speaker 5: I had never heard of it, actually, so I looked
33:38
Speaker 5: it up and I read a little bit about it,
33:40
Speaker 5: and I guess the guy got an inheritance from his
33:44
Speaker 5: grandparents and he spent six six hundred and fifty thousand
33:48
Speaker 5: on making this film and he shot at guerrilla style
33:52
Speaker 5: in Disneyland or Disney World. I guess it is in Florida,
33:57
Speaker 5: and it's in black and white. And I watched a
34:01
Speaker 5: few scenes and it has a really interesting look to it,
34:05
Speaker 5: and it's just amazing that he pulled this off. Shooting
34:08
Speaker 5: the whole thing gorilla style and not being caught. I
34:13
Speaker 5: mean I read that he and the crew would go
34:16
Speaker 5: and take these rides, you know, fifteen times in a
34:21
Speaker 5: row to get the scene right, and nobody noticed anything
34:24
Speaker 5: that was going on. He used as their phones had
34:28
Speaker 5: their scripts on him, like you were telling me, and
34:31
Speaker 5: they were using cameras that looked consumer you know that
34:34
Speaker 5: other people in the park might have. So it's very interesting.
34:39
Speaker 5: I'm going to watch the whole thing, but I wouldn't
34:43
Speaker 5: recommend doing that. I mean, if that guy came to
34:45
Speaker 5: me and said should I do this, I would tell
34:48
Speaker 5: him no. And I guess in this case, I would
34:51
Speaker 5: have been wrong because it was successful and went to
34:55
Speaker 5: the festival. But you know, that's one out of a million.
35:02
Speaker 5: I know another person, a friend of mine, that shot
35:06
Speaker 5: something similar movie where I told him he shouldn't be
35:09
Speaker 5: doing it because he didn't have the rights, and he said, oh,
35:11
Speaker 5: that's no big deal. And then as soon as he
35:14
Speaker 5: finished it, the first advertisement he put out, first marketing
35:18
Speaker 5: thing he put out there, he got calls from lawyers saying,
35:21
Speaker 5: we're gonna sue you out of existence if you show
35:26
Speaker 5: this or market it at all. So I was really
35:30
Speaker 5: surprised that Disney didn't go after this guy, but luckily
35:35
Speaker 5: they didn't, so you can see it.
35:37
Speaker 6: It looks very interesting.
35:39
Speaker 4: Yeah, I definitely would check it out. Sorry, I definitely
35:41
Speaker 4: recommend it to filmmakers who just interesting how he actually
35:45
Speaker 4: did it and obviously just feel what he did with
35:48
Speaker 4: the with you know, although he had a larger budget
35:50
Speaker 4: than most people had, it's just how he went about
35:53
Speaker 4: doing it. But yeah, like you said, Dave, I would
35:55
Speaker 4: if somebody asked me about this, I would I say,
35:58
Speaker 4: no way, do not even attempt to do something like that.
36:00
Speaker 2: That.
36:01
Speaker 5: Yeah, and and the funny thing is he knew that
36:04
Speaker 5: there could be major trouble because I read that he uh,
36:09
Speaker 5: as soon as he had everything in the can, he
36:12
Speaker 5: went to I guess South Korea and had all the
36:14
Speaker 5: visual effects done in South Korea because he didn't want
36:17
Speaker 5: any of the post production houses to talk about it
36:21
Speaker 5: and it to get to Disney.
36:23
Speaker 4: So yeah, yeah, that's a good way to do it,
36:27
Speaker 4: I guess. I mean, I don't know how much that
36:29
Speaker 4: extra would have cost them, but yeah, it's it's a
36:33
Speaker 4: really interesting story, you know. It's it's always some of
36:35
Speaker 4: these films, you know, like bow Finger. There was a
36:37
Speaker 4: that was based off a real movie where apparently, you know,
36:41
Speaker 4: like actors would just walk up this actress on the
36:44
Speaker 4: beach and just say lines to her and she go
36:46
Speaker 4: what and then you know they use that as the
36:47
Speaker 4: actual movie. H I don't know the name of it,
36:49
Speaker 4: but that's what bo Finger was based off of. Okay,
36:54
Speaker 4: so yeah, it's you know, it's crazy to these stories.
36:57
Speaker 5: Yeah.
36:58
Speaker 4: So so, Dave, you know, just to wrap everything up,
37:02
Speaker 4: is there anything else you'd like to share or discuss
37:04
Speaker 4: that we haven't talked about yet.
37:06
Speaker 5: Oh, just a couple of tips. Maybe we talked a
37:14
Speaker 5: little bit about this last time. I would just suggest,
37:18
Speaker 5: you know, if you know what genre you have a
37:20
Speaker 5: love for, you know, watch as many films as you
37:23
Speaker 5: can and get the scripts, because you can't just get
37:26
Speaker 5: it from watching the movies.
37:27
Speaker 6: You have to get the screenplay.
37:29
Speaker 5: So pick up copies of the scripts, the specscripts, preferably
37:35
Speaker 5: before they're turned into shooting scripts, and read them and
37:39
Speaker 5: read them, read a lot of them. And also, whenever
37:42
Speaker 5: you see a movie, rent a movie or whatever, write
37:46
Speaker 5: down the names of people that did them, you know,
37:49
Speaker 5: write down the names of the writers, the producers and directors.
37:53
Speaker 5: Or cinematographers even and then you know, you could probably
37:58
Speaker 5: look them up on IMDb pro. You know, imdbe pro
38:04
Speaker 5: is not that expensive. I think it's fifteen bucks a
38:06
Speaker 5: month or something, and it gives you contact information and
38:10
Speaker 5: just you know, write them and you know, tell them
38:13
Speaker 5: you're a fan and you really like this, how did
38:15
Speaker 5: they do the.
38:15
Speaker 6: Scene or whatever?
38:17
Speaker 5: And I find that when you're honest and you're not
38:22
Speaker 5: just making it up, if it's true, and you're also
38:29
Speaker 5: you know, telling them that you like what they've done,
38:34
Speaker 5: they're more likely than not to respond to you. And
38:38
Speaker 5: you know, most of them are nice people, and you know,
38:42
Speaker 5: if you could build up a conversation then let that
38:44
Speaker 5: last for several months, then at some point they might
38:48
Speaker 5: consider reading something you've done. You know, So just constantly
38:52
Speaker 5: build those those relationships any way you can. And a
38:56
Speaker 5: writer's group is another good way, you know, because you
38:59
Speaker 5: might be in a writers group with a bunch of
39:02
Speaker 5: guys that are brand new, and then in two years
39:05
Speaker 5: one of them just made it big and you know,
39:09
Speaker 5: he's writing sci fi action movies in a studio. Told
39:15
Speaker 5: him about a comedy and he knew that you did comedies,
39:18
Speaker 5: and so he tells you about it, you know, so
39:20
Speaker 5: there's always those possibilities to just keep up the networking.
39:25
Speaker 4: You know, Michael K. Sutter, who's on the first episode,
39:28
Speaker 4: actually you know, he's been able to pitch to some
39:30
Speaker 4: actually amazing people. And he actually wrote a script about
39:34
Speaker 4: Mickey Mouse, and now he got to pitch that to
39:37
Speaker 4: Disney and now I don't know if they sign yet
39:40
Speaker 4: or not, but I know he's got a lot of
39:43
Speaker 4: meetings from that, at least just from that script alone. Great,
39:48
Speaker 4: and you have two books that you're working on, correct, Dave.
39:52
Speaker 5: Yeah, one is one hundred and one Screenplay Tips.
39:57
Speaker 3: We'll be right back after a word from our spawn, sir,
40:03
Speaker 3: and now back to the show.
40:07
Speaker 5: Blasting Down the Gatekeeper's Doors. It's a book with one
40:11
Speaker 5: hundred and one different things that have come across over
40:15
Speaker 5: the years. There's little tips that are expanded out and
40:19
Speaker 5: explained in this book, and they're just little things that
40:25
Speaker 5: you can read at your leisure, you know, whenever you
40:27
Speaker 5: have a free few minutes, you can pick it up
40:30
Speaker 5: and read one of the tips, and I think they
40:32
Speaker 5: all will help your writing overall, your screenwriting. You can
40:36
Speaker 5: get a condensed version of it, sort of a cheat
40:41
Speaker 5: sheet of it that just lists them with basic information
40:45
Speaker 5: on my website, which is David Hall dot com, d
40:48
Speaker 5: A V I D H O h L dot com
40:51
Speaker 5: and subscribe to the newsletter and then that will get
40:54
Speaker 5: sent to you and that's free, and that'll just give
40:58
Speaker 5: you all the basics, and then the book coming out
41:00
Speaker 5: will be more expansive. And then I have a horror
41:04
Speaker 5: writing Thirteen Steps to Terror, which is a book on
41:10
Speaker 5: the horror genre. And you know, I looked out there
41:13
Speaker 5: and I didn't really see anything good for horror screenwriting.
41:16
Speaker 5: There's a ton of general screenwriting books and some good
41:21
Speaker 5: comedy books like Steve Caplan's book, Get That if you
41:25
Speaker 5: have any interest in comedy, but there's nothing really good
41:30
Speaker 5: out there that I've seen for horror. So I'm bringing
41:32
Speaker 5: that one out. Hopefully people will learn some good pointers
41:37
Speaker 5: in there.
41:38
Speaker 4: And I would also recommend Steve Caplan's book. I think
41:41
Speaker 4: Steve is awesome. I'd like to talk to a couple
41:43
Speaker 4: of times. I actually hope to have him on the
41:45
Speaker 4: podcast and in your future.
41:47
Speaker 5: Yeah, he's a great guy, very funny, very interesting, a
41:50
Speaker 5: lot of good stuff in his books. And even if
41:52
Speaker 5: you're doing horror or any other genre. You know, there's
41:57
Speaker 5: always a place for comedy within what you're doing as
42:01
Speaker 5: well as just the genre itself, so you should know
42:04
Speaker 5: comedy elements like anything else.
42:07
Speaker 4: I agree, And you know, I've actually taken Dave's course
42:10
Speaker 4: by the way, the Horror Movie School, and I highly
42:12
Speaker 4: recommend it for anybody out there wondering. You know, after
42:15
Speaker 4: I got done the class, I did have a couple
42:17
Speaker 4: people ask me about it, and I always I did
42:19
Speaker 4: tell them, hey, it is definitely a worthwhile course and.
42:23
Speaker 6: Good thank you.
42:24
Speaker 4: So the amount of materials and everything you get, and
42:27
Speaker 4: so definitely checked it out, especially if you're interested in
42:29
Speaker 4: horror screenwriting. And so those two books you're working on
42:33
Speaker 4: are the are there going to be Kindle or Nook only?
42:36
Speaker 4: Are they also going to be physical copies?
42:40
Speaker 5: The one hundred and one screenplay will probably only be Kindle,
42:44
Speaker 5: and I'm hoping the horror one will be with a
42:48
Speaker 5: bigger publisher and be hard copy as well.
42:52
Speaker 6: Okay, excellent, Yeah, So, oh, can I just get my
42:56
Speaker 6: website really quick?
42:57
Speaker 5: So sure, it's a horror Movie School at www dot
43:01
Speaker 5: horrormovieschool dot com and you could subscribe to a newsletter
43:07
Speaker 5: there and it'll give you a lot of free stuff,
43:10
Speaker 5: some free papers, a couple of free seminars, audio seminars,
43:15
Speaker 5: and then information about the class if you're interested.
43:18
Speaker 4: I bet you actually beat me to the punch. It
43:19
Speaker 4: was actually the next thing I was gonna say. Okay, thanks,
43:22
Speaker 4: no problem. But you know, Dave, thank you very much
43:25
Speaker 4: for coming on. And again, everyone check out Dave at
43:28
Speaker 4: Horror Movies School dot com and you can follow him
43:31
Speaker 4: on Twitter at script m d Dave, was there anything
43:35
Speaker 4: you'd like to say to end the show?
43:38
Speaker 6: Now?
43:38
Speaker 5: Just keep writing and great work what you're doing, Dave.
43:42
Speaker 5: It's a good resource for people, so so keep it up.
43:45
Speaker 4: Oh, thank you very much, but you know, and again,
43:48
Speaker 4: Dave is a great script consultant. I'm actually I was
43:51
Speaker 4: just before the show. I was talking to him about
43:53
Speaker 4: a script I'm working on, which is a little horror comedy.
43:55
Speaker 4: And I've mentioned this in one of my podcasts about
43:58
Speaker 4: two weeks ago, when it was just me. It's you know,
44:00
Speaker 4: it's a fun slasher movie and I hope to uh,
44:04
Speaker 4: you know, you maybe just write it for fun, or
44:05
Speaker 4: maybe you know, produce it somewhere out of line. You
44:08
Speaker 4: never know, right, So all right, again, Dave, thank you
44:12
Speaker 4: much very much for coming on and I hope you
44:14
Speaker 4: have a great night.
44:15
Speaker 6: Okay, you too, Thanks Dave, Thanks Allay.
44:18
Speaker 2: All right, I want to thank Dave so much for
44:21
Speaker 2: doing such a great job on this episode. If you
44:23
Speaker 2: want to get links to anything we spoke about in
44:25
Speaker 2: this episode, head over to the show notes at Bulletproof
44:28
Speaker 2: Screenwriting dot tv. Forward slash four eighty five. Thank you
44:31
Speaker 2: so much for listening. Guys, As always, keep on writing
44:34
Speaker 2: no matter what.
44:35
Speaker 3: I'll talk to you soon.
44:36
Speaker 1: Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproof
44:40
Speaker 1: Screenwriting dot tv.