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IFH 865: The Screenwriting Blueprint Every First-Time Writer Needs with David Hohl · Indie Film Hustle® - A Filmmaking Podcast

• 0:03
  Speaker 1: You are listening to the ifh podcast Network. For more
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  Speaker 2: Welcome to the Indie Film Muscle Podcast, Episode number eight
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  Speaker 2: sixty five. You try to do it, and you do
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  Speaker 2: it honestly, you can't control people's responses.
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  Speaker 3: Really. Edgar Wright.
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  Speaker 1: Film Hustle Podcast, where we show you how to survive
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  Speaker 2: Welcome, Welcome to another episode of the Indie Film Huscle Podcast.
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  Speaker 3: I am your humble.
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  Speaker 2: That's film bizbook dot com. Enjoy today's episode with guest
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  Speaker 2: host Dave Bullis.
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  Speaker 4: With me Today is David Hall. David is a screenwrin
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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 we
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  Speaker 4: get in today in the show.
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  Speaker 3: Dave, how are you great? Thanks? I'm excited to be
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  Speaker 3: on your show. Thanks Dave.
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  Speaker 4: Oh, thank you very much for coming on. This is
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  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, it was
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  Speaker 4: a charm.
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  Speaker 5: Right, yeah, I hope so hope second time, not third time.
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  Speaker 5: But it was fun, so I look forward to it again.
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  Speaker 4: Great, So you actually aready know the question, So if
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  Speaker 4: it sounds a little rehearsed, it's like, well, David, it's
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  Speaker 4: like almost.
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  Speaker 5: Like, David, Well, I was just thinking about that today
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  Speaker 5: and I was thinking all my answers will probably be
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  Speaker 5: completely different because they're just off the top of my head.
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  Speaker 4: Good, So then it's really a total, totally new that's right.
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  Speaker 5: Yeah.
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  Speaker 4: So Dave, the first question I have for you is,
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  Speaker 4: you know, what advice do you have two people that
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  Speaker 4: are writing their first screenplay?
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  Speaker 5: Okay, for people well that are just fresh into it
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  Speaker 5: and don't have really any education.
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  Speaker 3: I'm assuming you're talking about that, right, yes.
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  Speaker 5: Well, I mean there's a few people that might go
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  Speaker 5: on the route of going to film school and UCLA
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  Speaker 5: or USC or whatever it be, but you know, that's
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  Speaker 5: not an option for a lot of people because it's
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  Speaker 5: rather expensive and personally, I think there's there's better ways
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  Speaker 5: to get in. And the first thing I would just
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  Speaker 5: recommend is, get as many good books as you can.
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  Speaker 5: With the internet nowadays, you can see you know, the
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  Speaker 5: reviews on the books and see you know how well
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  Speaker 5: screenwriters like them. So just try to find some good books,
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  Speaker 5: study him for a few months, read as many screenplays
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  Speaker 5: as you can, watch as many movies as you can,
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  Speaker 5: especially ones in the genre that you're interested in, and
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  Speaker 5: then start writing. But I would recommend you know, learning
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  Speaker 5: how to do an outline and doing that properly first,
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  Speaker 5: and then and then going in doing your first draft,
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  Speaker 5: and then going and meeting people that are screenwriters or
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  Speaker 5: screenplay consultants or writers' groups.
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  Speaker 3: Like I know you had a writer's group.
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  Speaker 5: It's very helpful, and you can run your material by them,
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  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
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  Speaker 5: you final critiques before you send it out into the market.
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  Speaker 5: You really don't want to send it out early because
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  Speaker 5: if you send it to producers before it said 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: screenwriting competitions, they actually will take the name of the
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  Speaker 4: script and the writer and then they actually have their catalog,
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  Speaker 4: so if you do submit it again, they actually rule
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  Speaker 4: basic upon that. So I know the Nicole Fellowship actually
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  Speaker 4: mentioned that in a Q and A and they were like,
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  Speaker 4: make sure this is as good as it possibly can,
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  Speaker 4: because if you submitted again, you know, we have on database.
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  Speaker 4: And thanks for mentioning my Screamwriters group, Dave, which is
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  Speaker 4: the first Rand Screamwriters group. You know, we've been a
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  Speaker 4: meeting for over a year now we finally have a name.
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  Speaker 3: 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 3: Yeah. Well, I really recommend that.
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  Speaker 5: I mean putting a group together, you know, it gives
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  Speaker 5: you people to talk to that have a like mind.
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  Speaker 5: You can share, you know, new things like maybe you know,
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  Speaker 5: the people in the group don't have a whole lot
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  Speaker 5: of money, so you know, one person can go to
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  Speaker 5: one seminar, another person go to another seminar and then
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  Speaker 5: sort of share the information amongst each other.
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  Speaker 4: Yeah, that's a really good idea. Yeah, and so Deeve,
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  Speaker 4: I wanted to follow up with that question. I wanted
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  Speaker 4: to ask what challenges did you encounter when you were
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  Speaker 4: writing your first screenplay?
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  Speaker 5: Yeah, my very first screenplay I did. I believe I
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  Speaker 5: was seventeen years old. I was in high school still,
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  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
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  Speaker 5: had my ideas of what characters I wanted and the
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  Speaker 5: basic ideas, and had some scenes in my mind. And
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  Speaker 5: so I went about and I wrote this script and
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  Speaker 5: had some cool scenes, and I think it probably had
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  Speaker 5: some good dialogue For a seventeen year old, I'd probably
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  Speaker 5: not like it now. But when I went back and
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  Speaker 5: read the entire screenplay, it really didn't have any focus.
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  Speaker 5: And that's because I just wrote off the top of
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  Speaker 5: my head. I didn't realize that there was this whole
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  Speaker 5: art to screenwriting, having structure and knowing how to do
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  Speaker 5: outlines and things. So I would suggest to others to
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  Speaker 5: really learn outlining. And that was my biggest challenge, is
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  Speaker 5: trying to write without doing those things that I just recommended.
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  Speaker 5: I read like one or two books, but nowadays there's
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  Speaker 5: a lot more education out there.
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  Speaker 3: 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 3: 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
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  Speaker 5: seminars for different genres. I have a class on horror.
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  Speaker 5: So I would just recommend getting the education and learning
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  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.
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  Speaker 4: And that's something I found out too, is that outlining
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  Speaker 4: is so key because you have to know where your
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  Speaker 4: story begins and where it ends, and you need to
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  Speaker 4: see that in a hole. You know, whether it's you know,
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  Speaker 4: just one sheet so you could see like, you know,
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  Speaker 4: just in one glance, or whether it's like you know,
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  Speaker 4: writing it over the span offical pages to add in
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  Speaker 4: like a beat sheet. It's just so important to know,
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  Speaker 4: you know what's going on the scenes, everything like, and
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  Speaker 4: what's happening in those scenes, and then you can really
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  Speaker 4: start to develop that mood from there.
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  Speaker 5: Yeah, and when I did my first screenplay, I did
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  Speaker 5: know what my beginning and end was, but I didn't
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  Speaker 5: know all of the signposts along the way. I just
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  Speaker 5: sort of tried to fill it in as I was writing.
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  Speaker 5: And just because you some people think just because you
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  Speaker 5: have an outline, it means you're being rigid and you're
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  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
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  Speaker 5: of the story. Or if you look at it as
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  Speaker 5: building a house, it's a blueprints of the structure of
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  Speaker 5: the house. But that does mean you can't be creative
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  Speaker 5: and go in and paint the walls however you want them,
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  Speaker 5: or put the trim on the on the ceiling or
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  Speaker 5: the door knobs a certain way, so that once the
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  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 in my 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
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  Speaker 4: off even like, you know, things like about sequences and
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  Speaker 4: about you know that you were speaking about the signposts
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  Speaker 4: on 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 first.
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  Speaker 3: Yeah, generally those things.
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  Speaker 5: Yeah, they're different according to who you talk to in
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  Speaker 5: terms of terminology, but the basic that's what I meant
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  Speaker 5: by signposts, the basic plot points, you know, the major
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  Speaker 5: plot points, and then the lesser plot points along the way.
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  Speaker 2: We'll be right back after a word from our sponsor
• 10:03
  Speaker 2: and now back to the show.
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  Speaker 4: So, Dave, what challenges do you encounter when you're writing
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  Speaker 4: a screenplay? Now?
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  Speaker 5: Now, well, I joked last time about it being my
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  Speaker 5: daughter because she's five and she's always tugging my leg
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  Speaker 5: asking for something. It's actually true. So I'd say the
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  Speaker 5: challenge is just working in a schedule with everything else
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  Speaker 5: that's going on in life. And I know that's something
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  Speaker 5: that a lot of people have problems with. There's a
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  Speaker 5: lot of people interested in screenwriting that work full time
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  Speaker 5: and they have kids, or they have spouses, or they
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  Speaker 5: have other obligations. So just being able to schedule things
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  Speaker 5: and having a time where you can really get in
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  Speaker 5: and write, that's a challenge. And you just have to
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  Speaker 5: be persistent. You have to just write it out. You
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  Speaker 5: know that it's this time, and you know you could
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  Speaker 5: be creative. Piece some people say there's there is no time.
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  Speaker 5: I have no time. Well, that just means that your
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  Speaker 5: priority is low. If your priority is not to do it,
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  Speaker 5: then you won't do it. But if it is a priority,
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  Speaker 5: then you will do it. Even if it means waking
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  Speaker 5: up an hour early and you know, getting to work
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  Speaker 5: an hour early and getting your laptop out before and
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  Speaker 5: writing a few scenes or or something, you can you
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  Speaker 5: can do it.
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  Speaker 4: Yeah, And you've had a lot of writers doing that too,
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  Speaker 4: where they've either gotten to work early or they stay
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  Speaker 4: late just to knock out something and it and you
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  Speaker 4: know that with that extra hour or so, right, right, So,
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  Speaker 4: And if your approach to writing is you know, I know,
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  Speaker 4: you break it out into eighths. Do you want to
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  Speaker 4: talk more about your your real method.
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  Speaker 3: Well, uh yeah.
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  Speaker 5: I won't get go into a lot of detail because
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  Speaker 5: that might take some time and people can learn that
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  Speaker 5: on my website too, but it's basically it's based on
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  Speaker 5: the sequence method from USC where they break it down
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  Speaker 5: into sequences. And the reason I like that is because
• 12:10
  Speaker 5: they're bite sized pieces that you really you could understand
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  Speaker 5: what each section is attempting to do within the story.
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  Speaker 3: And then also it gives.
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  Speaker 5: You a goal, a really clear goal that you know
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  Speaker 5: you can make and then once you make that goal,
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  Speaker 5: you know, of the twelve pages or so or fifteen,
• 12:34
  Speaker 5: depending on what you're shooting for. Once you make it,
• 12:38
  Speaker 5: then you just go on to the next and then
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  Speaker 5: you have another clear goal. So I think it's easier
• 12:43
  Speaker 5: to get through the whole script doing that. And my
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  Speaker 5: real outlining technique is basically taking that sequence method and
• 12:50
  Speaker 5: putting it onto a outline template where someone can just easily,
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  Speaker 5: you know, put in the major plot points of each
• 13:00
  Speaker 5: of the reels and then build it and you can
• 13:06
  Speaker 5: look at it from an overview it's like a bird's
• 13:08
  Speaker 5: eye view and see this entire structure of the screenplay,
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  Speaker 5: and you could play around and move move the scenes
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  Speaker 5: around and things until you know it's really clear, and
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  Speaker 5: then you can write a first draft really quickly. And
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  Speaker 5: that's that's my goal, and I found it very successful
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  Speaker 5: when I've been hired to do something with a tight deadline.
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  Speaker 5: You know, I've had to write features in three weeks,
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  Speaker 5: which is crazy, I think, and uh, you know, but
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  Speaker 5: if I have the outline, then three weeks is actually
• 13:43
  Speaker 5: actually a long time. You can do it quicker than that.
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  Speaker 5: So usually if I had three weeks, I would spend
• 13:50
  Speaker 5: you know, a whole week just doing the outline, and
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  Speaker 5: then I would zip through the first draft, you know,
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  Speaker 5: in the in the two weeks or less. So that's
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  Speaker 5: what a nutshell of the out the real outlining method,
• 14:05
  Speaker 5: you know.
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  Speaker 4: And I found that that also helps a lot with outlining,
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  Speaker 4: just sequencing it out and breaking it into eights, you know,
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  Speaker 4: so you have you know, you have two sequences in
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  Speaker 4: act one, four and act two and then two and
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  Speaker 4: act three, and it really helps to sort of just
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  Speaker 4: see this and break down in the medical pieces. It
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  Speaker 4: really helps you now you can say, hey, this isn't
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  Speaker 4: as much as just if I said, you know, okay,
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  Speaker 4: we're going to lack one, Act two, and then act
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  Speaker 4: two to act three, then you know, to a conclusion.
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  Speaker 3: Yeah.
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  Speaker 5: And that's why, you know, in the early days of screenwriting,
• 14:35
  Speaker 5: when people just had Sidfield's book, they always would say
• 14:39
  Speaker 5: the same thing that as soon as they got into
• 14:41
  Speaker 5: act two they would get lost and bogged down, and
• 14:45
  Speaker 5: and it would take forever because there weren't really those
• 14:48
  Speaker 5: clear sign posts along the way, so it got difficult.
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  Speaker 3: And the whole.
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  Speaker 5: Idea of of reels, you know, come from when in
• 15:02
  Speaker 5: the theaters they actually used reels of film, and they
• 15:04
  Speaker 5: were broken down into it wasn't.
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  Speaker 3: Just one giant real the entire movie.
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  Speaker 5: They'd have to switch the reels and so they would
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  Speaker 5: be in in you know, I think they were eleven
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  Speaker 5: minute twelve minute reels and then they would switch it over.
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  Speaker 3: So that's the idea of a reel.
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  Speaker 5: And if you take those eight of them, they pretty
• 15:26
  Speaker 5: much come to the exact perfect length of a feature.
• 15:30
  Speaker 4: So and when we talk about all the resources online
• 15:34
  Speaker 4: and you know, you could learn online pretty much anything. Now,
• 15:37
  Speaker 4: in the subject of one, what was some of the
• 15:39
  Speaker 4: reasons why you started horror excuse me, the Horror Movie School.
• 15:44
  Speaker 5: Yeah, it's Horror Movie School dot com. And the reason
• 15:46
  Speaker 5: I started it is because when I worked in Hollywood
• 15:51
  Speaker 5: after school, the first job I had was in post
• 15:56
  Speaker 5: production and I had that for several years and I
• 16:00
  Speaker 5: saw all of these films come in, you know, where
• 16:03
  Speaker 5: we would do the post production, we would do music,
• 16:06
  Speaker 5: we would do sound effects, editing and all that. And
• 16:12
  Speaker 5: I got to see, you know, the films worked on
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  Speaker 5: and they were mainly independent films, but you know, they
• 16:17
  Speaker 5: were anywhere from a few hundred thousand dollars to you know,
• 16:22
  Speaker 5: maybe ten or fifteen million dollars as independent films, and
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  Speaker 5: I got to see them being worked on, and then
• 16:30
  Speaker 5: I got to see what happened to them, you know,
• 16:33
  Speaker 5: in a year or two down the line. And I'd
• 16:37
  Speaker 5: always find that the horror movies ended up on the
• 16:43
  Speaker 5: shelves of Blockbuster or or sold distributed, and I'd see
• 16:48
  Speaker 5: them and i'd rent them even and I'd say, hey, hey,
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  Speaker 5: this is one of the ones I worked on. But
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  Speaker 5: the other ones, the comedies, the dramas, they disappeared, and
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  Speaker 5: I figured they're just shown at Christmas time at the
• 17:03
  Speaker 5: director's house, you know, for their family or something. And yeah, yeah,
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  Speaker 5: so they you know, they spent five hundred thousand dollars
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  Speaker 5: of their life savings and now it's just something that
• 17:14
  Speaker 5: their friends watch. And you know, that's sad because maybe
• 17:19
  Speaker 5: it was a really good story. But the thing that
• 17:22
  Speaker 5: I learned was that genre is something that really sells,
• 17:26
  Speaker 5: and it's something that you don't need star power for.
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  Speaker 5: So that comedy, you know, if it had a star
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  Speaker 5: in it, it might have been very successful because people
• 17:35
  Speaker 5: would have wanted to see it. But if there's no
• 17:38
  Speaker 5: one in it, they recognize no one's going to want
• 17:40
  Speaker 5: to rent it, but horror. They're going to want to
• 17:42
  Speaker 5: rent it simply because it's horror and because it's the
• 17:45
  Speaker 5: cool idea. It's a star unto itself. That's what I say.
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  Speaker 3: And so I.
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  Speaker 5: Figured that I can help people learn this genre. It's
• 17:54
  Speaker 5: something I've been working on for many, many years, and
• 17:58
  Speaker 5: it's it's something that can help people break in. There's
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  Speaker 5: a lot of producers out there looking for low budget
• 18:05
  Speaker 5: or things to mill make, and you know, once you
• 18:09
  Speaker 5: break in, then you can do what you want. You know,
• 18:11
  Speaker 5: you could be Sam Raimi and you know, do Evil
• 18:14
  Speaker 5: Dead and then decide you want to go do a
• 18:16
  Speaker 5: Western or a Spider Man or something. But if you
• 18:21
  Speaker 5: love horror, you know you can stay in it too.
• 18:23
  Speaker 5: It'll just give you a way in.
• 18:25
  Speaker 4: Yeah, because you look at movies like Powder them Activity,
• 18:28
  Speaker 4: and you look at other, you know, other movies like
• 18:30
  Speaker 4: The Blair Witch Project. They were basically like a no
• 18:33
  Speaker 4: to well they would be classified as like a no
• 18:36
  Speaker 4: to micro budget films and then they had minimal locations,
• 18:40
  Speaker 4: but they really folks in the horror and they did it.
• 18:42
  Speaker 4: I mean, both those movies did extremely well. And I
• 18:46
  Speaker 4: know they're outliers obviously because you know, because they've both
• 18:48
  Speaker 4: made a couple hundred million dollars. But yeah, it is
• 18:51
  Speaker 4: real point though, because if you know, if we had,
• 18:54
  Speaker 4: let's say, five thousand dollars to make a movie which
• 18:58
  Speaker 4: is basically considered no budget, if we could actually you know,
• 19:02
  Speaker 4: get one location, whether someone's house or what have you,
• 19:06
  Speaker 4: and then you know, we could actually film the movie
• 19:08
  Speaker 4: there exactly.
• 19:10
  Speaker 5: And and you know you can do that with a
• 19:12
  Speaker 5: drama too, But the difference is you have a lot
• 19:15
  Speaker 5: better chance of selling the horror film or getting someone
• 19:19
  Speaker 5: to you know, rent to watch it whatever, just because
• 19:24
  Speaker 5: it's the genre. You have a fan base built in already.
• 19:28
  Speaker 3: Yeah.
• 19:29
  Speaker 5: I mean, I think Paranormal Activity the last time I checked,
• 19:32
  Speaker 5: which maybe something's changed by now, but I think it
• 19:37
  Speaker 5: was the most successful film of all time in terms
• 19:39
  Speaker 5: of return on investment. The amount of money put in
• 19:42
  Speaker 5: according to how much they made. It was just insane
• 19:47
  Speaker 5: how much they made.
• 19:49
  Speaker 4: Yeah, it really is. And you're a little side fact.
• 19:53
  Speaker 4: One person I had on the on my previous show.
• 19:57
  Speaker 2: We'll be right back after a word from our and
• 20:04
  Speaker 2: now back to the show.
• 20:07
  Speaker 4: Actually used to work with Orn Ptelly and they worked
• 20:10
  Speaker 4: together at Sony and they actually were both coders and
• 20:15
  Speaker 4: Oran one day just quit because he said, guys, I
• 20:18
  Speaker 4: sold a movie to Sony or whoever, and he said
• 20:21
  Speaker 4: that's what I do now, And they thought they was
• 20:23
  Speaker 4: kidding around. He was serious. And now that guy's into
• 20:27
  Speaker 4: filmmaking now and his name was Scott McMahon and he
• 20:30
  Speaker 4: just had him orran on his podcast to discuss to
• 20:33
  Speaker 4: discuss how he did it. So it's actually if you
• 20:36
  Speaker 4: want to look up Scott's podcast, I'm gonna put the
• 20:39
  Speaker 4: link on the show notes. But it's really really interesting
• 20:42
  Speaker 4: how he talks to Orrin about how the movie got
• 20:44
  Speaker 4: discovered and how Orn was able to get to get
• 20:47
  Speaker 4: into where it was.
• 20:48
  Speaker 5: Oh, that's great, I'd love to hear that. What's the
• 20:51
  Speaker 5: website address.
• 20:52
  Speaker 4: Again, it's I forget what his I think it's called
• 20:55
  Speaker 4: Filmmaker Fridays is his podcast name, but the guy who
• 20:59
  Speaker 4: runs is called Scott McMahon. I'm gonna put the url
• 21:02
  Speaker 4: on the show notes.
• 21:03
  Speaker 3: Okay, fantastic, And you.
• 21:05
  Speaker 4: Know, just to just continue with the online learning, you know, Dave,
• 21:09
  Speaker 4: do you ever think that like online learning or you know,
• 21:13
  Speaker 4: distance learning is sometimes is called do you ever think
• 21:15
  Speaker 4: that will replace standard universities?
• 21:18
  Speaker 5: It's never going to replace it because the universities are
• 21:22
  Speaker 5: too large and they have the reputation, and there's always
• 21:24
  Speaker 5: going to be someone that has a lot of money
• 21:27
  Speaker 5: and a lot of time and wants to have that,
• 21:32
  Speaker 5: you know, just the name saying they went went there.
• 21:37
  Speaker 5: I don't think it's necessary to go there. There's lots
• 21:39
  Speaker 5: of people that have been successful that haven't gone to
• 21:42
  Speaker 5: the major universities, and there's a lot more people that
• 21:46
  Speaker 5: now have access to education and learning. Like I was
• 21:51
  Speaker 5: saying before, there's a whole lot of people out there that,
• 21:55
  Speaker 5: you know, they have to support themselves, they have to
• 21:57
  Speaker 5: have a job, they have to you know, help their
• 22:00
  Speaker 5: families or what have you. And online learning gives them
• 22:04
  Speaker 5: the opportunity to, you know, when your kids go to sleep,
• 22:07
  Speaker 5: you pull out the computer at any time of the
• 22:09
  Speaker 5: night and you can get that education. You can do
• 22:12
  Speaker 5: the practices, you can learn from seminars, audio video, what
• 22:17
  Speaker 5: have you. You know, whenever, even at lunchtime at your job.
• 22:22
  Speaker 5: So there's no excuses for not doing it because there's
• 22:26
  Speaker 5: so many opportunities out there, and it just online learning
• 22:29
  Speaker 5: just is great. I mean I use it all the
• 22:33
  Speaker 5: time still. Whenever there's a little class or seminar that
• 22:37
  Speaker 5: I want to learn, I go online and I just
• 22:39
  Speaker 5: do it when it's convenient.
• 22:42
  Speaker 4: That's great because you know, and even like there's apps
• 22:44
  Speaker 4: now for the phone, you're where there of Android or
• 22:46
  Speaker 4: iOS there. You know, I've all sometimes because I'm taking
• 22:50
  Speaker 4: some all like classes right now and I can just
• 22:52
  Speaker 4: pop it open and I can go through a lesson
• 22:54
  Speaker 4: right then and there.
• 22:55
  Speaker 5: Yeah, that's that's great. Technology makes it easier. And not
• 23:00
  Speaker 5: only classes, but just like things you're doing. You're doing
• 23:03
  Speaker 5: this podcast. It's a great educational tool for people to
• 23:07
  Speaker 5: learn things. And you know, a lot of times you'll
• 23:10
  Speaker 5: learn things that you'd never even learn in a film
• 23:13
  Speaker 5: school in places like this.
• 23:16
  Speaker 4: And it's also a good place in network too, because
• 23:18
  Speaker 4: you're people with different experiences and you may not be
• 23:21
  Speaker 4: exposed to them, you know, without that. Yeah, and then
• 23:27
  Speaker 4: so Dave just to move to production now, you wrote
• 23:30
  Speaker 4: and directed a feature length film called In Search of Lovecraft.
• 23:35
  Speaker 4: What challenges did you encounter when you made that movie?
• 23:41
  Speaker 5: Well, primarily, I am a screenplay consultant. That's what I've
• 23:44
  Speaker 5: been doing for over I think it's over fifteen years now,
• 23:48
  Speaker 5: and that's what I'm known for. Mainly, but I've done
• 23:52
  Speaker 5: production also. When I very first started, you know, when
• 23:54
  Speaker 5: I was a teenager, I was doing national commercials Prodigy
• 24:00
  Speaker 5: and Macy's and Dodge and things like that, I would
• 24:02
  Speaker 5: work in production.
• 24:03
  Speaker 3: So I've always worked in production.
• 24:06
  Speaker 5: And when I was studying screenwriting when I moved to
• 24:09
  Speaker 5: Los Angeles, I also did a whole ton of low
• 24:13
  Speaker 5: budget films with students and some really low budget horror
• 24:17
  Speaker 5: movies features. I worked in production, but I'm always the
• 24:22
  Speaker 5: script person, the script analyst. But I was talking with
• 24:25
  Speaker 5: my wife and we were just saying, you know, do
• 24:28
  Speaker 5: you think you can make a feature? And I said sure,
• 24:30
  Speaker 5: And it was sort of a bet. You know, before
• 24:33
  Speaker 5: your birthday, which is in three months, can you get
• 24:35
  Speaker 5: a feature put together? And so just for the experience,
• 24:39
  Speaker 5: I did it. I wrote it really quickly and started
• 24:44
  Speaker 5: casting it and got all the locations and got some
• 24:48
  Speaker 5: really cool locations. Actually, we're the only production at least
• 24:53
  Speaker 5: at the time, which was I think three years ago,
• 24:58
  Speaker 5: to ever shoot at Quait Tower in San Francs, Cisco,
• 25:00
  Speaker 5: because normally they wouldn't give you permission to go in
• 25:03
  Speaker 5: and shoot, but we sort of.
• 25:08
  Speaker 3: Talked our way in with.
• 25:09
  Speaker 5: The manager and and got into shoot there, that, and that.
• 25:13
  Speaker 5: So that was cool, and we have a lot of
• 25:15
  Speaker 5: high profile San Francisco locations that we shot in.
• 25:20
  Speaker 3: The biggest obstacle was time.
• 25:24
  Speaker 5: We'd we'd run out of time because we had almost
• 25:27
  Speaker 5: no budget. We shot the whole thing in ten days,
• 25:31
  Speaker 5: and so all of these things I had on my
• 25:35
  Speaker 5: shot lists, you know, I would say, Okay, we're on
• 25:40
  Speaker 5: this shot. Now, get the Dolly ready. I want to
• 25:43
  Speaker 5: do a Dolly shot here, and at the same time,
• 25:46
  Speaker 5: you know, boom the arm up so we can get
• 25:48
  Speaker 5: a shot. So Dolly shot with the boom and they'd say, no,
• 25:53
  Speaker 5: I don't think so, we don't have the time for that.
• 25:55
  Speaker 5: We're going to put it on sticks and shoot it,
• 25:58
  Speaker 5: you know, straight, And a lot of that happened. So
• 26:01
  Speaker 5: that was disappointing, and that taught me just that the
• 26:06
  Speaker 5: next one I do, I just need a bigger budget
• 26:08
  Speaker 5: so we have more time, more time.
• 26:11
  Speaker 4: Yeah. And that's what I've learned too, is I would
• 26:15
  Speaker 4: much prefer to have more days. Yeah, but and make
• 26:18
  Speaker 4: them less hours, because I mean you hear sometimes like
• 26:20
  Speaker 4: fourteen sixteen, eighteen hour days. Oh yeah, that just grinds
• 26:25
  Speaker 4: out your crew more than anything.
• 26:27
  Speaker 5: Yeah, we were doing for ten days. We did eighteen
• 26:32
  Speaker 5: to twenty hour days every day, and yeah, the only
• 26:37
  Speaker 5: thing that kept the crew from mutiny was having really
• 26:41
  Speaker 5: really good food. So I would I would definitely don't
• 26:45
  Speaker 5: skimp on food if you're making your crew work a lot.
• 26:49
  Speaker 4: Yeah. I was actually shooting a zombie trailer with a
• 26:53
  Speaker 4: friend of mine and business partner, Chris Witt, and we
• 26:55
  Speaker 4: actually had this catering company actually donated food to us,
• 27:00
  Speaker 4: so like all the lunches were like this amazing food
• 27:03
  Speaker 4: each day. And because I'm glad they worked out that
• 27:08
  Speaker 4: way because it was raining every single day we were shooting.
• 27:12
  Speaker 4: Just like putting the cast out there was so brutal.
• 27:15
  Speaker 4: It was cold, and uh, you know, I think that
• 27:19
  Speaker 4: is one thing I really made up for it was
• 27:20
  Speaker 4: the fact that we had all some food.
• 27:22
  Speaker 3: Yeah, that always helped.
• 27:25
  Speaker 5: And I need to talk to you sometimes and how
• 27:27
  Speaker 5: you got it donated.
• 27:28
  Speaker 3: It's pretty good. You know.
• 27:31
  Speaker 4: It's different producers. I always say, different producers at different
• 27:34
  Speaker 4: skill sets and sometimes it's just you know, connections or
• 27:37
  Speaker 4: it's just being like you were able to you know,
• 27:39
  Speaker 4: talk your way and then shooting in certain locations and
• 27:42
  Speaker 4: you know, I forget who told me this, but someone
• 27:45
  Speaker 4: said that a producer with a large rollodex is actually
• 27:48
  Speaker 4: like yours, like your best asset, because you mus call around.
• 27:52
  Speaker 3: And that's true. That's true.
• 27:55
  Speaker 4: So if you were to make another film, Dave, do
• 27:58
  Speaker 4: you think you would go to the crowdfunding route?
• 28:01
  Speaker 3: Say that again? Which route?
• 28:03
  Speaker 4: The crowdfunding route? Do you think you mean six stor
• 28:06
  Speaker 4: if you do, I I might.
• 28:11
  Speaker 5: I think you know, I know several people that had
• 28:14
  Speaker 5: success in it. One of my friends did a short
• 28:20
  Speaker 5: film successfully and got funding through that. Another friend did
• 28:24
  Speaker 5: a documentary. Any budget that I want to work with now,
• 28:29
  Speaker 5: I think it'd be probably too much to raise through that.
• 28:33
  Speaker 5: I know there's been some success. I know there's a
• 28:36
  Speaker 5: there's this game maker. I'm I'm a big Lovecraft fan,
• 28:39
  Speaker 5: being horror or a person. And there's this game designer
• 28:43
  Speaker 5: named Sandy Peterson who designed the Colicatulu horror Lovecraft game,
• 28:48
  Speaker 5: and he did a Kickstarter to raise ninety thousand dollars
• 28:51
  Speaker 5: to make a new Lovecraft game and he ended up
• 28:54
  Speaker 5: raising I think one point four million instead of ninety thousand.
• 28:59
  Speaker 5: So you can definitely succeed if you do it right
• 29:03
  Speaker 5: and you have some kind of a name there, But
• 29:08
  Speaker 5: I think I'd be more likely to go private investor
• 29:13
  Speaker 5: route and just to a you know, business plan and
• 29:19
  Speaker 5: get a lawyer and go to private funding.
• 29:24
  Speaker 4: Yeah, and you know, I've often talked about this, maybe
• 29:27
  Speaker 4: you could do a mixture of the two, because I've
• 29:29
  Speaker 4: talked about this to other filmmakers and just to say, like,
• 29:32
  Speaker 4: you know, maybe not crowdfunds your entire budget. Maybe crowdfund
• 29:36
  Speaker 4: maybe you know, twenty thirty percent to use that as
• 29:40
  Speaker 4: it was like a proof of concept. But you know something,
• 29:45
  Speaker 4: you know, I've got into discussions before about if you
• 29:48
  Speaker 4: need to crowdfund like five thousand dollars, is it really
• 29:52
  Speaker 4: quote unquote worth it? And some people say yeah, some
• 29:54
  Speaker 4: people say no.
• 29:57
  Speaker 2: We'll be right back after a word from our sponsor
• 30:03
  Speaker 2: and now back to the show.
• 30:06
  Speaker 4: But you know, I see what you mean about, you know,
• 30:09
  Speaker 4: having a name attached, because you have to have you know,
• 30:11
  Speaker 4: the perks have to be right, the project has to
• 30:13
  Speaker 4: be you know, little has no quality. You know, everything
• 30:16
  Speaker 4: has to you know, there's a whole checklist. And you
• 30:19
  Speaker 4: know I did a podcast with John Tregonis a couple
• 30:22
  Speaker 4: of weeks ago. I'm gonna have them on again, and
• 30:24
  Speaker 4: we always get into that about you know, sometimes filmmakers
• 30:29
  Speaker 4: just they set this unrealistic goal and there's absolutely no
• 30:33
  Speaker 4: way they're ever going to make it, like you know,
• 30:34
  Speaker 4: like you know, five hundred thousand dollars this simple zombie movie,
• 30:39
  Speaker 4: and you're like, what, what's costing five hundred thousand dollars?
• 30:42
  Speaker 3: Right? Or or how do we you know? Who are you?
• 30:45
  Speaker 3: Why are we going to give it to you?
• 30:46
  Speaker 4: Yes?
• 30:47
  Speaker 5: Exactly know when when we can, you know, do it
• 30:49
  Speaker 5: ourselves or give it to some person we we've heard
• 30:52
  Speaker 5: of and if I I'm not exactly sure, but I've
• 30:58
  Speaker 5: been told that in crowd under, you know, if you know,
• 31:03
  Speaker 5: correct me, that you can ask to raise a certain
• 31:06
  Speaker 5: amount and if you don't hit that goal, you still
• 31:10
  Speaker 5: receive the funds, while in Kickstarter you don't receive any
• 31:14
  Speaker 5: funds unless you meet the full goal.
• 31:17
  Speaker 4: Yes, indiego go or indiegog, I keep calling it INDI
• 31:20
  Speaker 4: a go go. But in indiego go you can have
• 31:23
  Speaker 4: it set either way, whether it's you know, whether you
• 31:26
  Speaker 4: meet the goal and you get nothing, or you meet
• 31:28
  Speaker 4: the goal and eve if you don't meet the goal,
• 31:30
  Speaker 4: you still get something. So you can have it set
• 31:32
  Speaker 4: either way Kickstarter, it's all or nothing, so you're, yeah,
• 31:35
  Speaker 4: a dollar short, you get absolutely nothing.
• 31:38
  Speaker 5: And I, in a way, I think I like that
• 31:40
  Speaker 5: better because then that way the people that are getting
• 31:42
  Speaker 5: involved in giving you money know that the project is
• 31:45
  Speaker 5: gonna you know, go forward, as opposed to you know,
• 31:49
  Speaker 5: you get partial funding and then it might not ever
• 31:52
  Speaker 5: be finished.
• 31:54
  Speaker 4: And you know, there's been discussions about that, you know
• 31:57
  Speaker 4: online too, about you know, what is that better? And
• 32:01
  Speaker 4: really it does come down to the project. You know,
• 32:03
  Speaker 4: I was all gonna try grownus about this, and he
• 32:06
  Speaker 4: I didn't even know about this, but there was a
• 32:08
  Speaker 4: whole zombie like you know crowd in within indiegog, and
• 32:13
  Speaker 4: basically he was tolking out the idea of just having
• 32:15
  Speaker 4: your hashtag go go zombie because there's so many zombie
• 32:18
  Speaker 4: projects on there and they all get funded too, which
• 32:20
  Speaker 4: is which speaks a lot about the horror genre and
• 32:23
  Speaker 4: the zombie, the zombie subgenre. And so Dave, just to
• 32:30
  Speaker 4: continue with the whole conversation about your projects, what are
• 32:33
  Speaker 4: you working on next?
• 32:36
  Speaker 5: Well, I'm working a lot on you know, student things.
• 32:41
  Speaker 5: I have the Horror movie school dot com, and then
• 32:42
  Speaker 5: I have my consulting business. So I do screenplay consulting
• 32:46
  Speaker 5: for a lot of writers. I just talked to someone
• 32:49
  Speaker 5: today actually about a really really big project, which I'm
• 32:54
  Speaker 5: not gonna say until I get it, you know, signed.
• 32:57
  Speaker 5: But that's something I'm working on. And then I have
• 33:00
  Speaker 5: my own spect projects that I'm working on. I think
• 33:04
  Speaker 5: I mentioned to you this before. I'm actually getting away
• 33:09
  Speaker 5: from horror on this project and doing a kid's Disney
• 33:13
  Speaker 5: type Disney type film because I have some a good
• 33:17
  Speaker 5: friend that works in directing for Disney, and so that's
• 33:22
  Speaker 5: an open opportunity. And also I'd like to have something
• 33:25
  Speaker 5: that my daughter can watch and I can tell her
• 33:28
  Speaker 5: I did it. I can't show her any of my
• 33:30
  Speaker 5: horse But I mean, my true love is still horror,
• 33:36
  Speaker 5: but I like to be diverse. I mean, I watch
• 33:40
  Speaker 5: romantic comedies too. It's not that I'm stuck only in horror.
• 33:43
  Speaker 5: It's just happens to be my specialty.
• 33:46
  Speaker 4: And speaking of hard Disney, we were just talking about
• 33:48
  Speaker 4: Escape from Tomorrow.
• 33:50
  Speaker 5: Yeah, yeah, you turned me onto that last time, and
• 33:54
  Speaker 5: I had never heard of it actually, so I looked
• 33:56
  Speaker 5: it up and I read a little bit about it,
• 33:58
  Speaker 5: and I guess the guy got an inheritance from his grandparents,
• 34:03
  Speaker 5: and he spent six six hundred and fifty thousand on
• 34:07
  Speaker 5: making this film, and he shot at gorilla style in
• 34:11
  Speaker 5: Disneyland or Disney World, I guess it is in Florida,
• 34:15
  Speaker 5: and it's in black and white, and I watched a
• 34:19
  Speaker 5: few scenes and it has a really interesting.
• 34:21
  Speaker 3: Look to it.
• 34:23
  Speaker 5: And it's just amazing that he pulled this off, shooting
• 34:27
  Speaker 5: the whole thing gorilla style and not being caught. I
• 34:31
  Speaker 5: mean I read that he and the crew would go
• 34:34
  Speaker 5: and take these rides, you know, fifteen times in a
• 34:39
  Speaker 5: row to get the scene right, and nobody noticed anything
• 34:42
  Speaker 5: that was going on. He used as their phones had
• 34:46
  Speaker 5: their scripts on him, like you were telling me, and
• 34:49
  Speaker 5: they were using cameras that looked consumer you know that
• 34:53
  Speaker 5: other people in the park might have. So it's very interesting.
• 34:57
  Speaker 5: I'm going to watch the whole thing, but I wouldn't
• 35:01
  Speaker 5: recommend doing that. I mean, if that guy came to
• 35:03
  Speaker 5: me and said should I do this? I would tell
• 35:06
  Speaker 5: him no. And I guess in this case I would
• 35:09
  Speaker 5: have been wrong because it was successful and went to
• 35:13
  Speaker 5: the festival. But you know, that's one out of a million.
• 35:20
  Speaker 5: I know another person, a friend of mine, that shot
• 35:24
  Speaker 5: something similar movie where I told him he shouldn't be
• 35:27
  Speaker 5: doing it because he didn't have the rights, and he said, oh,
• 35:30
  Speaker 5: that's no big deal. And then as soon as he
• 35:32
  Speaker 5: finished it, the first advertisement he put out, first marketing
• 35:36
  Speaker 5: thing he put out there, he got calls from lawyers saying,
• 35:39
  Speaker 5: we're going to sue you out of existence if you
• 35:43
  Speaker 5: show this or market it at all. So I was
• 35:48
  Speaker 5: really surprised that Disney didn't go after this guy, but
• 35:52
  Speaker 5: luckily they didn't.
• 35:54
  Speaker 3: So you can see it. It looks very interesting.
• 35:57
  Speaker 4: Yeah, I definitely would check it out. Sorry, recommended to
• 36:00
  Speaker 4: filmmakers who just interesting how he how he actually did it,
• 36:04
  Speaker 4: and obviously just feel what he did with the with
• 36:07
  Speaker 4: you know, although he had a larger budget than most
• 36:09
  Speaker 4: people had, it's just how he went about doing it.
• 36:12
  Speaker 4: But yeah, like you said, Dave, I would if somebody
• 36:14
  Speaker 4: asked me about this, I would I say, no way,
• 36:16
  Speaker 4: do not even attempt to do something like that.
• 36:19
  Speaker 3: Yeah.
• 36:19
  Speaker 5: And and the funny thing is he knew that there
• 36:23
  Speaker 5: could be major trouble because I read that he uh,
• 36:28
  Speaker 5: as soon as he had everything in the can, he
• 36:30
  Speaker 5: went to I guess South Korea and had all the
• 36:33
  Speaker 5: visual effects done in South Korea. Because he didn't want
• 36:35
  Speaker 5: any of the post production houses to talk about it.
• 36:39
  Speaker 3: And it to get to Disney though.
• 36:42
  Speaker 4: Yeah, yeah, that's a good way to do it, I guess.
• 36:45
  Speaker 4: I mean, I don't know how much that extra would
• 36:48
  Speaker 4: have cast them, but yeah, it's it's a really interesting story,
• 36:52
  Speaker 4: you know. It's it's always some of these films, you know,
• 36:54
  Speaker 4: like Bullfinger. There was a that was based off a
• 36:56
  Speaker 4: real movie where apparently, you know, like actors would just
• 37:01
  Speaker 4: walk up this actress on the beach and just say
• 37:03
  Speaker 4: lines to her and she go what and then you
• 37:04
  Speaker 4: know they use that as the actual movie. I don't
• 37:07
  Speaker 4: know the name of it, but that's what bo Finger
• 37:08
  Speaker 4: was based off of. Okay, so yeah, it's you know,
• 37:13
  Speaker 4: it's crazy to these stories.
• 37:15
  Speaker 2: Yeah.
• 37:16
  Speaker 4: So so, Dave, you know, just to wrap everything up,
• 37:20
  Speaker 4: is there anything else you'd like to share or discuss
• 37:22
  Speaker 4: that we haven't talked about yet.
• 37:24
  Speaker 5: Oh, just a couple of tips. Maybe we talked a
• 37:32
  Speaker 5: little bit about this last time. I would just suggest,
• 37:36
  Speaker 5: you know, if you know what genre you have a
• 37:39
  Speaker 5: love for, you know, watch as many films as you
• 37:42
  Speaker 5: can and get the scripts, because you can't just get
• 37:44
  Speaker 5: it from watching the movies. You have to get the screenplay.
• 37:47
  Speaker 5: So pick up copies of the scripts, the specscripts, preferably
• 37:53
  Speaker 5: before they're turned into shooting scripts, and read them and
• 37:57
  Speaker 5: read them, read a lot of them. And also, whenever
• 38:00
  Speaker 5: you see a movie, rent a movie or whatever, write
• 38:04
  Speaker 5: down the names of people that did them, you know,
• 38:07
  Speaker 5: write down the names of the writers, the producers, the
• 38:09
  Speaker 5: directors or cinematographers even and then you know, you could
• 38:16
  Speaker 5: probably look them up on IMDb Pro. You know, IMDb
• 38:22
  Speaker 5: pro is not that expensive. I think it's fifteen bucks
• 38:24
  Speaker 5: a month or something, and it gives you contact information
• 38:28
  Speaker 5: and just you know, write them and you know, tell
• 38:31
  Speaker 5: them you're a fan and you really like this, how
• 38:33
  Speaker 5: did they do the scene or whatever? And I find
• 38:36
  Speaker 5: that when you're honest and you're not just making it up,
• 38:41
  Speaker 5: if it's true, and you're also you know, telling them
• 38:50
  Speaker 5: that you like what they've done, they're more likely than
• 38:53
  Speaker 5: not to respond to you. And you know, most of
• 38:57
  Speaker 5: them are nice people. And you know, if you could
• 39:00
  Speaker 5: build up a conversation and then let that last for
• 39:03
  Speaker 5: several months, then at some point they might consider reading
• 39:07
  Speaker 5: something you've done, you know, So just constantly build those
• 39:11
  Speaker 5: those relationships anyway you can. And the writer's group is
• 39:15
  Speaker 5: another good way, you know, because you might be in
• 39:18
  Speaker 5: a writer's group with a bunch of guys that are
• 39:21
  Speaker 5: brand new and then in two years one of them
• 39:24
  Speaker 5: just made it big and you know, he's writing sci
• 39:31
  Speaker 5: fi action movies and a studio told him about a
• 39:34
  Speaker 5: comedy and he knew that you did comedies, and so
• 39:36
  Speaker 5: he tells you about it.
• 39:38
  Speaker 3: You know.
• 39:38
  Speaker 5: So there's always those possibilities to just keep up the networking.
• 39:43
  Speaker 4: You know, Michael K. Sutter, who's on the first episode,
• 39:46
  Speaker 4: actually you know, he's been able to pitch to some
• 39:48
  Speaker 4: actually amazing people and he actually wrote a script about
• 39:52
  Speaker 4: Mickey Mouse.
• 39:55
  Speaker 2: We'll be right back after a word from our sponsor
• 40:01
  Speaker 2: and now back to the show.
• 40:04
  Speaker 4: And now he got to pitch that to Disney and
• 40:06
  Speaker 4: now I don't know if they sign it or not,
• 40:09
  Speaker 4: but I know he's got a lot of meetings from that,
• 40:12
  Speaker 4: at least just from that script alone. Great. And you
• 40:16
  Speaker 4: have two books that you're working on, correct, Dave.
• 40:20
  Speaker 3: Yeah.
• 40:21
  Speaker 5: One is one hundred and one screenplay Tips Blasting down
• 40:25
  Speaker 5: the Gatekeeper's Doors. It's a book with one hundred and
• 40:30
  Speaker 5: one different things that have come across over the years.
• 40:33
  Speaker 5: There's little tips that are expanded out and explained in
• 40:38
  Speaker 5: this book, and they're just little things that you can
• 40:43
  Speaker 5: read at your leisure, you know, whenever you have a
• 40:45
  Speaker 5: free few minutes, you can pick it up and read
• 40:48
  Speaker 5: one of the tips, and I think they all will
• 40:50
  Speaker 5: help your writing overall, your screenwriting. You can get a
• 40:54
  Speaker 5: condensed version of it, sort of a cheat sheet of
• 40:59
  Speaker 5: it that just lists them with basic information on my website,
• 41:03
  Speaker 5: which is David Hall dot com, DA V I, d
• 41:07
  Speaker 5: H O HL dot com and subscribe to the newsletter
• 41:11
  Speaker 5: and then that will get sent to you and that's free,
• 41:15
  Speaker 5: and that'll just give you all the basics and then
• 41:17
  Speaker 5: the book coming out will be more expansive. And then
• 41:20
  Speaker 5: I have a horror writing Thirteen Steps to Terror, which
• 41:26
  Speaker 5: is a book on the horror genre. And you know,
• 41:30
  Speaker 5: I looked out there and I didn't really see anything
• 41:32
  Speaker 5: good for horror screenwriting. There's a ton of general screenwriting
• 41:36
  Speaker 5: books and some good comedy books, like Steve Caplan's book,
• 41:42
  Speaker 5: Get That if you have any interest in comedy, but
• 41:47
  Speaker 5: there's nothing really good out there that I've seen for horror.
• 41:49
  Speaker 5: So I'm bringing that one out. Hopefully people will learn
• 41:54
  Speaker 5: some good pointers in there.
• 41:56
  Speaker 4: And I would also recommend Steve Caplan's book. I think
• 41:59
  Speaker 4: Steve is all awesome. I've got to talk to him
• 42:01
  Speaker 4: a couple of times. I actually hope to have him
• 42:02
  Speaker 4: on the podcast in the near future.
• 42:05
  Speaker 5: Yeah, he's a great guy, very funny, very interesting, a
• 42:08
  Speaker 5: lot of good stuff in his books. And even if
• 42:10
  Speaker 5: you're doing horror or any other genre, you know, there's
• 42:15
  Speaker 5: always a place for comedy within within what you're doing,
• 42:19
  Speaker 5: as well as just the genre itself, So you should
• 42:21
  Speaker 5: know comedy elements like anything else.
• 42:25
  Speaker 4: I agree, And you know, I've actually taken Dave's course
• 42:28
  Speaker 4: by the way, the Horror Movie School, and I highly
• 42:30
  Speaker 4: recommend it for anybody out there wondering. You know, after
• 42:33
  Speaker 4: I got done the class, I did have a couple
• 42:35
  Speaker 4: people ask me about it, and I always I did
• 42:37
  Speaker 4: tell him, hey, it is definitely a worthwhile course and
• 42:41
  Speaker 4: good thank you. So the amount of materials and everything
• 42:44
  Speaker 4: you get, and so definitely to checked it out, especially
• 42:47
  Speaker 4: if you're interested in horror screenwriting. And so those two
• 42:50
  Speaker 4: books you're working on are there, are there going to
• 42:53
  Speaker 4: be Kindle or Nook only? Are they also going to
• 42:55
  Speaker 4: be in physical copies?
• 42:58
  Speaker 5: The one hundred and one screenplay will probably only be kindle,
• 43:02
  Speaker 5: and I'm hoping the the Horror one will be with
• 43:06
  Speaker 5: a bigger publisher and be hard copy as well. Okay, excellent, Yeah, so, oh,
• 43:13
  Speaker 5: can I just give my website really quick?
• 43:15
  Speaker 3: So sure, it's Horror Movies School dot com. So www dot.
• 43:19
  Speaker 5: Horrormovieschool dot com and you could subscribe to a newsletter
• 43:25
  Speaker 5: there and it'll give you a lot of free stuff,
• 43:28
  Speaker 5: some free papers, a couple of free seminars audio seminars,
• 43:33
  Speaker 5: and then information about the class if you're interested.
• 43:36
  Speaker 4: I bet you actually beat me to the punch. It
• 43:37
  Speaker 4: was actually the next thing I was gonna say. Okay, thanks,
• 43:40
  Speaker 4: no problem, but you know, Dave, thank you very much
• 43:43
  Speaker 4: for coming on. And again everyone check out Dave at
• 43:46
  Speaker 4: Horror Movies School dot com and you can follow him
• 43:49
  Speaker 4: on Twitter at script m d Dave. Was there anything
• 43:53
  Speaker 4: you'd like to say to end the show?
• 43:56
  Speaker 5: No, just keep writing and great work what you're doing, Dave.
• 44:00
  Speaker 5: It's a good resource for people, so so keep it up.
• 44:03
  Speaker 4: Oh, thank you very much. I'm actually working tomorrow we
• 44:06
  Speaker 4: get this on iTunes. I think I finally found out
• 44:09
  Speaker 4: the problem of why it won't import right, so hopefully
• 44:12
  Speaker 4: once I've done that, you know, because people have been
• 44:14
  Speaker 4: asking again and again why this isn't on iTunes and
• 44:17
  Speaker 4: why it's just on Potomatic. Potomac is good, but iTunes
• 44:21
  Speaker 4: obviously is a brand name and people and people already
• 44:23
  Speaker 4: have the you know, the podcast app on their phone,
• 44:26
  Speaker 4: so you know, I do want to get it on
• 44:29
  Speaker 4: there eventually, but you know, and again, Dave is a
• 44:33
  Speaker 4: great script consultant. I'm actually I was just before the show.
• 44:35
  Speaker 4: I was talking to him about a script I'm working on,
• 44:37
  Speaker 4: which is another horror comedy. And I've mentioned this in
• 44:40
  Speaker 4: one of my podcasts about two weeks ago when it
• 44:42
  Speaker 4: was just me and it's a you know, it's a
• 44:44
  Speaker 4: fun slasher movie and I hope to you know, you
• 44:48
  Speaker 4: maybe just write it for fun or maybe you know,
• 44:50
  Speaker 4: produce it somewhere, Doline. You never know, right, So all
• 44:54
  Speaker 4: right again, Dave, thank you much very much for coming on,
• 44:57
  Speaker 4: and I hope you have a great night.
• 44:59
  Speaker 3: Okay, you too, Thanks Dave, Thanks allay all.
• 45:03
  Speaker 2: I want to thank Dave so much for doing such
• 45:05
  Speaker 2: a great job on this episode. If you want to
• 45:07
  Speaker 2: get links to anything we spoke about in this episode,
• 45:09
  Speaker 2: head over to the show notes at Indie Film Huscle
• 45:11
  Speaker 2: dot com Forward Slash eight sixty five. If you have
• 45:14
  Speaker 2: it already, please head over to Filmmaking podcast dot com,
• 45:18
  Speaker 2: subscribe and leave a good review for the show. It
• 45:22
  Speaker 2: really helps us out a lot, guys. Thank you again
• 45:24
  Speaker 2: so much for listening. Guys, as always, keep that hustle going,
• 45:26
  Speaker 2: keep that dream alive, Stay safe out there, and I'll
• 45:29
  Speaker 2: talk to you soon.
• 45:31
  Speaker 1: Thanks for listening to the Indie Film Hustle Podcast at
• 45:34
  Speaker 1: indiefilm hustle dot com. That's I N D I E
• 45:38
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• 45:40
  Speaker 1: dot com.