This morning,as I walked to Starbuck’s with my suitcase and backpack – trying my hardest to appear like an office worker on the go rather than a homeless dude, a cute young girl smiled at me and said.
It’s the first time I have had long hair since High School, and I was having a good hair day. So it felt good to be recognized for that, externally.
Two compliments. Two days in a row.
The other one…
I had a wonderful compliment by a well-known writer here in Hollywood yesterday who I have been having regular conversations with here at Starbuck’s.
He’s been helping me understand how the movie making process works, who does what, personality issues and difficulties encountered, he even turned me on to Project Greenlight Season 4, which was a wonderful biopic on an accelerated movie making process from selection of director to the production and the final product itself.
My primary script – “The Idiot Who Made Everything” – is an embellished account and science fiction tale about yours truly.
I tell the story from multiple perspectives and across multiple timelines, because, well being frank, that’s how I have come to understand my own life.
As I was writing a scene introducing the futuristic USS Timeship Phoenix’s bridge in the year 2943, I started questioning my descriptiveness.
Now as a Star Trek fan, I can tell you there’s an absolute attention to detail on the show where absolutely nothing is done – throughout the series – with intent.
While it’s entertaining, it’s easily the most calculated television show that has ever come out.
It’s entertaining and an education at the same time.
But one gripe I have had about the series is the polish the movies have in contrast to the tv series but the story isn’t necessarily any better.
A bigger budget affords better looking props. But I always had to question – why not leverage the same props and sets for the tv shows.
Well, that question answered itself when I learned the true origin of the transmissions.
So one thing I am doing to ‘bridge’ the movie to the TV series I am aspiring to provide a pilot for in 2017 – is maintaining absolute cohesion between certain crucial set elements of the movie screenplay and the tv scripts.
My personal goal for this film is to make this the highest budget film of all time, and also make it the first adults only Star Trek – with an NC-17 rating. The budget is expected to be so high as it will largely be spent on luring original cast members such as Seven Of Nine and T’Pol (among many other famous ladies in Hollywood) to agree to the production with full frontal nudity and potentially filmed sexual moments for the entire lengthy production.
It’s not my belief that every actor or actress has their price.
But it is my belief if they learn what is really at stake with this production, they will voluntarily agree to it and come out a lot wealthier as a result.
As for the story synopsis – everyone on board the USS Enterprise Timeship is female and nude.
It is set in a distant future where resources and energy are highly rationed. There’s extremely valid reasons in this distant future that led to this crew being both time travelers and naked. While the production may have sexual moments, the story is definitively not intended to be porn, nor is it intended to be a totally happy feel to it.
It’s a harsh future, in fact. That led to women being in this position and a society without males.
One of the elements of the story is a ‘looping nature’ of reality, with minor deviances in the world that I want the viewer, NOT the crew to recognize.
So something I am doing in the script is dictating the structure of the set decoration.
Now Hollywood has a general ‘page number’ count – where the number of pages to a script is generally expected to be less than 150 pages start to finish.
I’m only halfway into my story, and I am already at page count 150.
I’d referred to scripts from great films such as the Fight Club, Matrix, Terminator, groundhog Day and even Alfred Hitchcock’s Psycho for examples of ‘preparing a scene’, but by and large, I have been finding it has been the director who shapes the vision of the movie, and not always the screenplay itself.
Seeking areas to ‘size down’ my content, I discussed the issue with my writer friend.
When he found out I had descriptions of scenes that were three pages in length, his comment was fast “That’s way too much, unless the description serves a purpose in the screenplay, you want to leave set decoration to the set decorator.”
“That’s just it,” I said, “it is extremely important for the screenplay. Star Trek viewers are connoisseurs of the obscure. Where others see plot holes and flaws, those of us who are obsessive about it know there’s a reason behind every single action and sequence in every production. I am writing accordingly.”
He explained how it seemed more like it was more Director’s notes than it was script notes.
“Keep the script to the dialog. And since you are selling this script with you attached as the director. Then keep the description to critical areas and keep the script notes separate,” he said.
And then, he blindsided me with the compliment.
“Don’t get me wrong. I know you believe this is all real and I want nothing more than to nurture that. You have an amazing mind. But Hollywood’s processes can be harsh. Keep that in mind as you review your own writing and if you think it’s wordy, then it’s definitely wordy.”
I said “Rob, if I didn’t know any better, I think you just complimented me.”
Rob smiled. “I’m serious. I think that you’re going to be very successful here because of how strongly you believe what you do.”