I managed to see 13 screenings during my trip to Sundance this year. Here’s how my list ended up:

Hello I Must Be Going
Wish You Were Here
Simon Killer
Celeste and Jesse Forever
Shorts Program 1
Robot and Frank
Arbitrage
Lay the Favorite
Save the Date (with screening of the short film Bear)
Safety Not Guaranteed
Bachelorette
Filly Brown
Beasts of the Southern Wild

Some films failed to make much of an impression; however, a few managed to really stand out. The festival still has a week left, but a couple buzzworthy films have already taken center stage. I can’t wait to write full reviews!

Here is a little bit about two buzzworthy films that I saw but did not have on my original list:

After hearing several people rave about this first film, I managed to get tickets to a screening:

Beasts of the Southern Wild

This film bravely pulls magical realism into a breathtaking story about father and daughter living in the Louisiana Bathtub.

The Sundance.org description:

Hushpuppy, an intrepid six-year-old girl, lives with her father, Wink, in “the Bathtub,” a southern Delta community at the edge of the world. Wink’s tough love prepares her for the unraveling of the universe; for a time when he’s no longer there to protect her. When Wink contracts a mysterious illness, nature flies out of whack—temperatures rise, and the ice caps melt, unleashing an army of prehistoric creatures called aurochs. With the waters rising, the aurochs coming, and Wink’s health fading, Hushpuppy goes in search of her lost mother. 

Hushpuppy is not just the film’s heroine; she’s its soul.Beasts of the Southern Wild exists entirely in its own universe: mythological, anthropological, folkloric, and apocalyptic. Benh Zeitlin’s first feature (a Sundance Institute Feature Film Program project) employs a cast of nonactors—reflecting its grassroots production—to fiercely portray the bond between father and daughter in a world where only the strong survive. Standing defiantly at the end of the world, Hushpuppy affirms the dignity of telling their own story: that they were once there.

Shorts Program I

I also did not have Shorts Program I on my original list. Shorts Program I contained the following films: Fishing Without Nets (Pictured above), Las Palmas, Morning Stroll, Random Strangers, Tooty’s Wedding, and Una Hora Por Favor.

Although I enjoyed all of the short films, I originally went because I wanted to support the director of Fishing Without Nets, Cutter Hodierne, someone I have known for some time. I was impressed with the emotional depth and sweeping scale of the story. And, as it turns out, I wasn’t the only one impressed with this film. Fishing Without Nets was just awarded the Sundance Jury Prize for Short Filmmaking, an amazing and deserving achievement.

Here is the sundance.org description of the film:
A story of pirates in Somalia—told from the perspective of the pirates.

Sundance 2012 is just around the corner, and I am gearing up for my third trip to Park City, Utah. While visiting Park City each year, I have run into friends and colleagues. Some of these Sundance attendees work for the festival, some volunteer for the festival, and some support the festival. No matter what the reason, if you have a chance to attend the Sundance Film Festival, it is a great opportunity to observe passionate and thoughtful entertainment professionals debut their work. It truly is an unforgettable experience.

As part of my trip to Sundance, I must request tickets to many films, and then it is up to the powers-that-be if I get them. While making a list of films, I have to keep in mind my schedule, which includes work events, as well as the schedule of the films themselves. Also, many of these films premiere at Sundance, so the criteria I base my selections on include the buzz surrounding the film, the genre, and the synopsis provided by the festival. This year I was able to make up a list of 16 hopeful films. Although I am very excited for each and every one, I am especially looking forward to Robot and Frank, Black Rock, and Save the Date. As I’ve learned from each year, though, a lot of these films surprise their audience, and we’ll have to wait and see which ones top my list by the end of the festival!

The following excerpts, which helped me make my selections, are taken from Sundance.org/film. Visit their site to get the scoop on all films playing at Sundance this year!


Black Rock
Director: Katie Aselton
Screenwriter: Mark Duplass
Cast: Kate Bosworth, Lake Bell, Katie Aselton

“Sarah invites her old friends, Abby and Lou, on a reunion trip to a remote island in Maine. There will be laughter, tears, and a boozy catharsis. It’s the sort of weekend that can transform the three into fully realized, grown-ass women. You already know this movie, right? Wrong.

Emotional release will come, but this is no weepy ballad of reconciliation. Working from a script by her husband Mark Duplass, Katie Aselton returns to the Festival with a taut, satisfying thriller. As the danger rises, the gorgeous cinematography transforms the bucolic island into sinister and elemental terrain. Kate Bosworth, Lake Bell, and director Aselton capitalize on the material and deliver remarkable performances, imbuing moments of unbearable suspense with raw emotion.”


Simon Killer
Director: Antonio Campos
Screenwriter: Antonio Campos
Cast: Brady Corbet, Mati Diop, Michael Abiteboul, Constance Rousseau, Lila Salet, Solo

“A recent college graduate goes to Paris after breaking up with his girlfriend of five years. His life should be open-ended and full of promise, but he can’t shake his feelings of loss. Being a stranger in a strange land only aggravates his situation. When he falls in love with a young mysterious prostitute, a fateful journey begins, though we soon learn that Simon is the one with deeper secrets.”


Filly Brown
Director:  Youssef Delara, Michael D. Olmos
Screenwriter: Youssef Delara
Cast: Gina Rodriguez, Jenni Rivera, Lou Diamond Phillips, Edward James Olmos, Emilio Rivera, Joseph Julian Soria

“‘Majo’ Tonorio, a.k.a. Filly Brown, is a raw, young Los Angeles hip-hop artist who spits from the heart. When a sleazy record producer offers her a crack at rap stardom, Majo faces some daunting choices. With an incarcerated mother, a record contract could be the ticket out for her struggling family. But, taking the deal means selling out her talent and the true friends who helped her to the cusp of success.”


Arbitrage
Director:  Nicholas Jarecki
Screenwriter: Nicholas Jarecki
Cast: Richard Gere, Susan Sarandon, Tim Roth, Brit Marling, Nate Parker, Laetitia Casta

“Nicholas Jarecki makes an auspicious directorial debut with this taut and alluring suspense thriller about love, loyalty, and high finance. Arbitrage—buying low and selling high—depends on a person’s ability to determine the true value of any given market. It’s a talent that has made billionaire hedge fund magnate Robert Miller the very portrait of success in American business. But, on the eve of his sixtieth birthday, Miller finds himself desperately trying to sell his trading empire to a major bank before the extent of his fraud is discovered. When an unexpected bloody error challenges his perception of what things are worth, Miller finds that his business is not the only thing hanging in the balance.”


Goats
Director:  Christopher Neil
Screenwriter: Mark Jude Poirier, based on his novel
Cast: Graham Phillips, David Duchovny, Vera Farmiga, Ty Burrell, Justin Kirk, Keri Russell

“Having a self-absorbed New Age mother and an estranged father means 15-year-old Ellis Whitman has grown up relying on an unconventional guardian: a goat-trekking, marijuana-growing sage called Goat Man. So, when Ellis decides to leave the alternative ways of his desert homestead for a stuffy East Coast prep school, major changes are in store. But, not in the way you’d think. Though often stoned, the exceedingly smart and capable Ellis effortlessly aces school and excels at track. As the year progresses, it’s his relationships with the adults in his life that test him, challenging his beliefs about responsibility and trustworthiness.”


Robot and Frank
Director:  Jake Schreier
Screenwriter: Christopher Ford
Cast: Frank Langella, Susan Sarandon, James Marsden, Liv Tyler, Peter Saarsgard

“Set sometime in the future, Robot and Frank is a delightful dramatic comedy, a buddy picture, and, for good measure, a heist film. Curmudgeonly old Frank lives by himself. His routine involves daily visits to his local library, where he has a twinkle in his eye for the librarian. His grown children are concerned about their father’s well-being and buy him a caretaker robot. Initially resistant to the idea, Frank soon appreciates the benefits of robotic support—like nutritious meals and a clean house—and eventually begins to treat his robot like a true companion. With his robot’s assistance, Frank’s passion for his old, unlawful profession is reignited, for better or worse.”


Shadow Dancer
Director:  James Marsh
Screenwriter: Tom Bradby
Cast: Andrea Riseborough, Clive Owen, Aidan Gillen, Domhnall Gleeson, Gillian Anderson

“Growing up in a Republican family in 1970s Belfast, Collette McVeigh’s childhood is shattered, and her family radicalized, when her brother is killed. Twenty years later—a single mother with her own young son—Collette is active in the IRA, along with her two surviving brothers. 

During an aborted bomb attempt in London, Collette falls into the hands of an MI5 officer, Mac, who offers her a deal: turn informant or go to prison. Fearing for her son’s welfare, she returns to Belfast where—betraying family and beliefs—she becomes a reluctant mole for British intelligence. As suspicion of Collette mounts and Mac takes increasing risks to protect her, both feel the net closing in.”


Celeste and Jesse Forever
Director:  Lee Toland Krieger
Screenwriter: Rashida Jones, Will McCormack
Cast: Rashida Jones, Andy Samberg, Chris Messina, Ari Graynor, Emma Roberts, Elijah Wood

“Celeste and Jesse met in high school and got married young. They laugh at the same jokes and finish each other’s sentences. They are forever linked in their friends’ minds as the perfect couple—she, a high-powered businesswoman and budding novelist; he a free spirit who keeps things from getting boring. Their only problem is that they have decided to get divorced. Can their perfect relationship withstand this minor setback?”


Wish You Were Here
Director:  Kieran Darcy-Smith
Screenwriter: Kieran Darcy-Smith, Felicity Price
Cast: Joel Edgerton, Teresa Palmer, Felicity Price, Antony Starr

“Expectant parents Alice and Dave join Alice’s younger sister, Steph, and her new boyfriend, Jeremy, on an impromptu tropical getaway in Cambodia. But, following Jeremy’s abrupt disappearance, the others must attempt to return to their normal lives in Sydney. The shell-shocked survivors’ recovery begins to fall apart when a stinging truth about their time in Cambodia is revealed. The three must contend with the fallout, along with the looming threat of further revelations about that fateful night.”


Grabbers
Director:  Jon Wright
Screenwriter: Kevin Lehan
Cast: Richard Coyle, Ruth Bradley, Russell Tovey, Lalor Roddy, David Pearse, Bronagh Gallagher

“Something sinister has come to the shores of Erin Island, unbeknownst to the quaint population of this sleepy fishing village resting somewhere off Ireland’s coast. First, some fishermen go missing. Then, there is the rash of whale carcasses suddenly washing up on the beach. When the murders start, it’s up to two mismatched cops—an irresponsible alcoholic and his new partner, a by-the-book woman from the mainland—to protect the townsfolk from the giant, bloodsucking, tentacled aliens that prey upon them. Their only weapon, they discover, is booze. If they want to survive the creatures’ onslaught, everyone will have to get very, very drunk!”


Bachelorette
Director:  Leslye Headland
Screenwriter: Leslye Headland
Cast: Kirsten Dunst, Isla Fisher, Lizzy Caplan, James Marsden, Adam Scott, Kyle Bornheimer

“Regan is used to being first at everything. Imagine her horror and chagrin when she finds out the girl everyone called Pig Face in high school is going to tie the knot before she does! But, Regan sucks it up and takes on bridesmaid duties along with her childhood pals: substance-abusing, promiscuous Gena and ditzy Katie. The single ladies are determined to put their bitterness aside and have an awesomely hedonistic bachelorette party. Armed with acerbic wit and seemingly endless supplies of coke and booze, the foul-mouthed femmes embark on one very long and emotional night filled with major wedding-dress panic, various bodily fluids, and cute ex-boyfriends.”


Lay the Favorite
Director:  Stephen Frears
Screenwriter: D.V. DeVincentis
Cast: Rebecca Hall, Bruce Willis, Catherine Zeta-Jones, Joshua Jackson, Laura Prepon

“Beth Raymer is a beautiful girl with a big heart who leaves her dancing job at a Florida strip club to become a Las Vegas cocktail waitress. Not exactly an ideal career choice, but her borderline-ditzy personality doesn’t give her many options. In walks Dink, a professional sports bettor who sees through her bubbly exterior and offers her a job placing wagers all over town to gain an advantage over the casinos. Her surprisingly impeccable mind for numbers soon cements her status as Dink’s good-luck charm, until his gorgeous-but-frigid wife Tulip starts to get jealous. Faced with no other choice but to fire Beth, Dink’s luck runs out when she heads to New York to work for a smarmy bookie, a turn of events that lands her squarely on the wrong side of the law.”


Red Lights
Director:  Rodrigo Cortés
Screenwriter: Rodrigo Cortés
Cast: Cillian Murphy, Sigourney Weaver, Robert De Niro, Elizabeth Olsen, Toby Jones, Leonardo Sbaraglia

“Two investigators of paranormal hoaxes, the veteran Dr. Margaret Matheson and her young assistant, Tom Buckley, study the most varied metaphysical phenomena with the aim of proving their fraudulent origins. Simon Silver, a legendary blind psychic, reappears after an enigmatic absence of 30 years to become the greatest international challenge to both orthodox science and professional skeptics. Tom starts to develop an intense obsession with Silver, whose magnetism becomes stronger with each new manifestation of inexplicable events. As Tom gets closer to Silver, tension mounts, and his worldview is threatened to its core.”


Safety Not Guaranteed
Director:  Colin Trevorrow
Screenwriter: Derek Connolly
Cast: Aubrey Plaza, Mark Duplass, Jake Johnson, Karan Soni

“Three magazine employees are sent to investigate a personal advertisement placed in the newspaper: guy seeking partner for time travel. They venture to the coast and set up a haphazard surveillance. Darius is recruited as the shill; her dry wit and cynical nature are perfectly suited to trap this enigmatic oddball, Kenneth, and get a good story. But, it is she who first sees past the paranoid loner façade to the compelling person inside. The drawback? This still doesn’t rule out the possibility that he just might be crazy.”


Save the Date
Director: Michael Mohan
Screenwriter: Jeffrey Brown, Egan Reich, Michael Mohan
Cast: Lizzy Caplan, Alison Brie, Martin Starr, Geoffrey Arend, Mark Webber

“Sarah finds herself caught in an intense post-breakup rebound with new infatuation Jonathan after tragically breaking the heart of rocker Kevin. Always one to give Sarah life advice is her sister Beth, who is diligently planning her upcoming wedding to apprehensive fiancé Andrew. Both sisters fumble through the bumpy emotional landscape of modern-day relationships, forced to relearn how to love and be loved.”


2 Days in New York
Director: Julie Delpy
Screenwriter: Julie Delpy
Cast: Julie Delpy, Chris Rock, Albert Delpy, Alexia Landeau, Alex Naho

“Marion (Julie Delpy) and Mingus (Chris Rock) live cozily—perhaps too cozily—with their cat and two young children from previous relationships. However, when Marion’s jolly father (played by director Delpy’s real-life dad), her oversexed sister, and her sister’s outrageous boyfriend unceremoniously descend upon them for a visit, it initiates two unforgettable days that will test Marion and Mingus’s relationship. With their unwitting racism and sexual frankness, the French triumvirate hilariously has no boundaries or filters. . .and no person is left unscathed in its wake.”

10.) Reindeer Games: A guilty-pleasure holiday movie. Need I say more? There’s a bit of a convoluted plot mixed into this sensual thriller, but, honestly, who cares? Bundle up under the covers and check out the acting talents of Ben Affleck and Charlize Theron this holiday season.

9.) Die Hard 2: Christmas Eve + an airport + a blizzard + terrorists who have taken control of said airport’s communication system X Bruce Willis = an action-packed holiday film with lots of thrills and holiday spirit! Don’t forget the fight scenes on a moving airplane wing and, of course, an explosive, fiery finish to cap off this second enjoyable installment in the Die Hard series.

8.) Little Women: This movie (in all its many renditions) may not immediately come to mind as a holiday film, since it moves through all seasons. The 1994 version stars Winona Ryder, Gabriel Byrne, Kirsten Dunst, Claire Danes, and (don’t forget!) Christian Bale as the March sisters’ male counterpart. Director Gillian Armstrong makes sure to summon the holiday spirit with caroling, snow-filled Concord, Mass, and, of course, the life-changing frozen pond scene. Little Women’s themes of love and forgiveness will go along nicely with your cup of hot chocolate and holiday cheer.

7.) Hot Tub Time Machine: This ridiculous romp through snow, time, and space stars John Cusack, Rob Corddry, Clark Duke, and Craig Robinson. The film is exactly what it sounds like: a time machine at a ski resort sends a group of friends back to 1986 where they re-live a very important night in their lives. Hot Tub Time Machine is a great film to accompany a ski lodge trip, or to help you relive the 1980s in all its color-blocking glory.

6.) The Ref: If family dysfunction and the holidays grate on your nerves, then this comedy will really speak to you. Denis Leary stars as Gus, a petty burglar who takes a dysfunctional family hostage on Christmas Eve. Much to his chagrin, Gus is forced to mediate the family’s problems.  Kevin Spacey and Christine Baranski round out the dysfunctional family cast in this unexpected holiday film.

5.) Trading Places: Dan Aykroyd and Eddie Murphy give thoroughly enjoyable performances in this comedy that garnered a Golden Globe nomination for Best Motion Picture-Musical or Comedy. In case it’s been awhile: an upper class commodities broker and a street hustler have their fortunes reversed by billionaires who decide to have a little fun with a bet.

4.) Scrooged: Tired of Charles Dickens’ A Christmas Carol? Granted, there may be no such thing as growing tired of A Christmas Carol; however, Scrooged puts a comedic spin on this classic tale, which makes this film a perfect addition to your holiday watch list. Bill Murray plays Francis Xavier “Frank” Cross, a soul-less television executive, who chose his career over love many years ago. Things get weird when Cross agrees to air a Christmas Eve broadcast of A Christmas Carol. Strangely, ghosts from his past start coming back to haunt him…

3.) Gremlins: We can point fingers as to who’s to blame, father Randall Peltzer for purchasing the little monster for his son as an ill-conceived Christmas present, or his son Billy Peltzer for breaking one of three simple rules while caring for the Mogwai. Either way, this black comedy is a classic creature feature and definitely an offbeat holiday classic.

2.) Edward Scissorhands: A friend of mine recently admitted to me that she has met resistance when trying to proclaim Edward Scissorhands as one of her favorite holiday movies. The film begins and ends during the holidays, and it is filled with whimsy and heart, two staples of the holiday season. Not only that, but it is a truly inventive film that demands a yearly re-watching.

1.) Die Hard: The original Die Hard takes the number one spot, hands down, as it is one of my favorite movies. Don’t let the lack of snow fool you, this movie is one-hundred-percent holiday film. The movie begins simply enough: New York cop John McClane lands in LA to visit his estranged wife and their two children for Christmas. He meets up with his wife at her work holiday party, an event taking place at the Nakatomi Plaza, an LA sky scraper.  His strained meeting with his wife, as well as the holiday celebration, is interrupted when Hans Gruber and his armed cohorts take the party-goers hostage. Alan Rickman plays Gruber over a decade before he took on the role of Harry Potter’s Severus Snape, and Rickman gives a wonderfully memorable performance as Die Hard’s ruthless and conniving villain. Gruber portrays himself to police as a terrorist, but things are not as they seem. He has his entire plan mapped out, step-by-step, and he is far ahead of the police. In fact, the only thorn in his side is the one party-goer who managed to slip away and who is now taking out his men, one-by-one. Die Hard is a smart, classic action movie with holiday spirit and a lot of heart.  I say it’s a must-see holiday movie!

All of  my reviews are first published at Fanboycomics.net. Check out their site and if you like it, check out their podcasts or sign up for their newsletter (a daily highlight of the best in geek news). 

The Dish and the Spoon played at AFI Fest 2011. It is a wonderfully indie film with characteristics similar to the “Mumblecore” movement. Mumblecore is an indie film genre that came about at the turn of the century. Its defining characteristics include low production value, character-driven stories, unconventional plots, middle class/twenty-something characters, naturalism in performances, and improvisation. All of these attributes are found in The Dish and the Spoon, and its star, Greta Gerwig, is no stranger to the genre. Although written and directed by Alison Bagnall, both Gerwig and English co-star Olly Alexander have “additional material” credits, thanks to the improvisational nature of the film.

The story opens with Rose (Gerwig) driving away from something, or someone, in tears. Without money or even a bag packed, she quickly finds herself with nothing but a convenience store box of donuts and a six pack of beer. This is her low point, as she practically drives drunk without a second thought. After reaching the beach and walking aimlessly for a time, she stumbles upon a shivering, passed out young man (Olly Alexander). Rose decides to transport him to a hospital, but, on the way there, plans change. The young man (who goes the entire film unnamed) is fine, medically speaking, but he is damaged and lost like her. Over the course of the next few days, Rose and her mystery man take shelter at her family’s beach house.

The basic premise of The Dish and the Spoon is simple: before the movie begins, Rose finds out that her husband has slept with another woman, a friend that Rose knows well. Rose’s feelings and mental state, however, are much more complex. She is hell-bent on finding this woman and, somehow, getting out her anger and frustration at her, as well as her husband. She handles her anger towards her husband through various pay phone calls where only her side of the conversation can be heard. In regards to the other woman, at one point, she makes it clear to her companion that she plans to “kill the bitch,” but this is never the reality. Rose is powerless, and she uses her few precious days away from home to try to take hold of herself. During this time, she and her companion flirt with a romantic relationship without ever diving in. Instead, the young man becomes a helpful springboard and friend.

This film is a character study with emotion taking center stage over action. The overall point of the film is not to punish an adulterer or a home wrecker, but to journey with Rose as she tries to remember what makes her special and worth something. The film has its edgy moments, including a cross-dressing sequence with Rose dressing up in her husband’s clothes and making her companion dress as a woman. This is partly a joke they play with each other, but Rose flirts with darkness when she calls the other woman and leaves her a disturbing message from the point of view of her husband. She also briefly forces herself on her companion, basically embodying a macho-male perspective, in an effort to claim back her power over her situation.

The Dish and the Spoon is like a tall glass of cool water. It is refreshing and simple, with many beautiful scenes to take in. The story is unconventionally built, but the effect is successful. Its simplicity may turn some viewers away, but, if it is approached as the Mumblecore film that it is, it should not disappoint. After the screening, director Bagnall participated in a Q&A. When asked what the budget was for the film, she responded, “Pennies.” This type of indie film is an encouragement to filmmakers who want to tell a worthwhile story but don’t have many resources. It can be done, and The Dish and the Spoon has done it.

All of  my reviews are first published at Fanboycomics.net. Check out their site and if you like it, check out their podcasts or sign up for their newsletter (a daily highlight of the best in geek news). 

Also, huzzah for a short week! I’m looking forward to spending Thanksgiving with some great friends, one of whom is flying all the way to LA to join us. Can’t wait to see you Corelyn!

Let’s discuss, shall we?

One reader wrote that my script was “unique to the Castle show…a solid genre piece that ties in nicely with the Castle canon…[the ideas] flow well together while still being fresh…the misdirection used[...]is very well done…the structure is perfect…Extremely well done and it flows so nicely…It’s hard to stress enough how well planned out and executed the story was for this show…If I had one complaint it would be some slight oddities in characters…Besides that, however, the characters are fantastically written…The dialogue was great and I could actually hear the characters’ voices while reading…very true to life while being true to the show…Very well done.”

Why, thank you, Reader #1.

Second reader wrote: “Not a very unique mystery for the show…The subplot[...]is good but not woven in like they do in the show…This script makes grand assumptions…a whole subplot is not addressed…[the characters] are close but don’t quite hit the show’s personas…[the dialogue] is too simple, verbose and lacks the right [subtext]…large blocks of text stall the flow…Pacing is off, mostly due to too much dialogue, and the script is probably too long.”

Phew, ok, so logical conclusion: the second reader was drunk when he/she read my script?

No, no, that’d be too easy.

Let’s talk about the good first and why I think it’s there in the feedback.

Plot: I watched, or read plot summaries, for every single Castle episode that had aired or was announced, before I wrote my spec. I did this to learn the show, but mostly, I specifically did this to make sure I did not repeat a storyline.

Structure: I am meticulous about structure. Although certain shows will follow a certain act structure and hit similar beats, I enjoy learning the nuances of each show I spec. I read several Castle specs and for a few, I took detailed notes on who was in each scene and what happened. I then created a key for the different plots (plot A, subplot B, subplot C, etc.) and labeled each scene accordingly. I created story maps for myself and studied the differences, and similarities, between the sampling of episodes. I then created the map for my own episode using those as a guide. I also took notes on scene, act and episode length. Therefore, I am happy that one reader could recognize that the structure is not an accident. I am not surprised that that came through.

Oddities in character: both readers pointed out that one of my subplots did not address the fact that a character was actually dating someone at the time of my episode. I can’t believe this, but this was an honest mistake. For all the reading and watching I had done, I had somehow missed that subplot, and, no other Castle fans/fellow writers who read this script and gave me feedback, noticed either. *shrugs. You must be meticulous. Readers in the industry WILL notice. This was a mistake and hopefully, I won’t make one like it next time.

Keep in mind, that although each reader had a similar issue with my script, one reader was 100% on board to let it go, while it gave the other reader more ammunition to tear my script down. Proving that you know the show you are spec’ing is crucial and it’s so very easy to slip up. Don’t give a reader like reader 2 more to pick apart!

Dialogue: I worked to hit the right tone with the dialogue so I’m glad the first reader enjoyed the voices.

On the second reader:

“Not a unique mystery for the show:” Honestly, I thought about that. I had three possible plots and asked friends for feedback before diving in. The plot line I picked was liked the most. I realized after I finished the first draft and as I revised, that this script was very “clean” but wasn’t breaking down boundaries. I wanted to write something clean and nail the structure; now, I feel like I can write a spec that takes more chances and is more innovative. I think this reader would appreciate if I did that.

“Making grand assumptions:” this was an interesting point for me and I don’t really agree with it. The reader made this comment in regards to how some of my crime procedural facts lined up and linked together. I will, however, be more meticulous next time to consider that someone may take that approach while reading.

On dialogue: Once again, I think my aim to write “cleanly” hit this reader the wrong way. They marked my dialogue as simple while still being verbose (sounds like something that could be contradictory and hard to do; yet, I still managed to do it haha) but I get it. Once again, if I took more chances and reached outside my comfort zone, I think a reader like this would appreciate what I have to say more.

Too much dialogue: a great note to think about. I thought my script read decently quick, but I’ve read many scripts, and I know it is easy to make your script too heavy. Move, move, move, get in, get out, faster, faster, don’t bore me!! These are the thoughts of the reader and it needs to stay on the forefront of my thoughts too.

Length: I disagree with this note since I modeled my script after other Castle scripts; however, since the reader felt that the dialogue was too chunky, they probably ended up with the feeling that the script was too long.

This is my third completed spec (one was co-written and not the genre I want to brand myself with, one was on my own but I see it right now as a learning-spec, and now, this one, which I think I will keep in my portfolio)  so I’m still a bit rigid about them. I enjoy deconstructing a show and building it up again with my own story in place. Now that I’ve come this far with spec-writing, I think the next step will be to let go a little and run with my ideas. Watch out reader 2′s of the world…

Now, I just have to decide on the right show…oh yeah, and write a pilot…

Some very special and talented friends of mine have been working tirelessly on a labor of love: an unofficial adapted audio drama of The Hunger Games, made by fans for fans. Episode one premiered today and you can check it out by clicking here!!!

Coming-of-age films have a tendency to skirt clichés and follow predictable character and plot arcs; however, if done right, a bildungsroman can still feel new, and it can evoke empathy from its audience. Unfortunately, The Art of Getting By (previously titled Homework) does none of these things. The select redeeming scenes and character performances are vastly overshadowed by the underwhelming plot. Sadly, the story gets caught up in cliché after cliché which builds to a predictable and unsatisfying outcome.

The film centers on high school senior George Zinavoy, played by Freddie Highmore (Yes, child actor Highmore, best known for Finding Neverland and the remake of Charlie and the Chocolate Factory, is all grown up!). Zinavoy is an aspiring artist and slacker who challenges authority while simultaneously indulging in apathetic behavior towards all the people and circumstances surrounding him. He encounters fellow senior Sally Howe (Emma Roberts, Valentine’s Day) smoking during school hours, and the friendship – and crush – ignites. The issue here is that neither character comes off as complete. Zinavoy is kind of an outsider, but he also appears quite mainstream and vanilla. Sally is kind of damaged, but she also comes off as overprivileged and boring. They are both watered-down characters.

Zinavoy meets Dustin (Michael Angarano, Red State), an artist, who comes to his classroom to talk about, well, art. Dustin, at some point in time, attended Zinavoy’s high school, and he agreed to come and speak, despite his lack of interest in the event. Their mutual love of art and apathy brings them together and fosters a friendship. Dustin meets love interest Sally, which complicates matters. Angarano’s character is somewhat more intriguing than the others, but his interactions with Sally and Zinavoy are not pushed far enough. Their reactions to the conflict they find themselves in are too soft and unrealistic. Once again, their relationship appears watered down.

By the end of the film, Zinavoy must face all of the issues he has happily ignored before. This includes moderately well executed complications between his parents, but it also includes a down-to-the-wire assignment from his principal to get all of his missed homework in before graduation day. This assignment comes off as a contrived plot device to showcase Zinavoy’s growth as a character, and the clichés only get worse from there. Sally must make a choice between Dustin and Zinavoy, and right before she does, Zinavoy has an art piece he has been working on all semester to show her (and, by the by, it was really hard for him to decide what to paint). I’ll let you guess what the painting is of and whether or not it makes her want to be with him.

This film is akin to clichéd stories about authors who have writer’s block. It tries much too hard to find depth and ends up quite shallow. There’s a chance The Art of Getting By will appeal to a preteen/early teen audience, but its watered down dialogue, plot, and characters leave a lot to be desired. While not my least favorite Sundance movie, I have to say, you can go ahead and skip this one.

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