Welcome, Guest. Please login or register.

Login with username, password and session length
 

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - Tiplodocus

Pages: 1 ... 515 516 [517] 518
7741
Prog / Re: How did Death actually escape....
« on: 13 May, 2002, 10:37:22 PM »
Nope. Not proper sub-text.  The stuff you claim as subtext is all in the words and the way the actor would deliver them.  

A better subtext might have been Dredd searching the apartment in minute detail even to the extent of examining the perp's Us.  Subtext - he gave him an intimate body search and gets right into the perp's life - nothing can be hidden.  There wouldn't be any nonsense dialogue saying "You can't hide things from me!".


But at least I can see what people mean about your Dredd dialogue now ("these days", "so I'm told") - thanks you've saved me reading the script to check.

When you are in a hole, you should stop digging.


7742
Prog / Re: How did Death actually escape....
« on: 13 May, 2002, 07:38:11 PM »
I think quite a few of the professional writers who you have chosen to ignore understand what subtext is.  

My personal view is that it is stuff that isn't contained in the words - having somebody say something in a sarcastic tone of voice isn't subtext, it's, well, sarcasm.

May I point you once more at Oscar Winning screenwriter William Goldman's book "Adventures in the screen trade" where he points out the scene in World According To Garp where Garp meets his future wife and runs up and down steps to impress her (subtext - Sex).

Or my own personal favourite from Robocop where Officer Lewis helps a battered Robocop learn to shoot straight again by holding his gun and helping him aim at Baby Food (subtext - sex).

Your rants are stopping people reading your work.  Your refusal to accept criticism - even given David Bishop's polite example of how to do so - is harming you more than your "witty" replies harm them.  


7743
Prog / Re: How did Death actually escape....
« on: 13 May, 2002, 07:32:31 PM »
I would imagine that by the end of a decent Dredd film, the audience would already have figured out that Dredd IS THE LAW and adding a voiceover to make this point again seems superfluous.

7744
General / Re: Here's pages 2 and 3 of my scr...
« on: 09 May, 2002, 11:45:31 PM »
Somehow, I don't think film's are greenlit in this manner.  Deadoddboygirl is right; a synopsis is probably your best bet. After that, I'd try therapy.

7745
Help! / Re: Cool!
« on: 09 May, 2002, 11:41:24 PM »
Well that's no good.

I was thinking of logging in under different names and doing a "Good Post", "Bad Post" routine just to confuse everyone.  And then log in as a third name and ask the other two to calm down.  

I could use the "Bad" person to set up a punchline and the "Good" person to deliver it making myself seem intelligent, witty and generally attractive to all.

Pah, foiled.

PS: It's a good feature really.

7746
General / Re: First page from my Dredd scree...
« on: 09 May, 2002, 07:16:36 PM »
We know all about Dredd so we think "cooool" but to the man in the street, a bloke getting dressed and then getting into his car isn't exactly the most exciting start to a screenplay.

There have been notable exceptions HARPER with Paul Newman where the opening sequence fills you in on loads of detail about the character and what he is like.  

I'm sure as an aspiring screenwriter, you've read William Goldman's "Adventures in the Screen trade" - it describes it in good detail.

7747
Prog / Re: The new prog.
« on: 09 May, 2002, 07:09:14 PM »

Enjoyed everything in the prog -all stories well written and shaping up nicely and the art was tatsy all round.  

SIN CITY: I like the multiple plotlines that are brewing in this and Kev Walker's art is spot on - alternately comic and gritty when needed.

SIN DEX: On the strength of this opening, I hope this is a nice long multi-parter.  I know it's a bit of a cliche with the "I thought you were dead" routine but it was still enjoyable.

BECK AND KAWL: the only disappointment but it has potential providing it gets out of the trap of thinking that references to other films/comics are funny in themselves - these reminded me more of the bad Leslie Nielsen films (Spy Hard) rather than Spaced. But I'm sure it will get better.

MNID: I like the idea of Anderson being stranded on Luna 1 by the Justice Department timetables.  Death has obviously killed children before but showing it....the horror... the horror. Damn - I started the film reference game myself...

7748
General / Re: THE PROG 534 CLUB
« on: 19 December, 2002, 07:33:41 PM »
Yippee!  I'm almost as chuffed at having a point as I am at looking at the lovely wave from this thread has generated.

Not long until you break 200 now.

7749
General / Re: THE PROG 534 CLUB
« on: 19 December, 2002, 07:15:50 PM »
Sounds fair.  

Nil points for me then.

7750
General / Re: THE PROG 534 CLUB
« on: 19 December, 2002, 07:06:04 PM »
Does having your droid's name (or your character's picture) in articles like the COVER ART FEATURE count?

7751
General / Re: THE PROG 534 CLUB
« on: 06 December, 2002, 06:45:32 PM »
Not sure if I qualify to join (started at Prog 1 but chucked them all out and the Prog 1 I have at the moment was a gift from a mate who said I'd look after it better than him) but I thought I'd add another reply to the thread just so it keeps pace with KARNE's admirable (but not as heartfelt) LET'S SET A RECORD.

Keep up the good work 534 ladies and gentlemen (even if I don't get to join).

7752
Suggestions / Re: Measure the Future Shock stack...
« on: 08 March, 2006, 05:03:26 AM »
Cripes - looking back on it, that is a big old load of kack suggestion, isn't it.

I think at the time I was
a) under the impression that this would in someway be helpful and

b) had been waiting six months for a reply on a story.  Do you know, I'm still waiting for a reply on one submission which must be close on 4 years now. It was mince but it would have been nice to know. (It parodied the original lineup of POPSTARS - how old is that?)


Anyway, best way to get feedback is via scriptdroids and Pitchfest. Then send it in when it's spot on.  Where's that Past Imperfect I was working on...

7753
Suggestions / Re: Measure the Future Shock stack...
« on: 26 April, 2002, 11:22:13 PM »
All good points, SiG, - another reason for the stack is, of course, to give aspiring writers a clue as to how long it will be before they get a rejection slip/catapulted to stardom.  The waiting is the worst bit...

7754
Suggestions / Re: Measure the Future Shock stack...
« on: 26 April, 2002, 10:12:11 PM »
Can I stress that I don't think it should be a lottery or via bribery. Future Shocks should be chosen on merit as they currently are.  

I am sure a lot of the Future Shocks are "unwanted" for very good reasons.  All I am suggesting is that there is a measure of how high the stack is - if possible with a counter for the most popular reasons for the rejections to help budding writers focus on the bits that are usually done badly.


7755
Suggestions / Measure the Future Shock stack
« on: 26 April, 2002, 06:39:56 PM »
Wake/Matt,
just looking at one of the online poll and it looks that over 30% of the people who post have either written or have vague intentions of writing a future shock. (though my sums could be wrong).

Maybe it would be a nice idea to have an indicator of just how big/small the submissions pile for Future Shocks is on the Submission Guidelines page.  

I think this would be nice for the submitters and, bear with me, may even save you some time.

This would let all those who have submitted exactly how overworked you are and may discourage people from sending stuff in if the pile is very high and encourage it if it is really low.  A fortnightly update would probabaly be OK.

If you wanted to go the whole hog; you could even keep statistics of how many of the submissions were complete toss (i.e. failed to follow basic presentation guidelines, full of smelling pistakes, unhygenic), how many were rejected after reading the synopsis (and reasons; no hook, been done before, predictable, no structure, complete toss etc.) and how many were rejected because of the final script quality (too much dialogue, too many panels, not engaging enough, unbelievable charaters).  

These metrics again might encourage people to focus on fixing things before they get to you and save your valuable time.

Anyone agree/disagree?

Pages: 1 ... 515 516 [517] 518