24 April 2014

The June Script

One way I try to get ideas and inspirations for scripts is using the "Random Article" link on Wikipedia.  Just now, clicking on it, up came articles about Khan Noonien Singh, the 1936 Boston Red Sox season, Bhagabat Sahu, and the sawbwa barb.

Granted, none of those (including Khan, but for a different reason) demand that a film be written about them, but they all can't be winners.  One more click, and...  There you go:  Lillian Lorraine.  She can be the subject of a movie.

And that's the best part about the "Random Article" link:  It's random.

So what does that have to do with the script I'm looking to write in June?  Since I assume anyone reading this blog has at least average intelligence (at the minimum, of course), I'm sure it's obvious that I can thank Wikipedia's "Random Article" for giving me the impetus of June's script.

So:  What did Wikipedia offer up?

This is probably the most working title title I've ever come up with.
I'm calling the script Greyhound 1170.  It's about a murder that happened about a decade ago on a bus (hence the Greyhound), the circumstances of which were just incredibly bizarre.  The plan is to just use the incident on the bus as a climactic end-point of the narrative -- the bulk of the story will be following the two characters (the murderer and the victim) leading up to the murder.  Basically, we see who these guys are and what led them to be on that bus and what may have triggered the murder.

This bus is going to Cleveland.
There's a joke there but it seems too easy.
I think the best example of what I'm going to try to do with the script is akin to the Werner Herzog movie My Son, My Son, What Have Ye DoneIn fact, I'm sure I'll be picturing Michael Shannon in one of the roles -- dude is a seriously impressive actor.  He's got just a few scenes in Revolutionary Road, but he pulls you into his character's life.  Really, any movie he's in, even if the material is ~eh~, he finds a way to make his characters interesting and to keep you riveted to his every move.

Anyhow, that's really neither here nor there right now:  I've gotta write the script first then re-write it so it sings.  And maybe then get it to Michael Shannon.  See that there?  Optimism. 

I'm excited about this script -- which is good, I suppose, since it's still about 40 days until I get to it -- and have high hopes for it.  I'm seeing it as a very low-budget affair, something I could easily produce on my own.  If I'd be able to find a bus to shoot it.  Hey, you never know, right?

On a somewhat off-topic note, I should be wrapping up the Standers script by the end of the weekend.  It's definitely coming up a lot shorter page-wise than I had even re-evaluated it being.  I'm guessing it's going to hit 70 to 75 pages.  Not too bad since much of the execution of the film is going to rely on establishing the mood of the story.  Something that only takes a quick sentence in the script could end up being 30 seconds to a minute of screen time, so in the end, when filmed, it should be able to reach an acceptable runtime of 90 or so minutes.  Slap on lengthy opening and closing credits (a la most of the Final Destination sequels) and everything should be roses.

See that again?  More optimism.

And now I'll quit while I'm ahead.

Optimism feels... draining.  And something worth sulking in a bathroom for.

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