Toronto Urban Film Fest is looking for submissions. Deadline is May 5, 2008. You can get all the info right here.
Hey Ramona! How about submitting to make a trailer for your pocket-change film .
Go read what Denis has to say about Less Than Kind and creator/producers Chris Seasgreen and Marvin Kaye. They were my guests at Thursday night’s Writers Watching TV screening series. They were smart and funny and the show is a gem. Charming, funny, warm and authentic. And Maury Chaykin is masterful in the role of the father, but then all the performances are lovely.
Mark McKinney was the third member of the showrunning triumverate.
They are still in post and don’t yet have an air date, although it sounds like fall which is kind of awful since I need a little comedy now and Less Than Kind is exactly my kind of comedy. Still, I have Robson Arms to keep me warm for the moment.
Anyway, I will post more on the Chris, Marvin and Less Than Kind closer to the airdate, but for now there’s McGrath.
I never wrote anything for television that raised this kind of passion.
On Blue Murder, Cal Coons and I wrote a two-parter about a string of abortion doctor murders. that came down hard on the pro-lifers. Blue had an audience in the million range back then and the thing still airs. Nary a hate mail.
When I was on Metropia, which admittedly had a far smaller audience, we used 50 euphemisms for cunnilingus. Even the broadcaster didn’t blink.
But put a character on Facebook and send out an offer of friendship to people?! That created a furor.
To be fair, it wasn’t just any people Ali and Simon friended. They friended the entire writing community and a lot more strangers without consequence. It was when they friended new-media-marketing-guru-types that the controversy started.
One of the most offended, Eden Spodek, states her case in this post on one of her blogs, One Degree.
I know lots of people are afraid of making friends on the web. But thourhg the internet the world wide community of writers connected, communicated and become more cohesive, especially during the WGA strike. It is an atmosphere of creative support. Through this blog I have built friendships with some fantastic writers around the world. Their generousity amazes me.
The social networking gurus and evagenlists? Not so much.
Worth considering if you’re thinking of creating for the digital space.
There are some great comments on the Story2Oh! blog which include some heartwarmingly creative use of swear words. Delightful. And this nice post on eating sandwiches, which is a really great name for a blog and makes me want to change my dinner menu.
I’m a little bummed right now. Facebook deleted Simon and Ali’s profiles this afternoon which is kind of depressing but it was inevitable. The whole story is over on the Story2Oh! blog.
Anyway, it’s all about cheering me up right now.
One way is to go over and read Denis’s post on the subject again because I love it when someone rises to my defense with the word “fucktard”.
Equally, if not more cheerful is Webslinger’s review of my presentation last night.
Don’t I feel better now? Thanks for listening.
I’m presenting Story2Oh! tonight at CaseCamp. CaseCamp is a marketers-meet-technology forum in which four cases are presented and discussed.
On tonight’s bill: TD bank, RedFlag Deals, a cool little YouTube project to help with Sick Kids fundraising and of course, my dirty little storytelling project.
There are a bunch of rules for how to present to CaseCamp, the biggest being the fifteen minute time limit. I’ve been practicing my presentation with the egg timer and if I talk really fast and don’t pause to breathe, I’m okay.
This’ll be the first time I bring Story2Oh! into the new media world, so it’ll be interesting to find out how they react. Actually, CaseCamp may be more of a marketing world, so I can test the idea of paying for this through product placement and advertiser sponsorship.
If you’re not going to be in Toronto tonight to come, here’s what I’m going to say, only accompanied by spiffy slides created on Keynote.
I’m going to introduce myself as a screenwriter who decided to experiment with storytelling on the internet. I’ll use my tried and true line about the early days of television when we used to film stage plays and then throw them up on the TV screen. It took us a while to learn how to use that medium.
Right now, we’re in a similar place with the internet. We’re mostly condensing TV shows down to a few minutes and throwing them on the web. People watch, but it’s not a very good use of the medium. It’s going to take some experimentation to figure out how to effectively tell stories digitally.
I don’t have the answers, but I have started asking some of the questions.
I’ll introduce Ali Barrett and Simon Beals and I’ll screen the first video we posted.
The next thing I’ll show is Ali’s first Facebook note and the kinds of comments she got. I didn’t know what would happen when we asked real people to comment on Ali’s fictional dilemma, but the audience was great; funny and creative.
I’ll go through the many platforms we use in Story2Oh!: delicious, Twitter, Facebook walls, Flickr photo albums.
The next section of the presentation will look at some of the features of Story2Oh! that don’t involve storytelling so much as interacting with the audience. The characters play Scrabulous with their “friends”, write on their walls, participate in discussion forums and even comment on people’s blogs — and not necessarily about the story or themselves, they’ll engage you in conversations about you.
We try to make it clear that this is a story and a form of entertainment. We mention that this is fiction on every profile and blog. We don’t mean to deceive anyone. We just want to tell you a story.
Right now, there’s Story2Oh! content in a lot of places, including the following sites:
Facebook, YouTube, MySpace, Flickr, Delicious, Digg, StumbleUpon, Ravelry, Daily Motion, Viddler, Bebo, Blip, FriendFeed, LiveJournal, Twitter, WordPress, MetaCafe, Revver, StupidVideos, Sk*rt, Vimeo, Crackle, Vodpod, Blogger and Pownce.
I’ll let you know how it turns out.
I checked back through Joss Whedon’s body of work. And guess what? The guy always writes in 4 acts, although usually with a teaser up front.
Here are some stats:
Buffy: teaser and 4 acts (pilot and regular episodes)
Angel: teaser and 4 acts (pilot and regular episodes)
Firefly pilot: teaser and 7 acts (2 hours)
Firefly episodes: teaser and 4 acts
So a straight four act pilot without a teaser is a bit of a change of pace for Joss.
There’s a comment thread on Whedonesque – the Joss Whedon fan site — about my post about
Dollhouse and the fact that the script is written in four acts. I’d leave a comment there but you have to sign on to do so. I tried to join but the site is not accepting registrations. I guess they can’t handle any more users. And Whedon doesn’t even have a show on the air.
That guy has one big fan base. And I know why.
I read the script. And it’s great.
But back to the four act thing, here’s what I wanted to tell the Whedonesque commenters.
Hour long TV shows are usually 5 or 6 acts. Six is the more traditional structure, I think — teaser, four acts and a tag or short final scene that wraps up emotional lines. Last season we saw quite a few 5 act pilots with very long first acts to really give the story time to hook the viewer before the first commercial break.
Four acts is pretty unusual. Also unusual is that the Dollhouse acts are almost even in length.
I am not going to give away any plot details here. This is a terrific story. I read it knowing nothing about the premise or characters. The pilot is full of turns and suprises and I was completely fresh to everyone of them. Which is the best way to encounter the story. If you want spoilers check elsewhere.
I will tell you about the shape of the story. With only three act breaks to worry about, Whedon doesn’t have to force the drama up into unnatural cliffhanging pre-commercial moments. He gets into the story quickly and rolls it in out in four virtually equal-length segments.
By eliminating the short final scene or tag, Whedon can play out the real story right to the end, weaving together the final beats of the story with the final emotional moments, rather than playing them in separate scenes. This works really well for arced series like this one will be, where a single story is parsed out over the duration of the series.
The draft I read was an early one. It is possible that in later drafts Whedon went to more acts to provide for commercial breaks. We’ll have to wait and see. I hear that shooting starts very soon.
Dollhouse has got some really interesting thematics. It leaves you with lots to think about. But that’s one of Whedon’s strength. He’s able to tell you an exciting story with characters you feel like you know AND he can fill it with meaning and thought provoking ideas.
Dollhouse is going to be a terrific experience for all to share. We’ll all be on the phone and the web right after each episode ends talking to each other about what just happened. And waiting for the next episode is going to be torture. I can’t wait.
There are links to the many sites with news about Dollhouse on Dollverse and of course Wheonesque.
Joss Whedon’s pilot script for his new series Dollhouse is fabulous. I can’t wait to see the series and find out what happens next.
I’m not giving anything away — or at least I’m trying not to so I’m sorry if this reads cryptically. Dollhouse is genre — sci fi. As usual Whedon brings strong female leads, lots to think about and a great, action-filled story.
Dollhouse episode 1 is 53 pages and written in 4 acts (14, 15, 13 and 11 pages). Act One is devoted to revealing this mysterious new phenomenon that is at the heart of the series and the character I assume will be the central figure in the series.
Act Two shines a light on the characters in conflict around our lead and the moral ambiguities of this world.
Act Three is action packed and Act Four twists what already looked like an entirely fresh premise into something very new and exciting.
If you want to know more, io9 has some script pages up here.
Dollhouse is slated for Fox in Fall 2008.
Rob Mills put me onto this one too.
According to NewTeeVee, the two guys who made Kate Modern and Lonely Girl 15 formed a company and raised $5 million on the claim that their two series have drawn 150 million views.
NewTeeVee characterizes these two web series as
some of the best examples of entertainment that truly uses the web.
Go over and watch a few of them. I made it easy and provided the links. Tell me what you think.