Writer, Europe, Blossom Mawr discussed on The No Film School Podcast

Automatic TRANSCRIPT

Just in Europe? I honestly don't know. Just I think that if you know that the dialogues there, and the, you know in the the descriptions of the characters are fully realized, and you can really kinda picture it. Than and you're not taking you're not going to bog down and things, you know. And that's just I'm just being myself, some fantastic movie that you need that kind of dense, you know, especially here. Yes. Especially here where you need you need descriptive really feel that weight. But for me, it was just like, I I I wrote a really quickly because I really I had in my head pretty fleshed out. And and from us on those was like you should be able to read this quickly. It's a fun little movie. It's not not taking itself too seriously. And that was I think comes comes across on the page when you do right? Is it often something that you're able to get out there quickly and move onto the next project, or is it sometimes more laborious depends? Generally, the better things are the ones that that. You know are are easier to write they end up. There's a reason that they're easy to write. But for me, I spend a lot of time thinking about an idea before. All right. And so it's the like if I'm not still thinking about it. After several months. I probably don't start writing it. If I get an idea I kind of like getting a tattoo exactly which I don't have. I haven't there's no tattoo. I that. I've thought about wanting that long. But that's really it for me is that like all of my park late in my head for all over maybe, you know, several ideas, but for years even before and if there's something that still keeps coming back over and over like like an inch. Then that's when I'll write it. And at that point the writing is is pretty fast, and you mentioned the blacklist a little bit earlier in. I think like some of our listeners from Ilya with the name. But they're not so familiar about the whole process of like, how'd you apply to the blacklist or what what was the deal there? How did you get on the blacklist? Yeah. For me. You know, once I got representation from the script. They my agents kind of managers send the script out to the industry as to like, you know, various producers around town, basically saying here's this new young writer. This is script. We think he's an interesting boys. And everyone reads it, and I'm sure these. Producers and production companies get the hundreds like this from one hundred agents every day. And so then it's my job to go around and sit and I'm not like, there's no campaigning for the blacklist. I've the black something like in my head is something that was a thing. It was more. Just add add out about six months into having the script. Many people had read it because it was kind of my introduction to industry as a writer. And so at the end of the year when blacklist reaches out to all of the the industry professionals producers, they say, what are some of the scripts that you've read that you love. I was fortunate enough that you know, enough people had mentioned the script that got put on the list. And then once it was on that list. What how did your career sort of blossom Mawr headed affect your career from the change in a couple of ways the script got in the way of like, you know, it's just a nice thing. You know, it's an accolade accolade, and you can say it, you know, you can attach it to the script, and people's, you know, if people think that that's a cool thing, then they then they'll think yeah. I think it's cool thing to do that. Then. Impressed or not impressed. But I'm and so I was able to get more writing jobs, which was really the goal know staff writing on TV show, or or rewriting scrip or somebody else really, you know, honing my writing skills, which is funny because like this was the first guy out, and I feel like I really took a journey as a writer because I got much better since then. And then I finally got to make this script. I looked at it. And it's like when you looked at something really old old homework assignment. Like an essay you wrote when you're in high school, and you're like this. I didn't think it sucked. But I definitely was like this needs a lot of work. So and I was in a different very different place. When I wrote it I was young I was single, and I, you know. I didn't have a lot perspective. And I think being able to make it however, many years later just out of sheer block that some company found it and wanted to make a high school Indian they were looking for a the cool, the original high school script and had found this, and they approached me and said would you want to make this and I said only directed because that folic smart things. I sure and. And. Yeah. And that was like, okay shit. I've read the script. Now, see if I still even like it or want to make it. And like fortunately like there was a lot in there that I loved and and I was able to take the perspective of how many years, and I was at this at this point married and kid on the way. Now Kidman born was able to to fix the script in ways that I feel like really benefited from. Then if I had gone to make that script as soon as I wrote it like having time in perspective away from the story things like glaringly and things change making a story about high school boys and tourney boys like in, you know, running over long on your revisit now in this new era that was something that was important to me is like, you know, a lot of the ending was rewritten. Based on really feeling it was important that the, you know, women stronger characters at the boys get rejected by these women and not just like whatever they do. They still get the girl like, right downright rejected. And then the ending of the movie was something. That I even changed because I think when I had written the script I was closer to those zeke's in my life. I was still so I I had just kind of like

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