Sundance, Jason Orly, Director discussed on The No Film School Podcast


This episode in all of our Sunday's coverage is brought to you by road, microphones and black magic design. Hey, everybody. This is John fuseco. And you're listening to the new film school podcast. Time out leci- is a feature close to director Jason Orly's heart. And why shouldn't it be? In addition to making its world premiere at Sundance back in January. The film has the unique distinction of being the first screenplay he ever wrote. It's not often that the first thing you write ends up being a first feature. But the fact that this is the first feature not from lack of trying in the process of cheating. This seemingly unachievable feet early pen multiple scripts with the goal of quote unquote, proving could write a few of them, including big time analysts ended up on the blacklist. And if you don't know what the blacklist is. It's time to get the millier because it's an accolade that could end up changing your career in screenwriting ever. That's what ended up happening for orlean. Any case adolescence tells the story of a suburban teenager who comes of age under the destructive guidance of his best friend and aimless college dropout that dropout is played by none other than Saturday night. Live standout p Davidson who in addition to joining the film as an. -secutive producer turns into star confirming performance. I sat down with Orleans Sundance to discuss the basics of writing to prove you can write what the blacklist can do for your career using the star of your film as your greatest collaborator and more. Hope you enjoy. Hey, everybody, this is John few. So I am here with Jason orally director and writer big-time outta leci-. Which is just had its premiere yesterday here at Park City. Congratulations man, I wanna talk a little bit about how you got this thing made. Specifically, I think I'm really interested in hearing about the journey that your scripts took because you mentioned yesterday during the will both Acuna and the introduction that this was the first group you'd ever written. Did you think that this would be the one that would you know, propel you to the point that you are now where you're at Sundance. I really didn't. I I mean, I I wrote I wrote it as kind of a Colin card to kind of prove that I could write I wanted to be writer, and this is a relationship that was in my head for a long time that kind of that mentor meant he you know, that bad influence story that I liked and I doubt it'd be fun to tell a high school kind of coming of age story that was a nod to like movies risky business. John Hughes movies that I liked. But really, it was just like I wanted to write something that I thought it'd be fun for people to read and get a sense that I could write and maybe hire me to write for a TV show or write another movie. So it was very much like this. Is a very personal script that is going to be a calling card for me. And hopefully, I can get an agent that was like my my literally my first goal was like, maybe I can get an agent maybe I can get like another writing job from this. And that was what it was for me for a long time. Because. You know, I use the script to get representation. And then after about a year, it got on the blacklist, which was you know, I'm sure your listeners know what that is. And that really changed things because then it became like, oh, maybe we could actually make this didn't expect anything 'cause it's kind of like a druggie highschool dark comedy. That's like most studios production companies read, and they're like love your writing. Like what else? Do you have that is more commercial and that kind of became the ongoing conversation? We're let's like I would meet with someone because they liked the script. But they wanted to talk about something out. Like, you know, what else do we like we know you can right now. Can you write something? That's like we think could sell. So then when you were writing that script, you know, you saying that you're trying to demonstrate certain things that can prove that you can write. I can you may be like described some of those from screenwriting standpoint, you know, it's it's it's about like the mechanics of like, you know, I went to NYU I took extreme classes, and I had like. Britain's like one acts like pieces of scribes or like almost finished grips that never finished. And really for me was about it's kind of. Establishing my voice I had worked in the t the network TV space for long time as an assistant prior to writing the script. And I think that like I had been around so much of that kind of like broadcast network television that when I went to write I kinda wanted to write something a little bit different. And so it was it was more about like having something that felt original and. And with great dialogue. And but also like I read so many scripts when I was working as assistant that descriptors great. But it's still not so fun to read like for me. Like, I wanted the script refunder read, and I want the movie to be fun to watch. And that was kind of like my my number one goals, which is like, you're you're enjoying yourself. And you can see it. And you're like you can read this in one sitting which is people who've read the scripts. No that that's not always the case. Can I ask what makes it fun scripts when you are reader just

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