Almost Famous by Cameron CroweThe screenplay of the brilliant new film about rock n roll journalism, from the writer/director of Jerry Maguire.
Inspired by his own start in journalism as a teenage reporter for Rolling Stone, Cameron Crowe has created a coming-of-age story that is both funny and moving—and laced with sex, drugs, and rock n roll. Set in 1973 and starring Frances McDormand, Billy Crudup, and Noah Taylor, Crowes new film tells the story of a fifteen-year-old boy whose dream of becoming a rock journalist comes true when Rolling Stone sends him on tour with the up-and-coming rock band Stillwater—loosely based on Led Zeppelin—over the objections of his protective mother. Crowe brings the same wry humor he brought to Jerry Maguire as well as the brilliant evocations of teen life that animated his earlier cult film Fast Times at Ridgemont High to chronicle and celebrate a pivotal moment in rock history—and one teenage boys place in it.
What Should A Screenwriter Know Before Writing A Screenplay? - Erik Bork
5 Famous Screenplays That Hollywood Rejected
They get lots of rejections, over and over. Only the most driven and committed writers are able to stay with their commitment for the years it may take to see success. The point is it takes perserverence, and great internal confidence to fight the odds and win. Studio executives make decisions based on what worked last week, or which scripts their girlfriends liked. Keep that in mind. Pulp Fiction.
Corey Mandell. Whenever a script is submitted in the industry, it is passed off to a reader for analysis. So how many scripts get a recommend? About two percent…. Many of these scripts make the same mistakes. But nobody tells the writers this. Popular on Indiewire.
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Sign up to receive features as they are published, including up-to-date movie recommendations and notifications about what to watch. Out of that compulsively readable tome came one simple quote that became quite famous. What he meant is that nobody — but nobody — truly knows whether a movie is going to be a hit or a bust. Hence the angst and the ulcers. What about those scripts the suits said would never fly that end up soaring, making scads of money for a competing studio.
You did your networking, your marketing, and managed to get them into the hands of managers, agents, development executives, or producers. You waited and waited for them to reply with resounding enthusiasm — and maybe even an offer to represent, option, develop, or purchase your screenplay. This is a story that is all too familiar with screenwriters. We live through the highest of peaks, only to suffer the lowest and darkest of valleys. The constant rejection stings worse each and every time. Hopes and dreams soon lay in a seemingly dormant state as you contemplate your options, or lack thereof.