MATT TERRY’S 101 RULES FOR SCREENWRITING AND HOLLYWOOD
Recently I’ve read, or heard, the quote that “Hollywood has no rules – but you break them at your peril.” I’ve rattled that around in my head and I’ve come up with my “Rules for Screenwriting and Hollywood” – maybe you have more...
(Please note: these are in no particular order.)
1. There are no over-night successes.
2. “No one in Hollywood knows anything.” – William Goldman
3. The villain must die a horrible painful death.
4. Your hero must be active and push the story along.
5. The audience must care about your hero or, at the very least, find them interesting.
6. Create interesting characters that actors will want to play.
7. Write what YOU want to write, don’t write what someone thinks you should write or what you think is hot now because it won’t be hot when you’re done.
8. Don’t pigeon-hole yourself as a “comedy” writer or a “genre” writer if you have different stories to write (but note that if you get a manager or agent it will be harder for them to sell you) – When Tina Fey was hot after writing “Mean Girls” I mentioned to my manager that I had a “teen sex comedy” I was working on and she promptly said: “Oh, no, Tina Fey is the teenage screenwriter at this time.”
9. Act like you belong, but don’t act cocky.
10. Humble yourself – but don’t be a wussy.
11. Producer Tony Bill has a wonderful quote: “If a great screenplay is tossed out a window on I-5 it will get found and it will get made.” As much as I love that quote, the only problem is that every screenwriter from here to Mozambique thinks they’ve written a great screenplay.
12. No matter how perfect your screenplay is...it can be improved.
13. Feedback without anything to help you be a better writer is nothing. “The script is fantastic!” or “The script is terrible!” with nothing to back it up are equal in uselessness. After a friend watched my film he told me that the “acting was terrible, the directing was terrible and the writing was terrible” but then wanted to see my next film. Why on God’s earth would he want to?
14. Research is not writing.
15. Hollywood deals in product, not art. Art sometimes transcends the product.
16. You are responsible for getting your script written – you can’t blame your job, your spouse, your kids, your schedule. If it’s important to you – you’ll write it.
17. Even if your script is fantastic, it must be in the proper format or no one will read it.
18. 85 – 100 pages for a comedy.
19. 90 – 110 pages for a drama.
20. I have no idea what Hollywood will buy. Hollywood has no idea what Hollywood will buy. (I have a friend who wrote a great script about the first NFL Female QB. Many other writers have told her it’s too unbelievable. Remember, Hollywood has made films about field goal kicking donkeys, dogs that play basketball and monkeys that play baseball.)
21. Scripts are like movies – which means that someone may love it while someone may hate it.
22. Make the movie.
23. Write the script.
24. If you have the experience, mentor or teach.
25. Don’t take things personally and move on. I recently contacted a director who teaches for USC Film School. He directed one of my favorite movies. He e-mailed me and we talked about my son. He was open for more conversations and I thought that this was a great start to help my son possibly get into USC Film School. I wrote him back to continue the conversation. Never heard from him again. Oh well.
26. Don’t hold grudges.
27. It’s not what you know – it’s who you know.
28. No one you know is going to stick their neck out for you if you can’t deliver.
29. Be persistent but don’t be annoying.
30. Act professional. Remember that whoever chooses to work with you – they’re taking you on as someone they’re potentially going to work closely with for 6 months, 12 months, 18 months. They want that experience to be enjoyable...so do you.
31. You’re probably not going to be paid what you think you’re worth. My first option was for $10 and the check bounced.
32. If you can, be open to help others when they ask for it, but don’t take on so much it keeps you from doing what you need to be doing to be creative.
33. If you have the time, volunteer.
34. Losing your screenwriting virginity is an accomplishment that should be well rewarded. You’ve just accomplished something that many people say they want to do...but don’t. Same with directing your own film. Same with producing a film.
35. Be wary of “experts” who want to charge you $$$ for their access. There are no shortcuts (see rule #1).
36. Your agent or manager has more clients than just you...hopefully.
37. Patience is a virtue – but that shouldn’t stop you from continuing to write.
38. Understand how films are made...ALL aspects of film. From cinematography, lighting, editing, etc. Feel free to analyze film. Ask yourself while you’re watching it: “How did they get that shot? How did they light that scene? Where did they set up the camera?”
39. You will never sell that script if it’s in a box or on your computer hard drive, you will eventually have to let someone read it.
40. Despite your fears – 99.5% of the people in Hollywood are not out to steal your “brilliant” idea.
41. Learn how to pitch. Standard pitch and elevator pitch.
42. Don’t pitch a script you haven’t written.
43. Sometimes it’s luck. Sometimes it’s timing. Sometimes it’s skill. Sometimes...
44. Reading screenplays is not writing (though it can be helpful).
45. Understand the difference between a “Spec” script and a “Production” script.
46. If possible, spend time on a film set – micro budget, middle budget, big budget – doesn’t matter. Observe the creative process.
47. Respect where film came from. A local film teacher had a student (in his 40’s!) walk out of “Citizen Kane” because he thought it was “boring.”
48. Everyone knows who Chaplin and Keaton were. Now get to know Pickford, Fairbanks and Lloyd. During their day – they were more popular than Chaplin and Keaton combined.
49. A good film cannot be made with a bad script. A bad film can be made with a good script.
50. Everyone is a critic.
51. The subtext is what your script is REALLY about.
52. Know who these people are: Ford, Hitchcock, Sturges, Capra, Wilder, Truffaut, Kramer, Jewison, Lumet and Kubrick – better yet, watch some of their films
53. All writing is re-writing. Know that the first draft is going to suck...that’s okay.
54. Continue to learn, progress, move forward.
55. “You’ll never make/write/achieve/direct/produce it.” is not a statement, it’s a challenge. Don’t listen to the naysayers.
56. Write scripts you want to see on the big screen.
57. Surfing the internet is not writing.
58. Foreshadowing in a screenplay is your friend.
59. Never underestimate the power of second act characters (Han Solo is a 2nd Act Character)
60. Create a writing routine.
61. Be nice.
62. Don’t be jealous of a friend’s success. Their success is YOUR success because you helped them....and they may help you in the future.
63. There are idiots in Hollywood – there are also idiots in your current job.
64. Never pass up an opportunity to get that shot. My son and I were able to get a couple shots for his film that would have cost a studio over $50K to create. We got them for free.
65. Reading books on film or screenwriting is not writing.
66. Don’t make excuses and own up to your mistakes. You’ll make a lot of them.
67. Dream big, but understand that dreaming is not writing/directing/producing.
68. Show character – use visuals. Avoid “Dick and Janing” your script. (But don’t go crazy.)
69. Keep in contact. A producer I worked with when I first started writing asked me to help him with his website years later which opened doors to interviewing producers and writers.
70. Being a member of a writers group is not writing.
71. Don’t let someone else’s success stop you from succeeding – don’t compare. You have your own story to tell. I interviewed a Seattle based screenwriter who seemed to travel the same path as I, but he had sold a screenplay that would eventually turn into a $100,000,000 grossing picture. He sold his first script for $175,000. He would eventually have his name on a TV series. I found myself very jealous of him and I realized it was because he was “real.” Charlie Kaufman, Shane Black, William Goldman, Quentin Tarantino? They’re as real to me as Spider-man – never met them, who knows if I ever will. But this guy was just like me...but he had success and I didn’t. I then realized that if he can make it...so can I and turned my jealousy into a challenge.
72. Thinking about writing is not writing.
73. If possible, create a think-tank of friends who are willing to give you their honest opinions about your script and are open to conversations about it. Always remember that it’s about making the script better and making you a better writer. But the burden of the story always lies with you. And always reciprocate.
74. Thank people.
75. The script is the most important thing about the film...until it’s not.
76. You will be re-written...learn to deal with that fact.
77. It may not seem like much, but .2 for every dollar spent on the film is quite a bit of money. The first contract I wrote, I would get $100,000 if the film production cost was $10,000,000 or over. That’s 1%. As insulting as that sounds I would have been ecstatic to have it.
78. It’s not always about the money.
79. Take risks in what you write, don’t care what your spouse, parents, priest, best friend, co-workers think (unless they can sue you).
80. Lose the “lotto mentality” that all you have to do is sell this one script and all your dreams will come true (and all your bills will be paid and people will love you and...).
81. Sell your script – don’t sell your soul.
82. Posting status updates is not writing.
83. If possible write every day, or do SOMETHING every day that moves you towards your ultimate goal.
84. You will fail...it’s okay.
85. Take time to look at what you’ve accomplished. A friend of mine who has had multiple shorts made of her scripts, has had options, been paid thousands of dollars over the years, is highly respected – still gets depressed because she hasn’t made the big sell yet.
86. As attractive as you are, no one sleeps with the screenwriter to get to the top.
87. Learn to communicate face to face.
88. There are only three common stories: “Boy Meets Girl,” “Fish Out of Water” and “Incredible Journey or Adventure.” All other stories come out of these three (or a combination of these three).
89. Texting is not writing.
90. Treat people with respect. Everyone. From the janitor to the studio head. Even better, get to know their names.
91. You can live outside of Hollywood and make a living at screenwriting, just know that the journey is going to be longer and more difficult.
92. Film festivals are great places to meet people – better yet, volunteer. Went to a film festival a couple years ago, realized as I was heading to my car I was walking behind the director, the producers and one of the actors of the film I had just seen. Got a chance to talk to them. Also met Edward Zwick before “Glory” and “The Last Samurai.”
93. Understand the role of “readers” in this process and how scripts get read and moved along the Hollywood food chain.
94. One page = one minute of screen time.
95. Encourage others to accomplish their dreams.
96. Be careful what you wish for...because you just might get it.
97. Understand the foreign film markets and how they impact Hollywood.
98. Don’t cut corners, don’t think there’s an “easier way,” do the work.
99. Focus
100. Roger Corman is probably the most influential director/writer/producer in Hollywood
for the last 50 years. He’s still alive. And if you don’t know who he is...you should
learn. Now.
101. Writing silly lists is not writing.
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