How do you get this type of blue sunlight cinematography?

[Brian Drysdale]

I would tighten up the scene and try to introduce the prosecutor earlier in the film as a set up. It can be part of a scene that has nothing to do with this case. I would do this if they are going to be doing more than one phone call,

They could be a woman, just to make a change to male cops.

[Ryan Elder]

Oh okay. I originally had the prosecutor in an earlier scene, but I decided to cut it because I just thought it wasn't needed, and it saved having to use the actor for another scene. But if it's needed, it's needed. Are you saying it's because he is on the phone that he needs an earlier scene?

I also thought it would be more interesting perhaps, if this case, which deals with rape, was prosecuted by a male world, so to speak, and thought that would make it more interesting, accept for the judge in the case, who is female. Or at least that was the goal, was to have it from a male prosecution. But perhaps I could make the prosecutor female, if that is better.

Henderson in the room is also female, in case the readers on here, do not know of course :). Not sure if that helps though.

When you say to introduce the prosector in a scene that has nothing do with the case, what would the prosecutor being doing then though, if it's not related to the plot at hand?

[Brian Drysdale]

People here know very little about your script other than some basic stuff.

Have to do what best serves the story, not cutting back on the actors. Having the prosecutor establishes the relationship between him and Henderson and how they get on.

If Henderson is female, it's OK with having the male prosecutor.

[Ryan Elder]

Oh okay. I am happy to discuss the script for sure. Well Henderson is only in three scenes so far. I wrote her because I was told in my research to have a female officer interview the victim. So she is in the interview scene as well as this office scene that follows. I also wrote her in at the climax when she plays one of the arresting back up officers, with SWAT. But her being a part of the climax, also depends on actor availability for later so far as well.

But that's all I wrote for her so far, and she is more of a later draft character, or at least that's how I had it so far.

[Brian Drysdale]

You mean, that you're going into detail on what I assume is music for this film and lighting, plus other technicalities and you haven even sorted out your characters yet?

This is putting the cart before the horse...

[Ryan Elder]

No I had all the characters sorted out. It's just that there were some concerns and suggestions on here, about some things in the script so I was just being open-minded about making changes.

[Ryan Elder]

Since we were talking about the story and tone of the script, I have another question about it, out of curiosity.

I was told my screenplay is not 'graphic and violent enough' for a thriller but is this a bad thing?
I was trying to get consultation for my script and here is the logline I have so far:
“After a mysterious group plagues the city with a series of kidnappings and sexual assaults, a victimized police officer, seeks revenge, before they strike again.”

I showed the script to some other filmmakers and a couple of them came to the same conclusion and said that I don't understand the market, the "rape and revenge" genre market they said. They said that the reason people see these microbudget horror thrillers, is because of the graphic violence and gore, and that's the audience for them. But I portray things too subtly and do not show that much at all.

They also said that the plot is too sophisticated and too much about character, rather than the violent and slashing spectacle that the market is looking for. They say I need to write a script for the market that concentrates on these things, because people are only interested in a sophisticated story, with character concentration, if it's going to have big name actors.

If the actors are not known, they want graphic horror movies, which concentrates more on the violence and gore. This market and genre is spectacle driven and not character and plot driven.

But is this true, and I have to make a movie like that to appeal to the market, if the market is only interested in graphic horror thrillers, if they have no stars compared to more subtle horror thrillers? Do they have a point?

[Greg Smith]

It depends on why you're wanting to make this movie in the first place. Is it a personal project, a story that's been bubbling up from inside you for years that you just have to tell? Then don't compromise. Do you genuinely want to make money from distributing it? Then listen to those who have experience (and hopefully success) selling their work. Are you mainly hoping to use it as a resume piece to get the attention of producers and future work in the industry? Something that is unique, striking, a little offbeat and meticulously crafted is in order. And it doesn't have to be a full length feature.

Probably, your ambitions include all of these elements, but when just starting out, it may be helpful to choose one end goal to concentrate on and let that be the guiding principle for all the decisions you make. So far it isn't clear, to me at least, what objective you have in mind.

Personally, I think making a profit is likely to be very, very difficult, especially for an inexperienced director and crew. If that's your goal, then go for it whole-heartedly, but for myself I would make it the least of my priorities.

[Ryan Elder]

Yeah for sure. I would say all three, if possible. But I wouldn't know how to make an 'exploitative film', if that's the type movie that the audience for this type of premise wants. So I wan to listen to other experienced people, but at the same time, how do you make one, especially out of fear, that exploitation might make the material worse?

[Josh Bass]

exploitative film in this genre = “i spit on your grave” literally a rape/revenge film. Thats the kind of film theyre telling you to make.

[Ryan Elder]

Well the thing about making a movie like that is there is not a plot of plot and the plot recycles itself, but maybe that's what they want?

Also, my script ends in a violence begets violence tragic ending, and maybe readers found this disappointing, and perhaps want a more successful, pro-revenge ending?

[Josh Bass]

I dont know about all THAT good sir, but you said you wouldnt know how to make an exploitative film so I was simply telling you exactly the kind of film they mean

[Ryan Elder]

Oh okay, for sure, thanks :). What is about that movie that is so good though, or why there is a larger audience for it?

[Josh Bass]

probably what you said...not a lot of plot. In this case a good thing. violence, nudity, the catharsis of seeing the victim slaughter her attackers. ching ching ching bring on the gold bars.

[Ryan Elder]

Oh okay. But I thought nudity was no longer a big deal in the age of free internet porn nowadays. Why is not a lot of plot a good thing, especially since I was always told I have to keep the story moving and don't slow down?