John August

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Publicity 101

Big Fish, Charlie, Film Industry, Follow Up, News

Last night, the Writers Guild Foundation held a panel discussion about publicity. I was one of the panelists, but I ended up learning a fair amount myself.

For example, according to a Variety editor, it’s perfectly okay for a screenwriter to pick up the phone and call a writer at the trades when you’ve sold a project.Announcements like this run all the time (c.f. Shazam!). It has to be legit, of course. Optioning a script to your roommate, who is an aspiring producer-slash-drummer, doesn’t count. It’s strange: in this blog, I’m constantly telling aspiring screenwriters to stop asking for permission and just do what they want to do. But I honestly wouldn’t be ballsy enough to call an unknown writer at the trades to do this.

Chris Day, who runs publicity for my agency (UTA) brought with him a memo I’d written in the Big Fish era. At his suggestion, I was meeting with publicists, and had listed my goals and messages.I was an advertising major, so this kind of publicity-speak comes naturally. I promised attendees at the panel that I would find the original memo and post a .pdf of it. So here it is: Big Fish publicity goals.

One of the questions that came from the audience–but probably should have started out the evening–was, What is the point of publicity, exactly? Most of us aren’t looking to be famous per se, and unlike a novelist, our names alone aren’t going to be selling books.

The Writers Guild Foundation stresses that any time a screenwriter gets press, that helps all screenwriters. And to some degree, that’s true. There are no famous screenwriters, but it would be nice if the general public had some sense that movies are actually written, and that the actors aren’t making up their dialogue.

But I’d say the main reason to think about publicity is to help the movies and TV shows you’re involved with. The screenwriter tends to know more about the story than anyone else on the project, so you can be a crucial resource as journalists figure out how to write about the plot. I’ve attended a half-dozen junkets, and have rarely seen myself directly quoted. But I recognize a lot of what I’ve said in the stories that are written. If I can help create a consistent, positive message, then I’ve done my job.

The other reason to think about publicity is in terms of your overall career. I have no doubt that I’ve gotten meetings with certain directors and actors because of repeated exposure to my name. It’s nice if someone likes Big Fish. It’s even better if they remember I wrote it. Every time a news story includes the phrase, “…August, whose credits include Big Fish, Corpse Bride and Charlie and the Chocolate Factory…” that’s like refreshing the cache on someone’s internal IMDb.

The Big Red Cheese

News, Projects

[captain marvel]And now, the answer to speculation about why I was busy reading up on DC Comics mythology. As announced today in The Hollywood Reporter, I’m writing Captain Marvel. And I’m very, very stoked.

The movie is set up at New Line, with Pete Segal attached to direct. For those who aren’t rabid fans of the character, here’s the briefest of introductions.The Wikipedia article is terrific, and worth a read if you’re curious.

Captain Marvel is a superhero roughly as powerful as Superman, minus the heat-vision and cold breath.That’s a lazy comparison, but in my experience, the average moviegoer is familiar with roughly five superheroes: Superman, Batman, Wonder Woman, Spider-Man and Wolverine. And of those, Supes is the closest. What’s unique about the character is that in ordinary life, he’s teenager Billy Batson. Speaking the name of the wizard who gave him his powers (Shazam) calls down a magic thunderbolt, transforming him into the studly superhero. But he’s still a teenager in there.

If this to you sounds, “Like Big, but with superpowers,” then congratulations! You now understand Hollywood.

The process of getting hired to write it has taken months. It started with a call from my agent, asking, “Hey, have you ever heard of Captain Marvel?”

The answer was an enthusiastic yes. I was vaguely aware of the character growing up,Yes, I saw the live-action show. Let us never speak of it again. but it wasn’t until the character’s recent resurgence in the DC Comics universe that I started paying attention. Not more than a month before my agent’s call, I’d read a JSA and thought to myself…Someone should make a Captain Marvel movie. And now they were.

Pete Segal and producing parter, Michael Ewing, had already signed on, so the next step was meeting with them and figuring out if we shared the same tone for the movie. It’s not Spider-Man plus jokes. It’s a comic book movie where the characters in it read comics. The story needs to be funny and dramatic even if the villain never shows up. (Don’t worry, there’s a great villain.)

Once we agreed on the framework for the movie, Geoff Johns from DC was gracious enough to come in and idiot-check it for us. Having witnessed the uproar over Spidey’s organic web-shooters, we were all sensitive towards cavalierly changing things. Fortunately, Captain Marvel is pretty movie-friendly already, so we hadn’t bent or broken any mythology.

Between my time at Sundance and Pete’s prep schedule for his next movie (Get Smart), it took weeks to get a meeting with New Line. Going in for the pitch, I was warned that there would be a lot of people in the room. But I wasn’t prepared for the fact that four of the attendees would be sitting in by videoconference. It was incredibly awkward, but I got through it. And I got the job.

In my head, the movie’s called Captain Marvel, but for legal reasons, it will almost certainly be some variation on Shazam! I grumble because people will inevitably assume that the hero’s name is Shazam, when it’s not — Shazam is the old wizard. It’s like calling the Harry Potter movies “Dumbledore.” Then again, the hero isn’t a Captain, and doesn’t live in the Marvel universe. So you’re going to have confusion either way.

I can already anticipate the natural questions which will come up, most of which I can only answer, “I don’t know” or “I’m not allowed to say.” And I should re-iterate the standard disclaimer: most movies don’t get made. But I’m really hoping this one does.

Blingons and despair

Awards, Challenge, Follow Up

[scene challenge]Measured by the number of entries, the first-ever John August Scene Challenge was a surprising success. In terms of quality, well, there was a disappointing sameness that I’m going to blame on the limited nature of the assignment.

Many entries were just a slightly-better version of the existing scene. While a lot of rewriting is polishing and optimizing, a challenge like this one should be seen as a call to arms. Fortune favors the bold, because really, what have you got to lose trying an outlandish approach? It’s not like you’re going to get voted off.Why hasn’t there been a competitive reality show about screenwriting? Oh, that’s right, because it would be incredibly boring.

That’s why I’m handing first place to Liz (#57), who went in a vastly different direction with the scene. It’s not perfect, but it’s disturbing in an interesting way, which counts for a lot. It’s like American Pie as remade by Lars Von Trier.

INT. HOSPITAL ROOM – DAY

Lying in a hospital bed is all that remains of Shane, 19, former college athlete. A chart at the foot of his bed lists his diagnosis as bacterial meningitis, and chronicles a horrifying list of failed treatments and emergency surgeries he has undergone since his admission three days ago. Both his legs and his left arm are now amputated, bandaged-wrapped stumps.

Shane lies in bed, staring off into space. In the background, a television set bolted to the wall is playing an old episode of Star Trek. Shane begins to focus in on the television. The vacant expression on his face is slowly replaced by one of annoyance.

SCOTTY

I cannae do it, Captain! Not in three hours!

KIRK

We need that warp drive, Mr. Scott, and we need it now!

Shane’s eyes drift to where the remote control is located, on a small table to the left of his hospital bed. He moves his left arm-stump, attempting to get at it, but can’t.

SCOTTY

But sir, it’s impossible! You cannae change the laws of physics!

Making an heroic effort, Shane reaches across his body with his good right arm, and attempts to grab the remote. Unfortunately his effort knocks it on the floor. Shane slumps back on his pillow, staring at the ceiling and trying not to cry. He makes a concerted effort to think about something else. Meanwhile, the Star Trek has moved on to a scene with Kirk and a beautiful alien. Shane doesn’t want to watch, but can’t help it. There’s nothing he can do about it.

A quirky expression crosses Shane’s face as he suddenly realizes there may yet be something fun within his reach. He steals a glance around the room. An elderly man on a respirator is asleep in the next bed, but there are no nurses in sight. With his remaining good hand, Shane reaches underneath his sheets, and begins quietly pleasuring himself. He closes his eyes, enjoying it.

SAM

Shane!

Shane’s eyes pop open to see DUSTIN(19) and SAM(20) standing over his hospital bed, aghast.

DUSTIN

Oh my God.

SHANE

(embarrassed)

Guys! Uh, this isn’t as bad as it looks.

Sam and Dustin are speechless.

DUSTIN

Dude... That’s quite possibly the bravest thing I think I’ve ever heard anyone say.

SHANE

What?

SAM

You’re cut to pieces and you nearly died, and it’s not as bad as it looks?

SHANE

Oh... No, I mean, I wasn’t just, uh, whackin’ it to Star Trek... That’s just what’s on... The remote’s on the floor there...

SAM

(not knowing whether to laugh or cry)

Jesus.

A beat.

DUSTIN

It’s good to know you still got all the important parts.

SHANE

Guess I’m just lucky that way.

SAM

Dude, you could totally get a job as a sperm donor. I heard they pay fifty bucks a load!

SHANE

Oh yeah? I’m there, man.

Shane’s false bravado is slipping, and he barely gets out the previous line. He turns his head away from his buddies, and rubs his eyes against his left shoulder-stump.

DUSTIN

(glaring at Sam accusingly, but speaking to Shane)

We’ll come by later. We should let you get some rest.

SHANE

(still not looking at them as Dustin hurries Sam out)

Thanks, guys.

Alone again, with his masturbating success now overshadowed by the bleakness of his future prospects, Shane weeps silently, tears running down his cheeks and pooling on the bed.

Of the more conventional entries, my favorite was probably by Eric Szyszka (#18), who recognized that since the audience fully expects Shane to get caught whacking off, the real opportunity comes in reaching for unexpected references. In this case, Blingons.

INT. SHANE’S BEDROOM – NIGHT

SHANE, 20’s, sits in front of his laptop. Circles encase his sleep-deprived eyes as he types away at his keyboard. A TV set blares in the background; he ignores it.

“Term paper” rests in the upper left-hand corner of the page.

Shane checks the time 6:30 AM. Early sunlight peeks through the window.

He suddenly gets a pop-up ad. A nude woman.

His brow raises and he clicks it.

ON SCREEN

A small chested woman.

SHANE

Mm, not bad. Not really my-

Shane stops in his tracks as he leers up to the TV.

ON TELEVISION

MARINA SIRTIS, portraying Counselor Deanna Troi in a low-cut top, is featured prominently in the shot.

Shane’s lips curl in delight. He starts to masturbate.

ON TELEVISION

LIEUTENANT WORF enters the scene.

Shane suddenly jumps back and grabs his remote.

SHANE

Thank god for TiVo.

He rewinds the scene.

Shane resumes.

DUSTIN, 20’s, Shane’s roommate, abruptly enters the room.

DUSTIN

You wouldn’t believe where I woke up this morning! Do you remember Cynthia?

ON TELEVISION

Lieutenant Worf enters the scene, just as before.

Dustin notices Shane.

DUSTIN

Jesus Christ, dude!

Shane quickly covers himself.

SHANE

Don’t you fucking knock?

DUSTIN

It’s my room too, dick. Wait a second, you jerk off to Blingons?

SHANE

NO!

(beat)

What the fuck is a Blingon?

DUSTIN

Black Klingon.

SHANE

Bling? That’s so wrong.

DUSTIN

Uh, no. B is for black, racist, not “black men wear jewelry.”

(beat)

This is too good not to wake Sam over.

Dustin bangs on the wall.

DUSTIN

Hey, Sam! Shane’s beats it to Blingons.

SAM (O.S.)

WHAT?

Sam staggers in; half asleep.

SAM

Dude, you like Michael Dorn?

SHANE

No, you fucking assholes. Okay, I was jerking off, you caught me. But I wasn’t doing it to Klingon or Blingons or whatever, okay? This is what I was jerking off to.

Shane rewinds the episode too far.

ON TELEVISION

The TiVo freezes on a frame of WESLEY CRUSHER – A 15 year old boy.

SAM

And goodnight.

Sam exits.

SHANE

No! It wasn’t-

Dustin starts to leave.

DUSTIN

I’m putting in a housing transfer.

I’m impressed by all the readers who took the time to enter.Yes, I did read the ones that came in late, or got eaten by the virtual dog. Notably, nearly every scene was better than original, which should give Shane plenty of ammunition to say, “Suck it, Sam.” I fully plan to do this again with a bit more open-ended assignment.

Do you agree or disagree with my assessments? The comments section is your chance to stump for what you think should have won. Just keep in mind that campaigning for your own entry is lame, and will probably be exposed.

The Week in Review

Los Angeles, News, Projects, The Nines

It’s been a busy week, and the next few days promise to be equally action-packed. So I thought I’d do a quick recap before two weeks go by without any real updates.

Boulder

I gave a lecture on screenwriting at the Boulder International Film Festival. It’s always weird going back to your home town, and even stranger going back as the resident expert in a field. The talk went well, with many good questions in the follow-up.

Family obligations kept me from seeing any movies at the festival, though my brother enjoyed Air Guitar Nation.

Obama

Barack Obama’s campaign visit to Los Angeles included a fundraiser at the Beverly Hilton. All of the articles about it somehow overlooked that I was there too, elbow-to-elbow with billionaires and movie stars. But that’s probably a good thing. After my trip to Boulder, it was nice to be reduced to my proper role: observer.

And from what I observed, Obama’s wife Michelle is the underestimated force here. Yes, Barack Obama is a terrific speaker, but Michelle is funnier. Together, they feel like they came from an alterate-universe Earth where hope prevails.

Dugg

My article about what I learned from World of Warcraft got linked on Digg, which predictably overwhelmed the poor servers and made the site run very slowly for a day or two.It would have been a lot worse if I hadn’t installed a plug-in which automatically cached the page on Coral. The graphs tell the story:

page views

dugg trends

The fact that I was out of town was an added complication, particularly when I found I had linked to the wrong David Allen, who was upset to be getting false hits.

What did I learn from being Dugg? First, it’s important to have the right initiator. The first Digg-er put the article in the video category, which was clearly a mistake, but that led all future hits that way. Fortunately, frequent commenter Andreas Climent got it set right.

Second, the discussion on the Digg thread inevitably focuses back on itself, rather than the story being linked. One commenter posted a highly-edited summary of the article which completely missed the point, and no amount of correction on the part of other readers could get it back on track.

The Nines

Optimum Releasing bought the movie for the U.K., with other deals set to be announced soon. It’s this post-post-production phase that I hadn’t anticipated being so busy. This week, we’re working on French subtitles. Comment dit-ons “nervous breakdown”?

The Next Movie I’m Writing

The deal’s not done, but my earlier allusions to D.C. mythology (and alternate Earths) were project-specific. I hope to be able to say what it is soon. And yes, it’s cruel of me to leave it floating out there.