After six months of research and writing I finished the first draft for the political thriller around the sport of figure skating. From the tranquility of local skating rinks to the power capitals of the world, the story centers around a champion figure skater, her mysterious new sponsor and the president of the “American Figure Skating Federation” as they traverse a Cold War mystery that has engulfed the skater’s family since the 1970s. While the title of the story will soon be revealed, the working logline is as follows, “A champion figure skater finds herself in a decade’s long government conspiracy involving her missing mother and a Cold War mystery that culminates at the world championships.”
Writing an original story takes time, at least for me. I move the process along, but don’t rush it. I let the characters speak to me and the settings they are in. While the story started and ended the way I had originally planned, I always find it interesting how suddenly the idea comes for this character to do this or that character to do that. In the end, I like to see characters evolve.
Since SOS United States went under review some months ago, I’ve had the time to devote to this project, a project that I’m planning to put into production the way Justice Is Mind came to market. Some have asked how this process moves forward. First, the script is now being read by my trusted attorney for the last twenty five years. In addition to trusting his judgment and comments, it’s also for legal purposes. Over the week the script will get registered at the Writers Guild of America and then at the U.S. Copyright Office. After WGA registration the script will roll out to a select group for their comments.
During the script review process a concept poster will be produced along with website registration and a preliminary design. The project will be formally announced once the concept poster is complete along with a synopsis. I usually let a project sit for a week or two after a first draft before I tackle the synopsis. It’s not so much as a challenge to write, but you need to decide what to write. I never like giving away the whole story because in the end the synopsis is also a promotional tool. In Justice Is Mind we don’t learn the outcome of the trial, just that the situation is dire. If you want to know what happens, I say watch the movie.
But following the Justice Is Mind model, will be the production of a short film version to develop interest and present the production aspects of the intended feature, in this case, the first ten pages of the script that introduces the primary characters and their world. By the end of next week, or first of the following, I will be reaching out to several actors and crew that I have worked with on First World and Justice Is Mind. This will be in addition to reaching out to area skating rinks that I’m familiar with and other locations.
Of course, critical to the process will be the interest of a skater who can project the starring role on and off the ice. A tall order? We shall see. The one thing that will not happen is using a double. It was one thing in Justice Is Mind when an equestrian was used in the advanced riding scenes, but even the actress that played that part was a rider. Yes, I’ll be looking for a “Lynn-Holly Johnson” type. On the production side, there will be the filming of the skating sequences and having them look as dynamic and exciting as possible. I already have color scheme in mind that will play out throughout the production.
Yes, this is a very exciting time but having been down this path before with Justice Is Mind it’s all about planning, production and execution.
On the ice.
To be a theatrical marketer you just have to do what I do when I go to the movies these days—you find someplace to sit in the lobby and look at theatergoers. I’ve worked in consumer marketing in one form or another for over twenty years and it just comes down to patterns. First, as a magazine publisher and then as a filmmaker. In the former, I targeted the fans of a particular sport (age didn’t really matter), but in the latter it’s a demographic.
Since I wrote First World back in 2006, and produced a short film version in 2007, I’ve known for some years that attendees of the science fiction convention circuit generally skewed in my age group (I was born in 1965). So when I wrote Justice Is Mind in 2010, I thought it would generally appeal to an older audience who may have counted TV series like Law & Order as their favorites along with films like The Andromeda Strain and the more contemporary Gattaca. The theatrical release of Justice Is Mind proved my theory when the majority of those that attended our screenings were 40+ and evenly split between men and women.
Of course, when you’re writing a screenplay it’s all guesswork isn’t it? Despite the best laid plans you really have no clue how it’s going to do. Yes, studios and some filmmakers do test screenings, but unless you are going to poll the entire country you just have to hope your film will find an audience through your marketing plan. But one demographic that is doing exceeding well are older audiences. Before there was Netflix, Amazon, and even Blockbuster, we went to the movies. Seeing a movie in a theater was an experience you weren’t going to get on television. I’m not discounting the importance of the younger generation that of course goes to the movies, but the generation I’m in is a bit more predictable – they want to see great stories come to life on the big screen.
As for great stories, I saw Trumbo this week and just thought it was a brilliant film. For me, I’ve always been interested in stories that revolve around the Golden Age of Hollywood and the Cold War. Throw both of those interests in and I’ll be the first to buy a ticket! Trumbo did not disappoint. Considering the ground it covered in 124 minutes, the story really captured a time in Hollywood and a political climate in the United States all those decades ago that I believe we are feeling now in the 21st century. You know what they say about history, it has a nasty habit of repeating itself.
As an article in The Wall Street Journal stated this week, there is a booming business in grown up films. When the $600,000 budgeted film Grandma returns $7 million in box office, that’s a serious profit and a business model that works.