The Odyssey 1997 Script [CRACKED]
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On 3 November 2014, it was reported that the US TV channel Syfy had ordered a miniseries adaptation of 3001: The Final Odyssey into production, planned for broadcast in 2015. The miniseries would be executive-produced by Ridley Scott, David W. Zucker and Stuart Beattie; the latter would also be the primary script-writer. The estates of both Clarke and 2001: A Space Odyssey director Stanley Kubrick were reported as having "offered their full support", but the extent of their involvement was not known at the time.[2] In February 2016, within Syfy's press release for its television pilot Prototype, other series including the Final Odyssey series were mentioned as being in development.[3]
This comprehensive glossary is provided as a reference for novices learning the craft of screenwriting or professionals with a limited understanding of film-financing and production terminology. When you are writing a script there are certain technicalities you need to understand outside of the creative process such as script formatting and using the correct film language, and while at first learning the "rules of screenwriting" may feel like a distraction from actually writing your story and script, it won't take long for you to get into the groove, especially if you let screenplay writing software such as Movie Outline do most of the work for you.
Dan is a produced screenwriter, CEO of Buckle Up Entertainment, Nuvotech and creator of Script Studio screenwriting software (formerly Movie Outline). He has written numerous specs and commissioned feature scripts including screenplay adaptations of Andrea Badenoch's Driven and Irvine Welsh's gritty and darkly comic novel Filth. Dan is a contributor to Script Magazine and has also directed two award-winning short films Finders, Keepers... (1995) and Absolution (2001) which have played the international festival circuit. His most notable feature to date is Long Time Dead, a supernatural horror for Working Title Films starring Lukas Haas, Marsha Thomason, Lara Belmont, Alec Newman and Joe Absolom. His spec horror Do or Die was recently sold to Qwerty Films and he is in the process of developing his directorial feature debut and various US and UK projects.
If you're looking for a tool to help you nurture your idea for a movie into an actual shooting script I recommend this program without hesitation.Professor Richard WalterChairman of the UCLA Graduate Screenwriting Program
Your description is well done. It is clear to your audience what is happening, how it is happening and what it looks like. The descriptions are vivid and very colorful. You are writing about and dealing with mythical creatures and people. Therefore, it is important that your description be strong, since the audience has no frame of reference for how these creatures and people are supposed to look, think and act. Even though these creatures are mythical, audiences are familiar with them. We have seen several movies, books, plays and television shows where these Roman gods are the central characters. Because audiences have seen these characters in several places and have been exposed to them in many different ways, your description becomes very important. The audience needs to see how your visions of these characters differ from anything they have ever seen before. The way your Gods act, look and think can help set them apart from other versions.
Another technique you might consider to speed up the story is to change your formatting. Throughout the story, you have several very long action / descriptive paragraphs. They are really long and almost too descriptive (even though your description is generally good, there does not always need to be tons of it). These paragraphs, especially for an audience that is reading this story, become mundane. Consider editing out some of the description in these paragraphs, use more concise words or split these giant paragraphs into several smaller ones. Think of the way a film is cut. If the editor wants to slow the film down, they stay on the same shot or in the same scene longer. If they want to speed up the story, they cut much quickly. Apply this same idea to the formatting of your paragraphs. We understand that you do not intend to only have this story read; you want it seen on the screen. However, the script is the way to sell your film or sell your writing ability, therefore, try to keep your audience (even the reading audience) engaged.
I liked the idea that Joe was in the midst of being replaced by technology, and that the writer chose the early 1990s as a time period in which to set the script. It was a savvy choice of setting because this was a critical time in the transition to the tech boom we are in now. Joe is an old fashioned kind of guy, and his interaction with Gary (his more modern sales counterpart) was intriguing. I liked that Joe loses it and punches Gary in the face. I thought that this scene was so incongruously violent and active compared to the rest of the languid script that it really stood out.
The writer focuses a great deal on some of the other characters. Therefore, there are occasions when Peter appears to fade into the background. This is problematic as he is the protagonist and he has come up with a plan on how to save the earth. The writer should try to ensure that Peter remains at the forefront of the script, driving the action.
While watching it Prokosch says, "I like gods. I like them very much. I know exactly how they feel - exactly." Fritz Lang replies, "Jerry, don't forget. The gods have not created man. Man has created gods." When Paul says that he likes CinemaScope, Lang gives a classic responds by saying, "Oh, it wasn't meant for human beings. Just for snakes - and funerals" (Which is ironic since this film is shot in CinemaScope.) Prokosch is unsatisfied with what is on the screen believing audiences won't understand it and throws a tantrum by throwing film reels everywhere. "That's what I think about that stuff up there. You've cheated me, Fritz. That's not what is in that script," Prokosch says. Fritz says,"It is!" Paul states, "Get the script, Francesca. Yes, it's in the script. But it's not what you have on that screen."Fritz says, "Naturally, because in the script it is written, and on the screen it's pictures. Motion picture, it's called."
While leaving through the gates of Prokosch Camille says, "He's crazy! See that? He kicked her!" Paul says, "You change your mind fast. Monday you though he was terrific." Walking back to their new apartment Camille says, "Now I think he's a jerk. I have a right to change my mind." Paul seems to have taking the job just for the money, (and for the flat that his wife so wanted) and because of that Paul seems to have lost some stature in his wife's eyes. Paul knows something is upsetting Camille and so he asks her what had happened in the last hour and Camille says, "Nothing. If your happy, I'm happy." Paul suggest seeing a movie, maybe Rio Bravo or Nicholas Ray's Bigger than Life, (which Paul says he wrote) but Camille is not interested. To two walk to their new apartment and admire it, knowing Paul is getting six million lire for the script and he can now finish paying off the flat.
They eventually forgive each other for a short period with Camille reassuring Paul that she does indeed still love him and he should continue with this movie script job. That is until Paul gets a phone call and they are both supposed to meet Prokosch and Lang at a movie theater where they want to see a singer in the show. Things get to a darker point as Paul says that going to this show might give him ideas and Camille criticizes his work by saying "Why not look for ideas in your head, instead of stealing them?" Paul says, "Since I said yes to Prokosch, so long tenderness!" Camilla says, "Right, no more caresses." Paul asks if there is something between her and Prokosch and Camille says he is pathetic. Paul believes she lied shortly ago about her love to him just to keep the flat.
Later on inside before dinner Paul starts going off on an angry tangent in front of everyone trying to prove a point to his wife that he isn't spineless and that he didn't take the job just for the money; saying how he no longer wants to write the script. "I'm a playwright. Not a screenwriter. Even if its a fine script...I'm being frank. We all have an ideal. Mine's writing plays. I can't. Why? In today's world, we have to accept what others want. Why does money matter so much in what we do, in what we are, in what we become? Even in our relationships with those we love." Francesca translates it all to Prokosch and Lang and Camilla sit quietly by.
Paul later confronts Camille sun tanning on the roof of the villa with a book covering her bottom. Camilla tells Paul that it was foolish of him to quit saying, "I don't get you! You always said you loved the script.Now you tell the producer that you did it for the money and your ideal's the theater. He's no fool. Next time he'll think twice before asking you." Camille says that Paul will still take the job because she knows him. Paul says he'll only take it for her, and to pay for the flat. Paul says he'll let Camille decide if he does the script or not and he again asks her why she stopped loving him and despises. "I'll never tell you, even if I was dying," Camille tells Paul and she begins to walk away and make her way down the steep steps. Camille says that she loved him so much but not anymore as she know looks at him differently.
The Ruby gem Lingua makes it quite easy to perform readability analysis against text. And with more than 950 scripts available on the Internet Movie Script Database, I had the raw ingredients necessary to run a fun and entirely inane analysis of the Flesch-Kincaid scores of movies. Here are the results.
Danny Devito was then pursued but turned down the role after reading the script. The most surprising offer for the role went to Tom Hanks, who agreed to do the movie for $5 million, but there was a bit of a problem. The producers were concerned over the mixed reactions to his most recent movies at the time, Joe Versus the Volcano and The 'Burbs. Nintendo wanted a darker and grittier Mario movie and felt hiring Hanks, who was best known for comedies at the time, didn't fit the style. Before Hanks could put pen to paper, the movie's producers decided to pull the offer. Hanks would go on to win an Oscar for his role in the drama Philadelphia, which was released the same year as Super Mario Bros. 2b1af7f3a8