Law-Abiding Citizen

Genre: Legal/Action/Drama
Premise: (revealed in the review)
About: Original draft written by hotshot Kurt Wimmer. Current draft written by screenwriting God Frank Darabont. This project made headlines late last year when Darabont dropped out of directing duties. I'd tell you who replaced him and who's starring in it, but I don't want to taint your reading experience with big Hollywood faces. If you just have to know, go to IMDB. But I'd recommend jumping in the pool naked.
Writer: Frank Darabont


It's about time. It's about fucking time. I've been yearning for a script I could wholeheartedly endorse for weeks now. Sure I've given a few "impressive" reviews along the way but nothing where I could stand up and demand my readers sit down...and then read! In comes the late 2008 headline grabbing Law-Abiding Citizen. One hell of a script.

Now I'm going to give you some advice. As is the case with most scripts I enjoy, I knew nothing about this one going in. And the twists and turns are so fun that I'm going to advise you do the same. Go down, grab it, read it. Come back and read the review.

Clyde, a loving husband, comes home one day to find both his wife and 10 year old daughter murdered. Nick, the District Attorney assigned to the case, learns that while two men were at the scene, it's unclear which one did the murdering. So when one of the men agrees to testify against the other, sending one murderer to jail and another to freedom, Nick essentially makes a deal with the devil. Clyde, the poor husband and father, begs Nick to take the case to trial and get both men indicted. But Nick doesn't want to go through the trouble. A deal is so much easier. Here is Nick and his team discussing why it would be a bad idea (in a nice little example of invisible exposition to boot):

[scrippet]
Nick glances back at Sarah.

NICK
What do you think?

REYNOLDS
What are you asking her for? She's just an intern.

SARAH
(deer in the headlights)
I am just an intern.

NICK
You were top of your class at Yale, don't give me that shit.

CANTRELL
Young lady. Someday you might have our jobs. You know the issues of the case before the court. Speak.

SARAH
Okay. Um. You can take both men to trial, spend a year and millions of taxpayer dollars, and probably lose. Or you can cut a deal and at least put one of the men who did the crime on death row. It's a no-brainer. You make the deal.
[/scrippet]
And therein lies the issue of Law-Abiding Citizen. The justice system is just that: a system. And any system can be manipulated as long as someone has enough money, information, or power. The problem is, the system just screwed over the wrong man. As Clyde watches one of the men who killed his family shake Nick's hand and thank him for the "deal" that set him free, there's a moment where Nick catches Clyde staring at him. It's a chilling moment. And it's a look that tells us...this isn't over.

Cut to 10 years later where we're about to witness the first killer's execution via lethal injection. Now since this is Darabont, you know this isn't going to be your average execution (anybody see Green Mile?). But nothing can prepare you for the horrid gruesome way in which the murderer is killed. When the chemicals are injected, we can see immediately that something is wrong. His body starts smoking. He screams in pain. His skin turns black. His veins burst. The chemicals in his body are so toxic, men can't even go in the room without being poisoned.

Meanwhile, the second murderer, the free one, only wishes he could've died that easily. In a great scene with an unexpected twist, he's kidnapped and hauled back to an abaondoned barn. There Clyde, using as many drugs as possible to keep him alive, proceeds to tear apart his body piece by piece. The man is awake during the whole process, forced to watch as he's chopped to pieces.

So does Clyde try and hide the death? No. He actually videotapes it and sends a DVD of the killing directly to Nick's house.

In one of Citizen's many great scenes, Nick brings Clyde in for an interrogation. The awesome thing about the scene is that Nick knows Clyde is guilty. Clyde knows he's guilty. And Clyde knows that Nick knows he's guilty. So this should be a pretty straight-forward conversation, right?

[scrippet]
Nick and Dunnigan prepare to go in. Dunnigan takes off his gun and holster, lays them on a table, as Garza activates the VIDEO. Cantrell finds a chair by feel, sits down, as - Nick and Dunnigan enter. Dunnigan melts into a corner to observe as Nick sits across the table from Clyde.

CLYDE
Counselor.

NICK
Mr. Clyde.

CLYDE
Why so formal? We go way back. Call me Benson. Or Ben.

Nick sits across the table from Clyde, settles in.

NICK
Well. I'm here. So?

CLYDE
So. Maybe you can explain what this is all about.

Nick almost laughs -- not what he expected to hear.

NICK
I think that's obvious.

Clyde spreads his hands questioningly -- not really.

DUNNIGAN
You murdered two people. Rupert Ames and Clarence Darby.

CLYDE
(shifts his gaze)
Detective...?

DUNNIGAN
Dunnigan.

CLYDE
Dunnigan. I thought I'd made it clear I would only speak to the gentleman across the table from me. Dunnigan glowers at him, looks to Nick.

NICK
You murdered two people. Rupert Ames and Clarence Darby.

CLYDE
Darby? I knew about Ames, of course. I've been following the news about his horribly botched execution. But Darby too? Quite a coincidence.

DUNNIGAN
Cut the shit. We know you did it. Save everybody a lot of time and trouble and just confess.

CLYDE
Are you going to continue to insist on being part of this conversation?

DUNNIGAN
Yes.

CLYDE
(beat, gives in)
Fine. Far be it from me to be rude.

NICK
Clarence Darby was found on your property. Old abandoned shed?

CLYDE
I didn't know I had one. It's 150 acres, uncultivated. The other day I found a creek I never knew I had. Hunters trespass all the time. You going to try to pin the dead deer on me too?

-Observation Area-

SARAH
I don't believe this guy.

CANTRELL
That man is frosty.

- Inner Room -

CLYDE
It occurs to me that an even moderately clever person could try to frame me for the murder simply by killing him on my property. One of Darby's drug rivals? That's an unsavory world.
(off Nick's stare)
A jury would have to weigh that possibility. What else you got?

NICK
(temper flaring)
How about video of you dismembering Darby while he was still alive?

CLYDE
That's odd. See, if I were to do such a thing, I'd probably wear something so I couldn't be identified. Some kind of mask maybe. But you say it's actually me on the video? Did the camera capture my good side?

Nick snaps, lunges across the table, grabs Clyde.

NICK
You sick fuck, you sent it to my house! My daughter saw that video! It fucking traumatized her! She couldn't stop sobbing!

Dunnigan moves in fast, trying to pull Nick off (but failing)-

DUNNIGAN
Whoa-whoa, Nick, ease off!

CLYDE
No trouble here, Detective, we're fine. Thank you, though.

Dunnigan backs off. Clyde turns back to Nick, who's still got him in his grasp, their faces close.

CLYDE
Your daughter is, what, ten now? That's a wonderful age. My daughter was always so busy at that age, so interested, so into everything. Jumping around. I called her "Bean," she jumped around so much.

Nick is easing off by inches, subtly and ineffably weirded out, unable to break Clyde's gaze.

Softly-

CLYDE
I am sorry, Nick, that your daughter experienced that. You're right. That video should not have arrived that way. The person who sent it should have thought twice.

Dunnigan moves in again, gently but firmly pulls Nick away.

DUNNIGAN
Okay, enough.

CLYDE
Unless there's hard evidence tying me to these crimes -- forensic or otherwise -- why am I here? Why are we having this conversation?

NICK
We know you did it.

CLYDE
It's not about what you know. It's about what you can prove in court.
(off Nick's look)
Your words. Like when you called it a justice *system*. You know the thing about a system, Nick? Any system can be played.

NICK
You think you can play us? You gonna take me on?

CLYDE
Clarence Darby did. And I'm much smarter than he was. Or you.

Nick advances, furious, held back by Dunnigan:

NICK
I'm gonna bury you, fucker!

CLYDE
(lunges to his feet)
That's it, that's what I want! That fire in the belly! That's what I wanted ten years ago! Do it, Nick! Bury me!

DUNNIGAN
(shouting at Clyde)
Sit down! Sit the fuck down!

Clyde does, settles in, speaking calmly -

CLYDE
Or. Set me free.

NICK
What?

CLYDE
Did I stutter? Make your case. Or. Shake my hand on the courthouse steps and send me on my way.
(off Nick's look)
I'll even make it easy on you. I will confess, how's that?

NICK
You're gonna confess.

CLYDE
Let's start tomorrow after a good night's sleep. We'll all be fresh and rested.
[/scrippet]
And this is where the story of Law-Abiding Citizen finally takes shape. Clyde is determined to make the system work for him, just like it worked for the men who killed his family.

It's a great premise because we've all thought it before. Our justice system is a joke. An officer can forget to read someone his Miranda Rights and a murderer is back on the streets within days. What if someone angry enough, someone with the capability and know-how, someone with the resources, decided to exploit this joke of a system for what it was? And what if he was willing to go to any lengths to do it? That is the premise of Law-Abiding Citizen.

I have a feeling this description is going to come back to bite me but I see this as sort of a hyper modern-day version of Silence Of The Lambs. The similarities are limited in most respects, but the memorable bad guy pulling the strings and manipulating the system really brought me back to that initial feeling of watching Silence Of The Lambs.

The only reason this doesn't get genius status and a higher place on my Top 25 is because of the ending. And it's not that I didn't like the ending. I did. But the last 15 pages were the only time in the script - regardless of how absurd it got- where I was actively wondering if what was happening was possible. When we find out Clyde is sneaking out of the jail to perform some of these murders............eh, I don't know. This is a man who's killed dozens of people. Wouldn't you have a couple of guards down by his cell watching him at all times? Or at the very least a camera? Incidentally, you only end up noticing this because the rest of the script is so damn good.

If done right, this has the potential for greatness.

[ ] trash
[ ] barely kept my interest
[ ] worth the read
[x] impressive (near genius)
[ ] genius

What I learned: There's no real traditional Act 1 turn in Law-Abiding Citizen. A series of really interesting twists and turns keep happening, but the true nature of the plot doesn't reveal itself until around page 45. This is just a reminder that the 30 page point is a rough placemarker for when the plot is supposed to kick in. But if you can keep a series of mysteries going, the readers will be more forgiving and allow you to take more time to begin your story.

postscript: So, if you went to IMDB you saw that the movie is now being directed by F. Gary Gray, and stars Gerard Butler and Jaime Foxx. I'm not sure I like the casting here. I would've rather seen someone like Patrick Wilson in the Nick roll and a young John Malkovich type in the roll of Clyde. But hopefully these guys pull it off. I know I'm rooting for them.

Tarson Meads Top 10 List up

A little Thursday afternoon treat for you guys. Not all of us are millionaires and have 500 bucks to go see the new Star Trek movie. So why not read a few scripts this weekend instead? If you liked Tarson's take on "Kristy", you may enjoy the rest of his Top 10 scripts, which I've listed right under my own. There's a couple on there that I haven't read myself. Maybe I'll check'em out. Enjoy! :)

Boss

Genre: Comedy
Premise: A college-aged kid becomes his father's boss.
About: Lord and Cohen sold this to Disney two weeks ago for an undisclosed amount of moola. Scott Rudin will produce. Lord was a co-producer on "The Heartbreak Kid", which, btw, I thought was hilarious.
Writers: Tony Lord & David Cohen

Harvey Hutchinson has been working at the Hibrau Beer company for over 20 years. When his boss unexpectedly dies of a heart attack, the owner of the company tabs Harvey, who's been working his ass off for a promotion, as the likely successor.

Harvey's 21 year old son, Hutch, is a beer-drinking pot-smoking recent college drop-out. He doesn't know a thing about responsibility nor does he really want to. He spends his days trolling for desperate chicks, hanging out with his deadbeat friends, drinking, and playing video games.

Harvey forces Hutch to take a job at the brewery. After only one day of work, Hutch has had enough and plans, a la Jerry Maguire, to write a "memo" to the company telling them how terrible their product is in hopes of getting fired. But wouldn't you know it! The president is "happy" that someone was brave enough to "tell it like it is". So instead of getting fired, Hutch gets promoted!

After this, there are about 6 or 7 gimme jokes associated with the premise. The dad is humiliated and angry. The son takes advantage of his money and power. The company, of course, does better under Hutch's fly-by-the-seat-of-his-pants leadership. The dad waits for the luck to end. It doesn't. The son "learns a lesson" when he starts caring more about the stock price than what club to hit that night. His friends think he's too serious. Don't like him anymore. Blah blah blah. Everybody's a better person.

I was going to write a scathing review of Boss. I'm talking "Wedding Banned" scathing. But then I remembered that universal truth: It's really hard to write a script. I mean, it's really fucking hard. A lot of people on the outside see movies like "Betrayal" and think it's easy. But trust me when I say this: Even writing a movie like Betrayal is hard. It's why the same guy who wrote the genius "The Sixth Sense" can also write a movie about a pool fairy. It's why the same guy who wrote Jerry Maguire can also write Elizabethtown and Vanilla Sky. Because there is no formula. Even the best writers are capable of writing complete and utter shit.

But that doesn't excuse a company for buying this.

Most writers, when they get an idea for a movie, they start writing down all the cool scenes and characters and lines that come to mind. Like in Boss, you know you're going to get that line where the dad is at work and his son is ordering him around, and the dad screams back, "You're grounded!" That's a given before even a page is written. So you cobble together all these ideas, come up with a starting point, sit down, start writing and............

.....and then you realize that the entirety of your ideas amounts to 15 pages of screenplay. Which means you still have to come up with another 90. And it's in those 90 where most writers fail. Because it's really hard to come up with a story that takes advantage of a cool concept.

To me, Boss felt like a script that never had anything more than those 15 pages. Even the first 30 pages, which tend to be the easiest to write, repeated information over and over again, treading water until the first act break (when the son becomes the boss).

But Boss's problems run much much deeper than that. The biggest issue I had was that I absolutely hated the son. I mean I hated him. He's lazy, rude, a loser, a dick, a deadbeat, and stupid. And on top of that, he spends the entire script telling his dad to fuck off. You can have deadbeat characters in your movie but at least give us something to latch onto. Take Knocked Up for instance. Seth Rogan may be a deadbeat pot-smoking loser. But he's also a big teddy bear without a mean bone in his body. It doesn't have to be a lot. But give us something.

For the record I did laugh once in the script. Once. It's near the beginning, during dinner, when Hutch is telling his family that he dropped out of college and makes his case for taking a year off from work.

[scrippet]
HUTCH
Okay. Since I have yet to clearly define my career path, it makes smart business sense, especially in these tough economic times, to evaluate the various opportunities out there. So why not take a year off, really research this thing, and 'find myself'? Then bang! I’m back in school, heading toward a career and a life filled with huge financial rewards and tons of emotional stability. To top things off, you guys won’t have to worry about cash if things get really bad. ‘Ol Hutch here will unselfishly be able to provide for the whole family and we’ll live happily ever after.
(like Barack Obama)
Yes, we can.
[/scrippet]
So for the record I didn't hate all of Boss. In the end, I'm guessing Disney fell head over heels with the concept (make no mistake: it's a great concept) and plan to rewrite the thing immediately. There's a good movie in here somewhere. They just haven't found it yet.

[ ] trash
[x] barely kept my interest
[ ] worth the read
[ ] impressive
[ ] genius

What I learned: Oh no! We're back here again! The main character being "likable" argument? Unfortunately, that's really what this script boils down to. If you're going to give us someone who's despicable and worthless, you gotta offer something/anything for us to latch onto so we at least sort of like the guy. In Pierre Pierre, it was that Pierre was funny (or at least I thought he was). In American Beauty it was Lester Burnum's desire to break free of his miserable marriage and be happy again. Hutch is just a deadbeat with no goals and nothing to offer. He ruined this script.

Finally!

It's taken, what, a month? But I've finally read a script that will break into my Top 25. Very excited to tell you guys about this one! Unfortunately, you'll have to wait until Friday to find out which script it is. Sorry! I know. I'm terrible. :)

Kristy

Sorry my friends but I'm taking the day off. Not to worry though. As promised, I've brought in an expert to give you a long-awaited horror review. His name is Tarson Meads and I trust his opinion implicitly. Today he'll be reviewing a recent horror spec that sold titled "Kristy."

Genre: Horror/Thriller
Premise: In the vein of THE STRANGERS. A student trapped on a deserted college campus comes under attack by a malevolent group of intruders.
About: Dimension picked this up late last month for, I am hearing, low-six figures.
Written by: Anthony Jaswinski.

Initially the logline for Kristy did nothing for me, and when I heard it sold a few days later, my initial response was “Whaaa...?” The quick sale did garner some negative feedback on a few tracking boards, the main complaint being the lack of originality in the premise. Some claimed it read like a sequel to The Strangers. Others hailed it as just another generic horror spec. I was intrigued. After all, this puppy did sell. And as someone who reads a lot of genre scripts in my spare time, I always try to be as objective as possible. I think no matter how bad a script is you can always learn something from it. So when Kristy graced my inbox, I decided to bump this to the top of my “to read” pile.

The first thing that struck me was the nice page count. Kristy clocks in at 91 pages. Look at it this way, if the script sucks, at least it won’t take too long to end the pain. The second thing was the visual writing style. Fortunately this guy could write, and write very well. From page one Jaswinski set the tone of dread with vivid descriptions of the rural campus. This already started to read like a decent horror movie. I was in.

It starts off with a typical opening. We meet our hero, Justine Wills, along with her boyfriend Aaron in her college dorm late one afternoon. He’s slightly perplexed over her decision to stay back over the thanksgiving break to finish a poetry assignment, rather than accompany him to his parents place. He gives her a few opportunities to change her mind, but she’s determined to play catch up. So after their goodbyes, he drives off to his parents place... All rather basic, but now the gears of premise begin to churn...

Apart from one security guard, a student on her way out, and the campus groundskeeper, there’s now a lot of empty space between Justine and any form of civilization.

“The entire place is now entombed in rural silence. Cold November sun has set on the freshly mowed lawns.”

You can’t help but feel a slight pang of loneliness in this place.

We follow Justine around her campus for a few beats until she decides to take a run down to her local 7-11. In this case it’s the only building for miles. Jaswinski likes to subtly remind us every now and then that we are indeed in the middle of fucking nowhere.

Driving along this empty highway is where we first encounter our bad guys. They approach Justine in the opposite direction, hauling ass with headlights blazing on highbeam. Justine flicks her own highbeams to either alert or scold the driver.

Big mistake.

By page 19 it was clear Jaswinski understood the importance of pacing and getting to the meat of the premise. Thankfully, he doesn’t linger too long.

Justine was rendered stock standard, typical for most horror movies. But the first few pages do a very nice job at introducing her. Jaswinski doesn’t try to force you to like her, but rather sympathize with her. This girl does have some issues that need resolving. She’s no Ellen Ripley, but Justine did possess certain character traits I love with these standard archetypes. She wasn’t just kill fodder for the bad guys. This girl had a brain, and as the pages roll on she’s certainly forced to use it. Horror just works so much better when you actually give a shit about the characters in peril.

By the end of the first act, set-ups and devices had been effectively deployed. Now I’m not going to break this script down and analyze it scene-by-scene, because apart from being painfully boring, I’d actually like you to read it as spoiler free as possible.

So let’s fast forward a few pages and meet the bad guys.

One of my biggest pet peeves with horror movies is that the villains always seem to be able to clock the layout of a building, house or wherever, better than the residents who live or work there. They can get in and out seconds before our hero even knows what’s going on. Whenever this happens it drops the plausibility of the film down by about ten notches. In some instances it almost comes off as being lazy. Unfortunately Kristy does have some of those moments. However they are in early stages of the script when our villains are taunting Justine. Once she’s pursued, the action does not resort back to cheap scares. It becomes more of a hunting movie – which takes us to various locations throughout the college campus. Justine is on the run, but also taking steps necessary to defend herself and fight back.

"Where the hell did I park my car?"

At times, I could not help but be reminded of The Strangers. After all, the bad guys also wear masks, in this case macabre aluminium masks. They appear for no apparent reason, and they even partake in the odd bout of door knocking. But with Kristy’s villains, there’s one significant difference – these guys are actually threatening. They carry the same cold disregard as their psychotic cousins, yet they seem to be smarter and far more cunning. Sure, they shoot, they stab, they slice and they give chase, but they don’t stand around in a fog for thirty pages, trying to look eerie. They’re always on the move, actively hunting Justine down like wounded prey.
By now you’re probably wondering “why is this called Kristy?” All is revealed through a tense moment between Justine and one of her pursuers, via SMS. For the most part, all the little set-ups and pay-offs worked adequately. For this type of genre they are somewhat to be expected. And as far as horror stories go, structurally, it was sound. Granted, it was a very basic plot, but it read solid.

So in a spec marketplace clogged full of Vampires, Ghosts, Zombies, Serial Killers and Aliens, did Kristy manage to scrub up to size?

Yes it did.

Although far from perfect, it was not only a nice surprise for me, it was one of the best horror specs I’ve read since Michael Stokes’ “Nightfall.” I realized Jaswinski was never trying to reinvent the wheel, but rather spin it so violently fast, I couldn’t help but feel a little thrilled along the way. Now if that was his only intention, as I suspect it was, then he definitely succeeded. I’m quite positive the guys over at Dimension felt the exact same way.

[ ] trash
[ ] barely kept my interest
[ ] worth the read
[x] impressive
[ ] genius

What I learned from Kristy: This script proved to me that explaining why the bad guys are there is not always important. What is important is that our hero just gets the fuck out of dodge, and we the audience, feel something along the way. It also proved that if written effectively, a simple plot with a well worn premise can still be fresh, entertaining and commercially viable. For any screenwriters toying with the idea of writing a horror script, I recommend you read this first. There’s a good reason why it sold so quickly.

Geoff LaTulippe Interview

Welcome to the first ever Scriptshadow Interview. I want to apologize in advance for how lame my questions are. See, I only asked Geoff things that I wanted to know. So you may or may not get anything out of this. But the good news is, there's a link to a more helpful interview at the end of the post. Just remember, this is my first time. So be gentle.

Geoff LaTulippe is currently one of the hottest writers in Hollywood. His script “Going The Distance” sold to New Line late last year and was recently greenlit with Drew Barrymoore and Justin Long in the lead roles. Standing strong at number 9 on my Top 25 list, the script is a hilarious account of two people in a long distance relationship. Since the sale of Going The Distance, Geoff signed with Sarah Self at Gersh, has sold a couple of pitches, and is currently adapting a book for Diablo Cody titled, "Breathers: A Zombie's Lament." One of the reasons I asked Geoff for this interview is that he used to be a reader himself. This allows him to have a unique perspective on how a script gets sold. As much as that would be a good starting point, I wanted to begin this interview with a very relevant and topical question that I think gets to the heart of what screenwriting is all about.

SS: What was it like when you found out you were in Scriptshadow’s Top 10? How does that affect your day-to-day life?

GL: My first thought was, "Who is this Scriptshadow motherfucker and why is he illegally trading a script that is the copyrighted property of New Line/Warner Bros.?" And I meant to get really worked up about it, but then I just went off and did...anything else, really.

No, in all honesty...it's flattering whenever you make a Best Of list, especially one that comes from someone who reads so many scripts and doesn't seem to enjoy any of them. I'm glad that for a lot of people the script connected and it made them laugh. When you're writing comedy, those are really the only two things you want to accomplish. The fact that you have it ranked ahead of 500 DAYS OF SUMMER is lunacy, though. There's a simple, brilliant scene in that movie that I'm SO fucking jealous that I didn't write that I can't even explain it to you.

SS: You’ve read a million scripts, half as many as me. What’s the most common mistake you see writers make?

GL: There's a macro answer and a micro answer to this one, and we've all made (and continue to make) both, even the best guys.

On a macro level, too many writers lack originality. They either parrot ideas that have been done a million times and fail to inject anything new or fresh into it, or they take a concept that could work and just write it in the most boring way possible. Most writers simply lack that innate element that gives them the ability to stand out, to be different, to (ugh) "have a voice", and that's why there are so few great scripts written.

On a micro level, the mistake I see the most is...well, kind of the same answer. It's a little to easy to say "most writers are boring", but that's what it comes down to. Most scripts just aren't interesting. They don't engage. Of the scripts that are decent but lacking something here or there, I think a lot of writers don't understand how to take strong first act and thereby project a solid second and third act. How many scripts have you read that you were digging up to page 30 or 40...and then it just fell apart? Some of that is not understanding how to develop character, some of it is not understanding how to keep upping the "tension" (in quotations because that can encompass a lot of things), and some of it that writers put all their good ideas into the beginning of the script and then have nothing left over.

I don't think there's a great generic answer here. I think, obviously, the macro is much easier to identify than the micro as the micro is more script-specific.

SS: Of all those scripts, can you give us a handful that you loved that never got made? And can you complement that with an e-mail to me with those scripts attached?

GL: I will send you NOTHING! All the PDFs I had went the way of the Dodo with an old hard drive that crashed on me, so I no longer have a stable of scripts to dump on you guys. Which is a shame. But you seem to do a pretty good job of finding all the stuff you need on your own, Dr. Networking McScripty, so quit panhandling.

I've mentioned this in a couple of different places, but my favorite script ever is called FOOLS RUSH IN (used to be UNTITLED BILL CARTER PROJECT). I think it's beyond Oscar-caliber if they can ever put it together, which will be hard considering you have to recreate war-torn Sarajevo. Another script I loved is called PAPER WINGS. It's a story about a rodeo cowboy and a country singer who fall in love. First of all, if you can engage me in a romantic drama, kudos to you. But if you can engage me in a romantic drama with a Country-Western theme, you are a goddamned magician. I would sell my mother's dead ovaries for that kind of ability.

I love comedies about summer camp, so I'm always rooting for those to get made (if they're good). One of the first scripts I recommended was called THE PNEMONIST, which was about a guy who, literally, couldn't forget anything he'd ever seen. That was pretty sick, especially in the way the writer executed it. And just the other day on DD (Done Deal Message Board) I was talking about two scripts I really loved: one was REAPER by Gary Whitta (of BOOK OF ELI fame) and another was a vampire western (a genre that DESPERATELY needs to happen now) called BLOOD AND SILVER. Oh, also, there's a script floating around out there called NINTENDO CHRISTMAS that doesn't have the best execution ever, but it's basically A CHRISTMAS STORY set in the 80s, and Nintendo is the Red Ryder Carbine-Action 200-Shot Range Model Air Rifle. And then that one reminded me of maybe the funniest script I've ever read called SANTA CLAUS IS COMING TO GET ME. I can't imagine it ever getting made. Picture an R-rated comedy in which Santa is a total bastard who steals the wife of every male generation in an American family that he put a curse on...and then one man in that family has had enough, and he teams up with a gun-toting, bomb-wielding Easter Bunny to hunt Santa down. I swear to God this script exists, and if you can find it, it will blow your mind.

SS: Who do you think is better at reading? Me or you?

GL: Just at the act of reading? Probably me. But reading scripts? Me. Although, I will give you this: you're only slightly worse at BLOGGING about reading scripts than me, and that's because I don't blog about scripts I've read. So you've got that going for you.

SS: Going the Distance is a town favorite. It got 14 votes on the Black List. But occasionally someone will come up to me and say, “Carson, what's up with that Going The Distance script?” Of course I punch them in the face. But it is a type of humor that doesn’t appeal to everyone. How do you deal with criticism of your material?

GL: That's a nice thing to say. Here's the deal: comedy is, by gigantic leaps and bounds, the most subjective of all film genres. If you want to be a comedy writer and you don't have an almost preternatural understanding that you're never going to please everyone, you're swimming without floaties. My writing is, always has been, and hopefully will always continue to be polarizing; I write bluntly, I tend to prefer mean humor, and I'm not afraid to push the bounds of taste. To me, there is little difference between, "Wow, that was great," and "Jesus Christ on the cross, I fucking hated that!" Both of those are inspired reactions. On the contrary, the worst thing you can hear is, "I just didn't get it," or, "Eh, I didn't really care about it either way." That's a lack of connection and, generally, that's your fault as a writer.

I've had the good fortune that a vast majority of the people whom I've interacted with have really liked GOING THE DISTANCE. And I've talked to plenty who didn't; these people don't bother me at all. Negative reactions to popular material come from two sources: people who genuinely disliked it (probably about 75% of the group) and people who are just contrarians/followers/speaking out of turn (the other 25%). It's ALWAYS important to listen to negative criticism because you get a chance to understand what about your writing didn't work...and a lot of times the people who loved what you wrote won't bother to tell you that stuff. All the same, if someone isn't into your shit...what can you do? Be glad they gave you a shot and hope they dig the next thing you put out there. That's it.

SS: You currently share representation with and are writing a script for Diablo Cody. Has she let you touch her Oscar? What’s it like working with her (if the answer is boring, please embellish)?

Unfortunately, my interactions with Diablo have been limited to a pair of story meetings. I didn't get within ten miles of her Oscar, but I can say that we spent about 45 minutes discussing the intricacies and general genius of ROCK OF LOVE BUS. Incidentally, Bret Michaels went to my high school. And I didn't even need to embellish that. So suck it.

SS: What’s the biggest thing you’ve learned about the industry since you sold Going The Distance?

GL: This will be my lamest answer of the interview (a tough competition, no doubt), but I couldn't even pick what might be the biggest thing, and it wouldn't even matter because I still have way too much to learn. I will tell you my FAVORITE thing that I learned: when I started taking general meetings with studios and production companies, I called my manager and asked what was accepted attire for such. He laughed at me and said, "No no no...you're the TALENT! You wear whatever you want!"

He may or may not have been slightly joking or mostly joking, but I took that and ran with it. I have worn flip-flops and shorts to like every meeting since. It's fucking great. I look at my poor bastard button-down shirts in my closet and just think about how bored they are. A couple of months ago I was in a meeting and John Cusack came in. He, too, was wearing just like a t-shirt and jeans, and I felt awesome, like, "Yeah, you CAN wear whatever you want." And then I thought for a second and realized, "Geoffrey, you're an asshole. That's John Cusack. You're still you." It was one of my few "I'm Keith Hernandez" moments and hopefully one of the last.

SS: The closest I’ve gotten to a green light is driving to my local grocery store, and even then it’s almost always red. Most people have no idea how difficult it is to not only get your screenplay sold, but to then get it into production. It really is a one-in-a-million shot. Knowing that, how did you react when you got a green light for Going the Distance?

GL: You know, we had actually thought for a couple of months that we had a good shot to get a greenlight. The studio's been really behind it since day one, talent responded surprisingly well, and the guys at WB had it on their radar. That said...when it actually happens...it's awesome. I don't know how else to describe it. I was SO fucking hungover the morning I got the call, but as soon as I heard the words I felt like a trillion dollars. I jumped up, took my dog to the park for an hour, and the smile hasn't left my face since.

And I'll say this and say it in all honesty: though I did write a script that a lot of people responded to, I never expected it to even sell, much less get a greenlight in nine months. The confluence of events that has to happen to get to a point that even APPROACHES the greenlight stage is daunting beyond belief. It takes a lot of people doing their jobs really well and a tremendous amount of luck. In reality, I'm easily one of the most fortunate people to ever walk the face of the earth.

SS: Why do you think your script sold?

GL: I think there were pretty much two factors, one of my perception and one of others. From the people I've met with, they all claim my "voice". It's a term I hate in general because I think it's overused in the industry, but I get it. I don't get that MY voice is special, though, because it's always been mine. It doesn't seem alien to me. I'm just consistently glad that people find me funny in any capacity. It also amazes me when people say that the script has "heart", which I'm happy to say I get a lot, because that was one of the major things I was sure I hadn't nailed when I wrote it.

For me...I think the script sold because of the universality of the concept. We were really, really lucky (again, I'm telling you, that's not just lip service) that no one else had really broached the idea of the long distance relationship. We were doubly lucky because just a couple weeks after I sold the script I found out the two showrunners for THE OFFICE were planning on writing one of their own, and I'm sure that would have put mine to shame.

But it's one of those things like KNOCKED UP - how many people do you know that have had a surprise baby? But how many films have approached that concept from such an observational angle? I think when people read the script it was one of those times when they thought, "I can't BELIEVE there hasn't been a movie made about this yet!" Everyone's been in a relationship, and everyone's been in or known someone in an LDR. It's a profound yet shared experience (in that if you haven't been in one, you've heard the stories of someone who has, so you feel like you know), so everyone can get into it.

SS: I saw in a recent Facebook update that you had to kill a 4 inch cockroach in your bathroom. Don’t you have enough money to pay for an exterminator now? And how do you plan to spend all this new money anyway?

GL: I am not in a place, psychologically, where I can yet talk about my run-in with the cockroach. Suffice to say that it was huge, it hissed at me, I spent thirty-five minutes running around my apartment like a crazy lady before I had the nerve to kill it with an aforementioned flip-flop, and I had to use the neighbor's bathroom the whole next day because I literally didn't have the nerve to go back into mine. I'll thank you to never speak of this again.

I'm a big fan of spending money on experiences rather than things, though I have a compulsion with Blu-Ray and I did buy a ridiculous plasma. But mostly I paid off college, made some donations and use the surplus for various things. Dave (Neustadter, who developed GOING THE DISTANCE with me and who bought the script at New Line) and I hired a cover band to play a Christmas party for our friends. I bought ten tickets to the Rose Bowl and cried with friends and fellow PSU fans as we watched our mighty Nittany Lions get the shit kicked out of them. I've been to Vegas twice. And then I'm saving a massive chunk of it just in case that luck we talked about runs out.

SS: Once you sold Going The Distance, you did “the rounds” in Hollywood. I understand you sold a pitch or two. What’s the key going into those things? Cause if you’re smart, you can parlay one script sale into several.

GL: Unfortunately I can't say too much about the pitches I sold, but one was a pre-existing story idea that I had with an exec at a studio. The other was just an idea that I mentioned in a couple of rooms and wasn't even a quarter of a pitch. It was just another one of those universal themes that I wanted to tackle that I can't believe hasn't been done right yet. Another exec took a liking to that one and it sold.

Seriously - I don't have a fucking clue what I'm doing. I just know it's working right now and I just want to keep it working. Someone tell me how to keep it working. I don't want it to stop working.

Help.

SS: So all these big doors opened when you sold the script. Once your script got greenlit, did a whole new set of even bigger doors open? How does that work?

GL: I honestly don't know. It happened so recently that there hasn't really been any fallout yet. What do I want to happen? I want Emmanuelle Chriqui to hear the news and fall in love with me. What will probably happen? People will keep asking, "How long have you been growing your beard?"

SS: Can you tell us what you’re working on now? In the future?

GL: Just the projects I mentioned above, which are keeping me more than busy enough right now. In the future I have a couple more ideas in the hopper. I've got a concept I'm really excited about that's pretty much the polar opposite of the observational comedies I've been writing, so it'll be fun to see the new and absurd ways in which I can fuck that up. There are also a couple of remakes I'd really like to look at - but not of stuff that already has a rabid, loyal fanbase.

SS: I hear in certain circles that you dated Script Girl. Are these rumors true? Can you get that bitch to mention Scriptshadow in her next video?

GL: Sweet Christmas, I wish that was really a rumor. Can we start that rumor here? I would love for that to happen. Is that really a rumor? Fuck, that would be awesome. Did she say that? What did she say? Can you find out if she was being serious? Ask her if she likes me. Find out! I like her, but don't tell her I like her. OK, I'm gonna have a juicebox and ride my bike to the arcade.

SS: And that's it! I can't believe Geoff took all that time out of his busy schedule to throw me a bone. Thank you Geoff! Hopefully we can do it again sometime. For those who want more Geoff, he gives another great interview over at Done Deal where he answers more questions pertaining to breaking in and stuff. So if you want to read it, here's the link.

DON'T FORGET - INTERVIEW TOMORROW

Staying true to my "Weekdays will be predictable but weekends, anything can happen" mantra, tomorrow will be the first ever Scriptshadow interview. It will be with someone off my Top 10 list so I hope you can come by and take a look. It will be especially informative for you writers trying to break into the biz. Going out on weekends is so overrated anyway.