Over on the Unproduced Scripts page are twenty six original scripts for your reading pleasure.

– Don

Thanks, Phil for the heads up on these.

The Fugitive – February, 1992 early draft script by David Twohy – hosted by: National Central University Language Center – in pdf format

This is an early draft of The Fugitive. This story is based in Philadelphia, instead of Chicago, and it ends in a Pennsylvania coal mine instead of a Chicago hotel.

The Fugitive – May 10, 1993 revised draft script by Jeb Stuart – hosted by: Drexel Screenplay Library – in pdf format

Wrongly convicted of murdering his wife, Dr. Richard Kimble escapes from a prison bus and tries to find out why she was killed and who the murderer really was. He is relentlessly pursued by Samuel Gerard, a U.S. Marshal, and is forced to keep out of contact from any friends or relatives. However, his determination and ingenuity soon produce results and he comes to the frightening realization that he can trust no one.

Information courtesy of imdb.com

Mark Renshaw has put together a guide based on his personal experiences in script and movie festivals.

Please also follow the discussion on this as well as other articles written by Anthony Cawood and P.J. McNeill.

Mark writes…

The below ‘guide’ is based on my own personal experience submitting scripts and short movies to festivals over the past 12 months. Take from it what you will.

You’ve created a masterpiece. Maybe it is a script Tarantino would go medieval on your ass to own, or maybe you’ve managed to get a script produced into an ass-kicking-awesome movie. You’ve written your Oscar speech and hired your mom to be your Manager. What now?

Well, you could enter a film festival to show the world (especially JJ Abrams) what you are capable of. What are your options?

There are over 3000 film festivals worldwide. That number is growing exponentially; a bit like my stomach as I eat those bags of chocolate that are ‘big enough to share’ but I ain’t sharing pal! The point is, there are so many it’s impossible to track. Luckily there are websites which specialise in this area.

Festival Submission Websites

The two main contenders are Withoutabox and FilmFreeway. Both list thousands of festivals, provide various tools to help you create your projects, upload materials and browse/submit to the festivals.

Withoutabox has been going since the dawn of time (2000), you can tell by their archaic design. In 2008 they were bought out by IMDB. So the good news here is you get an IMDB title page/credit for every eligible submission. The bad news; the website is user unfriendly, they’ve been slow to keep up with changes in technology and there have been complaints about overcharging. Personally I don’t like them. I’ve had submissions go missing and others where the status has not updated, so I’ve had to contact the organisers direct to sort things out.

Filmfreeway is the new kid on the block. It doesn’t have as many festivals available as Withoutabox but the list is growing all the time. It’s more modern looking and is constantly adding new functionality in response to feedback. Personally I prefer it. I’ve had a good user experience so far. I wouldn’t be surprised though if Withoutabox buys them out once they’ve reached a certain size.

How much will submissions cost?

Withoutabox and Filmfreeway are free to join, free to use but the entry fee for each festival varies and is based on a tiered system. The key here is to get in early. Some festivals start accepting over a year in advance and most offer an early bird discount. If it’s a Seasame Street festival I’m sure they’ll offer a Big Bird discount, but I digress…again. From this point on the prices rise steadily through a tiered range as time goes by.

To save some cash it is also worth following some festivals on social media, as they do randomly throw out discount promo codes.

Some festivals are free! If you use the advanced search options, you can set the price filter to $0 . Be careful though, some of these are only free under special circumstances, like if you are a student or a wizard with a lisp or something.

Which Festivals should I enter?

This is where you are going to have to do your research. Festivals will gladly accept any script or movie you submit. They’ll gleefully accept your money, while dribbling saliva down their chins like rabies infected baboons. However, as soon as they start trawling through the thousands of submissions, they will reject yours faster than a fast thing that’s been fast for a very long time, if it doesn’t meet their criteria.

Let me put it this way, it’s no use submitting a script about a blind albino transgender Jew in war- torn Nazi Germany, who has a secret love affair with Hitler’s briefcase, to a sci-fi festival is it? And yet you will be surprised how many people pick festivals at random.

It’s not just the genre. Some festivals focus on a certain theme, others specialise in supporting a cause or championing a specific gender. I saw one which specifically said in the small print they only accepted submissions where you could prove it was a collaborative project involving people from different countries. Yet, the rest of the promotional material did not state this rule.

The other aspect to consider, what are the prizes? If you just want to promote your work, get some awards, any festival will do. There’s nothing like bragging rights, right? However if you want a way into the industry, if you are looking to get an agent, win a professional table read or if you want cash, then only certain key festivals offer such rewards. Be warned though, the competition for these is fierce!

So before parting with your hard earned cash:

• Read ALL the rules and criteria for the festival. It’s easy to get caught out by a stipulation.
• Research the festival! The promotional page makes it look super professional and slick but go to their actual website and it may look like something a demented child has hacked together with a hammer and a jar of marmite. Do you really trust your work and money to a festival that can’t even put together a decent website?
• Review some of the previous qualifying/winning entries. If last year’s winning entry was a black and white silent film showing a slug’s life over 24 hours, should you submit that romantic comedy?

What are my chances?

Here is the mule kicker. Entering and paying a fee doesn’t get you into the festival. It’s gets you a consideration; that’s it. You can pay a small fortune and simply end up with a load of rejections with no explanation as to why.

What festivals will never, ever do, is inform you of your chances of being accepted. The promotional material makes it all sound glamorous, exciting and within your grasp. Just remember it is all marketing aimed at trying to generate as much money as possible.

Let me throw some figures at you – this is based on independent movie submissions only, I don’t have any actual figures for script submissions.

• Manchester (UK) International Film Festival – This is their first year. They’ve had over 1000 submissions with only 20 slots available.

• Palm Springs (LA) Film Festival – Over 3400 submissions.

• Sundance – 200 slots available – woo hoo! Over 9000 submissions – WTF?

With so many entries, it’s hard to fathom how they could possible review each one and give each their full attention. From the stories I’ve heard some festivals don’t. Mere mortals like us have no idea which festivals review each entry fairly and which just take your money and run.

So unless your work has the backing of a big player, a recognised actor or a major Indy studio is involved who could promote your work, it’s worth considering:

Online festivals – They have more slots compared to traditional venues and the festival can run over longer periods of time.

Smaller, specialised festivals – Sure they may not be as glamourous as Cannes but there are less submissions to contend with.

Feedback Festivals – Some festivals provide feedback! So even if they reject it, you’ll know they gave your submission the attention it deserves and you will know why you got rejected. Please note, some festivals charge a hefty extra fee for feedback but some provide this service as standard.

New Festivals – These are trying to establish themselves, they’ll be wanting to make a good impression in their first year, get as many submissions as possible and therefore the rules for acceptance may be less strict.

Super Secret Tip!

If you’ve read this far, well done! You win a straw donkey! Plus, I’ll let you in on something I’ve only recently discovered. The GOOD festivals actually want you to engage with them direct!

Shocking I know. It’s easy to leave the communication between the third-parties like FilmFreeway, I did for a long time and ended up with a lot of rejections. I’ve come to realise that once you’ve submitted your project, the best thing you can do is get hold of the festival’s email address, tell them a bit about yourself, tell them about the project you’ve entered and even tell them how it’s doing/done in other festivals.
I’ve only used this method for the past few weeks and already I’m receiving great engagement from the festivals via email and on social media. Will this increase my chances? Who knows? Time will tell but it can’t hurt to try.

If you have any personal experiences to share please do so.

Best of luck, unless you are entering the same festivals as me! If you do, may your submission supernaturally explode and I win by default.

-Mark

Follow the discussion on the discussion board.

This in from Zack, Came across something cool today on bloodydisgusting.com that may interest you. It’s the original script for “Final Destination”, back when it was title “Flight 180” and was actually an episode for “The X-Files”.

Final Destination – january 15, 1999, early draft script by Jeffrey Reddick – hosted by: Bloody Disgusting – in html format

Alex is boarding his plane to France on a school trip, when he suddenly gets a premonition that the plane will explode. When Alex and a group of students are thrown off the plane, to their horror, the plane does in fact explode. Alex must now work out Death’s plan, as each of the surviving students falls victim. Whilst preventing the worst from happening, Alex must also dodge the FBI, which believes Alex caused the explosion.

Information courtesy of imdb.com

Over on the Original Scripts page are 19 original scripts for your reading pleasure.

– Don

Over on the unproduced scripts page are twenty seven original scripts for your reading pleasure.

And, the writer’s names from the May One Week Challenge have been revealed.

– Don