October 6, 2025 • 26 mins
In this live Q&A, Geoffrey D. Calhoun and co-host Kristy Leigh unpack M3GAN 2.0’s genre swerve from horror comedy to horror action, why Terminator 2 may have been the template, and how fast turnarounds can flatten story. Then they dive into Tilly Norwood and the rise of AI performers, what that could cost the industry in craft and jobs, and why strong scripts matter even more. Geoffrey closes with his “trash screenwriting advice” takedown of the luck in the industry and explains the Three Ts that actually move careers. Listener Q&A covers writing pages without knowing the full story, plotting vs pantsing, and the raw emotions that tell you a scene is working.
What You’ll Learn in This Episode
Kristy Leigh is a writer and producer who champions story craft, performance, and indie filmmaking communities, most recently at the Boise Film Festival.
About the Host
With films on network television, streaming platforms, and in theaters, Geoffrey D. Calhoun is a screenwriter, author of The Guide for Every Screenwriter, and a passionate mentor in the industry. He hosts The Successful Screenwriter podcast to empower writers and filmmakers at every level.
Resources Mentioned in the Episode
#Screenwriting #ScreenwriterPodcast #M3GAN2 #AIinFilm #WritingProcess #ThreeTs #IndieFilm #BoiseFilmFestival #PlotterVsPantser #HorrorWriting
🎬 Get Free Script Leads — be the first to know which producers are requesting scripts and accepting submissions.
If you enjoyed this episode, please rate, review, and subscribe. Share it with a fellow screenwriter who’d find it valuable!
What You’ll Learn in This Episode
- How a sequel’s genre shift can alienate core fans
- Why speed-to-market can warp tone and structure
- The real implications of AI performers for actors and writers
- Why stronger scripts become critical in an AI pipeline
- The Three Ts framework for breaking in without “luck”
- Plotter vs pantser: when each approach helps
- Emotional checkpoints that signal your scene is landing
- 01:22 First take on M3GAN 2.0 and the head-punch opener
- 05:31 Home Alone-style hijinks and tonal whiplash
- 08:08 Tilly Norwood and the AI performer debate
- 11:13 Prediction: indie and international adoption first
- 17:55 Bad screenwriting tip: “You need luck”
- 21:09 Q&A: writing pages without the full story
- 25:14 Killing characters and arguing with your draft
Kristy Leigh is a writer and producer who champions story craft, performance, and indie filmmaking communities, most recently at the Boise Film Festival.
About the Host
With films on network television, streaming platforms, and in theaters, Geoffrey D. Calhoun is a screenwriter, author of The Guide for Every Screenwriter, and a passionate mentor in the industry. He hosts The Successful Screenwriter podcast to empower writers and filmmakers at every level.
Resources Mentioned in the Episode
- M3GAN 2.0
- Terminator 2: Judgment Day
- The Conjuring series
- Charlie and the Chocolate Factory (2005) and John August
- Boise Film Festival
- Tilly Norwood (AI performer)
- Finding Nicole
- Website: TheSuccessfulScreenwriter.com
- Instagram: @screenwriterpod
- YouTube: The Successful Screenwriter
#Screenwriting #ScreenwriterPodcast #M3GAN2 #AIinFilm #WritingProcess #ThreeTs #IndieFilm #BoiseFilmFestival #PlotterVsPantser #HorrorWriting
🎬 Get Free Script Leads — be the first to know which producers are requesting scripts and accepting submissions.
If you enjoyed this episode, please rate, review, and subscribe. Share it with a fellow screenwriter who’d find it valuable!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Stuck in Act two, not sure if that twist actually works,
or maybe your characters are just fine. That's where Virtual
Jeffrey comes in. He's a screenwriting assistant we've trained to
help you workshop scenes, fixed pacing, punch up dialogue, or
just get on stuck. If you're a member of the
successful screent Edder, you've already got access. If not, it
(00:21):
might be time to level up. Welcome to the podcast.
We have people hopping on. We are live for episode
two eighty nine. I am joined by the ever affable
Christy Lee. Thanks for being with me now, I'm.
Speaker 2 (00:33):
Very excited to be here. As usual, well, I have to.
Speaker 1 (00:35):
Get my weekly dose of Christy otherwise I get cranky
and annoyed. So I watched a movie that I had
been avoiding because you know, critics just destroyed this film.
Megan two point zero, I'm gonna take a moment, catch
your breath, take.
Speaker 3 (00:53):
A moment, and then I'm gonna let you talk about
your experience with it.
Speaker 1 (00:56):
All right, and just to put this in the back
of your mind. I want to talk about Tillie would.
Speaker 2 (01:00):
But we should have a conversation about her.
Speaker 1 (01:03):
Yes, but first let's talk about Megan two point zero.
I it was crazy. I mean, I'm not one to
bash a movie because I know how hard it is
to make a movie. So they went from horror comedy
and the comedy was very light, to horror action. And
(01:24):
I was watching the movie. My wife walked in the
room and the first thirty seconds, Robot AI robot punches
a guy's head clean off, like clean off, and she goes,
he just punched the head off. I went, yeah, this
is now.
Speaker 2 (01:40):
I thought it was gonna be.
Speaker 1 (01:42):
We are in a completely different genre. I don't know
why we're making Megan an action hero. It was I mean,
could you imagine Chucky saving the day?
Speaker 2 (01:55):
Oh? Yeah, that Like in the second movie, he becomes
like the hero.
Speaker 1 (02:00):
Yeah, he becomes a good guy, Like, yeah, can you
see that. I can't see that.
Speaker 2 (02:05):
I can't see that, but I can see a world
where it's happened before, because that's pretty much kind of
what happened with Terminator too, Okay, And so you've got
the element of like Megan in the first movie again, yeah,
it's sci fi horror comedy ish, and then the second
movie is like they just step it up and do
this reversal of the role.
Speaker 1 (02:27):
I love your perspective on that. I did not even
consider for a moment that they use Terminator to as
a template, But I think you're absolutely right. I think
they did. Yeah, it does not work when you're going
from horror though, to you know, if you go from
a sci fi action movie to a sci fi action
movie and you make a new I can see the leap.
(02:48):
But if the horror genre and the horror fans are
so specific on what they want and how they want
it that you really want to appease those sands and
still try and do something original and no one was
asking for this. I kind of want to be a
fly in the wall when they were pitching this idea,
you know, because that went over Yeah yeah, or one
(03:11):
of those moments waving a red flag stuff, Oh.
Speaker 2 (03:14):
Hold on, hold on, because I was like that through
most of the movie, which was just like hold on, wait,
stop posit.
Speaker 3 (03:20):
I need to think about this for a second. Well,
I mean, like, so we watched it a couple of
months ago, and.
Speaker 2 (03:26):
We avoided it too, so we did not see it
when it came out in the theater, but we've been busy.
But it certainly was not what I expected either, and
I again, I don't like to bash films, and then,
particularly in the horror realm. I know one of those
screenwriters from this film wrote the first one or was
it part of writing the first one? And love that writer,
(03:48):
And so I thought, is this one of those scenarios
where so many studio people had their own thoughts and
ideas and so we just smash everything together because everybody
wants all these things.
Speaker 1 (03:59):
I think it's a victim of fast turnaround time. Right,
So bloom Bloomhouse would they have a budget of like
twelve million. I mean, when they do well, they make
like twenty five thirty mil.
Speaker 2 (04:12):
Right.
Speaker 1 (04:12):
They made one hundred and eighty nine million on the
first Megan, So they're like, we just made bank. Let's
do another one right now? And that's one hundred percent
that's what happened. So they're leaning on the director and
the writer, like let's do this. Let's go even broader.
It was such a big hit, right, Let's get a
(04:33):
wider demographic. Let's go with action, you know, so I
can see it's snowballing. And then you've got the creators
trying to be like okay, you know, and so here
we go, ye, and then you get this mean stee
at one point. At one point it was a home alone.
(04:54):
There was a home alone scene where they were like
literally hijinks glore of slipping on this and hitting in
the head with that, and I was like, oh no,
what's happening. What's happening? Yeah, So I mean it's just
this is, like you said, too many hands in the pot,
fast turnover.
Speaker 2 (05:13):
Right.
Speaker 1 (05:13):
So they probably didn't get a lot of drafts in.
Speaker 2 (05:17):
That's possible.
Speaker 1 (05:18):
Yeah, I think of like will you walk on the
chocolate factory? Right, the Johnny Depp one? Okay, So they
had all of the sets made, everyone cast and ready
to shoot in three weeks with no script.
Speaker 2 (05:32):
By the way, that just makes me want a bar.
Speaker 1 (05:34):
Okay. So now they're panicking, we don't have a script.
We have sets built, all right. So they hired John
August right, I mean in the guy's like a legend.
He did Big Big Fish, and he's got he's huge
on his podcast. And he had three weeks to write
that movie. I mean, you're not gonna make miracles here.
So he wrote that movie the best he could, and
(05:56):
of course he got critically planned well yeah, because he
had three weeks to write it. Us me to write
a script in three weeks. We're going to have some issues.
And I think that's what we were looking at there.
Speaker 2 (06:05):
Yeah, it was. I can tell that it was a
little it was they were watching it. I fell asleep
and then I woke up to her singing. And when
I woke up to her singing, there was the moment
that I went, Okay, someone lost their way here, and
then we just decided.
Speaker 1 (06:19):
It was filler. Yeah, for sure. I mean even the
dance scene. I think the dance scene she did when
she in the first movie when she was killing the
other the bad the antagonist at the end of the movie,
really I think that was improvised. I don't think that
was planned. I'm pretty sure that wasn't in the script.
And then the little girl actor did this impromptu dance
and they loved it. And then she goes and you know,
(06:41):
kills the guy. So now we have a second movie
with a bigger budget, so now we have to have
like a full karaoke thing. And I was like, you know,
people don't need that, but you know what, do I know?
Speaker 2 (06:53):
It was not what I expected. I mean the first
one was a little not what we expected either. Yeah,
I felt like that there was a lot of opportunities.
Even in the first one that just kind of missed
the mark a little bit, but overall it was enjoyable
and I could see what they were doing and it
was creative and going into this world talking about like
artificial intelligence because of yeah, where we at? But yeah,
(07:16):
the second one just felt like somebody it was about
five people that just said, here's all our fantasy things
we want to put in this one movie, and it's
going to be great because it's going to be her
and she's become a pop culture star. So like, let's
just do that.
Speaker 1 (07:29):
Yeah, but imagine you take the married couple from the
Conjuring and you have them doing karaoke in the second
movie exactly. Okay, ironically ironically you.
Speaker 3 (07:42):
No, Patrick Wilson actually sings in the second movie, but
it's good and he's a great singer and it's not karaoke.
Speaker 2 (07:48):
However, use another single.
Speaker 1 (07:51):
Why am I doing this podcast? All right? So that's hilarious.
Let's talk about Tillie Norwood man, I mean, the AI
actor performer I guess you would call them that's making
the rounds and you know there's already agents out there
trying to sign it, and you know, I have thoughts,
(08:13):
what do you what do you think?
Speaker 2 (08:15):
Interestingly enough, I've spent my weekends here at the Boise
Film Festival and that has been a big topic of
conversation AI in general. But then this actual scenario, and
I think that it's very I don't want to use
the word scary, but it's it's I can see where
performers are coming from. Yeah, when there is this fear
(08:38):
or is this frustration and anger? Because somebody mentioned the
idea that, like, you know, recently there was this AI
band that like made this big hit rather like a
you know, really well known but I kind of jumped
in and I said, but the difference is is the
AI band is like, there's not a need for that
in terms of there's an actual role to fill, and
(09:00):
so we're just going to instead of going to find
a band, we're going to just make our own. But
now with this element of their performers that actually we
need for a spot in a role or in a project,
and instead of finding that person to give them a job,
we're going to give it to a computer. So there's
a whole different level when you're dealing with really truly
(09:24):
kind of taking away not only actors' abilities and actors'
opportunities to do these performances, but where's the creativity, because
then you can just really mold and shape an ai
character to do exactly what you want and say it
exactly the way you want to say it, instead of
what the beauty of acting is is these actors who
(09:47):
come on and take these roles, they make them their own.
They bring their own life into them and their own
energy into them. And so an actor may come and
do a role that a writer a director's like, I
didn't really I had it different, but then and this
person had this role and they took it to a
whole other level. And that's what makes that's the beauty
of performance. And you're going to that's just so lacking.
(10:08):
It's going to disappear if we go this route.
Speaker 1 (10:10):
One hundred percent agree. When we've both been on set,
and I remember writing several scenes and then being on
set while they're filming it, like finding Nicole specifically and
watching the actors really dig into the dialogue and just
chewing on it, and then sitting back and watching their
(10:31):
interpretation of the scene, which was fascinating, And then watching
the director's interpretation of the scene and seeing how all
of this they're taking it into deeper levels than I
even thought when I was writing. And I'm no schluck,
So you'll lose all of that, including like improv and
happy accidents, like that's all going to go away.
Speaker 2 (10:50):
Well, yeah, exactly.
Speaker 1 (10:52):
Here's my theory. It will get pushed back from Hollywood.
Hollywood will successfully push it back. However, my theory is
that AI performances will grow on the indie market, and
it will grow in the international market, and then once
audiences are desensitized from it five ten years from now,
(11:14):
Hollywood will accept it. I'm fairly certain we're going to
see it. I don't think it's going to go away.
And I think it comes down to money. Like I
was looking at projections of how much it would cost
to make a fully AI movie with AI performers and
all of that stuff, and the projections I was looking
at were scary. They were anywhere from forty to sixty
(11:37):
percent cheaper than a regular film budget. And that's all
the industry cares about is money is money. So if
I go to a producer and I say, hey, we
can make this outside of the US, on an indie
budget at sixty percent less. Guess what we've got an
AI movie.
Speaker 2 (11:56):
Yep, yeah, And that's again, I mean at what sacrifice?
So at what sacrifice are we saying right now the
green is good and the money is great because we're
going to follow the money and that's obviously the number
one thing. It's a business, This is a this is
an economic industry. So while we're entertainers and we're performers
and we're creatives, at the end of the day, things
(12:18):
have to make money. And so we understand that, But
at what sacrifice? So you know, ten five ten years
from now, you're right, we probably will be at that point.
But then what happens five ten years after that? What
happens when it's not the audience even being desensitized, it's
the audience being so like separated from reality that we
(12:41):
almost have this reverse engineer back to well we want
like the way like CGI took over and had this
wave and then like practical effects took the backseat. And
now this huge like jump back to practical is like
better or like the cooler. And I feel like that
might be the cycle that we go through where we
get to that point where the AI is just so big,
(13:02):
and then people are like, but now we want real people.
Speaker 1 (13:04):
Back, and then where is the craft at that point? Right? Right?
I think you're right. The desire for a profit is
shortsighted and will hurt the industry. And I hate to
say that it is an inevitability. I'm not trying to
be a DeBie downer, but I'm just looking at the numbers,
and the numbers are scary if they're that cheap, and
(13:27):
I just know, you know, we've been doing this twenty years.
We know, yeap. That being said, as a writer, B
will actually be I think, potentially more relied on, since
you can't really have a bad script saved by a
(13:48):
good performance. If you have a bad script and you
have an AI performer, it's going to have a bad performance.
So I would think that the need I mean, maybe
this is just me praying, yeah, but I believe that
the need for quality scripts will actually go up as
the use of live performances go down, which is just
(14:11):
so morbid to even talk about it, but I wanted
to have the discussion. We need to talk about it.
Speaker 2 (14:16):
No, absolutely, and I don't I think you're one hundred
percent right. I do think that there will be an
element that where they're going to want the human ability
to come in and touch that. So maybe they have
an AI script whipped out, but then they're going to
have writers come in and fix it or rewrite it,
or they're going to have to They're going to have to.
There's no way. You're absolutely right, because AI is only
(14:37):
pulling from what's out there now, and then you have
to have the ability to know prompting wise, that's very
strategic on how you prompt in order to create the
AI that you need. And so we've got to have
a human element, and there's just there's no getting around it.
And I think that, yeah, I agree again, I'm with you,
like I want to save I want to save everybody's jobs,
and I want to save our industry. So there's a
(14:59):
part of it that's like, well, well, but you'll still
need us, so don't forget us.
Speaker 1 (15:04):
And that might even happen with actors. They might be
bringing actors on behind the camera to be like, no,
this performance is way off and then having an actor
tweaking an AI's performance, which as insane as that sounds,
The thing about writing from AI, I mean, I remember
when AI Back in the day when they were first
testing out screenwriting, you know, you would get this kind
(15:25):
of AI slop, drug induced nightmare of a script that
made no sense and we all laughed at it. Ah,
you know, and now the AI scripts are they make sense.
There's no depth because just looking at the way AI
works at having been someone who has literally trained a
screenwriting AI, it just works within the database it has,
(15:48):
It scrapes that database, averages it out, and then gives
you a response. So any writing you're going to get
from AI will be cliche because that's what it knows.
So if you're just like I have this script and
AI wrote, if it's a script that makes sense, it's
going to be cliche. You need a person in that
(16:12):
process who is saying this is trash. We can work
with this, we can tweak that.
Speaker 2 (16:18):
It's crazy, man, it's it's scary, it's and there's everybody's
talking about it.
Speaker 1 (16:23):
There's Yeah.
Speaker 2 (16:24):
There was at our film festival this weekend, there was
a visual effects person who came to talk and he
did the visual effects for Leelo and Stitch and Dungeons
and Dragons, and he was I asked him, that was
my audience question to him was give me the temperature
on where you feel, you know, with AI coming into play,
and he loved the question. Came up to me after
(16:45):
and said he really appreciated it because it's what everybody's
talking about. So we have to we can't ignore it.
We've got to face it head on and we have
to have the discussion about it.
Speaker 1 (16:55):
Yeah, you can't put your head in the sand. Gary Thomas,
writer says budgets will inflate an a I will get
more expensive though depending on what's act of it. I
don't know, man, we'll see. I hope you're right to
where it gets comparable with live performers, and you know
it's not used as a way to put people out
of work, but time will tell it's happening either way.
(17:16):
So have you found any trash screenwriting advice for me?
Speaker 2 (17:21):
I have not. I have been really busy this week.
I'm so sorry. Usually keep up with my boards and
my things, and I've been working this film festival and
so today I actually get to go to a panel
and hear a screenwriter talk, so I'm very excited about that.
But maybe you have something that we can bring me
a table into say.
Speaker 1 (17:37):
I feel like you should be on the panel. So
let's just talk about that first of all.
Speaker 3 (17:42):
Well, no, the person who's going to be on the
screenwriter who's going to be on the panel is he's
got some amazing credits, so I'm very excited to hear
to hear him talk all.
Speaker 1 (17:51):
Right, bad screenwriting advice? What have I heard?
Speaker 2 (17:54):
Luck?
Speaker 1 (17:56):
This actually pisses me off a little when I hear
that you have to have luck in the industry in order.
Speaker 2 (18:03):
To make it.
Speaker 1 (18:03):
I do not believe in luck. I think it's belone
you need to make it in the industry as someone
who's an outsider who's been doing this twenty years, who
broke in and doesn't live in LA. It's time, talent,
and tenacity. I call it the three t's. Well, love it, time, talent,
and tenacity. But essentially, it's being persistent, not giving up,
(18:26):
and really knowing your stuff. And what that does is
it creates opportunity for you to start to prove yourself.
And that's what luck is.
Speaker 2 (18:37):
It really is. It's being It's not like people say, well,
I was at the right place at the right time,
But if you look at it from another perspective, no,
you put yourself there. You took the time. Like you said,
you took the time, and you travel to wherever you went,
and you were at a networking opportunity, like going to
these networking events or festivals. You put yourself around the
people that you would like to connect with and talk with.
(18:58):
So it's not necessarily luck. It's putting in the work.
I mean, that's just what it is. Like. You can't
you can't just sit behind the screen and then just
send emails out every day and then think this is
how I'm going to make it big. It's just not reality.
Speaker 1 (19:10):
As the baby boomers used to say, it's showing up.
Speaker 2 (19:14):
Yeah, exactly, and I love it. I still say that
a lot. Just show up, Just show up.
Speaker 1 (19:19):
Yeah, you got to go in there with a firm handshake,
look them in the eye. No, Yeah, it's definitely it's
showing up. It's networking. It's it's knowing your stuff and
being able to have the talent and the and the
skill so that when that opportunity shows you take advantage
of it and they go, wow, if you can do
(19:40):
all of that stuff, show up, make the context, reb
elbows with people, and then you send them a trash script.
Speaker 2 (19:47):
Oh yeah, yep, how many times. Has that happened?
Speaker 1 (19:49):
Yep, yeah, and then say you're unlucky. It's not you're unlucky.
You weren't ready.
Speaker 2 (19:54):
You weren't ready. Yeah, you've got to be able to
back up. If you're there and you're talking, you got
to be able to back up what you're saying.
Speaker 1 (20:00):
I absolutely prove it.
Speaker 2 (20:01):
The proof is in the work.
Speaker 1 (20:02):
So all right. So Gary Thomas, writer says, I'm currently
writing pages without knowing the full story. Is this ever
a good idea? I'd love to discuss this. So there's
a difference between being a plotter and a pantster, right, So,
George R. R. Martin plotter. It's why it takes some
(20:25):
thirty five years to write a book. Okay, he has
to plot every little thing and then HBO beats him
to the punch. Now, Stephen King, Right, pantster writes by
the seat of his pants with no idea where he's going,
which is why his endings never make sense.
Speaker 2 (20:43):
That I could see. Yes, it's like the difference is clear.
You see it, Yeah, you see it for sure.
Speaker 1 (20:50):
Listen. I'm not going to say any one way is
better than the other. But as a screenwriter who writes
you know, in crunch times, I have to be a plotter.
I have to know exactly where I'm going. I have
to see where the goalposts are so that I can
get there in a timely fashion. Now, if you're a
pastor and you're writing something and it's just flowing out
(21:15):
of you, really what's happening is you are going into
a cathartic state where you are expressing what you're dealing
with subconsciously onto the page. And there's nothing wrong with that.
It's beautiful, it can be emotional, it can be a
little wonky. But if that's your process and that works
for you, go for it. I never tell anybody one
(21:37):
process is better than the other. My process is my process,
and I teach it because I know it works for
me and it's worked for other people. But if you
can sit down and then just you know, Stephen king
that thing, do.
Speaker 2 (21:50):
It, yep. And sometimes it's even just the scenario that
you're in. So there's times that I've just wanted to
sit down and write, and I sit down and I
just tootle tootle all over the keyboard and I just
kind of write and it just comes out. No idea
where I'm going I might have a thing or two
in my mind, which is I want to write about
this character or something along those lines. And then the
(22:10):
reverse or of the flip side is I'm working on
a project and I have a deadline or I have
a full five page of here's all these notes that
you've got to kind of touch on. That then is
where I'm like you, I have to plot. I have
to really thoroughly kind of map out the blueprint of
where I'm going. So it just yeah, I know one
way is right or wrong. It's just where you are.
(22:32):
And then what you're working on.
Speaker 1 (22:34):
Do you ever find yourself? Let mean not put I
don't want to put you on the spot like this
because this is gonna be personal. When I'm writing, I
know that the script is special. When I tear up,
when I start feeling my eyes well up during a scene,
I know like this is a special script. They and
(22:55):
all the times I've had that happen, those scripts have
been made, they've had that seq sauce whether producers. I
had a producer write me and tell him he wept
and he had never done that before reading a script.
So I know, if I get into the headspace, then
it's gone in the right direction.
Speaker 2 (23:13):
Well, for sure. No, I've had those moments too. Some
of those moments have happened just because it's been something
I've been working on for so long. So when I
get to those moments in the screen or in the script,
I've been thinking about it for so long that like,
I just this emotion comes out because I'm finally kind
of putting it to life on the page. But yeah,
when I've had those kind of with me, it's like
(23:35):
if something just sticks with me and I'm just consistently
thinking about it and it just weighs heavy on me
and it affects my emotions the same thing. I usually
get feedback or I know people say that it's it's
just wow, this is just such a kind of powerful moment.
And I know, you know it's about sometimes those powerful
(23:55):
moments that you just want to do, you want to
get to. So yeah, I just this depends.
Speaker 1 (24:01):
Have you ever had a moment where you've plotted out
like a character's death, and then as you're writing it,
they're kind of like arguing with you about not yet
have you had that happen before.
Speaker 2 (24:16):
I've argued with myself on that. I've argued with myself.
There's a moment in a script where I like, I
cry every time I read it because I kill a
character and I don't want to kill this character. So
I wrote like two endings because I was like, I
want to save this character. Knowing that is like stop
doing that, don't do that. But yeah, I fought with
(24:38):
myself on even having to to hit those moments. Yeah. Yeah,
it's been there. I've been there.
Speaker 1 (24:44):
I wrote this really great B movie Amazon Adventure Creature Feature.
It's it's insane, it's wacky. I freaking love it. But
I wrote this character to who's supposed to die at
the turn into two, so that way the stakes are shown. Yeah,
And when it came to the character's death, it was
(25:06):
just like, no, not yet.
Speaker 2 (25:07):
I'm like, damn it, damn it.
Speaker 1 (25:09):
You're supposed to die now, right, I know why. I
get to mid act too, she's still alive. I'm like, bro,
what are you doing right now? I've got to throw
you off? Yeah, I know. And it wasn't until like
mid act three where I was like, this is the moment.
I was like, okay, all right, we get to kill
her off. Yeah, And and it was an emotional payoff.
Speaker 2 (25:32):
Man yep, yeah, I can imagine. I can imagine when
you're just you can't. You don't want to let it go,
you don't want to let that character go.
Speaker 1 (25:40):
But she went out in a glorious fashion. So I
was like, there you go, that's fantastic, great news that
you're helping out the Boise Film Festival. I'm glad to
see you over there. You know, do you thing representing
indie film? Yep?
Speaker 2 (25:55):
Yeah, I been kind of talking just to networking with
local filmmakers, with writers with pretty and talk to everybody
about the podcast. So I got some people to kind
of jump on and listen to the podcast and awesome. Yeah,
it's it's great to just be around just creative, positive
energy and everybody's just having such a great time. So
it's those are the things that you take the effort
(26:16):
to put yourself there. We talked a few episodes ago
about like there's community out there, there are things out there,
You're not alone in this. You just have to put
yourself out there and you'll be surprised at what you
connect with or who you connect with that helps you
grow in your journey.
Speaker 1 (26:30):
Well, do you want to do this again next weekend?
Speaker 2 (26:32):
Yes?
Speaker 1 (26:33):
Let's do it all right, guys, join us next week
and around this time, save up your screenwriting questions, hit
us in the comments and we'll answer them online. Hey,
if this episode helped you out, share it with a
writer who needs it. And if you haven't yet, follow
and leave a quick rating. It helps more screenwriters like
you find the show. Finally, you can also connect with
(26:53):
me on Instagram at screenwriter Pod. Thanks again for listening,
Keep writing,
Stuck in Act two, not sure if that twist actually works,
or maybe your characters are just fine. That's where Virtual
Jeffrey comes in. He's a screenwriting assistant we've trained to
help you workshop scenes, fixed pacing, punch up dialogue, or
just get on stuck. If you're a member of the
successful screent Edder, you've already got access. If not, it
(00:21):
might be time to level up. Welcome to the podcast.
We have people hopping on. We are live for episode
two eighty nine. I am joined by the ever affable
Christy Lee. Thanks for being with me now, I'm.
Speaker 2 (00:33):
Very excited to be here. As usual, well, I have to.
Speaker 1 (00:35):
Get my weekly dose of Christy otherwise I get cranky
and annoyed. So I watched a movie that I had
been avoiding because you know, critics just destroyed this film.
Megan two point zero, I'm gonna take a moment, catch
your breath, take.
Speaker 3 (00:53):
A moment, and then I'm gonna let you talk about
your experience with it.
Speaker 1 (00:56):
All right, and just to put this in the back
of your mind. I want to talk about Tillie would.
Speaker 2 (01:00):
But we should have a conversation about her.
Speaker 1 (01:03):
Yes, but first let's talk about Megan two point zero.
I it was crazy. I mean, I'm not one to
bash a movie because I know how hard it is
to make a movie. So they went from horror comedy
and the comedy was very light, to horror action. And
(01:24):
I was watching the movie. My wife walked in the
room and the first thirty seconds, Robot AI robot punches
a guy's head clean off, like clean off, and she goes,
he just punched the head off. I went, yeah, this
is now.
Speaker 2 (01:40):
I thought it was gonna be.
Speaker 1 (01:42):
We are in a completely different genre. I don't know
why we're making Megan an action hero. It was I mean,
could you imagine Chucky saving the day?
Speaker 2 (01:55):
Oh? Yeah, that Like in the second movie, he becomes
like the hero.
Speaker 1 (02:00):
Yeah, he becomes a good guy, Like, yeah, can you
see that. I can't see that.
Speaker 2 (02:05):
I can't see that, but I can see a world
where it's happened before, because that's pretty much kind of
what happened with Terminator too, Okay, And so you've got
the element of like Megan in the first movie again, yeah,
it's sci fi horror comedy ish, and then the second
movie is like they just step it up and do
this reversal of the role.
Speaker 1 (02:27):
I love your perspective on that. I did not even
consider for a moment that they use Terminator to as
a template, But I think you're absolutely right. I think
they did. Yeah, it does not work when you're going
from horror though, to you know, if you go from
a sci fi action movie to a sci fi action
movie and you make a new I can see the leap.
(02:48):
But if the horror genre and the horror fans are
so specific on what they want and how they want
it that you really want to appease those sands and
still try and do something original and no one was
asking for this. I kind of want to be a
fly in the wall when they were pitching this idea,
you know, because that went over Yeah yeah, or one
(03:11):
of those moments waving a red flag stuff, Oh.
Speaker 2 (03:14):
Hold on, hold on, because I was like that through
most of the movie, which was just like hold on, wait,
stop posit.
Speaker 3 (03:20):
I need to think about this for a second. Well,
I mean, like, so we watched it a couple of
months ago, and.
Speaker 2 (03:26):
We avoided it too, so we did not see it
when it came out in the theater, but we've been busy.
But it certainly was not what I expected either, and
I again, I don't like to bash films, and then,
particularly in the horror realm. I know one of those
screenwriters from this film wrote the first one or was
it part of writing the first one? And love that writer,
(03:48):
And so I thought, is this one of those scenarios
where so many studio people had their own thoughts and
ideas and so we just smash everything together because everybody
wants all these things.
Speaker 1 (03:59):
I think it's a victim of fast turnaround time. Right,
So bloom Bloomhouse would they have a budget of like
twelve million. I mean, when they do well, they make
like twenty five thirty mil.
Speaker 2 (04:12):
Right.
Speaker 1 (04:12):
They made one hundred and eighty nine million on the
first Megan, So they're like, we just made bank. Let's
do another one right now? And that's one hundred percent
that's what happened. So they're leaning on the director and
the writer, like let's do this. Let's go even broader.
It was such a big hit, right, Let's get a
(04:33):
wider demographic. Let's go with action, you know, so I
can see it's snowballing. And then you've got the creators
trying to be like okay, you know, and so here
we go, ye, and then you get this mean stee
at one point. At one point it was a home alone.
(04:54):
There was a home alone scene where they were like
literally hijinks glore of slipping on this and hitting in
the head with that, and I was like, oh no,
what's happening. What's happening? Yeah, So I mean it's just
this is, like you said, too many hands in the pot,
fast turnover.
Speaker 2 (05:13):
Right.
Speaker 1 (05:13):
So they probably didn't get a lot of drafts in.
Speaker 2 (05:17):
That's possible.
Speaker 1 (05:18):
Yeah, I think of like will you walk on the
chocolate factory? Right, the Johnny Depp one? Okay, So they
had all of the sets made, everyone cast and ready
to shoot in three weeks with no script.
Speaker 2 (05:32):
By the way, that just makes me want a bar.
Speaker 1 (05:34):
Okay. So now they're panicking, we don't have a script.
We have sets built, all right. So they hired John
August right, I mean in the guy's like a legend.
He did Big Big Fish, and he's got he's huge
on his podcast. And he had three weeks to write
that movie. I mean, you're not gonna make miracles here.
So he wrote that movie the best he could, and
(05:56):
of course he got critically planned well yeah, because he
had three weeks to write it. Us me to write
a script in three weeks. We're going to have some issues.
And I think that's what we were looking at there.
Speaker 2 (06:05):
Yeah, it was. I can tell that it was a
little it was they were watching it. I fell asleep
and then I woke up to her singing. And when
I woke up to her singing, there was the moment
that I went, Okay, someone lost their way here, and
then we just decided.
Speaker 1 (06:19):
It was filler. Yeah, for sure. I mean even the
dance scene. I think the dance scene she did when
she in the first movie when she was killing the
other the bad the antagonist at the end of the movie,
really I think that was improvised. I don't think that
was planned. I'm pretty sure that wasn't in the script.
And then the little girl actor did this impromptu dance
and they loved it. And then she goes and you know,
(06:41):
kills the guy. So now we have a second movie
with a bigger budget, so now we have to have
like a full karaoke thing. And I was like, you know,
people don't need that, but you know what, do I know?
Speaker 2 (06:53):
It was not what I expected. I mean the first
one was a little not what we expected either. Yeah,
I felt like that there was a lot of opportunities.
Even in the first one that just kind of missed
the mark a little bit, but overall it was enjoyable
and I could see what they were doing and it
was creative and going into this world talking about like
artificial intelligence because of yeah, where we at? But yeah,
(07:16):
the second one just felt like somebody it was about
five people that just said, here's all our fantasy things
we want to put in this one movie, and it's
going to be great because it's going to be her
and she's become a pop culture star. So like, let's
just do that.
Speaker 1 (07:29):
Yeah, but imagine you take the married couple from the
Conjuring and you have them doing karaoke in the second
movie exactly. Okay, ironically ironically you.
Speaker 3 (07:42):
No, Patrick Wilson actually sings in the second movie, but
it's good and he's a great singer and it's not karaoke.
Speaker 2 (07:48):
However, use another single.
Speaker 1 (07:51):
Why am I doing this podcast? All right? So that's hilarious.
Let's talk about Tillie Norwood man, I mean, the AI
actor performer I guess you would call them that's making
the rounds and you know there's already agents out there
trying to sign it, and you know, I have thoughts,
(08:13):
what do you what do you think?
Speaker 2 (08:15):
Interestingly enough, I've spent my weekends here at the Boise
Film Festival and that has been a big topic of
conversation AI in general. But then this actual scenario, and
I think that it's very I don't want to use
the word scary, but it's it's I can see where
performers are coming from. Yeah, when there is this fear
(08:38):
or is this frustration and anger? Because somebody mentioned the
idea that, like, you know, recently there was this AI
band that like made this big hit rather like a
you know, really well known but I kind of jumped
in and I said, but the difference is is the
AI band is like, there's not a need for that
in terms of there's an actual role to fill, and
(09:00):
so we're just going to instead of going to find
a band, we're going to just make our own. But
now with this element of their performers that actually we
need for a spot in a role or in a project,
and instead of finding that person to give them a job,
we're going to give it to a computer. So there's
a whole different level when you're dealing with really truly
(09:24):
kind of taking away not only actors' abilities and actors'
opportunities to do these performances, but where's the creativity, because
then you can just really mold and shape an ai
character to do exactly what you want and say it
exactly the way you want to say it, instead of
what the beauty of acting is is these actors who
(09:47):
come on and take these roles, they make them their own.
They bring their own life into them and their own
energy into them. And so an actor may come and
do a role that a writer a director's like, I
didn't really I had it different, but then and this
person had this role and they took it to a
whole other level. And that's what makes that's the beauty
of performance. And you're going to that's just so lacking.
(10:08):
It's going to disappear if we go this route.
Speaker 1 (10:10):
One hundred percent agree. When we've both been on set,
and I remember writing several scenes and then being on
set while they're filming it, like finding Nicole specifically and
watching the actors really dig into the dialogue and just
chewing on it, and then sitting back and watching their
(10:31):
interpretation of the scene, which was fascinating, And then watching
the director's interpretation of the scene and seeing how all
of this they're taking it into deeper levels than I
even thought when I was writing. And I'm no schluck,
So you'll lose all of that, including like improv and
happy accidents, like that's all going to go away.
Speaker 2 (10:50):
Well, yeah, exactly.
Speaker 1 (10:52):
Here's my theory. It will get pushed back from Hollywood.
Hollywood will successfully push it back. However, my theory is
that AI performances will grow on the indie market, and
it will grow in the international market, and then once
audiences are desensitized from it five ten years from now,
(11:14):
Hollywood will accept it. I'm fairly certain we're going to
see it. I don't think it's going to go away.
And I think it comes down to money. Like I
was looking at projections of how much it would cost
to make a fully AI movie with AI performers and
all of that stuff, and the projections I was looking
at were scary. They were anywhere from forty to sixty
(11:37):
percent cheaper than a regular film budget. And that's all
the industry cares about is money is money. So if
I go to a producer and I say, hey, we
can make this outside of the US, on an indie
budget at sixty percent less. Guess what we've got an
AI movie.
Speaker 2 (11:56):
Yep, yeah, And that's again, I mean at what sacrifice?
So at what sacrifice are we saying right now the
green is good and the money is great because we're
going to follow the money and that's obviously the number
one thing. It's a business, This is a this is
an economic industry. So while we're entertainers and we're performers
and we're creatives, at the end of the day, things
(12:18):
have to make money. And so we understand that, But
at what sacrifice? So you know, ten five ten years
from now, you're right, we probably will be at that point.
But then what happens five ten years after that? What
happens when it's not the audience even being desensitized, it's
the audience being so like separated from reality that we
(12:41):
almost have this reverse engineer back to well we want
like the way like CGI took over and had this
wave and then like practical effects took the backseat. And
now this huge like jump back to practical is like
better or like the cooler. And I feel like that
might be the cycle that we go through where we
get to that point where the AI is just so big,
(13:02):
and then people are like, but now we want real people.
Speaker 1 (13:04):
Back, and then where is the craft at that point? Right? Right?
I think you're right. The desire for a profit is
shortsighted and will hurt the industry. And I hate to
say that it is an inevitability. I'm not trying to
be a DeBie downer, but I'm just looking at the numbers,
and the numbers are scary if they're that cheap, and
(13:27):
I just know, you know, we've been doing this twenty years.
We know, yeap. That being said, as a writer, B
will actually be I think, potentially more relied on, since
you can't really have a bad script saved by a
(13:48):
good performance. If you have a bad script and you
have an AI performer, it's going to have a bad performance.
So I would think that the need I mean, maybe
this is just me praying, yeah, but I believe that
the need for quality scripts will actually go up as
the use of live performances go down, which is just
(14:11):
so morbid to even talk about it, but I wanted
to have the discussion. We need to talk about it.
Speaker 2 (14:16):
No, absolutely, and I don't I think you're one hundred
percent right. I do think that there will be an
element that where they're going to want the human ability
to come in and touch that. So maybe they have
an AI script whipped out, but then they're going to
have writers come in and fix it or rewrite it,
or they're going to have to They're going to have to.
There's no way. You're absolutely right, because AI is only
(14:37):
pulling from what's out there now, and then you have
to have the ability to know prompting wise, that's very
strategic on how you prompt in order to create the
AI that you need. And so we've got to have
a human element, and there's just there's no getting around it.
And I think that, yeah, I agree again, I'm with you,
like I want to save I want to save everybody's jobs,
and I want to save our industry. So there's a
(14:59):
part of it that's like, well, well, but you'll still
need us, so don't forget us.
Speaker 1 (15:04):
And that might even happen with actors. They might be
bringing actors on behind the camera to be like, no,
this performance is way off and then having an actor
tweaking an AI's performance, which as insane as that sounds,
The thing about writing from AI, I mean, I remember
when AI Back in the day when they were first
testing out screenwriting, you know, you would get this kind
(15:25):
of AI slop, drug induced nightmare of a script that
made no sense and we all laughed at it. Ah,
you know, and now the AI scripts are they make sense.
There's no depth because just looking at the way AI
works at having been someone who has literally trained a
screenwriting AI, it just works within the database it has,
(15:48):
It scrapes that database, averages it out, and then gives
you a response. So any writing you're going to get
from AI will be cliche because that's what it knows.
So if you're just like I have this script and
AI wrote, if it's a script that makes sense, it's
going to be cliche. You need a person in that
(16:12):
process who is saying this is trash. We can work
with this, we can tweak that.
Speaker 2 (16:18):
It's crazy, man, it's it's scary, it's and there's everybody's
talking about it.
Speaker 1 (16:23):
There's Yeah.
Speaker 2 (16:24):
There was at our film festival this weekend, there was
a visual effects person who came to talk and he
did the visual effects for Leelo and Stitch and Dungeons
and Dragons, and he was I asked him, that was
my audience question to him was give me the temperature
on where you feel, you know, with AI coming into play,
and he loved the question. Came up to me after
(16:45):
and said he really appreciated it because it's what everybody's
talking about. So we have to we can't ignore it.
We've got to face it head on and we have
to have the discussion about it.
Speaker 1 (16:55):
Yeah, you can't put your head in the sand. Gary Thomas,
writer says budgets will inflate an a I will get
more expensive though depending on what's act of it. I
don't know, man, we'll see. I hope you're right to
where it gets comparable with live performers, and you know
it's not used as a way to put people out
of work, but time will tell it's happening either way.
(17:16):
So have you found any trash screenwriting advice for me?
Speaker 2 (17:21):
I have not. I have been really busy this week.
I'm so sorry. Usually keep up with my boards and
my things, and I've been working this film festival and
so today I actually get to go to a panel
and hear a screenwriter talk, so I'm very excited about that.
But maybe you have something that we can bring me
a table into say.
Speaker 1 (17:37):
I feel like you should be on the panel. So
let's just talk about that first of all.
Speaker 3 (17:42):
Well, no, the person who's going to be on the
screenwriter who's going to be on the panel is he's
got some amazing credits, so I'm very excited to hear
to hear him talk all.
Speaker 1 (17:51):
Right, bad screenwriting advice? What have I heard?
Speaker 2 (17:54):
Luck?
Speaker 1 (17:56):
This actually pisses me off a little when I hear
that you have to have luck in the industry in order.
Speaker 2 (18:03):
To make it.
Speaker 1 (18:03):
I do not believe in luck. I think it's belone
you need to make it in the industry as someone
who's an outsider who's been doing this twenty years, who
broke in and doesn't live in LA. It's time, talent,
and tenacity. I call it the three t's. Well, love it, time, talent,
and tenacity. But essentially, it's being persistent, not giving up,
(18:26):
and really knowing your stuff. And what that does is
it creates opportunity for you to start to prove yourself.
And that's what luck is.
Speaker 2 (18:37):
It really is. It's being It's not like people say, well,
I was at the right place at the right time,
But if you look at it from another perspective, no,
you put yourself there. You took the time. Like you said,
you took the time, and you travel to wherever you went,
and you were at a networking opportunity, like going to
these networking events or festivals. You put yourself around the
people that you would like to connect with and talk with.
(18:58):
So it's not necessarily luck. It's putting in the work.
I mean, that's just what it is. Like. You can't
you can't just sit behind the screen and then just
send emails out every day and then think this is
how I'm going to make it big. It's just not reality.
Speaker 1 (19:10):
As the baby boomers used to say, it's showing up.
Speaker 2 (19:14):
Yeah, exactly, and I love it. I still say that
a lot. Just show up, Just show up.
Speaker 1 (19:19):
Yeah, you got to go in there with a firm handshake,
look them in the eye. No, Yeah, it's definitely it's
showing up. It's networking. It's it's knowing your stuff and
being able to have the talent and the and the
skill so that when that opportunity shows you take advantage
of it and they go, wow, if you can do
(19:40):
all of that stuff, show up, make the context, reb
elbows with people, and then you send them a trash script.
Speaker 2 (19:47):
Oh yeah, yep, how many times. Has that happened?
Speaker 1 (19:49):
Yep, yeah, and then say you're unlucky. It's not you're unlucky.
You weren't ready.
Speaker 2 (19:54):
You weren't ready. Yeah, you've got to be able to
back up. If you're there and you're talking, you got
to be able to back up what you're saying.
Speaker 1 (20:00):
I absolutely prove it.
Speaker 2 (20:01):
The proof is in the work.
Speaker 1 (20:02):
So all right. So Gary Thomas, writer says, I'm currently
writing pages without knowing the full story. Is this ever
a good idea? I'd love to discuss this. So there's
a difference between being a plotter and a pantster, right, So,
George R. R. Martin plotter. It's why it takes some
(20:25):
thirty five years to write a book. Okay, he has
to plot every little thing and then HBO beats him
to the punch. Now, Stephen King, Right, pantster writes by
the seat of his pants with no idea where he's going,
which is why his endings never make sense.
Speaker 2 (20:43):
That I could see. Yes, it's like the difference is clear.
You see it, Yeah, you see it for sure.
Speaker 1 (20:50):
Listen. I'm not going to say any one way is
better than the other. But as a screenwriter who writes
you know, in crunch times, I have to be a plotter.
I have to know exactly where I'm going. I have
to see where the goalposts are so that I can
get there in a timely fashion. Now, if you're a
pastor and you're writing something and it's just flowing out
(21:15):
of you, really what's happening is you are going into
a cathartic state where you are expressing what you're dealing
with subconsciously onto the page. And there's nothing wrong with that.
It's beautiful, it can be emotional, it can be a
little wonky. But if that's your process and that works
for you, go for it. I never tell anybody one
(21:37):
process is better than the other. My process is my process,
and I teach it because I know it works for
me and it's worked for other people. But if you
can sit down and then just you know, Stephen king
that thing, do.
Speaker 2 (21:50):
It, yep. And sometimes it's even just the scenario that
you're in. So there's times that I've just wanted to
sit down and write, and I sit down and I
just tootle tootle all over the keyboard and I just
kind of write and it just comes out. No idea
where I'm going I might have a thing or two
in my mind, which is I want to write about
this character or something along those lines. And then the
(22:10):
reverse or of the flip side is I'm working on
a project and I have a deadline or I have
a full five page of here's all these notes that
you've got to kind of touch on. That then is
where I'm like you, I have to plot. I have
to really thoroughly kind of map out the blueprint of
where I'm going. So it just yeah, I know one
way is right or wrong. It's just where you are.
(22:32):
And then what you're working on.
Speaker 1 (22:34):
Do you ever find yourself? Let mean not put I
don't want to put you on the spot like this
because this is gonna be personal. When I'm writing, I
know that the script is special. When I tear up,
when I start feeling my eyes well up during a scene,
I know like this is a special script. They and
(22:55):
all the times I've had that happen, those scripts have
been made, they've had that seq sauce whether producers. I
had a producer write me and tell him he wept
and he had never done that before reading a script.
So I know, if I get into the headspace, then
it's gone in the right direction.
Speaker 2 (23:13):
Well, for sure. No, I've had those moments too. Some
of those moments have happened just because it's been something
I've been working on for so long. So when I
get to those moments in the screen or in the script,
I've been thinking about it for so long that like,
I just this emotion comes out because I'm finally kind
of putting it to life on the page. But yeah,
when I've had those kind of with me, it's like
(23:35):
if something just sticks with me and I'm just consistently
thinking about it and it just weighs heavy on me
and it affects my emotions the same thing. I usually
get feedback or I know people say that it's it's
just wow, this is just such a kind of powerful moment.
And I know, you know it's about sometimes those powerful
(23:55):
moments that you just want to do, you want to
get to. So yeah, I just this depends.
Speaker 1 (24:01):
Have you ever had a moment where you've plotted out
like a character's death, and then as you're writing it,
they're kind of like arguing with you about not yet
have you had that happen before.
Speaker 2 (24:16):
I've argued with myself on that. I've argued with myself.
There's a moment in a script where I like, I
cry every time I read it because I kill a
character and I don't want to kill this character. So
I wrote like two endings because I was like, I
want to save this character. Knowing that is like stop
doing that, don't do that. But yeah, I fought with
(24:38):
myself on even having to to hit those moments. Yeah. Yeah,
it's been there. I've been there.
Speaker 1 (24:44):
I wrote this really great B movie Amazon Adventure Creature Feature.
It's it's insane, it's wacky. I freaking love it. But
I wrote this character to who's supposed to die at
the turn into two, so that way the stakes are shown. Yeah,
And when it came to the character's death, it was
(25:06):
just like, no, not yet.
Speaker 2 (25:07):
I'm like, damn it, damn it.
Speaker 1 (25:09):
You're supposed to die now, right, I know why. I
get to mid act too, she's still alive. I'm like, bro,
what are you doing right now? I've got to throw
you off? Yeah, I know. And it wasn't until like
mid act three where I was like, this is the moment.
I was like, okay, all right, we get to kill
her off. Yeah, And and it was an emotional payoff.
Speaker 2 (25:32):
Man yep, yeah, I can imagine. I can imagine when
you're just you can't. You don't want to let it go,
you don't want to let that character go.
Speaker 1 (25:40):
But she went out in a glorious fashion. So I
was like, there you go, that's fantastic, great news that
you're helping out the Boise Film Festival. I'm glad to
see you over there. You know, do you thing representing
indie film? Yep?
Speaker 2 (25:55):
Yeah, I been kind of talking just to networking with
local filmmakers, with writers with pretty and talk to everybody
about the podcast. So I got some people to kind
of jump on and listen to the podcast and awesome. Yeah,
it's it's great to just be around just creative, positive
energy and everybody's just having such a great time. So
it's those are the things that you take the effort
(26:16):
to put yourself there. We talked a few episodes ago
about like there's community out there, there are things out there,
You're not alone in this. You just have to put
yourself out there and you'll be surprised at what you
connect with or who you connect with that helps you
grow in your journey.
Speaker 1 (26:30):
Well, do you want to do this again next weekend?
Speaker 2 (26:32):
Yes?
Speaker 1 (26:33):
Let's do it all right, guys, join us next week
and around this time, save up your screenwriting questions, hit
us in the comments and we'll answer them online. Hey,
if this episode helped you out, share it with a
writer who needs it. And if you haven't yet, follow
and leave a quick rating. It helps more screenwriters like
you find the show. Finally, you can also connect with
(26:53):
me on Instagram at screenwriter Pod. Thanks again for listening,
Keep writing,
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