Doug Conant: Director, producer and screenwriter in Los Angeles, California.

It really is a about the official screenwriting 'margins'; using the "US letter," option, at the end, without changing any ,'margins," settings you should end up, whatever screenwriting software you use, with exactly the same page count -- but you don't?! Clearly I am missing someting!

I currently use Writerduet. I will check the margins. I don't know what the US letter option is. I will look it up.

I think WriterDuet ,( which I use the free version of) standardly is set in US letter, as is Final Draft, still I feel you get a different page count, but not sure...somebody enlighten me ..

Thanks Doug Conant. That is very helpful.

I recommend checking out these courses that provide a ton of insight on how to get a director attached to your project:

https://www.stage32.com/webinars/The-Key-Elements-to-a-Commercial-Script...

https://www.stage32.com/classes/Stage-32-4-Part-Class-How-to-Attract-Fin...

https://www.stage32.com/webinars/How-To-Make-Your-Logline-Attractive-to-...

And please feel free to reach out to the Stage 32 education team directly at edu@stage32.com for guidance on our world-class entertainment education.

Hi Martin Reese - some great advice above. I also recommend watching this Stage 32 webinar on how to attach a director to your project - Aimee School has produced 35 features and is a wealth of knowledge on this topic. Here's a link so you can check it out: https://www.stage32.com/webinars/Attaching-a-Director-to-Your-Project-to...

Has anyone used iActor?

Hello and welcome, I go to sites like http://backstage.com and http://casting360.com when I am looking for people. Lina Jones http://videobylina.com

Hi Joel im a great actor looking for work in Vegas . Check out mu resume and profile thanks

Of course you can. Many features are shot with DSLR cameras.

https://www.imdb.com/list/ls059550382/

The bigger questions are......what can you afford - from a camera standpoint, and from a lens standpoint?

Getting the most bang for your buck and managing your project and time wisely are obviously important factors in your project. Hook up with a wise guru or two that can help you out....and who might have the equipment already, if you don't.....give them ownership in your project, bro, and make things as easy as possible for you. You're a really good filmmaker already, and have a great command of a director's POV, and keeping an audience engaged and your story moving. You also might want to check out this Stage32 webinar:

https://www.stage32.com/webinars/The-Camera-Conundrum-Choosing-the-Best-...

Watch the webinar...get your gurus....give them a piece of the pie if necessary, bro....and go make that voodoo that you do so welllllllll! Heh-heh.

Best wishes to you and your family, and best fortunes in your endeavors!

Yep. I would just rig it out with a cage to give it weight. Also a recorder would be good to give it a little more color depth for post. But these guys shot 8bit and got good results. Just expose and light properly. I DP'ed an indy feature with this camera as well. The A7III is cheaper and even better. The new Black Magic Pocket Cinema camera is impressive too. It's a tiny sensor but you can capture in raw.

https://nofilmschool.com/Sony-a7sii-movie

Yes you can but it takes the same effort as if you were using a RED Camera with proper lighting and good glass. The movie Act of Valor was shot using a DSLR. About 80% of the movie was done using the Canon 5D. Search behind the scenes and how they did it. Here is the movie trailer https://www.youtube.com/watch?v=_oFzxV_pmwI&t=31s

"Tender Loving Care"

Thanks, Anna!

Danny, I have to argue/add to certain points in your post, for the benefit of less industry-experienced writers on here. First, I'll say that I came across your business some time ago and I've had you on my radar. Second, nothing qualifies a script consultant except for the actual success of their consulting. Unfortunately, the quest to find a good/legit script consultant is far more complex than you let on. The fact that a consultant has worked "in the industry" for a certain period and even worked directly with writers and developed and sold projects can often be a smoke screen. The industry is relatively large and diverse when it comes to the unique experiences people working within it have. And there's a reason why the majority of the movies in the megaplexes are mediocre or worse: just because someone has worked in the industry, in any capacity, and has achieved some degree of financial success, does not mean that they even have a clue about what their jobs are. All of you honest folks who have been inside know what I'm talking about, and I know you do too, Danny (I don't know you, so I certainly do not mean to suggest that I'm lumping you into that group). There are more BS artists out there than true craftspeople. I can't tell you how many times I've witnessed a creative exec-turned-story consultant just talk their way through a notes meeting, regurgitating "rules" that don't apply to the situation (but sound good to even more creatively-inept execs/producers). One gentle-lady, clearly caught off guard, proceeded to argue that the concept of setups and payoffs was getting "stale" in "today's blockbusters." Yeah, Iron Man 3 really screwed the pooch with that stale, old setups and payoffs gag. She was making a ton of money per week and was brought in by the development director (a friend). She has worked many years in the industry and ushered a few projects which were made and released. None of them were good and they faded away fast. So, my point, finally, is that it is often more important to ask the prospective consultant what projects and what people they have worked on/with and whether or not you feel, as the writer, that their specific experience applies to your script. A consultant whose shining achievement was guiding the writers on Wrong Turn 3 may not be ideal for your Frank Pierson-esque character drama. You must ask if they don't say upfront. And not all consultants have experience working with the needs of directors and producers. Working on a script that will be submitted to directors or has already been optioned is often very different from writing a script to get through "common" readers at agencies (especially agencies), studios, and production companies. Knowing that a consultant has worked in the "industry," with "writers," and has seen their projects "made," can only tell you about their financial or subjective personal success. The only real measure for knowing the quality of their consulting work is to know what they've done and who they've done it with. I do applaud you, Danny, for giving a detailed run-down of your experience in the bio on your website. That's a lot more than many consultants out there. With that, good day, sir!

Doug I don't wholly disagree. and yes there are other things that go into it and other questions to ask to get deeper into each consultant. But despite what types of films or people someone might have worked on, they are still going to be better than someone who has never worked on ANY. God knows not every development exec is great at their job or would make for a good consultant - I'm not saying they would. But there are so many people on here (and out there in the world) describing themselves as Script Consultants and have ZERO experience except that they've read some of their friends work and those friends thought they gave good notes. THOSE are the types of people new writers should avoid. But you're right - and that's why the title of the post was Do Your Due Dilligence!!

I was indeed looking deeper into the question, and I should've mentioned first off that I absolutely agree that some professional experience is better than nothing! All the best, Danny.

This is the place to go: http://vo2gogo.com/start See the reviews. Google it. Then get going.

I've been told - many, many times - that I have a great radio voice! Anybody interested in listening . . . ?

Hey, everyone, thanks for all of the advice. I've checked into some of the sites. As soon as I get a chance to catch my breath, I'll check into some more and let you know what's going on!

... depends on who wrote the report? ... start from scratch... NEVER! ... if the idea and concept was worthy of my starting to write a script, creating a logline and treatment, struggling my way through to produce a vomit draft, then polishing it another two or three rewrites before allowing someone to critique my project. I would consider the good points of the coverage and ignore those unworthy of considering. Possibly it helped improve the script, maybe not? But to throw it away based on someone else's report... NEVER!

First, I cry. Then I get angry. Then I get drunk. Then I print the coverage out, fold it up, and use it for a coaster for a couple weeks. Then I unfold it, go through it to see if there's anything valid there. There usually is. In most cases, no matter how harsh it is, someone has taken the time to read your script, and are trying to help. But also remember it's opinion and it's not always right. And I'm with Curt, don't scrap it and start over from the beginning. If you need perspective, start on something new for a while before coming back to it. And remember, Stephen King threw his manuscript for Carrie into the trash after a rejection. His wife rescued it and made him send it out again.

You can MORE than one opinion, then get drunk etc. Sarah...What your vision for your project? Who is it written for? all the usual questions. I'd say.. Get your Logline, hook down.. Send out the first ten pages....Free on various sites, get some feed back from more than one source , work on the first part of the screenplay - send it out , get some feedback.. I am amazed on why screenwriter work months even years trying to fix an entire script , when the foundation doesn't hold up or they write something that nobody would want to buy. You still have to finish the script or at least no where it is going, but NAIL the first part. Cause... if the first PART aint no good , nobody is gonna look at the rest. If you like I would be glad to take a look at the first ten pages. Send the logline and Genre and any other helpful tid-bits Wdvideo@aol.com

Wow, your work is really impressive Michael. Im excited to see where Stage 32 helps take you (big places I'm expecting!)

Stage 32 has definitely helped me expand my network. I could assemble an all-star team from the amazing people I've connected with.

Very powerful! Loved it!