The Most Irresistible Movie Poster TVWriter™ has ever Seen

by TVWriter™ Press Service

Sam Elliott!

Big Foot!

Dead Hitler!

The FBI!

Yes, we know that we almost never feature an actor or even a director over the writer or writers of a film or TV show because we always want to take every opportunity we can to highlight writers’ contributions to the final product.

But, c’mon, we’re talking about Fucking Sam Fucking Elliott here, and if he doesn’t deserve top billing in everything he does, well, who does?

Bottom Line: Mr. Fucking Sam Fucking Elliott is the hero in an upcoming film delightfully titled The Man Who Killed Hitler And Then The Bigfootwhich was written (and is currently being directed) by Robert D. Krzykowski. It’s about half finished shooting and has the most exciting premise since Bubba Ho-Tep, which this TVWriter™ minion genuinely believes to be the best film ever made.

Here’s what the P.R. people have to say about TMWKHATTB:

Sam Elliott (TOMBSTONE, ROAD HOUSE) stars as a legendary World War II veteran who many years ago assassinated Adolf Hitler – an incredible secret that he’s frustratingly unable to share with the world. One day, just as he’s coming to terms with rounding out his life, Calvin gets a visit from the FBI and The Royal Canadian Mounted Police. They need him to take out Bigfoot. This wondrous feature debut from writer/director Robert D. Krzykowski features visual effects by celebrated two-time Academy Award Winner Douglas Trumbull (2001: A SPACE ODYSSEY, BLADE RUNNER), who also co-produced alongside the great John Sayles (EIGHT MEN OUT) and Lucky McKee (THE WOMAN). A fantastical discourse on the melancholia of old age and a singular blast of entertaining wit, THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT also stars Aidan Turner (THE HOBBIT trilogy), Caitlin FitzGerald (Showtime’s “Masters of Sex”), and Ron Livingston (OFFICE SPACE).

Niice!

Way to go, Robert D. Krzykowski! We don’t know about your writing, or even your directing, yet, but your premise and casting instincts are superb!

Most Viewed TVWriter™ Posts of the Week – June 25, 2018

Time for TVWriter™’s Monday look at our most popular blog posts of the week ending yesterday. They are:

‘NCIS: New Orleans’ Producer Investigated Again, Even as CBS Renews Overall Deal

‘Latvia: Europe’s Nation of Introverts’

Meltdown on Set of South African Epic Series – Wow!

Indie Video & Film: ‘Division’

‘The Following’ Season 4 was Cancelled by Fox Because the TV Series Became a Victim of Lazy Writing!

And our most visited permanent resource pages are:

Writing the Dreaded Outline

PEOPLE’S PILOT 2018 Writing Contest

The Logline

THE PEOPLE’S PILOT: Enter

WRITING & SHOWBIZ NEWSWATCH

Big thanks to everybody for making this another great week at TVWriter™ . Don’t forget to click above and read what you missed and re-read what you loved!

Bri Castellini Investigates the ‘Weird’ – @brisownworld

by Bri Castellini

Weird, yeah?

Sometimes I worry that the things I write/create and publicly promote are too weird. My short film Ace and Anxious (spoiler alert) ends with a visual gag implying a man has had sex with a playing card. My web series Sam and Pat features escalating and absurdist visual gags set against two characters being mean to each other and talking about therapists. My web series Brains is a narrative vlog from the perspective of a narcissistic sociopathic YouTuber trying to get a boyfriend post zombie apocalypse.

The worry about the weird comes not from a worry that the things I make aren’t good. I think they’re quite good- I’ve even got some awards to prove it!

The worry comes more from the fact that it’s very hard to succinctly explain these projects and their value to people more successful than me. “Oh, you make films too? What are they about?” “You better sit down for this.”

Other times, I am delighted by the weirdness, because it sets me apart and is true to my voice, which is also very weird. And honestly, every time I’ve tried to write something earnest and straightforward it’s sucked. Weird used to be an insult, but now it’s literally my brand.


EDITOR’S NOTE: Speaking of Bri’s weird brand, it has come to our attention that her fine, weird web series Sam and Pat has started a crowdfunding campaign to finance its upcoming Season 2. As Bri put it:

Sam and Pat season 2 is coming! And to celebrate, we launched a Seed&Spark campaign! This way, you get to be involved early in helping us make a frank, funny, and f-very weird second season. Season 1 happened so quickly you didn’t get a chance to be part of the excitement, but not so this time!

Where do you go to participate? RIGHT HERE.

What will you see there? Something like this:

Why should you participate? Here are a few more words from Her Briness Herself:

I wrote Sam and Pat Are Depressed during one of the least creative years of my entire life, deep inside one of the most crushing depressive episodes I’ve ever experienced. Trump had just been elected, I’d lost my job at MTV, and I was burning through my savings account at an alarming rate.

Sam and Pat is a love letter to myself, and to my dear friend and muse Chris Cherry (“Pat”), to remind us that even during the darkest moments, we are not alone, and we are funny as hell. I have been truly and genuinely humbled by the response to season 1, and I cannot wait to share season 2 with you as well.

Any hand you can lend our strange little passion project is a hand we appreciate more than any other hand we’ve ever seen. We want to continue to talk frankly about mental illness, we want to continue to increase representation for the asexual community, and we want to continue to make you laugh.

This TVWriter™ minion is with Bri on this and hopes you will be too. After all, the more everyone gives, the less guilty I’ll feel about how little I can afford to ante up. And you don’t want yers truly to join the ranks of The Depressed, do you? Isn’t my inherent weirdness enough?


Bri Castellini is an indie filmmaker and Community Liaison at Stareable, our favorite web series hub. Watch the remarkable Ms. Castellini’s award-winning web series, Brains, HERE. See Sam And Pat Are Depressed HERE. This post first appeared on her seriously cool blog.

HOW TO PITCH A TV SHOW TO NETFLIX & NETWORKS

Speaking of “the binge factory,” as we were just a couple of days ago, Script Reader Pro is one of the best script service sites around, and this is one of the best guides to successfully pitching your series that this TVWriter™ minion has ever seen. But I’ve already taken too much of your time so all I’ll add now is, “Dig in!”

Dammit, Munchman, how many times do we have to tell you to stop using this pic? It’s not this kind of pitching!

From Script Reader Pro

Learning how to pitch a TV show is just an important skill to learn as writing the script itself. If you’re hoping to break into the world of television as a writer, you can write the best pilot in history, but if you don’t know how to pitch it, it’s unlikely your show will get produced.

Apart from great writing, you need to be able to convince the financial gatekeepers (read: executives) at any cable, network or reality channel that your idea has the originality, longevity and “wow-factor” to turn it into a successful series. And to turn over a tidy profit.

To do so, you will need to learn how to pitch a TV show, but what does “pitch” mean exactly?

  • What kind of pitch should you put together in order to sell them on your big idea?
  • What should you include in such a document?
  • How should it be tailored to suit the particular entity you’re pitching to?

Below, we’ll aim to answer these queries by running through the means and methods behind pitching a variety of documents to a variety of TV formats and mediums.

In this post you will learn:

  • The #1 thing that makes a successful pitch to a TV show
  • How to create a pitch document
  • How to pitch a TV show to Netflix and other streaming and cable platforms
  • How to pitch a TV show to a network
  • How to pitch a reality TV show
  • Why writing credits are so important when pitching TV shows

We’ll also include a TV show pitch example in each section so you also get an idea of what you should be creating as part of the pitch process. So let’s dive on in…

How to pitch a TV show: the #1 thing you should have

Of course, just like with a feature screenplay, it all begins and ends with the concept.

A TV script lives and dies by its concept: the core idea behind the show that will make people want to watch the pilot and keep watching the series.

The cable and streaming world in particular have never been bolder creatively than they are today, so you must really put in the effort to make sure your show’s concept stands out from the pack….

Read it all at scriptreaderpro.com

Introducing Stareable’s new podcast: ‘Forget The Box!’

Exciting email from Stareable, the site this particular TVWriter™ minion considers the absolute last word about web series here on the, erm, web, about their new podcast. (And the first few episodes already are online.

Here’s the downlow:

In case you hadn’t heard, Stareable has a podcast now! Forget The Box, hosted by Stareable’s Community Director Bri Castellini (me!), aims to be the ultimate indie TV podcast, and…[y]ou can listen to all episodes in full here, with new ones going up every Tuesday!
We hope you enjoy the episode! And to sweeten the pot for you AND your communities, we’re doing a giveaway! Anyone who reviews the podcast on iTunes and sends a screenshot topodcast@stareable.com will be entered to win prizes such as a free ticket to Stareable Fest, a free Forget The Box teeshirt, or a $250 Amazon gift card!

See? Prizes. We toldja it was exciting. And the podcast seems pretty damn informative too.

Tell ’em TVWriter™ sentcha. (Yeah, they most likely won’t ask, but we like to be prepared for every contingency.

Keep the faith!