C.J. Rice

Saturday, July 12, 2008

Bio, Pics, and ScriptShark Interview

Hey there! Check out my new bio, pics, and ScriptShark interview below:

Though it was at age twelve that C.J. Rice borrowed an early version of the Oscar nominated film Saving Private Ryan, which would come to inspire him to begin pursuing his burning passion to direct motion pictures, his desire to tell stories and entertain people began when he fell in love with the art of illusion and the act of performing magic. Read More...

PICS

SCRIPTSHARK.COM INTERVIEW

WHAT ARE THE MAIN THINGS YOU LOOK FOR WHEN YOU READ A SCRIPT?

Professionalism and concision are of the first elements a reader can detect; I'll take a quick page count (readers can tell by the weight of the material), check the title page for superfluous information, and by the end of the first ten pages, I'll have an accurate idea of the writer's concision, and the overall precision of the material. From there on, I'm looking for believable, genuine characters who weren't born on page one, with ideas based on their perspective, and who I'll miss once the story's over. And a few more elements I look for in the material - which I feel are severely underrated and overlooked - are dilemma, sub-text in the dialogue, creativity, imagination, and intelligence. READ MORE...

Wednesday, June 11, 2008

LATEST NEWS 6.11.08

Friday, May 30, 2008

Yo! I just went pro as a story analyst at ScriptShark.com! I’ve hit the ground running with a ton of scripts to read each week, and I’m working on a about 10 of my own projects as well.

here’s what’s going down:

- reading half a dozen scripts for ScriptShark.com this week.

- just finished up an outline to a super-secret short film project. Hoping to thrill you with a mysterious tale of the super-natural! boo! Keep an eye open for the upcoming casting call.

- working on finishing up the production of a long-term passion project. Can’t say much now about the short film, but I will say that it has to do with a fantastic adventure through time.

- also developing a few commercials

- appointing officers at FILM vs DIGITAL! It’s an exciting new group on facebook for filmmakers with strong feelings toward either format. Choose your side, and become an officer.

- CJ

Monday, May 19, 2008

Script Reading Rates Page Live!!

Check out the original post over at CJRice.org, or check 'em out below.

Screenplay Coverage:
$120
Get the industry standard report for your screenplay here, and you’ll know exactly what’s wrong with your screenplay. Coverage includes collective analysis including character, plot, theme, dialogue, and other key mechanics of a screenplay. The report, which ranges from 2 — 3 pages, is broken into three parts: Synopsis, grid rating, and comments section.

Resubmission:
$60
Resubmissions are welcome! For a discounted rate, you receive additional coverage (coverage includes 1 - 2 pages comments and grid. Does not include synopsis).

Manuscript Coverage:
$400
Novelists are welcome, too! While reading for Harrry Winer (director of Alias, Felicity, What About Brian), my experience was exclusively with manuscripts and published novels. The coverage for a manuscript and published novel are exactly like that of a screenplay: Synopsis, grid rating, and comments section.

Story Notes:
$250
A formal report with 2 - 4 pages of studios-style commentary detailing problematic issues and suggestions (Does not include synopsis … Interested in a synopsis? See Story Notes 360).

Story Notes 360:
$360
This packages includes not only the studio-styled story notes, which covers any and all issues, but also the invaluable synopsis, which not only reveals what the reader thought your story was about, but also aids you toward perfecting your treatment for that infamous submission or pitch session. With a 360 degree view, it’s the ultimate review available!

One-Hour Television Coverage:
$100
As a reader at Josephson Entertainment (Bones), I was saturated by the demands of television and covered everything from spec pilots, half-hour television scripts, writing samples, and one-hour television screenplays; I’m open to reading any of the above, but my primary focus here is one-hour television. The coverage consists of the basic package detailed above.

Short Screenplay Story Notes:
$80
If you’re unhappy with the quality of your family and friends’ feedback regarding your short screenplay, you’ve come to the right guy. It’s all about the story; especially with short films. Today, everyone and their granny are making films, so it’s up to you to stand out from the sea of work out there by delivering something fresh, bold, and entertaining. Whether it’s art, entertainment, or simply practice, you need that extra FLASH if you’re planning on sharing it with audiences and festivals. The story notes includes detailed notes ranging from 1 - 2 pages, and covers all the key elements: thematic value, story-line, character, dialogue, pace, length, and even distribution option and suggests. Oh, and before you decide to get your script covered professionally, check out TriggerStreet for feedback from fellow filmmakers and writers.

Treatment Analysis:
$80
This is perfect for the writer looking to perfect their treatment, for unlike normal coverage, this analysis is directed toward overall story. Pacing, character, and story-line are just a few elements focused on in the treatment analysis. There’s nothing worse than setting out to write a screenplay with problematic elements that hold the material back from its full potential, so consider perfecting the treatment before you write “FADE IN.”

Charge per page above 120:
$1

Eating Disorder PSA

Check out my latest project (note: I directed the skits and edited the overall project)

Eating Disorder PSA (JADE/CSUN) from C.J. Rice on Vimeo.

A fun PSA in response to the overwhelming percentage of eating disorders amongst young people today. Produced by four journalism students: Katie Christiansen, Karalyn Gabrielsen, Ash Paulsen, and Laura Ulrich for JADE.

After reading a submission, a story analyst or script reader writes a formal report known throughout the industry as “coverage,” which details the strengths and weaknesses of the screenplay, manuscript, or other literary property.

Script readers are employed by production companies, agencies - though assistants tend to do the bulk of the reading here - and major studios. In addition, readers are also paid for their service by screenplay competitions - though in my opinion, these are the cheapest, - managers, and even consulting services such as ScriptShark.com. The reason why employers hire readers comes down to two things, and you’ve heard of ‘em before: time and money. The head of development at Amblin Entertainment simply doesn’t have the time to read every submission that hits the inbox; and that overwhelming bulk of submissions are only from the hotshot agencies in town: Endeavor, CAA, WMA, UTA, and ICM. The creative executive at Paramount Pictures doesn’t have the time to read your screenplay, bub. It’s why making it in Hollywood seems all the more glamourous. It’s why Variety reports when every young and upcoming screenwriter sells their work for mid-six figures backed by low seven. This is Hollywood; no one gets their own coffee in this town, and likewise, no one reads their own submissions … at least, not until a reader tells them they should. It’s only after a submission has been read and “considered” by a highly experienced, and trusted, reader that an executive will even touch a submission. I’ve worked with execs that don’t even go that far!! It seems outrageous, but I’ve read for producers who don’t even bother reading the material before taking a meeting with the writer; though it should be noted, these producers are very intelligent television writers themselves, and strive on their intuition. Side note: As an aspiring screenwriter, it’s important that you understand that the picture business is unlike any other: it’s based heavily on talent, persistence, and luck. Like the actor, the screenwriter falls victim to third party decisions, which aren’t based on scholarly achievement or outstanding extra-curricular activities: it’s based on professionalism, luck, and what mood the exec is in at that particular time of day - the variables are endless, but it’s safe to say that after lunch is the best time to interview with anyone in this town. Jumping back on point, execs read only the best of the best material, which means the reader has to identify it, and the only way to do that is to read everything, which brings me back to my point of this article: be professional and try not to piss off the reader.

The picture above is of a great book for green screenwriters who believe their material is worth those high six-figures; I suggest you read it before letting anyone read your work, because it probably contains 500 things - which you may or may not have overlooked - that piss off the reader. Okay, I’ll admit it, readers can get pissed off about a lot of seemingly small discrepancies, but I kid you not when I say, it’s not because they hate their job; it’s not because they’re jaded; it’s not because they’re jealous that some crappy writer is represented and they aren’t - a represented writer is no different than a represented actor: they’re probably both out of work, and lucked out by landing a green rep desperate for that 10 or 15 percent cut, - it’s because they read everything, and therefore have a large amount of experience when it comes to what works, what doesn’t, and overall professionalism. Depending on the company, a reader can read everything from screenplays, short stories, manuscripts, best selling novels, poems, articles, newspapers, and anything else that might possibly lead to a great story; I wouldn’t be surprised if some readers were already covering blogs. What’s in your blog? Do your work, and your self, a favor and pick up a copy and read it cover to cover; oh, and for those of you writers who don’t like to read because you feel it infringes on your writing time, don’t worry, the 500 tips are short and sweet. In fact, here’s one to start: read more.
We read a lot, and base our decisions upon everything we’ve ever read, but achieving a consider recommendation is not all that difficult: just be the expert. As Terry Rossio put it, “… agents pick screenwriters the same way they’d pick a brain surgeon. Or any professional person. They want someone with knowledge. Experience. Talent. Someone well practiced in their craft. Someone who is capable. Someone who has demonstrated their abilities. Someone who knows what they are doing … they want, in short, an expert.” So how do you become an expert? You read a lot, and you write a lot. That’s all. You don’t need a degree or certificate. You don’t need to attend AFI or USC. All you need is the passion to write, and the will to put in the hard work. Combine this with the 500 tips on how to avoid pissing off a reader in Jennifer Lerch’s book, 500 Tips to Beat the Hollywood Script Reader and you’re well on your way to a consider … maybe even a recommend.