Talk:Spec script

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Deletions[edit]

Strike-through text

I've removed "for easier reading, often avoiding camera angles, editing directions, and technical intrusions" as being one of the reasons for writing a spec script. It implies these are a necessary element of a commissioned script, which they aren't.—Preceding unsigned comment added by 203.21.40.253 (talk) 03:34, 1 September 2010 (UTC)

For the same reason, I've also removed "...(a shooting script)" at the end of the first sentence, after, "...as opposed to one commissioned by a studio or production company." There is a difference between the two. My understanding is that a commissioned script, when submitted, does not have shot numbers or technical directions. These are added after the project has been greenlit for production, and it is then referred to as a shooting script.

Spec scripts being written "for easier reading, often avoiding camera angles, editing directions, and technical intrusions" isn't meant to imply anything other than what it says. This is one of the main reasons that spec scripts are written -- for easier reading -- which is cited in many screenwriting books. Thus, I restored that bit of information. It not being a necessary element of a commissioned script is something that can be mentioned without removing one of the main reasons spect scripts are written. Flyer22 (talk) 10:19, 11 December 2010 (UTC)

Sales Before 1991[edit]

1932: “THE POWER AND THE GLORY”, written without any advance, brought Sturges the handsome sum of $17,500. Along with his payment came a percentage of the profits.

1939: For the opportunity to direct, Sturges sold “THE GREAT MCGINTY”, for $1. The film earned him an Oscar for Best Original Screenplay (the first time this award had been handed out).

1942: Woman of the Year, scripted by Michael Kanin and Ring Lardner Jr., sold for $100,000.

1969: Butch Cassidy and the Sundance Kid, written by William Goldman. It sold for $400,000 to 20th Century Fox.

1972: The Yakuza, written by Leonard and Paul Schrader. It sold for $350,000 to Warner Bros.

1984: Lethal Weapon, written by Shane Black. It sold for $250,000 to Warner Bros.

1985: The Highlander, written by Gregory Widen. It sold for $500,000 to Universal.

1987: K-9, written by Steven Siegel & Scott Myers. It sold for $750,000 to Universal.

1989: “Gale Force”, written by David Chappe. It sold for $500,000 to Carolco.

1989: Stop! Or My Mom Will Shoot, written by Blake Snyder. It sold for $500,000 to Universal.

1990

Title: Basic Instinct - Writer: Joe Eszterhas Purchase price $3M

Title: The Cheese Stands Alone Writer: Kathy McWorter Purchase price $1,000,000

Title: City of Darkness Writers: Patrick Cirillo and Joe Gayton Purchase price $750,000

Title: Cold As Ice Writer: Mark Allen Smith Purchase price $350,000

Title: Flatliners Writer: Peter Filardi Purchase price $400,000

Title: Hell Bent… And Back! Writers: Doug Richardson and Rick Jaffa Purchase price $1,000,000

Title: The Last Boy Scout Purchase price $1.75M

Title: Prince of Thieves Writers: Pen Densham and John Watson Purchase price $1.2M

Title: Radio Flyer Writer: David Mickey Evans Purchase price $1.25M

Title: The Rest of Daniel Writer: J.J. Abrams Purchase price $2M

Title: Stay Tuned Writers: Tom S. Parker and Jim Jennewein Purchase price $750,000

Title: Texas Lead and Gold Writers: Michael Beckner and Jim Gorman Purchase price $1,000,000

Title: The Ticking Man Writers: Brian Helgeland and Manny Coto Note: $1,000,000

Title: The Ultimatum Writers: Laurence Dworet and Robert Roy Pool Purchase price $1,000,000 — Preceding unsigned comment added by 70.52.163.59 (talk) 16:44, 16 May 2013 (UTC)