𝕾𝖊𝖙𝖍 𝕸 𝕾𝖍𝖊𝖗𝖜𝖔𝖔𝖉
@SethMSherwood
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PacNW degen art kid turned Emmy-nom horror screenwriter. Devil In Me (Supermassive/2022), Light as a Feather (Hulu/2019), Hellfest (2018) Leatherface (2017).
Los Angeles
Joined May 2013
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The fact that this is the Earthquake attraction at Universal and journalists are asking this account if they can feature it, is giving me life.
The LA Metro Station on Wilshire/Vermont is flooding from the storm 😲
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All of them made genre films. All of them were shunned by the mainstream at some stage of their career. All of them won doing an indie film. All of them vocally endorse kindness.
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John Carpenter made a movie every year or two from 1974 to 2001. Nearly all of them are cult hits. Most of them are great. A handful of them are legit horror landmark films. Then he quit to play video games for 20 years because he hated studios getting in his shit. LEGEND.
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Daily reminder that late stage capitalism is destroying Hollywood and that much like the studio system being dismantled in 1948, the government should enforce stronger anti-trust laws and help get corporate interests out of the studio game before they are run into the ground.
Just today we learned both David Lynch and John Waters can’t find funding for their new movies and now Francis Ford Coppola can’t find a distributor
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It was scary in Black Mirror, it was funny in Barry, but now I will literally be hearing “the algorithm said no” as a rejection to pitches.
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Vibe guide to WGA picketing locations. Disney: a lovely stroll in the park. WB: block party. Netflix: a friendly riot. Paramount: horny.
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Breaking news, local affiliate of network owned by a trillion dollar company known for firing lower level writing support staff over the holidays to avoid paying them pocket change, runs a straight up anti-labor propaganda headline.
Strike by Hollywood actors, writers causing collateral damage to small businesses in SoCal
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The problem isn’t just AI, it’s also the general/quality taste level plummeting amongst general audiences. I don’t worry about AI being as good as me at my job, I worry more about no one caring about an inferior product cause their taste has been programmed to accept mediocrity.
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SCREENWRITERS! STOP DOING THESE THINGS! A thread! You guys are going to hate this. I asked friends in development what they are tired of seeing in scripts. The answers were long and varied. You're going to read, and laugh, and say OF COURSE, but then...
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HOW TO WRITE SUPER SCARY STUFF IN YOUR SUPER SCARY MOVIE! 12 handy dandy spooky ooky tips... and hopefully at least a couple of them aren't super obvious.
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Research question: what generation are you, and did you read Choose Your Own Adventure books as a kid?
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1. HOW TO WRITE "ELEVATED HORROR! A thread in which I tell you exactly how to harness your PTSD and A24 the shit out of your script to the point you may actually be able to use your FSA health insurance fund to pay for it cause it's basically therapy!
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THE NETFLIX ALGORITHM isn’t AI, and they’ve been using it for years. Back when they were in the rental business they started keeping track of what was rented most— by title, by genre, by runtime, by every parameter you can think of. Remember when they had a massive library? 1/
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The strike has now, after mere weeks, cost the studios the same amount of money our demands would have cost them for multiple years. They can afford it, they just don’t want to. This is the proof that this is pure greed and their desire to dismantle the system for their benefit.
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Name a franchise with no bad films. I can only think of one for sure: Evil Dead.
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THINGS YOU MAY NOT KNOW ABOUT BEING A SCREENWRITER! As talk of a strike grows and more and more people expound on union business, it's crazy to see some of the things people think about writers. Here's a bunch of random stuff people are always surprised to find out...
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HOW TO MAKE A MONSTER for your horror script! I'm going to walk back not giving unsolicited horror-writing advice while on strike because I need to feel fulfilled. So here's a thread on cooking up and then writing something horrific and evil! 1/25
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Mia Goth is a god damn treasure and was too nice to ignore this. Writers: DO NOT DO THIS.
Mia Goth accepts an audience member’s script after a Q&A session for her film ‘Infinity Pool.’
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1. Stop abusing workers in film/TV, at theme parks, and everywhere else.
2. Star Wars and Marvel decrease output to return them to special event status.
3. Restore traditional animation along side Pixar.
4. Make Disney parks affordable for middle and lower class again.
You wake up in charge of Disney and have absolute control, what do you do?
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HOW TO WRITE TREATMENTS! I was pulled into a convo about this earlier today and figured I'd share. While not horror-specific, the act of presenting a screenplay's story in different formats is a huge part of the job that is hated, but generally required. A THREAD!
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Number of feature scripts I have written: 33 (21 specs, 10 assigned, 3 made). Number of pilots: 10 (8 spec, 2 sold, 0 made). Eps of TV: 10 (8 aired, 1 cancelled, 1 in process). NUMBER OF TIMES I REACH THE MIDPOINT OF A SCRIPT AND DON'T THINK IT'S TRASH: ZERO. ALWAYS ZERO.
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Hollywood has always been where creativity and commerce have to work together. Filmmaking has never been cheap. Studios have shelved movies to recoup losses from the beginning. The difference was, before now execs understood the importance of film and were not—
‘COYOTE VS ACME’ is now expected to be shelved and deleted forever.
Warner Bros wanted $75M - $80M for the film and rejected offers from Netflix, Amazon & Paramount, refusing to let them counter-offer.
(Source: )
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HOW TO WRITE SCARY OPENING SCENES in your horror screenplay. This won the poll, it's super important, so here's a thread! You're told right and left how important you first act is, and how it has to set everything up-- genre, tone, vibe, leads, conflict, etc...
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I try to keep my Tweets positive for the most part, but what the shit is this? I can only assume Zaslav fired WB’s marketing and art departments and farmed out the package design of one of their biggest hits of all time to the lowest bidder on fiverr who only had Canva.
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These are pretty— but they’re basically mood boards. I can totally see myself doing this for a pitch (since it’s more and more expected) but it’s just vibe. There’s no character, story, voice, or soul. Everyone into this just doesn’t get what it will never be able to do.
AI just changed the game in filmmaking 📽️
Creators can now generate cinema quality short films, trailers, and teasers with 100% AI in just a few hours 🤯
10 favorite examples that will blow your mind:
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@NickLutsko
@WillTheLandMan
The real crime is future generations won’t know who Fabio is because all book covers will be AI generated.
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The DGA board when the details of the WGA deal become public.
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Pro tip: a good movie with a good trailer will basically be a 2-3 minute edit of the first act with beauty shots from the rest. If 3rd act beats are in that thing, the studio isn’t confident.
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(Not so) secret Hollywood screenwriter bit of knowledge... when producers ask for your Final Draft file it usually only means one (or both) of two things: you're going into production, or you're fired.
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I honestly believe the best thing to come out of this strike is that it’s creating massive amounts of transparency and solidarity amongst writers. This industry makes you feel as though your financial level is equated to your talent when really, it’s more of a sign of experience-
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Breaking news— one of the most profitable and popular IP trains in history, after using streaming to break a model that had worked for literal decades, has decided to use the traditional model that has worked for decades after losing the faith of their base fans.
Marvel Studios plans to make changes in how it makes TV following internal criticism.
• Shows will now have proper showrunners that write pilots & show bibles.
• A focus on multiseason serialized TV rather than limited series.
(Source: )
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Here’s a pitch: a werewolf story, but reversed. A wolf is bit by a man and on a full moon he’s forced to work a boring midnight shift at a factory as a guy named Jimmy.
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THE SECRET TO SAVING HOLLYWOOD is something that already exists. It's a model of business that has been working for decades, right under the mainstream's nose, and in the 100+ years of cinema, proves itself over and over and over. Ready for it? It's simple...
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If you want to study perfectly efficient screenwriting, where every scene, line, and beat serves multiple purposes and bring it all home, read these: Scream, Back to the Future, Grosse Point Blank, Michael Clayton, Maverick, Die Hard, Lethal Weapon, and Alien.
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To the Netflix creative/development exec who let Joan is Awful make it to the world— odds are high your corporate overlords have fired you… but you’re a hero.
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If I was boss of Hollywood: Save franchises for summer and holiday releases. Make more 10-30m movies. Support second run theaters. Longer release windows. Physical media sales. Movies are theatrical, streaming for episode content. Freaking pay everyone. Get conglomerates out.
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WHO WANTS A COVER/POSTER for their screenplay? I may regret this, but I have some down time this weekend, which is rare. I'm feeling designy, but I've already sweetened all my own stuff. So I am going to offer up some free design time to my followers because why not? THE CATCH:
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HORROR MOVIE FONTS! Revisited! Remember that time I talked about fonts from old school designers that seemed to be permanently attached to horror movie posters? Well I've got a few more! If you're indie and making your own graphics and wanna be legit, use one of these! 1/12
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HOW TO WRITE A SCARY MOVIE! Yes— the whole thing! The complete haunted kit and rotting kaboodle. (I don’t know what a kaboodle is, or if they rot). As I have dropped little bits of horror specific screenplay advice, a lot of people (4) suggested I write a book… (1/5)
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GRAPHIC DESIGN TIPS FOR SCREENWRITERS! You asked for it (kinda) so here it is! I have to lead with the caveat that as a WGA writer, the idea of any extra work beyond your script is something that you should not have to pay for yourself. The idea of doing cover art is kinda new...
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Horror screenwriting mini-tip! Don't kill a dog. People are more sensitive to this than anything else. I've heard of scripts with a dog death being rejected outright. I've gotten legit angry producer notes when I SUGGESTED killing a dog once. I know-- John Wick. Still-- don't.
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1. HOW TO WRITE HORROR FOR TV. (A thread!) I've said a lot of things on the topic of scary movies, but what about scary TV shows? For the most part, everything I've posted about movies carries over, the obvious difference with TV is how you use TIME to your advantage.
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Mini screenwriter tip: don’t write for free. Don’t write for a maybe. I know it’s hard when you want to break in and it seems like that break is in front of you— but the vast majority of the projects where I worked for a maybe back in the day, never materialized. Do your homework
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A Monster Squad Reboot was maybe going to happen and I was going to write it-- a true Hollywood story that happened to me, and I'm okay and over it now. Enough time has passed and as far as I know, the project is dead, so I can share this for... fun?
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Here's a pitch... if Jaws was Jaws... and Tremors was ground-Jaws. And Nope is Sky Jaws... what I am going to bring you is, SPACE JAWS.
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HOW TO WRITE GORE in your horror screenplay! Been a minute since I've done one of these... so I bet you're saying "PFFFT! You just describe blood and guts that's easy!" Well WRONGO, ya jabroni! It's never that easy. Well...
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Career goals:
- direct my own script
- run my own show
- cast Jamie Lee Curtis, become besties
- punch David O Russell in the face
- make a Star War that’s actually a horror movie
- have Aubrey Plaza be mean to me
- win best picture with a horror film
- get a pony
- pay rent
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You want to run a great set? Cause this is how you run a great set.
Add Bill Hader to the list of Hollywood directors who treat their crew like humans and aren’t assholes.
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Capitalism is a cult. Hollywood has always been a nexus of commerce and creativity, because making stuff isn’t cheap. But the money folks generally understood that originality and creativity could get them their profit. The corporatizing of Hollywood has destroyed the balance.
says the dude who makes $88,000 an hour even while sleeping to destroy brands like cartoon network and hbo
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HERE'S WHAT WORRIES ME MOST ABOUT THE WGA STRIKE... our enemy doesn't actually care about content. They can afford to give us what we want. Despite all their missteps and actions, the one thing they DO know, is money. The corporations that have taken ownership of--
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HOW TO WRITE LOG LINES!
@SPMJM
reminded me how weak a lot of loglines out there are, and I recently did a talk on them I thought I'd repost as a thread (this is 1/14)-- I said I wasn't going to do this during the strike, but since I got paid--
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I am not a Taylor Swift fan when it comes to her music, I’m too old, to art school, and too metal… that said, I think she’s amazing for repeatedly finding ways to outsmart capitalist corporate abuse.
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Before I was a writer I worked in graphic design. So pro tip— if you’re making a horror movie, use these fonts! First ITC Serif Gothic, black or extra bold.
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Bring back artistic movie posters. Stop with photo montages.
The First Omen goes retro for this brand new official poster. Evil comes to life in 35mm...
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@JohnMagary
Because the academy has often, not always, but often, shinned them, especially horror.
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Everybody is (rightfully) dunking on this guy— but it’s important to note, he’s not a screenwriter, he doesn’t want to be a WGA, and he’s in a European market. He’s an AI guy. Calling scab on him is pointless. The problem here is Netflix sees him as a suitable replacement for us.
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I just sat down and counted up my professional screenwriting career which is now 10 years old. 22 spec feature scripts, 11 paid feature scripts, 2 spec tv episodes, 7 one hour spec pilots, 2 half hour spec pilots, 2 paid TV pilots, 10 episodes of paid TV.
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This article has it all. A CEO talking out of his ass, clear evidence of litigious machine learning, and a complete misunderstanding of how both narrative and the entertainment industry work. This will go down in flames faster than Quibi.
Hollywood Nightmare? New Streaming Service Lets Users Create Their Own Shows Using AI
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MORE GRAPHIC DESIGN TIPS FOR SCREENWRITERS! This time I'm talking about lookbooks (aka decks, pitch decks, mood boards etc). First and foremost, the WGA strongly recommends writers do NOT do extra work or give people you pitch to say written materials...
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SCREENWRITER LOANOUT companies, what they are and why we use them, and why you maybe have no idea what they are. A THREAD OF MONEY ANGST! First, I am not a financial expert by any means. I can barely add a column of numbers. My partner helps me budget and--
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1. "HOW TO YOU GET IDEAS for your screenplay?" is the second most question I get asked. So here's a thread about it... First thing, and this is going to sound like a total douchebag response, I don't know how to NOT have ideas. If you're hardwired to create they just come.
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@davenewworld_2
@Accidental_PR
Netflix saying it was an accidental post has all the energy of a six year old dumping a can of paint on a hardwood floor and then saying it was the dog.
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If any of the multi-millionaires who own/run studios had a true love of cinema or film, they’d be granting young filmmakers left and right $1m to make films that start their careers. Zaslav makes enough money during a 5 minute dump to keep somebody off a survival job for a year.
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The “why the AMPTPEE PEE POO POO heads aren’t negotiating with the WGA” truths and lies thread. Reason one— force majeure. After 60 (or 90) days of inactivity, studios can back out of deals. Specifically, pay or pay deals that have them on the line. A lot of people feel they are—
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HOW TO FIX A BROKEN SCRIPT, or you know, at least TRY to. This is not an exact science folks. And I want to START by saying if you've never read early drafts of Back to the Future, seek them out and see how not-good they are. Even the best scripts may not work at first. A thread!
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I was mid-writing assignment on a feature for P+ it was full speed ahead for production— just like that, I’m done. I’m lucky, my contract will be paid out and the producers are going to shop it— but so many people have lost jobs as corporate interests continue to implode us.
Paramount Pictures, now up for grabs, once defined the industry's zeal for consolidation, pioneering vertical integration and serving as the model for each of its major rivals
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—basically spreadsheet trolls. I used to hate Ted Turner for the way he went to commodity cinema— but at least he still understood the cultural importance of movies. The Zaslavs of the world are not interest in the risk that must come with creative innovations They don’t get—-
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The Rock, Vin Diesel, Statham, and any other action star who contractually insists they can’t lose a fight in a movie are fragile man babies. Real heroes, like Indiana Jones, Max Rockatansky, and John McClane get the shit kicked out of them.
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“Movies and TV suck now, everything is a sequel” as an anti-writer sentiment is a bigger indicator of idiocy than a blue check. Hey guess what— writers are full of original ideas. Tired of sequels? Stop seeing them. If studios see a lack of interest they’ll let us make new stuff.
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HORROR WILL ALWAYS BE SNUBBED. And here's why: since the birth of cinema horror has always the genre with the best ROI. It's been proven time and time again that human's have an obsession with death and calamity. It's why we watch the news. It's in our core DNA.
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This is a whole ass movie arc condensed into five minutes. Perfect set up, harrowing twist, up and down complications, seemingly happy ending, and a hook for a sequel.
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And also, as always, HORROR FILMS continue to thrive because Indy horror has always operated on these parameters! 14/14
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— that it’s not just that this is unethical, cause the execs have no ethics. These actions need to be straight up illegal. They are already an obvious tax dodge, future contracts need reflect that. Corporations buying multiple studios is an anti-trust issue.
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A few 200mil movies instead of 20 10m movies is killing us. The corporate interests and the algorithms don’t believe in risk. Movies like Back to the Future or Star Wars didn’t happen without risk. Studios need to see this, and trust that funding more smaller films actually— 12/
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—that a studio can survive for a century by making a spread or movies for a spread of costs knowing only one needed to hit to cover the others, and that a hit comes from experimentation and ingenuity. Zaslav sees that as risk, and to corporate money twats—
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So I did! THE SCARY MOVIE WRITER’S GUIDE is a 100+ page step by step workbook that guides you to plan, plot, and write your own horror screenplay. It takes you through the entire process, from generating ideas and forming work habits, all the way through... (2/5)
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Fucking horror movies. Cheap horror movies. Sub five million, hell, sub ONE million. What genre never fails to turn a profit-- horror. What genre has its own streaming platforms that maintain operation because of fan support? Horror. What genre--
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MY DEAD FILES! These are all my TV projects in turnaround, development hell, or just stuck. These are all projects that I sold, or was hired to write, that didn't make it to production. This is a HUGE part of being a pro screenwriter not a lot of people talk about. First--
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Here’s a thing no one seems to be talking about at all in regards to the WGA negotiations… FREELANCE writing assignments. I haven’t heard of somebody getting a freelance episode of anything in years. Back when season orders were 22+ episodes deep, and writers covered set —
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— risk is never good and it’s more important to be safe and make a little money than lose any ever. So, milk the IPs, churn out cheaper but acceptable products, and write off losses for profit. This mindset will kill Hollywood. The unions are going to have to show—
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There are a few very high profile, huge deal having, show-runners who are oddly silent right now and their support would be huge. I won’t tag because I’m not a full on shit stirrer but Shmaylor Shmeridan should leave the bunker and say something.
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Was there a funny best friend? Was there a heartwarming ending? Etc etc etc— TONS of specific questions that became data points. Netflix had countless people doing this across every genre there was. They basically built a massive user-data collection that helped them determine-3/
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The best feeling I’ve had this month is seeing typos in the screenplays for Glass Onion and Nope. I always try to tell people I am a storytelling, not and English major. My scripts need multiple proofing because I am the worst typist.
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Dear film execs-- if I wrote a horror version of Honey I Shrunk The Kids in which micro-sized kids are stuck in a Michael's craft Halloween village display, would you buy it? Check box Yes or No.
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YOU MAY NEVER SELL A SPEC. Christopher McQuarrie (you know, M:I) tweeted today he's never sold one. I know other people who sold many, and none of them have been made.
@ThisisKaia
determined at the top of the year, that in 2022 there were less than ten specs sold by the agencies.
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HOW TO WRITE HORROR SUBGENRES! Okay, scary movie school is back in session after some unexpected blowing up and a lot of blocking/muting. The post I was not expecting to go big though was the one dedicated to horror subgenres, so let's get into it! A THREAD! READ MORE!
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One of these pages pisses me off. The other is genius. But unless you’ve sold scripts before, reeaaaaally know what you’re doing, or plan to direct yourself… resist the urge to do either. This is a prime example of proving you know the rules before breaking them.
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@joerussotweets
The Razzies are so early 2000s edgelord it’s gross. I remember that internet— when we all found out we could trash talk and punch down as a form of humor. I was certainly part of it— you know, until I got older and actually made some movies and realized how hard it is.
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Somebody asked me today how to break into Hollywood as a writer. I get asked this more than anything. I always have an answer and I try to keep current and up to date. Today I legit said, “I don’t even know right now.”
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The days of producers "looking for a good script" alone, are long gone. They want a good script that fits into the budget they have, that the director they want to work with likes, that makes use of what the have access to, that fits their mandate, and tax situation.
#scriptchat
@SethMSherwood
I had this discussion two days ago with a producer looking for scripts who was very specific about the company’s needs, wants, and budget. More often than not, I field requests that are across-the-line budget-conscious. I see this thinking as freeing, not challenging.
#scriptchat
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Legend. He gave us literally every genre filmmaking legend of the 70s/80s. Cameron. Carpenter. Coppola. Scorsese. Dante. Writers like O’Bannon and Sayles. Producers like Gale Anne Hurd. Actors like Nicholson, DeNiro, Stallone. He even put composers like James Horner on the map.
Roger Corman, Pioneering Independent Producer and King of B Movies, Dies at 98
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"We loved your spec... but we don't want to make it. We would love to hear your take on our Chutes and Ladders movie. Pay is deferred, and it's a bake off between 30 writers."
@Becca__Noble
accurately on the state of the industry.
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Screenwriter tip for people trying to break in: if a person or service offers to do networking for you and get your script places, AND you have to pay them in addition to them getting a cut of a sale, it’s a scam. If they get a cut of the actual IP: run away.
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I want to live in a timeline where The Rocketeer was a 6 movie franchise.
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New spec is rolling out into the Hollywood wasteland this week. Everyone throw me the good juju
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I used to have friends who did reviews for Netflix as a job. They were selected for a certain genre, in their case LGBQT films, and they had to fill out this big ass spreadsheet for every movie. 2/
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