Lance Davis @LanceRomance81
Illinois Joined June 2011-
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HELL OR HIGH WATER (2016) Cinematography by Giles Nuttgens Directed by David Mackenzie Explore more shots in our database: ops.fyi/ShotsDB
“The Original Bull.” Rest in peace, Jerry Sloan ❤️
Stanley Kubrick talks lenses used for the maze scene from The Shining
Behind the scenes of Shaun of the Dead
Rest In Peace to a true Master of Horror: Stuart Gordon. From RE-ANIMATOR to CASTLE FREAK to FROM BEYOND and THE DOLLS, his movies were scary, funny, gory ... and always uniquely Stuart Gordon. He will be missed greatly.
I wrote this for @empiremagazine about big screens going dark and how you, the cinema fan, can help. (Non UK readers, please change any mentions of Giant Buttons to your own favourite movie snack). Please share.
I wrote this for @empiremagazine about big screens going dark and how you, the cinema fan, can help. (Non UK readers, please change any mentions of Giant Buttons to your own favourite movie snack). Please share.
YOJIMBO (1961) Cinematography by Kazuo Miyagawa Directed by Akira Kurosawa Explore more shots in our database: bit.ly/33jVbb5
Amazing behind the scenes footage of The Exorcist @WilliamFriedkin @RealLindaBlair
Thelma Schoonmaker’s editing of Martin Scorsese's Raging Bull: youtu.be/tV7hwNmxtVU
George A. Romero - born on this day in 1940 - behind the scenes of Dawn of the Dead... "There's a lot of films like watercolor, it's a lot of accidents and it's learning how to control the accidents."
Kurt Russell & John Carpenter on the set of Big Trouble in Little China
Camera operators youtube.com/watch?v=WLzM1t…
Bruce Campbell behind the scenes of Evil Dead II
Robert De Niro's audition as Sonny Corleone from The Godfather
"FEVER!" Nicolas Cage in a Japanese Sankyo commercial
FERRIS BUELLER’S DAY OFF (1986) Cinematography by Tak Fujimoto Directed by John Hughes A deeper exploration of this film: bit.ly/2NLpaCl
Behind the scenes of 1917
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Nolan Richardson talks about the first time that he ever heard of Larry Bird. Stop whatever you’re doing for the next 80 seconds and watch this. Just trust me.
➡️Try to get some net profits in the deal. This is really too complicated to deal with in a Tweet, but have the agreement say that your net profit definition is on a "most favored nations" basis with other talent (actors, director). That will give you some protection 10/
➡️Make sure that the contract says that you will get a screenplay credit. Since this isn't a WGA deal, there is no WGA arbitration to turn to if there is a credit dispute. Just insist on the credit since you are the original writer. 11/
➡️If you can possibly do so, have a lawyer look at the agreement, but if not, don't be afraid to walk away. Saying "no" is the only power you have when negotiating a deal, so don't be afraid to use it. If you want to add other things to this thread, please do so. End/
➡️Make sure that the contract contains an attorney's fees provision. If they don't pay you, and you have to sue, you need that expressly stated in the contract in order to get your attorney's fees (USA only). 9/
➡️Include a clause that says that if they buy the script but don't make a movie within a set period of time (3-5 years), you can get the rights back by paying them back the money they paid you. You never know when someone else might want your script. 8/
➡️If they are paying you a very small amount for your script, don't agree to give them sequel/remake rights or other rights (e.g., book rights, live stage rights). If they want those rights, make them pay for them separately. 7/
➡️Register your script with the Copyright Office (not the WGA!) before you send it out. This is the only way to protect your script. The WGA script registry is just a waste of your money. 6/
But if someone is spending $5 million to turn your script into a movie, they can easily pay you $150,000 in the budget. ➡️Don't agree to a work-for-hire clause if it's a spec script. You can't ever terminate the transfer if the contract says it was a work-for-hire. 5/
➡️How much should the purchase price be? Well, that depends strongly on what the budget is. A good rule of thumb is that the script fee is between 2.5-5% of the total budget. As the budget goes up, your % goes down. 4/
If the producer doesn't like it, tell them they can always pay you for a longer time, but you don't want to tie your script up for 18 months with a producer who is no longer actively trying to set up your script. 3/
The producer will tell you that the typical option period is 12-18 months. Yeah, well the typical producer pays for the option (WGA minimum for an option is 10% of the purchase price). As this producer is paying $0 or close to it, limit the option period to 3-6 months 2/
➡️Your 1st contract will probably be an option/purchase contract. That means the producer will have an exclusive period ("the option period) to purchase your script. My first rule is: The less money they pay you for the option, the shorter the option period 1/
If you're a screenwriter who gets handed a contract, but doesn't have a lawyer, here are some things to keep in mind so you don't get completely screwed over. Bookmark this tweet and save it for when that contract comes through 1/
I'm the bear who ate cocaine. This is my story.
Hello AGAIN Wisconsin! Same Formans, new friends. Coming to @netflix on January 19. 😄
Thank you to everyone for their tweets, texts, emails, thoughts & comments in the last few days. Me & the entire Last family greatly appreciate it! Moments like this are why I am proud to call all of you friends, and you are our friends, each week on the Drive Thru.