Seth_Gecko, the production on Bender’s first movie, Intruder, was a success. As far as I know, so was the movie. That is a big deal, and if you think it doesn’t have something big to do with getting Reservoir Dogs off the ground, sorry, but you’re wrong. And at the time of Reservoir Dogs, QT had written two scripts, one of which he’d sold. He had also done plenty of uncredited writing for other people. You may not call that established, but it’s a big deal in this town.
The point being: It’s not like Lawrence Bender and Quentin Tarantino, two lucky losers, bumped into Harvey Keitel and got a deal off it. If Lawrence hadn’t had a success as a producer, and if Quentin hadn’t had success as a writer, they would probably still be looking for money.
"…just don’t be affraid to fail a 100 times…the 101th time you will succeed."
That is a very upbeat saying, and obviously I agree one should keep trying. But guess what? EVERYBODY has passion. Talent? How can you show you have talent? By working, by turning out material. The only way to do that: ass in seat.
Exoskeletor, you’re welcome. Your English is pretty good, better than my use of any other language.
Can I spot talent? Well, I’d like to think so, but when I read new scripts, I just judge them as scripts. If the script is good, the writer must have talent. I don’t read as many scripts as, say, a big producer or script reader. I’m just a lowly writer/director person.
People submit screenplays. Some writers (established ones) can get people to read treatments. I don’t mind reading them, and it’s a good way to find story problems, but a treatment doesn’t really tell you much, since so much of the screenplay will depend on execution. And if you’re not a very established writer, don’t even bother showing treatments, except to friends.
I agree with you. I like simple, clean stories.
