The Black List is out again. Hollywood’s best un-produced scripts -- at least according to the over 300 industry people who contributed to Franklin Leonard’s list.
I’ve worked several screenwriting contests before, but no $25,000 prize can really match the prestige of landing on this list. To make it, you have to be in the development pipeline and cause enough buzz that even execs not connected with the project are talking or are at least aware of it.
So which stories generate that kind of talk? That’s not an empty question when you’re a screenwriter.
Let’s take a look. (These are my observations, if you want synopsis of each title, click here.)
"The Muppet Man": Hollywood still loves a true story or biography, but they need something to give it a twist. Something visually or cinematically interesting whether its schizophrenia or, in this case, Muppets.
"The Social Network": This sounds more like a drunken boast made at an industry party: “I bet you a buck I can write a great script about Facebook.” This one’s by Aaron Sorkin, so I think it’s a case of “don’t try this until you’re an A-list superstar” but maybe execs are looking for writers who can make drama (or comedy) out of a Business Week article. (But I’m having uncomfortable flashbacks to the Peter Gallagher scene in "The Player" where he’s reading off headlines for story ideas)
"The Voices": I’m impressed. There are times I’m not sure the industry can appreciate regular comedy, let alone black comedy. The same industry that just released "Old Dogs" is buzzing about a script with a crazy dude and a severed head. I’ll be even more impressed if somebody pulls the trigger on this one.
"Prisoners": Speaking of pulling the trigger. Wow. This is the one that really grabs my attention. Just goes to show you two things. First that a really dramatic logline is your best screenwriting weapon. And second that Hollywood is always trying to capture the recent past and sum it up in cinematic form.
"Cedar Rapids": Proof that the town takes comedy just as seriously as it does drama. There are still plenty of "Paul Blart: Mall Cops," but there’s also this. A scenario that could easily be played dramatically (and probably does at some point).
"Londongrad": Hollywood loves to be topical even if it ruffles some important people. Russian billionaires are major players in town now. I don’t think too many of them would be happy with this project. Inside every exec is a little Orson Welles who dreams of standing up to the Hearst empire.
"L.A. Rex": "Training Day" is still hot in the minds of Hollywood. This would be, by my count, the third or fifth time they’ve remade it. Thing is they keep it in the same milieu. Once again it’s cops on L.A. streets. Isn’t it past time to shake the Training Day formula up a little bit by tossing it into different genres? "Training Day" meets "Hancock"? Just throwing that out there.
