
Richard Thompson
Forum Replies Created
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Richard ‘Chomps’ Thompson
I agree to the terms of this release form.
As a member of this group, I agree to the following:
1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.
2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.
I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.
3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.
4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.
5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.
6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.
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1. Name? Richard ‘Chomps’ Thompson
2. How many scripts you’ve written? 9 Full length, 3 stage play (One-acts)
3. What you hope to get out of the class? Better daily consistency on writing and understanding on being concise and resonant to audiences.
4. Something unique, special, strange or unusual about you? I went to Paula Abduls birthday party in a roller skating rink when I was a kid.
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Richard ‘Chomps’ Thompson Synopsis for Producer Interview
Producer: Tully Archer
WHAT I LEARNED ABOUT THIS ASSIGNMENT: Communicating fully on the producer’s vision is paramount and I am a voice or instrument on getting there vision created. While my personal inspirations can help color the idea, I need to remember that it is their vision that is being presented. Strong communication and understanding their perspective is paramount.
Title: Picket-Fence or (Honorable Mention: Fearly-Beloved)
Genre: Rom-Com-Horror
Budget: 5 million; the most going to stars and song license. Props, setting, and post effects can be mitigated
Shoot Locations: Inspired by author’s hometown (didn’t say cause didn’t think it as cool to put that on blast)
Audience: Primary: Millennials; Secondary: Gen-Z; Tertiary: anyone who understands coming-of-age stories and likes ghosts.
Logline: A codependent man finds his breaking point when he moves into a haunted house and must learn to stand up for himself when his parents don’t like the woman he falls in love with while fighting the ghost.
Tone: Light-hearted with some ghostly brevity
Synopsis:
Kavish faces the difficulties of growing up and being a good person while facing past traumas that still impact his life and his choices. A coming-of-age tale in which he realizes that the ways he has protected himself from his own pain prevent him from trusting that he can love himself even if others don’t have the answer on how to do it.
Not all lessons are fun and games, but in this comedic romp of finding love, trusting yourself, and accepting your past, sometimes the only way that can happen is by being haunted by a ghost named John. Even if it’s in a small town in Minnesota.
After a successful one-night stand in which Kavish, a good guy looking for his way in life, brings his date to O-town, his perfect veneer and how he faces life is starting to crack. Gifted with a house for his birthday from his doting parents, he learns that he has a roommate of the spectral persuasion, and no matter how much he tries, his life will never be the same again.
He meets Lacey, his next-door neighbor with a wit that hits like a hammer and defenses as tough as nails, and they soon come to both realize that maybe they’ve found the quiet loveliness they’ve been looking for in themselves in each other.
Nothing brings the love of life together like the chill of death, and as these two start warming up to one another while on the hunt to solve the mystery of who is haunting Kavish’s house, they can’t help but admit that maybe this plot has room for two.
Starring Rahul Rai as Kavish and Taylor Tomlinson as Lacey, this is phantasmical adventure with laughs, love, heart, and maybe a skeleton in the closet as they realize that if you want to figure out how to be happy, you need get yourself a shovel and dig deep.
BIG PICTURE ELEMENTS:
It is lighthearted and fun at its core, but with creepy elements that help add to the tension of ghosts without spilling over into the level of being scary. Inspired loosely on Little Nemo and the devastation in the first 5 minutes of that movie.
Fear of opening oneself (figuratively) is the scariest aspect of this world.
Ghosts exist and that’s that.
People can be good to one another even when they aren’t necessarily being good to themselves, but even that consideration can impact those we care about when we don’t face our issues.
It’s a coming-of-age story for a 35-year-old man
Even
neurodivergent minds can have cardiacharmonius hearts -
Richard Thompson
MemberOctober 3, 2022 at 8:58 pm in reply to: Lesson 5: Partner Up for Writing Sample FeedbackI write drama, magical realism, dark comedy, sci-fi, and character focused pieces. My credits include short films, stage plays, short stories, and journalism pieces. I would love to work with anyone who is interested and I’m looking to pitch my first series feature at the end of this class. Tossing you all the good vibes and talk soon!
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Richard ‘Chomps’ Thompson Drama Writing Sample Plan
What I learned during this assignment: I learned the importance on being specific and being knowledged in whatever I am pitching, and who I am pitching to. It is in my best interest (and the best interest of the producer) for me to know what I’m writing, know how I’m writing, know what I am writing about (subject matter), and know how to write the way they envision. If it is my stuff I’m presenting, I better bring the best.
Title: SILVERSTONE
Genre: Western Drama/Thriller (Series)
Logline: When a horse ridden corpse arrives to the bustling mining
city of Three Plottts, sinister truths are revealed as the tightly woven secrets
of the licentious townsfolk begin to unravel.Show summary: The story of an eccentric prospector, Henry Dunn, who discovered one of the largest silver veins in the southwest, establishing a bustling mining town to fund his operation that explodes into a hub of illicit debauchery, untamed wealth, notorious gambling unbridled corruption that is upended at the arrival of a dead man on a horse.
This dark, visceral narrative on the different
echelons of society and how they impact one another both directly unveils us to
set of ensemble character dramas that play out in piano music, gunfire, and
tobacco as liquor and money flow between dirty hands, convictions are tested,
and lives comes to an end. And in this western gilded age, magic stirs in the desert
as the brujas of the desert, the women told in the stories older than outlaws,
watch and wait. Promises were made and now, with the dead man riding on a
horse, promises will be kept.CHAPTER ONE: BURIED PROMISES
OVER BLACK:
OLD GEORGE (V.O)
You have a lot of death in you too, boy. I see it now. That’s why she wanted you. Why she called you into the desert.
EXT. THE DESERT – NIGHT
The kindling glow of small, hanging torchlights spark into the glittering gloom of the night’s sky.
OLD GEORGE (V.O.)
‘Cause if you do this, she has you.
The naked silhouette of the JAMUT YO’OTUI, the old painted woman, shuffles slowly towards the corpse rider, who sits motionless on his horse in the moonlight.
OLD GEORGE (V.O.)
You know this…she’ll have you.
The JAMUT YO’OTUI chants in whispers as her wrinkly, scarred hands palm a clump of loose, soggy flesh that was once a face and presses it onto herself like a mask.
OLD GEORGE (V.O.)
And you’ll never be let go…
The corpse rider sits as a lifeless ornament, his flayed face flashing into view briefly from the small fires that orbit them.
JAMUT YOʼOTUI
Chukuli. Itepo japte mukuk.
The JAMUT YO’OTUI gently caresses the desiccated, fly covered horse while reaching for one of the horseman’s hanging hands and grasping it, whispering into the fist.
The corpse hand grips back in a bloody agreement before the horse stirs and begins it’s slow gait into the darkness.
JAMUT YOʼOTUI
Itepo japte mukuk.
FADE TO BLACK.
EXT. HOMESTEADERS RANCH – SUNSET
A hazy hue of pink, turquoise, and magenta swirl in the distant horizon over a silent, memory of a desert. The stillness breaks when a man, as if caught in a dream, sprints in desperate agony.
HENRY (V.O.)
Whatchu think makes this place so exceptional?
ECKSLEY (V.O.)
I have no idea.
HENRY DUNN, 38, has the visage of a desert hermit, his limbs bruised and eyes full of dread. Any youthfulness underneath is marred by his unkempt, wild hair and the worn-out, tattered garments of a buffalo soldier that dangle off his body.
HENRY (V.O.)
Go on, take a guess. Humor me.
Behind him, in the blurred distance, smoke rises from a burning homestead, HENRY chokes on his breath as he runs, and angry ranchers along with other settlers shout with rage and pursue him with makeshift weapons far behind.
ECKSLEY (V.O.)
I couldn’t say…- I know MR. SCHEFFIELD is strongly invested in your potential to–
HENRY (V.O.)
My potential? The fuck is that supposed to mean?
The closing sun rests solemnly on the horizon, a harbinger for the coming night, and despite how hard HENRY flails himself forward, he can’t move fast enough…
ECKSLEY (V.O.)
Look, forget it. Why don’t you just tell me. I’m afraid such… grandiosity is beyond me.
Flashes of silver glint off of steel farm tools and varmint rifles held by a ravenous mob, and HENRY can’t stop until he is safe in the dark barren desert that lies before him.
HENRY (V.O.)
Mmmm-hmmm…It’s what is owed.
DISSOLVE TO:
INT. HENRY’S LOFT – NIGHT
HENRY DUNN, 43, a black man who exudes a peculiar elegance, sits forlorn, staring off into thought, hiding the haunt behind his eyes. His looks at his gloved hands and rubs his fingers together.
ECKSLEY
And who owes you, HENRY?
LEONARD ECKSLEY, 57, white, balding and carrying himself with a tight, apathetic bureaucracy. He looks past HENRY, his leg bouncing under his carefully placed hands.
They sit in a room where an orgy of perverted opulence takes place. On the other side of the room, chortling men of prestige wearing masks and little else along with preening Machiavellian women who wear nothing at all. ECKSLEY shoos away any attention from the scantily clad women who occasionally approach him.
HENRY blinks himself from his reverie back in the conversation at hand, takes a drink while keeping his eyes on ECKSLEY.
HENRY
So, ‘CHARLIE’ cookin’ up something special I take it?
ECKSLEY
And what exactly makes you say that?
HENRY
Come on, now, don’t be coy? If there’s one thing that boy is good at, it’s finding people with enough sense to get rich and getting them to give it all up to do it. Ain’t that right EDDIE?
HENRY pats EDDIE TEMPLETON, 27, white and who looks older than he is. Stubble grows off his face and his tufts of hair peak out from beneath his Montana cowboy. His glare ahead seems both omniscient and oblivious to everything around him. His badge glistens as brightly as his guns do, but his dull eyes remain on ECKSLEY.
EDDIE
Mmmm…
ECKSLEY
Or perhaps he’s just being sensible, as is needed where it lacks…
HENRY sips from his glass keeping his eyes on ECKSLEY who doesn’t meet them back and knee continues to bounce. As he focuses on ED, another ‘sportin’ woman’ giddily falls into
ECKSLEY’s lap who is startled by her presence.
SPORTIN’ WOMAN
Oh excuse me, I fell right into your arms didn’t I?
ECKSLEY
Uhh..It’s alright–why don’t you–
ECKSLEY helps the woman off his lap, into the seat next to him and accidentally looks at HENRY who smiles as he turns his face downward.
HENRY
You look a little lost off your feet, I believe that that just happens to be a bit of fate. We could use some sensible company.
ECKSLEY
HENR- Mr. Dunn, I–
SPORTIN’ WOMAN
I didn’t mean to interrupt–
HENRY
Nonsense! You are just what we need. Now, what can I call you, my little night angel?
SPORTIN’ WOMAN
Rachel is–
HENRY
RACHEL. RACHEL…Now that…is a beautiful name.
HENRY stares at ECKSLEY who is increasingly uncomfortable.
HENRY
Now, I’m sure the respectable Mr. ECKSLEY over here would enjoy you stayin’ right where you’re at, but I have some important business over here if you don’t mind.
RACHEL smiles and walks to HENRY’s side and moves to her knees. HENRY is completely naked except for his black leather gloves, black boots, and a belted strap-on that wields a very large, ebony strap-on.
HENRY
There ya’ go.
HENRY takes another drink from his glass as RACHEL fellates him and turns back to ECKSLEY.
HENRY
So, you were saying something about ‘potential’ or ‘sensibility’?
ECKSLEY
MR. SCHEFFIELD has instructed me to-
HENRY
Look at me.
ECKSLEY
MR. SCHEFFIELD wants assurances that the next shipment doesn’t go the way it did last time.
HENRY
Last time? That’s easy for you to say sitting all the way over there when you don’t know anything about what it’s like sitting over here.
ECKSLEY
Where should I sit when my client’s shipments don’t make it to where they’re meant to and outlaws escape lawmen after trains are robbed?
HENRY
Where do you think you are at right now?
ECKSLEY
I’m beginning to wonder that myself.
HENRY takes a sip of his cognac and studies ECKSLEY who sits content with himself.
HENRY
Look, last time was a fluke, none of us expected anybody to be that bold. It’s being taken care of as we speak. Ain’t that right, ED?
EDDIE
MmmHmmm…
ECKSLEY
Be that as it may, four thousand, eight hundred and –
ECKSLEY removes a small book from his brief case, reads it, and places it back.
ECKSLEY
Twenty six dollars in coin from a secured rail has raised concerns. And while I’m absolutely sure that Marshall TEMPLETON here has everything taken care of, I’ve been asked to bring in some additional security and accompany this next shipment back to make sure everything goes smoothly. Sensibly.
ECKSLEY has stopped shaking his leg and the silence between them is interrupted by RACHEL who chokes slightly before continuing.
HENRY
You are a slippery kind of cocksucker, ain’t ya? Ain’t nothin’ worse than a lawyer who thinks he’s a lawman.
ECKSLEY looks directly at HENRY.
ECKSLEY
I think I’ve said everything that needs to be said.
ECKSLEY stands up and pats his slightly crumpled suit, picking up a briefcase.
ECKSLEY
If you have any disagreements with it, I recommend you talk to our employer, in which you owe–
RACHEL chokes again, but doesn’t stop. HENRY drops his glass, spilling the remaining cognac, pointing at ECKSLEY.
HENRY
I didn’t say you could stand up yet.
ECKSLEY, looking between ED and HENRY, clears his throat, and slowly sits down with the shreds of dignity remaining, placing his briefcase next to him.
ECKSLEY
Uhh…MR. SHEFFIELD is going to be expecting a telegram from me and–
HENRY
He ain’t my employer, he’s my bother. And I don’t owe ‘CHARLIE’ a goddamn thing, you hear me. I don’t owe anybody.
ECKSLEY
Your brother? Okay, Mr. DUNN. I-I understand.
HENRY
Hmmmmm, do ya?
ECKSLEY clears his throat again and tries looking around to no avail.
ECKSLEY
I’m afraid I’m not good company outside of business and I should get to reporting our–
HENRY
Nah, nah, nah, he can wait. Frankly, if he really cared, he’d of come with you. That’s just the kind of person he is. He’s always been that way. Besides, if he gets upset, I’ll just tell him I kept you.
HENRY taps on RACHELS shoulders and she stops, looking at him.
HENRY
That was absolutely lovely, but now our friend over here is going to take over, so why don’t you go get something to drink and enjoy yourself.
RACHEL smiles at HENRY, wiping her face, looks at ECKSLEY and leaves the group, disappearing into the crowd.
HENRY smiles at ECKSLEY and motions for him to move closer while ED stands stoically next to him.
ECKSLEY
I-I’m afraid you’re mistaken…I don’t… I can’t–
HENRY
You’ll do just fine. Don’t keep me waitin’.
ECKSLEY
Please…
HENRY doesn’t move and his smile has faded. ECKSLEY slowly moved forward to his knees, accidentally jostling the table that sat between them.
HENRY
Hey EDDIE?
EDDIE
Hmm?
HENRY
Why don’t you get on outta here and leave us to it, I’m certain there’s something else you can get to while Mr. ECKSLEY gets down to business.
EDDIE takes one last look at ECKSLEY, adjusts his holster and swirls the metal toothpick in his mouth and looks back at HENRY.
HENRY
It’s alright, go on.
EDDIE weaves through the party goers and disappears out of the loft.
HENRY
I figured we should have some privacy. It’s the sensible thing to do.
HENRY grabs his head and thrusts it forcefully onto his groin causing him to gag as the sound of gnashed teeth, vomit and spit lather and expel between his clumped breaths.
INT. THE DRINKIN’ GOURD – SALOON. NIGHT
A pile of bruised cherries squish over some salted, brazed pork as the unwashed hands of a dirt covered cowboy pick them off a tin plate in the bustling saloon.
ED wearily descends from the private bungalow above into the ground floor bustling saloon, greeting patrons and barkeeps with a subtle wave.
ED rubs his eyes before doing a cursory glance at the gamblers, alcoholics, outlaws and pretenders and takes one last look at the black piano player with waves in his hair who plays a jaunty tune with ferocious liveliness before exiting onto the streets of Three Plottts.
EXT. THREE PLOTTTS. NIGHT
EDDIE exits THE DRINKIN’ GOURD to a full boardwalk of pioneering festivity. As people mill on the boardwalks, horse riders around drunkards, socialites, and worn out prospectors meandering on the dirt street.
VIRGIL TEMPLETON, 56, white with a mustache and beard that is peppered with grey along with his short hair, stands watching the passerby’s with a casual, yet careful eye.
EDDIE approaches and meets VIRGIL, who keeps his eyes ahead.
VIRGIL
You ready to get to work?
EDDIE spits and VIRGIL still shows no reaction.
EDDIE
I was working.
VIRGIL
That what you call it?
EDDIE
Let it go, it is what it is.
VIRGIL turns and glares at his brother, but says nothing. EDDIE spits once more. VIRGIL grunts and moseys through the throngs of people while EDDIE follows behind watching everyone he passes.
VIRGIL
I’m gonna be callin’ for more hands out here. Them boys we got last spring – Harold and what’s his name?
EDDIE
William.
VIRGIL
That’s right, William. They’re up around the camps tonight. They outta be ok. It was quiet earlier. Won’t be for long though…
EDDIE
You look tired, how much sleep you get?
VIRGIL
I’m gonna need you around here for the night. Nothin you can’t handle, card players and drunks for the most part. You shouldn’t have no problems, you bein’ you.
EDDIE
What’s that supposed to mean?
VIRGIL
All them around here, they know you. Think they know you at least.
EDDIE
Yeah?
VIRGIL
And that’s what you are.
EDDIE
I don’t have as many years in this world as you do, so once again, your wisdom eludes me. Why don’t you educate me.
VIRGIL
I see why he likes you. You’re a smartass just like him. Clever.
EDDIE
What are you talking about?
VIRGIL
You have the wrong people fearing you EDDIE.
EDDIE
You sure do talk a lot for not saying much.
VIRGIL
Principle or power EDDIE.
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Richard Chomps Thompson’s Key Business Decisions
What I learned:
I learned that it is possible to keep the intent of a script while also addressing real budget concerns and not being beholden to a specific detail if it can be reworked with the resources available. This adaptability is needed for successful writing, scripting, and production.
Decisions:
Genre: Drama Series
Title: Silverstone
(This is still a working title, but it is the lead so far.)
Concept: When
a horse ridden corpse arrives to the bustling mining city of Three Plots,
sinister truths are revealed as the tightly woven secrets of the licentious
townsfolk begin to unravel.<strong data-slate-leaf=”true”>
Audience: Marketed towards black audiences all ages, but storied for (All) Men-Women; 20 -40; Horror/supernatural fans; Western fans. Marketed using multiple advertising fronts for multi-generational interest.
Budget: $1 million per episode (maybe more depending on whether producers want special effects)
Lead Characters: Henry Dunn – Former buffalo soldier, enigmatic owner and proprietor of ‘Three Plotts’ who runs the city with cavalier chaos and unnerving charisma and carrying a hidden secret; Booker Thompson – A despondent bounty hunter carefully searching and killing the members of an outlaw gang to reach their leader with a past that haunts him; Moonshine – An artful saloon girl who dabbles in the occult while also mesmerizing the towns patrons with unusual dances, song, and insights while running away from a trauma that she keeps hidden; Virgil and Edwin Templeton – two brothers who dispense law and judgment to keep the peace in the town despite having different views on how to do so and understanding that they are both beholden to their family history as a part of the kind of men they choose to be. Nyx Dutchman – a desperate outlaw who has spent their life surviving a harsh world through violence, ruthlessness, and conviction keeping the bodies she amassed as nothing more than silent ghosts in her past.
Journey / Character Arc: As an ensemble, each character will see their arc grow and change distinctly throughout the season. Those who should live will die, and those who should die, will live, but who they are and what they believe about themselves will be revealed as the story of the first freeman saloon town in the southwest, a fateful train robbery, and how the bloody promises made to the witches of the desert are always kept.
Opening: The opening of episode 1: A naked witch of unknown origins arranges a bloody, dead body on a horse while chanting softly. The dead horse rider jostles as she speaks and begins riding into the night, toward Three Plots.
Ending: The end of episode 1: As Booker examines the dead horseman that is set to be burned, it clutches his hand tightly and telling him ‘He made a promise’, startling Booker before laying motionless again.
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Richard Chomps Thompson’s Specialty – Drama
What I learned doing the assignment is…
By breaking down the movie into beats and recognizing how those story elements are integral for resonate story telling, these elements can be prescribed to all genre types.
First movie:
Title: There Will be Blood
The film delivers on the conventions by: Exploring the conviction and drive of Daniel Plainview and how he interacts with the world by seeing every aspect of it as a deadly opposition to his motivation to succeed. By witnessing his determination climb through the emotional devastation wrought unto those in which become familiar to him, his drive gradually becomes an example of hollow humanity in which the cost of it is human connection. “I can’t keep doing this, not with all these…people…” – Daniel Plainview
Purpose: Witnessing the conflict of a man singularly driven by wealth versus a man driven purposefully by religion in a struggle for power over one another.
Character driven journey: From the first scene in which we see a prospecting Plainview mine for silver and drag his body back into town, his character reinforces that he is a man without peer, not even with a boy that he would later call his son. We care because his conviction and drive only start to bubble over into obsession as the conflict grows.
High Stakes come from within: Finding one of the largest pools of oil under a small town in Southern California, the growing conflicts center on convincing the townsfolk to believe his words, grievous injury inflicted upon his son, growing distaste with the local pastor, and a clinging desperation to hold onto the power he has.
Emotionally resonates: The audience is moved by the emotional toll caused to the various characters and what it means to mean human.
Challenging, emotionally-charged situations: The most notable situations that challenge Daniel when his son goes deaf while at the same time finding the largest pocket of oil in the country.
Real world situations: It is grounded in the real hardships of life in the late 19th/ early 20th century southwest.
Outline of the movie:
– From the early traumas caused from the dangerous trade of mining for silver, a quiet and dedicated prospector turned oilman takes on an orphaned baby, and begins a burgeoning oil empire.
– It’s been roughly 10 years since Daniel started his family oil business where a disastrous meeting with a small Arizona town that inadvertently struck oil ends abruptly as he see’s too much discord for his liking despite a river of oil filling the streets. It’s during his regroup where a mysterious young man tells him of a small township in southern California that is rich with oil, “seeping up into the surface”.
– Daniel and son go and determine if what he was told is true. The land looks promising, and while tying to purchase it, they encounter Eli Sunday, a local priest. Eli wants money for his church and Daniel doesn’t like to be challenged. An agreement is made and work begins.
– Eli continuously tests Daniel as they play against one another in a battle of power over the people and land culminating to a point where Daniel embarrasses Eli by honoring the oil derrick to ‘the children’ and not ‘the church’.
– As oil is being produced and the lives of the town adapt, the big ‘strike’ occurs, revealing there is even more oil than even imagined. This celebration is marred by an accident in which causes H.W., Daniel’s son, to go deaf.
– While still dealing with this tragedy, Daniel’s long lost brother arrives and asks if he can work with Daniel. There is suspicion, but once the man provides information that only Daniel knows, he takes him in. He can keep the family business ‘face’ despite abandoning his son to a hospital to heal.
– The world begins to crumble as H.W. returns. He won’t hear again, Daniel is more visibly upset at his ‘defective’ son, Eli is demanding payment for his church, Daniel’s brother turns out to be a charlatan – getting killed by Daniel in a drunken rage – and larger oil barons begin trying to intimidate Daniel out of his claim.
– Woken from a drunken stupor, Daniel is confronted by another owner of the land in which is needed for complete control of the oil underneath. This man says there is only one way to get his parcel, and that is to become a member of Eli’s church, of which he too is a member.
– Daniel, furiously, attends to the congregation to be baptized and when doing so is confronted with his sins as a father. He is humiliated and Eli is pleased by his defeat over the man who has been so powerful for so long. Daniel has won as well, but by the reckoning of who he truly is.
– Another 10 years have passed and it is the day of H.W.’s weeding to his childhood love. Daniel, now an oil baron in league with those like Carnegie and Koch, lives in an absurdly opulent mansion where he drinks himself to black stupors regularly. His son tells him that he is starting his own oil company to which Daniel disowns him and reveals that the boy was ‘a bastard in a basket’ who he only took in to have a family image.
– It is now, visits with a slightly hollow superior demeanor telling Daniel that he is now ready to sell the remainder of the land of which contains the largest amount of oil that Daniel wants. Daniel makes Eli admit that religion is a superstition, mirroring the confession Eli made Daniel admit during church all those years ago. Eli does and is heartbroken. Daniel relishes when he tells Eli that he doesn’t need to buy it anymore, he’s already siphoned all the oil from underneath, “I drink your milkshake, I drink it up!”. While in disbelief, a drunken Daniel chases Eli and murders him releasing pent up rage that has accumulated for the last decade. He is alone, he has won, and he says “I’m done.”
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Richard Chomps Thompson Credibility Is Going Up!
Two or Three Steps I’ll Take in the Next 30 Days to Increase My Credibility:
1. Submit my script to a contest. Pilot or series
2. Research potential interested parties and outreach.
3. Submit one or more
4. Focus my LinkedIn profile for writing and provide a notable feature as a screenwriter, or make a separate Linkdin screenwriting profile.
What I Learned Doing This Assignment:
Work in establishing my credentials is just as important as having valued writing experience. I am audience of one today, and I need to work at creating a billboard to advertise myself properly.
Credibility Checklist:
1. My Writing Sample: My strongest writing samples are not completely screenplay-centric. I have notable, and award winning pieces that include stage play and short story, as well as an Apex Film fest nomination of one screenplay, but I can increase that by submitting to more contests, and creating PoF pitch packages.
My current script in which is being written DOES hit multiple marketable points and would be of industry interest.
2. I have a couple contest wins, no big budget movies, but I have produced movies in which I’ve written and directed and they are viewable on Youtube. I have one script that was selected for Sundance consideration. I have been a quarterfinalist a few times.
3. Google: I am notated on multiple fronts as an actor, director, and writer. There are current pics and reviews regarding my performance pieces. The enitre first page of ‘Richard Chomps Thompson’ is based on me.
4. Network: I know a couple local producers, have created a magic list for A-listers, and have worked with larger producers in the Phoenix area. My network includes A-listers, Seelie studios, Bit Fire Entertainment, and some game companies in which I’ve done voice work for.
5. Education: I have a bachelors’ in English, have a background in writing (all things from journalism/editing to freelance technical writing and script doctoring). I will be taking courses of Master’s class through Screenwriters U as well. .
6. Borrowed Credibility: I am represented by Dani’s Agency, I have worked with Hello Studios and Avai Entertainment, Vindication Studios, and work with the University of Arizona filming department on student films. I also work behind the camera as well and network that way.
7. IMDB: Richard Chomps Thompson. It is light but it is existent. It notates my writing and directing. Other points of accreditation include acting.
8. Other Forms of Credibility: I am an A-listers graduate, I am an artistic associate for Invisible Theatre, I work regularly with Seelie Studios and Avai Studios, and am increasing my work engagement with larger production houses in the region. I also have had one movie up for an Apex Film award, I’ve been published through Sandscript, I’ve had some recognition with original stage plays I’ve written.
Things I Can Do to Increase My Credibility:
Finish scripts and get them made.
LinkedIn
I’ll have to create this from scratch, as I don’t have a LinkedIn profile for screenwriting or focus my current profile to center on my writing specifically.
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1. Idea: When a horse ridden corpse arrives to the bustling mining
city of Three Plots, sinister truths are revealed as the tightly woven secrets
of the licentious townsfolk begin to unravel.Budget: $1-5 million per episode
2. Finished: Four local artists are invited to perform at a local Fringe festival, only to realize too late that the performance is a not what they imagined.
Budget: 10 million
What I learned:
<font face=”inherit”>I learned that it’s possible to get paid writing </font>assignments.
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1. Richard ‘Chomps’ Thompson
2. 6
3. I hope to gain an understanding of the business side of screenplay writing so that I can write full time, both as a writer for producer needs as well as write passion pieces that can be made.
4. I went to Paula Abdul’s birthday party as a kid and she kissed me on the cheek.
I look forward to working with you all.
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1. Richard ‘Chomps’ Thompson
2. I agree to the terms of this release form
3. As a member of this group, I agree to the following:
1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.
2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.
I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.
3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.
4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.
5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.
6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.
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Richard Thompson
MemberOctober 12, 2022 at 12:45 am in reply to: Lesson 5: Partner Up for Writing Sample FeedbackHi Sam,
I’m definitely happy to work with you! It’s great to meet you!