This script’s greatest selling point is that it’s a quick page-turner. This is largely due to the excessive dialogue, which rivals Kevin Smith and Judd Apatow in contexts of pop cultural references. Producers who might wince at the 127-page word count will likely breathe easier when they note how much on the written page will simply be spoken out loud onscreen. Therefore, it should run much quicker than two hours since a page of dialogue is usually much shorter than a full minute. But because of the light-hearted nature of the dialogue, the characters should breeze through the running time without causing the audience much time to contemplate the substance of their conversations.
—Toronto Film Festival
Hey! I don’t mind being compared to Kevin Smith at all, the creator/writer of CLERKS and MALL RATS. The reviewer goes on to say that my script would be better served on stage than on the silver screen. I think he or she is right to some extent. However, as I peruse the 2-page review I noticed one important thing: he or she didn’t mention the more filmic ending, which is full-on action in downtown Tijuana. So, is it fair for this reviewer to review without reading the entire work? Maybe. Maybe not. I’m happy to get the review because I spend my sunset hours mostly revising the dialogue. The script is after all at a few more festivals, including the Chicago Indy Film Fest and the Manchester Film Fest.
Sending a screenplay into the vortex of a swirling competitive maelstrom is the only way I know right now to get the work out. Believe it or not, my work was rejected for pretending to be a screenplay. Thick skin required in this business, but I’ve suffered worse blows. Believe me.
Stay tuned for updates!