Posted tagged ‘Spec Tracking’

Spec Tracking, Week of April 12th, 2010

April 14, 2010

Sorry, folks, that it’s been such a long time since I posted loglines of scripts that are circulating in Hollywood right now. This so far has been the most popular feature on this blog, so I’ll try to remember to post them frequently. At some point in the near future I’ll be doing a week-long blitz with several dozen loglines for your reading enjoyment, so keep an eye out for that.

This week, we have a CIA action thriller (always a perpetual favorite; if there’s one thing people love to write about more than hit men, it’s spies), a supernatural horror period piece, and a rom com with a mediocre premise. People, if you’re going to write a romantic comedy, either your premise or your writing had better be pure gold. Oh, and for good measure, I’ve added a logline for the latest addition to the oversaturated “dance competition” sub-genre.

MORE IS NEVER ENOUGH
By Brandon M.
Logline: A formerly brilliant CIA agent, now a washed-up has-been, reconnects with his long-lost true love and estranged teenage son on a cross-country mission to save the world from imminent disaster.

EMPIRE OF THE WOLF
by John P.
Logline: Upon inheriting the empire, a Roman prince turns to his former bodyguard to escort him safely back to Rome, but on the journey they must survive six rogue Praetorians cursed with demonic powers and hell bent on killing the prince before he’s crowned `Caesar’.
The story is loosely based on a young Roman prince who inherited the throne after his father’s death.

GUITARS WICKED AWESOME DANCE CREW
by Philip S. and Chad D.
Logline: When Lance Guitars, a depressed and fame-starved choreographer, finds himself hounded by goons over a gambling debt, he assembles a rag tag crew to compete for the prize money in the national dance competition.

THE SUGAR DADDY
by Flint W.
Logline: A romantic comedy about a mild-mannered suburban dad who, in an attempt to lure back his ex-wife, decides to become the sugar daddy to an independent-minded but down-on-her-luck younger woman.

If you have to mention in your romantic comedy’s logline that it’s a romantic comedy, it’s probably not a good sign — the movie’s description should give the genre away without needing to explicitly specify what that genre is. Of all four, the one with demonic Praetorians is the only one that sounded even mildly interesting, but I predict it’s the first script that will sell the fastest. What say you?

Spec Tracking

March 3, 2010

Every so often, I’ll post the titles and loglines of scripts that are currently being shopped to producers. It’s a great way to familiarize yourself with what scripts are getting attention based on their loglines alone. You’ll notice running trends with these specs — most importantly, there are a few genres which are perpetually popular. Action thriller, comedy, romantic comedy, crime drama — you’ll see a lot of these. Sci-fi, romantic drama, biopics and other genres tend to be harder sells, for various reasons (men won’t see romantic dramas, sci-fi costs money, etc.) but you can always count on a cheaply-produced buddy comedy to take in some money at the box office or, at the very least, on DVD.

I AM ROSE FATOU
By Ted M.
A lonely California man responds to a exotic woman’s phishing email and an unlikely romance blossoms.

SPRING BREAK ZOMBIE CRUISE 3D
By Matt P.
A virus from a top secret government island has accidentally infected a spring break cruise ship in the middle of the ocean. With most of the partying students turned into zombies, it’s up to a soldier and a group of co-eds to contain the virus before it reaches land…and before they are eaten.

THE TRADE
By LaRon T.
A decorated NYPD Detective is on the run for stumbling on to a desperately needed drug, much to the chagrin of the Government and New York’s finest, all of whom are now gunning for him.

THE ARCHITECT
By Craig S.
When an architect sent to Dubai unwittingly loses the encrypted files he was secretly meant to courier, he must expose the conspiracy to save himself and his fiancée.

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