Deadline is reporting that representatives of Mr. Right screenwriter Max Landis are circulating a screenplay titled Deeper. Deadline originally reported word of the screenplay being written on 12th November, initially reporting that it’s to be produced by Batman v Superman: Dawn of Justice screenwriter David S. Goyer‘s production company. In Deeper, a former astronaut is dispatched to an oceanic trench, the lowest point currently discovered on the surface of the Earth. Once inside the trench, the astronaut finds himself psychologically and physically fighting mysterious forces. But the article dated 30th March 2016 reports that preproduction has now begun, after at least ten million dollars was offered by Goyer. Production reportedly begins next year. On the Screenwriting subreddit, Landis confirmed that Deeper‘s screenplay isn’t being currently made available to read online.

This all comes twelve days after Deadline also reported that Landis had sold a screenplay titled Bright, which was purchsed by Netflix for $3M, one of the highest payments given for a screenplay written on speculation of sale. Bright reportedly is being given the budget of the Men in Black films, and is expected to launch a franchise, despite its expected R rating. Netflix’s $3M was the successful bidder over PalmStar, who reportedly offered $4M. Landis is to share producing credit. Suicide Squad‘s David Ayer is attached to direct. A 2nd March Variety article reports that Bright was inspired by Ayer’s own End of Watch, but set in a world where orcs and fairies live among Humans. The article also reports that Bright won’t be set in the present day. Landis also confirmed on Twitter that Ayer’s rewriting the Bright screenplay:

The Bright screenplay is 105 pages long and is currently available to read.

Deeper‘s premise sounds similar to a film Landis pitched on The Schmoes Know Movies Show, which Landis described as not being possible to make or market. If you haven’t watched this pitch, it’s fantastic. Unfortunately, there’s no way for tell you why without ruining the ending:

Landis is represented by Writ Large. Bright‘s sale was represented by William Morris Endeavour.

Why screenwriters shouldn’t be “famous”

The idea that screenwriters should be as “famous” as director implies that screenwriters are involved with the production process; they’re not, and as a result, don’t collaborate with those that are – and collaboration is what makes the success of a film. Audiences watch films, but the film and the screenplay aren’t synonymous, which is why most people have little interest in reading the screenplays to the films they watch. A badly-made film is a badly-made film, but screenwriters aren’t film-makers, and therefore shouldn’t be factored-into the quality of a film and how it was made. Especially because the screenplay will be rewritten based on notes and feedback from executive producers, as well as budget lines and what’s practical during the shoot – these are all aspects that aren’t known to the public due to their irrelevance during the film-watching process, so judging a screenwriter based on a film is ignorance of these details that are the important difference between what’s on the page and what’s on screen.

It’s easy to judge cinematographers because cinematography is an aspects the audience do see on screen when they see a film, but they’re not looking at what the screenwriter wrote, but will judge the screenwriter in much the same way that they’d judge the cinematographer. Which is why screenwriters also shouldn’t be praised in the same way. And if a screenwriter does have consistent success, that’s luck, especially because each screenplay’s likely to be adapted by different directors. Even Woody Allen, who’s won the Academy Award for Best Original Screenplay more times than anyone else, wrote the screenplay to Manhattan, which grossed $126.047M, but also wrote the screenplay to September, which grossed only $000.985M; equally, Allen wrote the screenplay to Husbands and WivesBroadway Danny RoseZeligLove and Death and Sleeper, which are all rated 100% on Rotten Tomatoes, but also wrote the screenplay to Company Man, which is only rated 14%.

Then there’s Charlie Kaufman, who’s written three screenplays included on the Writers Guild of America’s list of the greatest ever, also wrote the screenplay to Human Nature, which is rated 49%. But Kaufman was still able to write Anamolisa, not because Paramount Pictures were foolish, but because they’re film industrialists, and therefore understand not to judge a screenwriter by films, but by screenplays. That’s what a screenwriter controls, and it’s all the screenwriter controls, so it’s all that’s considered to matter. The screenwriter doesn’t make the film, but they’re the ones that put the words on the page.

What the screenwriter does is present a film that could be but isn’t yet. Some screenwriters are also directors, but any success is accredited to their status as a director, being a screenwriter becomes incidental at that point. Screenwriters shouldn’t be famous because a good screenwriter just wants to be able to write screenplays. And anyone who wants to be a screenwriter to be a famous writer should just become a novelist instead.

And once any potential screenwriters understand this, those potential screenwriters can know whether they’re in it for the fame, or for the art. And as soon as a screenwriter does try to become famous for screenwriting alone, that leads to all sorts of problems. And Max Landis does these things to teach you not to do the same:

(Video) Star Wars Controvery [sic] Epilogue – Stakes, Conflict Free Characters, and a Question

So, Dirk Gently’s Holistic Detective Agency writer Max Landis shows up again. God, this guy gets everywhere. In case you’re not familiar with the context, let me clear things up: Landis accused Rey from Star Wars: Episode VII – the Force Awakens (by J. J. AbramsLawrence Kasdan and Michael Arndt) of being a character without any weaknesses or stakes, and was accused of misogyny.  Because that’s what happens when anyone makes any comment about any female character.

And in this video, he finally snaps. It’s not even funny, just… scary. I went to college with a guy like this. He, too, resembled a bi-curious douche bag.

(Video) quick tip – describing female characters – how not to do it

This is Max Landis, writer of Dirk Gently’s Holistic Detective Agency. People have mentioned him on the Internet. I sometimes post links to the stuff he does. And people give him a lot of crap.

Quite frankly, I see someone trying to good things and sometimes makes his own suggestions. But this is a video that every screenwriter should watch. It’s about how to not describe female characters. And he’s right.

Screen writing is an economy. One page is a minute of screen time. And on that page, the screenwriter should describe the controllable variables of a scene. Describing a character as “attractive” is meaningless because that’s subjective to the audience, so it’s something the screenwriter can’t control.

Screenwriters who do this: please stop.

(link) #spidermanthemusical

This is incredible. As some of you may have noticed, I’ve been keeping close tabs on Mr. Right‘s Max Landis recently. Think of it as professional curiosity. Anyway, he recently tweeted some screenshots of a fan script he wrote for a Spider-Man musical. My god, this is perfect.


You may recall that some time ago I shared a video of Mr. Right‘s Max Landis explaining why Daisy Ridley’s Star Wars: The Force Awakens  (J. J. AbramsLawrence Kasdan and Michael Arndt) didn’t work. Well now, he’s responding to the response. And if you couldn’t handle this guy before, get ready, cause things are about to get… weird:

(Video) Star Wars The Force Awakens: Max Landis is sexist and Rey is a Mary Sue *spoilers*

Mr. Right‘s Max Landis on Star Wars: The Force Awakens (by J. J. AbramsLawrence Kasdan and Michael Arndt):