They write in a sort-of shorthand, as if the script is meant for a few close friends who already know the details and therefore don’t need to be bothered with things such as character descriptions. They aren’t very good screenwriters at this point in their careers (2012). But Jump and Wheatley are handicapped by a major problem. Will Largo get revenge on Albino? Will any of her shift mates survive? Jump on the Freakshift to find out, baby. The story follows one crazy night shift for these guys which shows just how crazy their job is. Moochers are trying to kill you just like Bulks, so it’s safe to say the freak shift is pretty dangerous. There are other monsters that occasionally pop up, and it seems that if you get bitten by any of these creatures, you turn into something called a “moocher,” which is this world’s version of a zombie. You see what I did there? Anyway, in addition to getting general revenge on these monsters, Largo also wants to find the Bulk that killed her family, which luckily is an easy-to-identify albino Bulk.īut Bulks aren’t all they have to worry about. I guess you could say they’re doing the BULK of the work. This is why we need the Freakshift, a fire-fighter like crew whose job it is to go out every night and kill these Bulks before they kill others. And what do these Bulks do when they get topside? They kill human beings of course. And if you’ve already proven that you can create a great movie, I’m going to assume that the deficiencies in your screenplay will be overcome by your vision for the film.įreakshift follows Diane Largo, a young Sigourney Weaver type who lost her family to a monster known as a “Bulk.” Bulks are huge nasty beasts that wait til nighttime to emerge from giant Bulk-created holes in the ground. Because the goal of the screenplay is to create a great movie. If you go out there and direct something great, I’m going to give your script the benefit of the doubt over Joe Nobody. That professional writers are getting the benefit of the doubt because of their name while we, the unknowns, have to write something perfect just to get hip-pocketed by a sleazy manager in El Segundo.īut you know what? I don’t have any problem with that. That’s one of the complaints amateur screenwriters turn to when subpar material moves through the system. If this showed up on Amateur Friday, it’d get a straight “wasn’t for me.” The only reason I was seeing it differently was because I’d watched that High Rise trailer and I knew what Ben Wheatley could do with this idea. But after about 30 pages, I had to be honest with myself (and with you). So I’m reading through this script and I’m thinking to myself, “Sure, yeah, this is cool.” We got ourselves some ruthless monsters. But I’d say this is much closer to the Deadpool version of Ghostbusters than the cuddly 80s Bill Murray version of Ghostbusters. The Ghostbusters influence is pretty obvious. Turns out Wheatley’s been hard at work for awhile now, writing scripts with his writing partner Amy Jump, as this one was conceived all the way back in 2012. One of the most buzzed about upcoming films that doesn’t have “Star” or “Bat” in the title is High Rise, which displays a unique voice that’s inspiring many to call Wheatley the next big thing. Logline: In a city where dangerous monsters emerge from underground every night, a monster-fighting patrol team is tasked with finding and killing them before they can kill the city’s citizens.Ībout: Ben Wheatley is coming and he’s coming hard.
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