Fan Fiction: VIGILANTE: The Origins of Casey Jones (TMNT) by Justin Prince
SYNOPSIS:
Genre: Action, Crime, Thriller
After an injury put a halt to his plans of playing hockey in the NHL, Casey Jones doesn’t believe life can get much worse. He soon finds out just how wrong he is. Faced with a tragedy Jones takes justice into his own hands, becoming a hockey mask wearing vigilante. (Based on the character from Eastman and Laird’s Teenage Mutant Ninja Turtles).
My screenplay works as a retelling of the origin story of Casey Jones, the hockey masked vigilante of Teenage Mutant Ninja Turtle’s fame. The story reveals who Casey is as a person and what events push him to take on his crime-fighting persona.
What genres does your screenplay fall under?
I would describe it as a graphic action/superhero film.
Why should this screenplay be made into a movie?
Casey Jones is one of the most popular characters from the TMNT universe outside of the four turtles themselves. This script really just gives you an idea of who Casey Jones is, the hardships that shaped him and how he develops into the vigilante that goes on to become one of the turtle’s most trusted allies.
How would you describe this script in two words?
Gritty & fun.
What movie have you seen the most times in your life?
I’m not sure; there are a lot of movies I revisit, including the original 1990s live action TMNT film. But, the film I’ve probably watched the most in my life is probably “Raging Bull.”
How long have you been working on this screenplay?
I have been a TMNT fan my entire life but as I got older I began to identify more with Casey Jones than I did the turtles themselves. So I’ve been conceptualizing the script for a long time I’d say. But, it wasn’t until after the most recent TMNT film was released that I began to really sit down and outline the story. The TMNT of the comics are actually really dark and gritty with Casey Jones being one of its darkest and most gritty characters. I really wanted my script to reflect the comic universe more so than any of the film incarnations of the TMNT have.
How many stories have you written?
Oh, I could never put a number on it. I’ve been writing stories since I was a little kid. I’ve always enjoyed storytelling and have told stories in almost every format you can tell one in. As far as scripts go this is my fifth short script. I’m also currently working on the screenplay a feature length film.
What motivated you to write this screenplay?
I just really wanted to tell a story within the TMNT universe but tell it in a way that reflected the comics more so than the cartoons. The original TMNT comics are really quite a contrast from the other forms of TMNT media; they also started as a parody of the superhero genre. I wanted to bring the grittiness of the comics to life in a script and I also wanted to have that element of parody. So here that element comes with Casey’s obsession with action films and his penchant for quoting them in battle.
What obstacles did you face to finish this screenplay?
The biggest obstacle was writing the action sequences. I haven’t ever really written any significant action sequences for a screenplay before and this one has several of them. So figuring out how to write them in a way that conveyed what I envisioned along with the pacing I had in mind was really something I had to experiment with to figure out.
Apart from writing, what else are you passionate about?
I’m really passionate about all aspects of film. Lately, I’ve really began to delve into editing and learning the way that editors tell a story or alter how a story is told.
Any advice or tips you’d like to pass on to other writers?
My biggest tip is embracing the rewriting process. So many people like to write, but they don’t like to rewrite. You have to learn to love rewriting, especially if you’re going to choose to write screenplays.
The Mask of Leia is a thought-provoking drama that explores the hidden psyche of Princess Leia. It aims to prompt the viewer into thinking about the trauma that Leia has undergone through the Star Wars story and what her internal struggles from dealing with all that suffering might be.
By all rights, Leia should be a total basket-case or at least have severe PTSD but she has managed to mask these personal struggles from everyone around her, including Han Solo. The script also explores the potential of her being Force-sensitive and keeping this hidden, perhaps for political reasons.
How does this screenplay fix into the context of the Star Wars universe?
The story takes place just after the Battle of Endor (Star Wars: Episode VI -The Return of the Jedi) and the defeat of the Empire.
Leia and Admiral Ackbar lead the Rebel forces to the planet Coruscant to secure the New Republic. It is during this journey that we see Leia secretly struggle with her trauma and her ongoing internal battle with the Force.
How would you describe this script in two words?
Hidden backstory.
What TV show do you keep watching over and over again?
I’m a Dr. Who fan. I have been since I was about five years old. I
love watching the current Doctor, Peter Capaldi, because I went to school with him and we were in the same theatre company together as teens in Glasgow, Scotland. He used to play Dr. Who in the school playground and he was a natural at it then. I was not surprised that he got the role as Doctor Who.
5. How long have you been working on this screenplay?
The story was sketched out over a couple of days between film
director, David Connellan, and myself. It then took me about three weeks to achieve the final draft.
6. How many stories have you written?
In terms of screenplays, I have written five stories – two features and three shorts. I am currently, writing my third feature, which is a thriller/horror.
7. What motivated you to write this screenplay?
I have always been a Star Wars fan from the very first time I saw that iconic Star Wars roll-up. So, when my friend and director, David Connellan, asked me to write a screenplay for a Star Wars short I jumped at the chance. Writing the roll-up to this story was fun.
8. What obstacles did you face to finish this screenplay?
The goal was to come up with a five-minute screenplay – about five pages. Trying to capture the whole of Leia’s trauma into just five minutes was very difficult. My initial draft was close to twelve pages and the final draft was around eight pages. Cutting out some great scenes and dialogue was tortuous. Sadly, cutting it down further for a five-minute film meant a lot of sacrifices in the overall story, including the iconic roll-up.
Apart from writing, what else are you passionate about?
Travel. In my view, travel has been my greatest teacher. It has
allowed me to experience and understand people and cultures across so many countries. Travel has helped me realize that while we are all members of the same small planet and there are also more ways to live than just the one we have been born into.
Travel is experiential and visual and for me that helps me in my
screenwriting, which is very much about creating a visual experience.
What influenced you to enter the festival? What were your feelings on the initial feedback you received?
The Fan Fiction Festival is a well renowned festival and platform for fan fiction and fan films. Entering the Festival was a “must-do” for me. In the Fan Fiction Festival, I love how engaged fans can be in developing their own derivatives of the original stories. It’s a form of organic creation that deserves more credit.
The feedback I received from the festival was very useful in tightening the story. I certainly appreciated this. The only advice I didn’t feel comfortable with was to develop more character for Han Solo. I felt that would have detracted from Leia’s story.
Any advice or tips you’d like to pass on to other writers?
I like to start with “what if” questions to get a story going. The concept of The Mask of Leia is a good example. What if Leia has PTSD and is being internally pulled by the dark and light side of the Force? Think about that question and you have all sorts of ideas for a story.
Write with passion and don’t be afraid to go with your gut when writing a story. If you let others get involved and question your story concept early in the process it will most likely upset your creativity and your story will turn out half-assed. Of course, listen to feedback once you’ve completed that first and subsequent drafts as feedback will help refine and improve the story.
Finally, I’d say that make sure that you develop engaging characters.
Such characters are distinct, likeable (or loathsome) and have a strong motivation. Ultimately, these characters do not ride along with the flow of the story, rather they create the direction of the story.
Watch the July 2016 Winning Fan Fiction Screenplay.
Star Trek Deep Space Nine: Power Loss by Jennifer Renner
SYNOPSIS:
Genre: Sci-Fi, Adventure, Action, Fantasy
Synopsis: Episode 32.5 of the TV series Star Trek: Deep Space Nine. The station welcomes visitors from a planet in the Gamma Quadrant that allows only women to hold positions of authority.
Deep Space 9 welcomes visitors from a planet in the Gamma Quadrant that only allows women to hold positions of authority.
2. Why does this episode fit into the context of the show?
The episode uses a futuristic setting and the unique perspectives of the characters to discuss a social issue. One of my favorite things about the whole Star Trek phenomenon was the ability to look at potentially controversial issues under a new and intriguing light.
3. How would you describe this script in two words?
Existential exploration.
4. What TV show do you keep watching over and over again?
Star Trek: TNG
5. How long have you been working on this screenplay?
I worked on this screenplay for about three months.
6. How many stories have you written?
I’ve written many short screenplays and three feature length screenplays.
7. What motivated you to write this screenplay?
I love the different personalities in DS9. The topic of gender has been in the spotlight recently and using the voices of DS9 seemed a good way to explore this issue.
8. What obstacles did you face to finish this screenplay?
I don’t have much experience writing for TV, so that was fairly new to me. I also wanted to do justice to the Star Trek universe and it is a complex place to navigate. Use the term “warp coil” when you specifically mean “warp nacelle” and you’ve lost all credibility.
9. Apart from writing, what else are you passionate about?
All things film! From theory to shooting and editing, to just a lot of viewing, I enjoy it all.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I was excited about the prospect of receiving feedback to improve my writing. The feedback I received offered many helpful suggestions, both in terms of my writing in general and as a piece in the DS9 universe. I’m definitely glad I entered this festival.
11. Any advice or tips you’d like to pass on to other writers?
Although I don’t feel qualified to give advice, I would say to try writing as many different types of works as you can. From one-act plays to feature screenplays to poetry to just a really well-written email, there are so many ways to express yourself well through writing.
1. What is your TV Pilot screenplay based on the television show Space: 1999 about?
John Koenig, the commander of Moonbase Alpha, must prevent a terrorist group, led my an old adversary, from taking over a nuclear refinery.
2. How does this future remake fit into the context of the original TV show?
The screenplay is a re-imagining of the original pilot episode.
3. How would you describe this script in two words?
Action/drama
4. What TV show do you keep watching over and over again?
There’s more than one: Space 1999, Battlestar Galactica (the original and re-imagined), Star Trek (TOS, TNG, DS9, VOY, ENT), Babylon 5, Stargate (SG-1 and Atlantis) and Farscape.
5. How long have you been working on this screenplay?
It took about four months to finish the first draft, which was 137 pages. It took another two months to whittle it down to just under 100 pages. I’m still polishing it.
6. How many stories have you written?
I currently have two feature length scripts and a one-hour television pilot. I’ve also written two episodes of Space 2099 that would take place after the events of my pilot script. I’m currently working on a comedy feature.
7. What motivated you to write this screenplay?
I’ve been a fan of Space 1999 ever since I was six years old. Ronald Moore’s re-imagining of Battlestar Galactica demonstrated to me that Space 1999 could undergo a similar makeover.
8. What obstacles did you face to finish this screenplay?
The biggest obstacle was trying to figure out how the Moon would breakaway from Earth’s orbit that sci-fi fans would perceive as feasible.
9. Apart from writing, what else are you passionate about?
Keeping up with current events is important to me because it helps me to understand the world at large, which helps with my writing.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I found the festival’s website as I was looking for screenplay contests that I could enter. I was impressed with the testimonials from past contestants. Watching a couple of past readings also had an impact. The feedback I received was incredibly helpful.
11. Any advice or tips you’d like to pass on to other writers?
Never give up. Writing takes time, patience and research. Enter into as many contests as possible, especially ones that offer quality feedback, like the Fan Film Festival.
Synopsis: Some stories are too important, some stories must be retold. The story of Anakin Skywalker will be molded between the pressure of separate forces vying for his soul, which will determine the fate of the galaxy.
Synopsis: Some stories are too important, some stories must be retold. The story of Anakin Skywalker will be molded between the pressure of separate forces vying for his soul, which will determine the fate of the galaxy.
The screenplay is about the events that took place prior to Star Wars, A New Hope. It is the first part of a trilogy, that tells the story of these events.
How is this origin story different than the original episode 1? What makes it better/different?
There is no argument that can be made, to convince someone on the merit of the original prequel movies, and “better” is a subjective idea anyway. However, many Star Wars fans were disappointed with the original prequel movies, and I believe there are a multitude of reasons for this, but I will only touch on what I believe to be the main reason for this disappointment.
The main reason for this disappointment, relates to the question of “what” Star Wars is, and/or what it has become.
The original Star Wars was one of the most popular movies to ever come out. It redefined so much, relating with not only how to technically create a sci-fi movie, but in how to create the elements of the story, the characters, the pacing, the comedy, etc.
It was a perfect storm of creative vision (Lucas), comedic writing, pacing, editing, and of course musical masterpieces.
It was created as a team effort, like a well tuned sports car, and I believe, if any element was out of place, it would have turned into the flop that they initially feared it to be.
The original intention was to create a “space adventure film,” and although technically, one could define Star Wars in this context, it became something much greater than this simple idea.
The reason it became something much greater than a “space adventure film” is because of the idea of “the force.” The force turned Star Wars from just another “fun sci-fi movie” into something special. It quite literally, gave it “soul.” Star Wars became a narrative about the human condition, asking the ultimate philosophical questions about what it means to be human, and how our choices and thoughts effect us, not just in the physical world, but also in the “spiritual.”
No matter what one’s personal beliefs, this philosophical narrative is compelling, and it’s at the heart of Star Wars.
Without getting into detail, my screenplay attempts to bring back the “soul” of Star Wars, because I believe this is what made people fall in love with it, on a deep, emotional level.
How would you describe this script in two words?
Skywalker redemption.
One of the main plot point differences with this Star Wars script and the 7 produced films is that the story is not continuous. We jump from timeframes in Anakin’s development years. Some will argue that this isn’t Star Wars and the films need to a seamless adventure set in the same time. Why did you diverge from the original structure? And what makes this version still in the Star Wars universe vain?
Good question. First of all, you can’t (or shouldn’t) make a new Star Wars film by copying the last films. The original Star Wars cannot be recreated. It is not possible. Any attempt to do so, will not create something original, it will simply “ride the wave” of what people think “Star Wars” is, but any attempt at doing this is intrinsically flawed and will fall flat.
For example, although I liked the new movie, because it had many original elements, and was well crafted, fundamentally, it was a copy of the story from A New Hope. For example, the destruction of the “Death Star” fell flat and emotionless, because it was simply a copy from something we had already seen before, and the audience was not emotionally involved with it, for it was a fairly obvious retread.
Also, The Empire Strikes Back, was a very different movie from A New Hope. It added very strong elements of romance, elements of philosophy, and elements of “family.” This is one of the reasons people believe it to be the “best” Star Wars movie, because it laid the foundation for the “soul” of Star Wars, which I discussed previously.
People could have argued that The Empire Strikes Back was not “Star Wars,” for these reasons. However, it maintained similar comedic undertones, philosophical ideas, musical and pacing elements as the first movie.
To further that point, The Return of The Jedi, was again, a very different movie from the previous two. It was more dialogue heavy, had a slower pacing, and actually had a story structure that was broken up between the two unrelated story locations of Jabba’s palace and the Endor moon. Jabba’s palace did not lead to the Endor moon. People could argue that Return of The Jedi wasn’t “Star Wars.”
On the final point, about continuity. I feel that Stars Wars has so many crucial elements that are vastly more important than timeframe continuity in a single film. Although I would have preferred to have a relatively continuous timeframe, I feel it was more important to create a structure that follows the entirety of the character study of Anakin Skywalker.
I feel the character study of Anakin Skywalker is too complex, to devote an entire film to his time as a child. There is simply too much ground to cover.
On the flip side, Anakin’s story as a child is too important to leave out entirely. The size and scope of the trilogy requires a timeframe jump. This is likely to be the only timeframe jump in the trilogy.
To say it is not “Star Wars” because it contains a timeframe jump, seems silly to me, because the elements of Star Wars are there, and missing a single stylistic element, doesn’t seem to contradict anything about the originals.
In addition to this, The Empire Strikes Back has a slight timeframe jump as well. A jump that is not clearly explained, but is there. The time Luke spends training with Yoda is not explained, relating to how much time has passed. It is clear that a significant amount of time had passed (I believe the writer said “months”) and I doubt people would consider this lack of pure timeframe continuity to “not be Star Wars.”
How long have you been working on this screenplay?
For the version read at your festival, I spent about fourteen months. Although there was plenty of note taking before I even started writing.
How many stories have you written?
This is my first complete screenplay, although there are several versions. You have read the “abridged” version.
What motivated you to write this screenplay?
It has been a fire burning in my belly for years. I never intended to send it to a festival however. I found out about several “fan fiction” festivals after I had nearly finished writing it.
Ultimately, the reason I wrote it, was to somehow, someway, make it into a movie, because that is what screenplays are for, and that it how I wrote it. I didn’t write it to be an entertaining read. I wrote it to be an entertaining movie.
What obstacles did you face to finish this screenplay?
The biggest obstacle is feedback. You must get some feedback. I have a friend who was willing to read it, and provide feedback. I took some of his advice, but stuck to my heart where I disagreed with him.
The ability to receive feedback, and use it to your advantage, is a critical part of writing, I believe, because when you’re writing, you don’t know if what you are doing is making any sense or not. It’s easy to get into your own head and think something is working when it is not, or think something is not working, when it is.
Apart from writing, what else are you passionate about?
Star Wars and Shakira.
What influenced you to enter the festival? What were your feelings on the initial feedback you received?
The feedback was priceless. Again, feedback is crucial. You must hear what someone thinks about the script. The next thing that is crucial, is to stick with what you believe in, and make changes where you feel the criticism has found something worthwhile.
Any advice or tips you’d like to pass on to other writers?
Thinking is the most important part. Have a notepad, where you can write down ideas when they come into your head. You will NOT remember them later. You must write down the thoughts that come into your head. I use my smart phone for this. I write notes down all the time, some of it is never used, but most of it is what makes the foundation for the screenplay.
Second, you need as much feedback as you can get. They don’t have to be professional readers, but they MUST find some sort of criticism with your work.
Worthless feedback is when you are told something is “good” or “bad.” Anything else is valuable and necessary.
Equally important to receiving feedback, is your ability to use it for YOUR BENEFIT. Use it like a tool. Don’t use it to satisfy somebody else’s idea of how things should be, unless you absolutely have to as a requirement.
Matthew Toffolo: What is your Doctor Who screenplay about?
David Gilbank & Paul Renhard: The Doctor is forced to kidnap Lord Nelson by an alien race who believe Nelson’s battle skills will help them win a war that has been raging for centuries.
Matthew: Where does this episode fit into the context of the series?
David & Paul: It was written for Matt Smith and Karen Gillan. Although I’m pretty sure with a bit of tinkering, we could adjust to suit Doctors past and present.
Matthew: Your screenplay ends with a twist and a setup to a future conflict with the Doctor. Do you have episode 2 and beyond of your Doctor Who universe written or outlined?
David & Paul: Not yet but it’s on our list of ‘things to do’. We’re currently in pre-production on a screenplay that we wrote about sport and love. That’s right a love story mixed up in a sport story. Think Rocky meets Pretty Woman and Love Actually. Or Slapshot in Love. Or something like that. We did it for the money.
Matthew: Who is your all-time favorite actor who played Doctor Who?
David & Paul: Tough one – it would come down to Tom Baker or Jon Pertwee and we’d probably for Baker just because of The Seeds of Doom! Or Pertwee in the Planet of the Spiders. We did like Davis Tennant too.
Matthew: Who is your favorite non-Doctor character in the series?
David & Paul: The Daleks. Every hero has to have his or her antagonists and the Daleks are just the best bad guys in fiction. Also liked Mike Yates, Sgt Benton and The Master (particularly Roger Delgado – Moriarty Deluxe). Also have to say I (Dave) loved the Tomb of the Cybermen. A beautifully written adventure with a claustrophobia akin to Alien (made some 10 years later). I love the way the old series (60’s and 70’s in particular) had to rely on storytelling to make up for the sparse FX and miniscule budgets.
Matthew: What TV show do you keep watching over and over again…besides Doctor Who?
David & Paul: The Tinker Tailor Soldier Spy TV mini-series – Alec Guinness as George Smiley. Perfect telly. I also loved Callan. Edward Woodward as a deadeye killer with a whiff of conscience was mesmerising. Loved the rebooted Battlestar Galactica. That story deserved to be re-made and those guys did it. Spectacularly written and wonderful acting. One of the best TV series ever made, scifi or other. I’m also re-watching The West Wing again. It’s like revisiting old friends. Aaron Sorkin has the IQ of Skynet.
Matthew: How long have you been working on this screenplay?
David & Paul: About three months.
Matthew: How many stories have you written?
David & Paul: Loads. We wrote a SciFi horror screenplay in 2010 called ‘Cull’ that won several screenwriting awards around the world. Think Soylent Green meets Alien. Its horrifying but a wild ride. We’ve also written several TV series, usually involving gangsters and aliens. We’ve just made a short film that is being well received. We’ve also written a ghost/horror screenplay which is currently doing well on the festival circuit.
Matthew: What motivated you to write this screenplay?
David & Paul: We just love Doctor Who and the creative possibilities are infinite! We are ambitious writers and thought we could write something pretty exciting.
Matthew: What obstacles did you face to finish this screenplay?
David & Paul: A 9 to 5 job and, clashing personalities. Fortunately Dave is pretty obsessive and is pretty driven to complete projects. Dave finishes. Paul rewrites. Dave changes it back. They argue. They don’t talk for a week. Paul changes it back, Dave sulks. Paul thinks he’s got his own way. Dave sneakily changes it without Paul knowing…and voila a perfect writing team.(I didn’t know you did that!) (Just joking) (Really?) (of course) (I knew it!) (here’s a bottle of Johnny Walker. Drink it now) (Ok, but I will be checking in future) (sure you will, Drink…drink…driiiiink) (I love you) (shut up).
Matthew: Apart from writing, what else are you passionate about?
David & Paul: We both love making films! So far we’ve only had the resources to make short films, but watch this space! Dave loves cricket, physics, Rugby League (Brisbane Broncos), Evolutionary archeology, history, carnivorous plants, digging holes and road rage. Paul likes writing and nothing else.
Matthew: What influenced you to enter the festival? What were your feelings on the initial feedback you received?
David & Paul: We’re always on the lookout for festivals to enter and this is the only one we know of that would let us enter a script based on an existing TV franchise. It’s always great to receive constructive criticism of your work, it’s the only way to make your writing better.
We accept we probably tried to cram too much into the episode, but we just couldn’t help it!
Matthew: Any advice or tips you’d like to pass on to other writers?
David & Paul: We’re really not in a position to offer advice, as we’ve never had anything made, barring our own short films, which are of varying quality. However, the only sage advice is to write! Just start writing, anything. The more you write the better you get at it. We’re both advertising copywriters during the day and we’ve learned that anything down on the laptop screen is better than nothing at all. Also listening to music and listening to the voices in your head is good. Unless they tell you to rob a bank or overthrow the government.
—
Producer/Director – Matthew Toffolo
Casting Director – Sean Ballantyne
Editor – John Johnson
FAN FICTION Film and Writing Festival 