As Executive Producer and script editor, I've worked with screenwriter Rich Mauro for 4 years to perfect his script WHEN WE WERE GODS. Getting the structure right was easy. But the nuances took us years. Below are some of the exceptional comments from festivals and contests, including:
The Austin Screenplay Awards,
The Blacklist, and
WeScreenplay.
Look Book Here
Further coverage from ISA
HERE.
AUSTIN SCREENPLAY AWARDS
WHEN WE WERE GODS is a script dripping with personality. This is reflected in the unique characters, but also in the inventive action description evident from the humorous first line “Much of this is true.” The writer does a wonderful job of presenting the story in a very visual way, showing their own specific style in the description.
There’s often slight editorializing, humor, and colorful analogy that makes for entertaining moment-to-moment reading. Throw in varied language and syntax and the action was often as entertaining as the scintillating dialogue. The writer’s style is always present, but it doesn’t get distracting. The plot isn’t buried under unnecessary detail or overly literary language. The action still remains concise and clear, just a bit beyond rote fact delivery. Again, there’s personality.
I also like how the script works in a lot of conversations surrounding philosophy and religion. It’s never too preachy, yet the characters constantly have their ideologies tested in ways that often go beyond a straight conversation. Actions and plot points force characters’ backs against walls where words must be backed up with conviction and action.
Knowing early on what each character believes and seeing the differences in worldview clash is a real highlight of the script. It shapes the internal conflict and often leads to the more obvious physical challenges. It’s also presented in such a way that eschews melodrama. With the WWII backdrop, it can be tempting to rely on easy clichés or uninventive plot points. WHEN WE WERE GODS does well to forge its own path.
This script succeeds because of fantastic characters and solid structure. These two qualities make for the bedrock of any good script, but this narrative has a lot of other positives on top of this. Ever escalating tension, great moment-to-moment writing in the action description, impressive formatting – these all add up to give the impression of a very professional script.
I enjoyed my time with this story because it swings for the fences with interesting plot points, but gives us a reason to care about the action with nuanced characters. A good read from beginning to end.
THE BLACKLIST
WHEN WE WERE GODS is a very good script, with some truly beautiful and visionary moments. It’s a very powerful story that still somehow remains untold in cinema.
The script is emotionally charged and engaging which introduces something new to the conversation within the genre rather than relying upon themes that have been explored in previous films. This adds a sense of urgency to the project and gives it potential to move forward as a viable film project.
If done well, this kind of movie could generate awards talk, although it will require the attachment of A-list actors, director, and producer in order to receive the requisite financing required to make it in the most meaningful manner possible.
With the right team in place and proper execution during production, this is a project that stands to attract interest on the festival circuit before landing on a premium cable network like HBO or a streaming service like Amazon given the prestige nature of the film.
WESCREENPLAY
Concept: TOP 1%
The concept is exceptionally luring. You've done a remarkable job. This script is almost cooked, and ready to be served and pitched.
Characters: TOP 3%
The central characters are historic figures. Roles like these are dream roles of every A-lister actor. Actors love to play historic, iconic figures. It is also an honor for the actors to be able to be a part of a big budget Holocaust film. You are going to attract big names just by tossing Hoss' name. It's going to be a casting treat. Multiple British/ American A-listers can play the role of Hoss.
Plot: TOP 4%.
This film must be made...it is ready to be pitched. Structurally, this script is quite strong. The dialogues are near-perfect.
Stan Williams, Executive Producer
248-344-4423 (ET)
StanWilliamsphd@gmail.com
