tinue to churn out the same types of ex-
ploitive cinema that the godfather of the
genre, Roger Corman, brought to big screens
in the 1970s and early '80s. And, like Cor-
man, many of its movies have had their first
run on cable's SyFy Channel.
Hunter continue the tradition. If these titles
sound familiar, it's for good reason. David
Michael Latt, producing partner at The Asy-
lum, admits they title their films to cash in
on popular big screen names. That's why
2008's remake of The Day the Earth Stood Still
saw The Asylum release of The Day the Earth
Stopped, or why last year's Transmorphers: The
Fall of Man was followed by Transformers: Re-
venge of the Fallen.
However, don't assume that because these
films are formulaic, they're easy to write. Be-
cause they follow a specific formula, they can
actually be harder to write than an original
theatrical release.
genre films, you're not writing for character,
you're writing for the formula." You have to
grab the reader [audience] from the start and
not let go. If your script is about a giant pre-
historic creature threatening to devour Los An-
Start with the actual attack and show your
hero working to stop the creature until the
very end. Or, as Latt suggests, "take acts one
and two and toss them out. Start with act three
-- as close to the end as possible."
is more likely to read a script that is only 99
pages than one that is 120 or more.
until the problem erupts -- and then only he
or she can stop the threat. There is also a love
interest and often a witty sidekick to offer one-
liners or sly observations on the action. Mix in
some authority figures and cook under pres-
sure for about 90 minutes. The formula works
best if you are writing about aliens, zombies,
vampires or any number of assorted beasties.
fiction prose of the 1920s and 1930s, devel-
oped by such writers as Lester Dent (creator
of Doc Savage). For act one, introduce the
threat (monster, villain, plague or pending
disaster). To paraphrase Dent's blueprint for
a 3,000-word pulp short story:
8899 Beverly Blvd., Suite 821
West Hollywood, CA 90048
(310) 859-9300
Credits: S. Darko: A Donnie Darko Tale, Donnie Darko, Ravenous
Genre: All
Notes: Mail query letter via snail mail to Rachel Walker.
72 E. Palm Ave.
Burbank, CA 91502
(323) 850-1214
Credits: Transmorphers: Fall of Man, 100 Million BC, Death Racers,
The Terminators, King of the Lost World, Merlin and the War of the
Dragons, Mega Shark vs. Giant Octopus
Description: With facilities in Burbank, Calif., The Asylum fully fi-
nances and produces 10-15 titles per year and its North American
home entertainment division has released more than 300 titles to
date. Many Asylum titles air on the SyFy Channel. Titles tend to mir-
ror films released theatrically. After Transformers, The Asylum pro-
Genre: All
Notes: Like television, The Asylum uses a stable of writers. If
you're interested in becoming a part of the team, study the stu-
dio's work and find a referral.
23480 Park Sorrento, Suite 217A
Calabasas, CA 91302
(818) 591-1900
Credits: The Mangler Reborn, All Hell Broke Loose, A Christmas
Proposal
Genres: Horror, comedy, thriller
Notes: Email queries to Anthony King at aking@barnholtz.com.
DarKnight Pictures
Camelot Entertainment Group
10 Universal City Plaza, 20th floor
Universal City, CA 91608