Dear filmmaker,
Why a CCSL is the last impediment to being a filmmaker.
(Or our cheeky, tongue-in-cheek, boorish, below-the-belt, impudent, cheeky, Back To The Paper CCSL writing team who were given this chance to write something they actually don’t first see and then write).
Let’s face it. Your journey to be a filmmaker will eventually pass through the halls of a television network or a film distributor. ‘Cause they hold the keys to your film being shown to the world. (More or less, loosely speaking). Sure, you can make a wonderful movie and you would technically be a filmmaker. But if nobody sees it, would anyone else call you a filmmaker other than you? Like, if a tree falls in a forest and nobody hears it, did it really fall? Kinda sorta the same way your making a movie that nobody sees. And what would it take for a network or a distributor to air or project your movie?
A CCSL my friend.
Your movie ain’t going to see the light of day, or the darkness of a cinema theater, unless you deliver to them a CCSL.
That’s where we come in. We fulfill your dreams of being a filmmaker. We are the last step to you getting the Oscar or an Emmy. Without a CCSL you’ll be back home watching others get awards on your TV screens.
And don’t even think about creating a CCSL yourself. Or getting your free intern to do it. We challenge you to do the CCSL for just the first 10 minutes of your movie and not give up filmmaking for ever.
What goes into a CCSL? I’m glad you asked.
– First, each time code of a visual shot is to be captured to the exact frame.
– Each end time of the shot is to be captured to the exact frame.
– The duration of the shot is to be calculated, exact to the second and frame.
– Each graphic is to be written in.
– Each chyron is to be copied.
– Each visual shot is to be described in great detail.
– Each time code of each dialogue is to be written exactly the way it is heard.
– Each time code of each dialogue is to be written exactly the way it ends.
– The exact duration of the dialogue is to be added
– Every dialogue is to be written as it’s spoken. (not approximately, verbatim).
– Each sigh is to be mentioned, and each snort and snuffle, cough, sneeze (even describe the sneeze).
– Each dialogue is to be described how it’s spoken (whispers, whimpering, mumbles, dejected).
– Each speaker to be indicated.
– Also name the character to whom is the speaker speaking to.
– The scene descriptions and the dialogue have to be running concurrently side by side.
Here, see some of our samples for CCSL with prices.
You stick to what you do best — make movies. And we’ll do what we do best — unravel your movie.
Shot by shot, frame by frame, word by word.
I am being told ‘unravel’ is not the right word. OK, we’ll take your movie and put it back where it all started — Back To The Paper.
Now you see why you need our help in becoming a filmmaker?
You’re welcome!
You can keep the awards. Just pay us our $18 per minute for the CCSL. Or $7.00 per minute for a dialogue list.
Many thanks,
– The highly tongue-in-cheek, boorish, below-the-belt, impudent, cheeky, Back To The Paper writing team who were given this chance to write something they actually don’t first see and then write.
Let us know if you accept our challenge to do the first 10 minutes of your CCSL in one go and we’ll do the CCSL for free. There are conditions, my friend. You have to tape the entire session without a cut or a pause.
