✍🏼 Writer’s Quotes to Live By
“I kept always two books in my pocket; one to read, one to write in.” – Robert Louis Stevenson
✍🏼Taylor Swift & The Problem of The Big Machine
This past weekend, the pop world was torn in half, and sides were chosen. It began so positively as Scooter Braun, manager wunderkind and his company Ithaca Holdings agreed to buy Scott Borchetta’s Big Machine Label Group (home of Big Machine Records) for $300 million bucks!
This is a story about writer’s IP and ownership, Sunday evening Taylor Swift whose catalog was included in the blockbuster deal, took to her personal Tumblr to BLAST Scooter & Scott as manipulative men who owned her.
Anytime Scott Borchetta has heard the words ‘Scooter Braun’ escape my lips, it was when I was either crying or trying not to. - Taylor Swift wrote
She blasted Scooter, blasted Scott and said she’s stuck under the thumb of powerful men who have total ownership over her life’s work. (Her music masters)
Artists Halsey and Iggy Azalea took to twitter to support with the hashtag #standwithtaylor a rallying cry to get Taylor’s album masters.
Big Machine's Scott Borchetta stated Taylor had every chance to own her masters, and she was well aware of the news since last week. (Taylor’s father is a shareholder in the company, and all shareholders were informed on June 25th of the company sale.) Since the story has broken so many artists have come forth with their two cents and have chosen sides.
Taylor or Big Machine… As a creator with IP constantly pouring out, what are your thoughts on Taylor’s reaction?
Over-reaction or not enough action?
✍🏼”SpaceWorld”: The Animated Series
Writer and filmmaking legend (for all the wrong reasons) Tommy Wiseau and his partner Greg Sestero (The Room) have brought their ingenius talents together for a sci-fi animated series animated pilot entitled SpaceWorld. The series was created and written by Brock LaBorde and animated by Lowbrow Studios.
You can watch the pilot here:
✍🏼Wes Ball’s ‘The Mouse Guard’ Needs $170M (Crowd Fund Anyone?)
Director Wes Ball (Maze Runner trilogy) and his constant collaborator screenwriter T.S. Nowlin have been the latest victims of the Disney/FOX merger, getting their extremely ambitious adaptation of ‘The Mouse Guard’ left on the chopping block. The David Petersen’s Eisner-winning comic book series was an epic $170 million animated film Mouse Guard that stopped two weeks before production began.
Wes Ball took to twitter in hopes of acquiring a financier for the big budgeted epic, releasing a 10 minute demo reel of the film.
It’s one thing to hear about the scope, but it’s another to visually take it in, as the demo is a 10 minute epic odyssey into the world of the book.
Give it a watch. The film would’ve been great from the looks of the footage.
✍🏼Will Sandman Sift Through Netflix’ Hands?
Sandman has awoken from his slumber and has writer Allan Heinberg (ABC's The Catch, Grey's Anatomy) on board to serve as show-runner on the Netflix straight-to-series drama.
The Hollywood Reporter is reporting that Netflix is closing in on a deal with Warner Bros. to adapt the author’s acclaimed comic series Sandman into a live-action TV show, in what is being described as “the most expensive TV series that DC entertainment has ever done.”
Gaiman, who created the ongoing monthly comic, will executive produce alongside David Goyer. Gaiman and Goyer were both attached to New Line's most recent attempts to adapt Sandman for the big screen.
The first issue was published in early 1989, and the series ran for 75 issues (plus a handful of specials and short stories) until 1996.
Beloved by comic fans, Sandman mixes elements of fantasy, horror, and folklore to tell the tale of Morpheus, the Lord of Dreams, and the other six Endless beings who personify aspects of the universe. The series is published by Vertigo, an imprint of DC Comics.
Neil Gaiman’s work writing Sandman (co-created by Mike Dringenberg and Sam Keith) is a towering achievement in comics, defining the 90’s Vertigo aesthetic and welcoming in a new generation of readers.
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