Posts tagged ‘Rick Suvalle’

July 24, 2013

The Un-Rules of Screenwriting: Rick Suvalle’s List

E.B. White wrote that there are “no inflexible rules by which the young writer may steer his course. He will often find himself steering by stars that are disturbingly in motion.” With this in mind, we’ve asked working screenwriters to share a list of the “un-rules” that they find most helpful in their writing careers.

This week’s list comes from Rick Suvalle (@RickSuvalle). Rick has been a professional film and television writer for over 15 years. He is currently writing and Executive Producing a sci-fi/action web series for NBC Universal. Other recent credits include two television movie premieres: The Hallmark Channel Original Movie Honeymoon For One and the Syfy Original Movie Roadkill (see his interview about writing movies for television here). Rick has also created and produced an original pilot presentation for 20th Century Fox, and he served as the Executive Story Editor on Pamela Anderson’s hit syndicated series “V.I.P.” where he also wrote 15 episodes.

Needless to say, Rick knows this business (like, really knows it) from both the film and television sides. Here are his un-rules:

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April 26, 2011

Writing Movies for TV: Interview with Rick Suvalle

It’s probably not too many screenwriter’s dream job to write a feature length script for cable tv. But the fact of the matter is that dozens of made-for-tv movies get made every year, and there’s quite a bit of money in them. Rick Suvalle, writer of the new SyFy original movie Roadkill gave this interview on the topic:

In advance of April 23rd, 2011, debut of Syfy Original Film Roadkill, Dread Central had an opportunity to chat with screenwriter Rick Suvalle about his approach to this project and how he managed to make it slightly different than the average Syfy Original entry.

I can tell you from personal experience writing a Syfy Original Film is not easy. You know going in budgets are thin (transparent even), the special effects aren’t going to be very good, and casting is always a game of Russian roulette with four bullets in the cylinder. So, as a writer, you have to try and compensate for all of those hazards up front: use modest locations, limit special effects screen time, and include no complex dialogue or characters which require too much acting muscle. Yet, you still have to deliver the goods and tell a compelling, visually interesting story even though you don’t have the luxuries afforded even the most modestly budgeted theatrical release. As we know all too well, many fail in this endeavor.

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