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Jan 17, 2013 - Full list of scripts and discussion boards Here. Not a bad list at all, although I cringed when I saw 'Buffalo 66' so early on. Before Sunrise Saw Brick Stranger Than Paradise Slacker Clerks -- great examples of great films that pretty much anyone could make with very, very little money. Great Websites To Download Movie Scripts. If you want to write movie screenplays, you need to read movie screenplays. Reading in general is important, whether it.

On page 7, loving it so far. But can we take this opportunity to talk about grammar?

There are a lot of small grammar errors in this, already, and I realize it doesn't matter (especially for James Cameron, especially when he's directing) if the story is comprehensible but. There are several action lines that are a bit convoluted. Precise actions are described, but fudged up by odd phrases or incorrect word choice, and it actually hampers my mental image of what's happening.

Not a lot of us are even remotely close to the status of James Cameron, and maybe I'm still being a little nitpicky, but when your action lines (or any lines) are improperly phrased, you risk the chance of confusing a reader and taking them out of the story. Which means you risk them not returning to your script, or missing important details that would have otherwise influenced their opinion of your script in a positive way. Now, to counter what I've just said, the action here is phenomenal. And I'm only on page seven. The great stuff that's going on and, generally, the great detail we get -- outweighs the minor confusion I've experienced through it. Just commenting and would love to hear other opinions.

Welp, back to it. EDIT Another minor complaint.

We get a lot of stuff like this: Action Line: We go tight on Sarah's reaction. And we see that Silberman is right. She was playing him and it didn't quite work.

And she knows she's fucked. She becomes quite pleading. That's an awful lot of description for what is already mostly available in dialogue and context of the dialogue.

This sort of thing would be boo'd in a screenplay submitted by some 'scrub' on this sub. In my own opinion, everything after 'And we see that Silberman is right.' Could be scratched with absolutely no impact on the story. Would omitting it affect the author's tone? I'm not forming a definitive opinion on the piece so far, just making observations.

I think I'll keep doing edits as I make my way through the piece. And I think it's good to challenge really great scripts.

If anything, I'll gain some perspective. Side note: I'm not using 'scrub' in a derogative manner.

Just trying to keep it light. I'm a scrub, as far as I'm concerned. EDIT 2 Action Line: Terminator hauls ass at keep John in sight.

This is what I'm talking about, although this is to a lesser degree and not as confusing so much as it is slightly jarring. Then later, in the arcade, we have OFFICER X questioning kids about the whereabouts of John. A kid approaches John and lets him know that a cop is looking for him. There's an action line that reads, 'Sarah has taught him that cops are bad news.' We didn't need that at all. The kid just jacked $300 from an ATM, which his mother, Sarah, taught him to do. That's enough information by itself -- which is brilliant, everything, all of that, besides that punctuating sentence, 'Sarah has taught him that cops are bad news.'

EDIT 3 After the river / aqueduct chase sequence, John says, 'This is deep.' After learning of the Terminator's identity. Night, where the conversation picks up exactly where it ended in the last scene. I'm not judging this transition, just having a chuckle, as a lot of movies seem to skip forward in time with characters continuing the exact same conversation as they were at the last setting. It isn't a bad thing, per say.

Just noticeable these days. It's funny to think that John says, 'This is deep.' And then awkward silence for X hours until randomly, after the sun sets, he suddenly remembers what he was talking about and says, 'So this other guy? He's a terminator too.'

Action Line: (Don't go away. We'll find out what happened in a moment) I'm seriously against this parenthetical.

Something dramatic was implied in the same paragraph, right before this parenthetical. Don't apologize, Cameron. We know you're setting up drama. No need for the parenthesis.

Don't underestimate your audience. So far, all the extra fluff in this script screams, 'HOW AWESOME IS THIS?' Maybe back when this was written, this was necessary to sell it, with it being a sequel and all. I don't like this line.

It's proud and showy in a way that, strictly writing-wise, I am not fond of. Also, I'm editing several observations into each individual bolded edit. Otherwise there'd be way too many bolded edits. Just letting y'all know. EDIT 4 Obligatory callout on a PLOOOOT HOOOOOLE!

Terminator: It can't form complex machines. Guns and explosives have chemicals, moving parts. It doesn't work that way. But it can form solid metal shapes. Pretty sure the human body, plus clothing, is more complex than a gun or a bomb. But I digress.

It's a small cop-out, but I don't mind. This is a story about an awesomely evil robot, let's not get too fixed on the details. More seriously, the T-1000 then walks into a less inconsequential plot hole.

It goes through John's things and discovers, gasp, momentos of John's mother. But wait a second. If the Connor family is the key to the apocalypse, and the Terminator already knows of Sarah, then. Why wouldn't 'Officer X' know of her already? Anyway, onward! META EDIT I'm taking a break.

Laptop's about to die. Let me know if you guys don't care to read this.

I don't want to make notes on the whole thing and just get, 'Shut up' in response. Also, feel free to chime in if you disagree with me. This is a discussion subreddit for discussion purposes, after all! Pretty sure the human body, plus clothing, is more complex than a gun or a bomb.

The T1000 is not changing to a human, but assuming the appearance, like a thin veneer. All it has to do is mirror the texture bumps of appearance. The many injuries to the T1000 reveal this, as well as its shapeshifting agony in its final scene. More seriously, the T-1000 then walks into a less inconsequential plot hole. It goes through John's things and discovers, gasp, momentos of John's mother.

But wait a second. If the Connor family is the key to the apocalypse, and the Terminator already knows of Sarah, then. Why wouldn't 'Officer X' know of her already? Also, the memento is a clue that John values his mother.

Since he knows the Terminators know of her, the T1000 can calculate that Conner will attempt to communicate with his mother, and also that his mother can be used tactically against him (as it finally does in the forge scenes near the end). I saw Terminator Genisys the day it came out and wow I knew it was going to be bad but it was even worse then I expected. The story was so convoluted, the plot holes so glaring, as someone interested in writing I don't think I could ever write something without thinking through every detail.

I know some plot holes can't be avoided, especially when dealing with time travel for example, but I think what made Cameron's films so great was not that there logic was infallible but that everything seemed believable.