| The Process – Pt. 2 Character Refresher « Cavemen in Paradise Posted: 19 Jan 2010 06:32 AM PST In addition to the reference refreshers I scribbled out a rough idea of the script out in the notebook, mostly free-form notes and a scrawling imitation of screenplay format, the only format I really get. I liked the flow, ... Cavemen in Paradise - http://cavemenip.wordpress.com/ | ||
| Screenplay News – 193th Edition Posted: 19 Jan 2010 12:18 PM PST
Antz Screenplay : Todd Alcott… « sinisazoricsblog HARI THE HERO: The Matrix Original Screenplay Script Collector: HOT ROD (2007) Screenplay سوال در مورد دستگاه ScreenPlay Pro HD ؟؟؟ | خودکار دوربین دار Success Starts Here: My Shawshank Redemption – A Screenplay: Part 3 Vote for our Screenplay! « I have an MFA. Now What? Iomega ScreenPlay Director HD Media Player: digWin #1.Best Memory Cards Reviews – BestMemoryCardsReview.blogspot.com … Tangy Tidbits: 2010 Golden Globe for Best Screenplay goes to Jason … Joe Dimino Poetry: First Screenplay Circa 1994 Related posts: | ||
| Posted: 19 Jan 2010 08:34 AM PST Don't waste people's time with that shitty screenplay you wrote. | ||
| Posted: 19 Nov 2009 06:16 AM PST I think I'm a pretty smart guy. Not a Mensa member by any stretch but I have commons sense, can change a flat tire, know how to order a bottle of wine, can talk my way out of a traffic ticket and can count to ten in four languages. So I put this question to you fine readers, what is an MFA worth out there in the film industry with the state of things as they are? I have been wrestling with the thought of going back to school and getting a Masters in Fine Arts. There are only two schools I'm applying to and I couldn't have picked a better time. The deadline for both is December 1st. There's the NYU Graduate Program — Tisch School of the Arts. World renowned. The film world elite have been students or have taught there — Spike, Marty, Jim and Oliver. It's a big program and the price tag is just as big. The other obvious New York City choice is Columbia, a school that has always been know for a solid screenwriting program and beyond. When I was taking some Continuing Education courses at NYU way back when, the general consensus was that if you wanted to direct you went to NYU and if you wanted to write you went to Columbia. Not sure how true that was then and how true it is now. There are a few concerns here, money being one of them. There's no way I could afford NYU on my own without any financial assistance and that doesn't include making films, that's out of pocket. Going through the bursars website I found out that a three year program, at about $20,000 a term, comes to approximately $150,000. That is including a modest budget for student films. Very modest. The Columbia University MFA cost is slightly less. The first two years are all coursework, no film production at all, and it's approximately $50,000 followed by thesis years which are about $3,000 a semester for a Screenwriting concentration. Big difference from the Tisch program but I know that NYU has invested a lot into their film department. I'm not sure how the Columbia Directing Program really stacks up. I guess a big reason why I'm applying is maybe because I'm craving the need to be immersed in something I deeply care about and still want to improve at. I've spent the last year and a half caring for my son while Linda toils away in the coal mines. I feel out of loop and this could be a way to get back in. Besides, the film industry is in a complete state of panic and flux. Maybe now would be the time to do this. I'm definitely applying to both. The decision of whether I go or not will be made when the time comes. The decision might be made for me for all I know. I would appreciate anyone who wants to leave a comment about their MFA/Film Program experience at either one of these two schools or any film school for that matter. | ||
| Posted: 18 Sep 2009 08:38 AM PDT On the meaning of "The Bad Lieutenant: Port of Call New Orleans":
You heard it people. Herr Herzog said it so it must be true. Any producers want to capture the moment and strike while the iron is hot I have a very relevant crime drama screenplay that takes place in New York City, noir capital of the world. Any takers? Anyone? Anyone? [cricket] | ||
| Posted: 17 Aug 2009 08:03 AM PDT | ||
| Filmmaking News – 216th Edition Posted: 19 Jan 2010 11:22 AM PST
Danil Krivoruchko: Website Update | Motionographer | Motion … Hollywood Biz: HollywoodBiz: Producer Ryan Kavanaugh Brings … Filmmaking » District 9 Alien Hand, DIY Tutorial : Backyard FX Related posts: | ||
| Posted: 19 Jan 2010 11:31 AM PST
See all stories on this topic | ||
| Ronald Harwood to Write Martin Luther King Jr. Biopic Posted: 19 Jan 2010 11:31 AM PST Acclaimed playwright and Academy Award-winning screenwriter Ronald Harwood will write the screenplay for DreamWorks Studios' Martin Luther King, ... See all stories on this topic | ||
| RIP Love Story author Erich Segal Posted: 19 Jan 2010 10:24 AM PST After the success of Love Story, Segal continued to teach as well as write novels and screenplays, including a poorly-received sequel to Love Story entitled ... See all stories on this topic | ||
| Oscars 2010: Hurt. Precious, even Hangover in running – Air still running in <b>...</b> Posted: 19 Jan 2010 09:30 AM PST WGA screenplay nominees point to just how heated and unpredictable the Oscar race is going to be. Edgy stuff like "The Hurt Locker" and "Precious" ... See all stories on this topic | ||
| Judge To Rule On Tossing Letterman Extort Case Posted: 19 Jan 2010 05:09 AM PST Halderman says he just offered Letterman a chance to buy a thinly veiled screenplay about his life and keep it private. Associated Press Commenting is ... See all stories on this topic | ||
| HARI THE HERO: The Matrix Original <b>Screenplay</b> Posted: 19 Jan 2010 04:50 AM PST The Matrix Original Screenplay. at 2:45 PM . Tuesday 19 January 2010. Labels: Cinema ante pichi. IMDB lo ippatiki 8.5+ rating unna movie. Download the Screenplay HERE. 0 comments: Subscribe to: Post Comments (Atom) · Post a Comment ... HARI THE HERO - http://harithehero.blogspot.com/ | ||
| Avatar <b>Screenplay</b> « jdodson.org Posted: 19 Jan 2010 04:50 AM PST Avatar Screenplay. Im not sure why, but here is the screenplay. I know, its sweet. Screenplay download. "Fox has posted James Cameron's script for Avatar online to be read/studied/mocked as you please. The script is dated 2007, ... jdodson.org - http://jdodson.org/ | ||
| Omni Writers & Artists » Up In The Air Wins Best <b>Screenplay</b> at <b>...</b> Posted: 19 Jan 2010 04:50 AM PST Read 'Up In The Air Wins Best Screenplay at Golden Globes' and other writing and art blogs on the Omni Writers & Artists blogging network. Omni Writers & Artists - http://www.omniwriters.co.uk/ | ||
| <b>Screenplay</b> News – 192th Edition « <b>Screenplay</b> News « News <b>...</b> Posted: 19 Jan 2010 04:50 AM PST The script is dated 2007, and from what I've read includes some Earth-based opening scenes that never made it to the … Creating a Great Screenplay | Music Books & Films Writing screenplays isn't as tough as most people would think. ... Screenwriting Basics - http://www.screenwritingbasics.com/ | ||
| E1 Entertainment 'PUSH' for a pilot!! Posted: 19 Jan 2010 11:10 AM PST
See all stories on this topic | ||
| RIP Love Story author Erich Segal Posted: 19 Jan 2010 11:10 AM PST by Nathan Rabin January 19, 2010 The Guardian is reporting that Erich Segal, a screenwriter and novelist best-known for penning both the film and book ... See all stories on this topic | ||
| Posted: 19 Jan 2010 08:48 AM PST
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| Vincent Laforte (part 2) « <b>Screenwriting</b> from Iowa Posted: 19 Jan 2010 08:46 AM PST Since this is a blog on screenwriting I won't get too technical, but a couple things that makes these cameras special is that they are small and portable, have a larger sensors than most sub-$10000. video cameras, and can record at high ... Screenwriting from Iowa - http://screenwritingfromiowa.wordpress.com/ | ||
| <b>Screenwriting</b> Basics – 220th Edition | Mina Zaher Posted: 19 Jan 2010 08:46 AM PST Screenwriting Basics – 220th Edition. January 18th, 2010 by Mina. See Screenwriting Basics – 220th Edition for Mina's Journey of a Screenwriter blog post: Not a One Trick Pony. Picture 2. Posted in Home | Comments Off ... Mina Zaher - http://www.minazaher.com/ | ||
| Film Forum West Midlands − <b>Screenwriting</b> Competition! Posted: 19 Jan 2010 08:46 AM PST Screenwriting Competition! Posted January 19th, 2010 by Andrew Hewson. This is an exciting opportunity for emerging screenwriters in the West Midlands to see their screenplays produced. Muckyduckmedia is a fledgling independent ... Film Forum West Midlands - http://www.filmforumwm.co.uk/ | ||
| Course/Class Online <b>screenwriting</b> class - IndieTalk - Indie Film Forum Posted: 19 Jan 2010 08:46 AM PST I'm starting up a new 8-week interactive online class. The first class is free. After that, if you choose not to continue, there will be no charge and no strings attached. If you'd like to continue, the cost for the entire 8-weeks is ... IndieTalk - Indie Film Forum - http://www.indietalk.com/ | ||
| 'Paranormal Activity' Sequel to Hit Theaters Oct. 22 Posted: 19 Jan 2010 07:39 AM PST The film's producers, Jason Blum and Oren Peli, are keeping plot details airtight -- we don't even get a title yet -- but they've asked screenwriter Michael ... See all stories on this topic | ||
| <b>Screenwriting</b> News – 222th Edition « <b>Screenwriting</b> News « News <b>...</b> Posted: 19 Jan 2010 05:45 AM PST The Single Screenwriter: Never Trust a Director You slave over your baby. ... of screenwriting and story that is ideal for screenwriters filmmakers ... | ||
| "Script To Scene": Cool video edits with screenplay text embedded Posted: 19 Jan 2010 11:00 AM PST Okay, this is super cool. In the past I've discussed the value of reading a screenplay while watching the movie -- you can see how the pages get translated onto the screen, see what they cut out from the script (or added), and so on. Well, last week I received an email from Zeke Snyder: Hello. I'm a big fan of your blog. I made a few videos inspired by your read a script a day posts.Zeke included this link. I checked it out and was blown away. What Zeke had done was take a scene from Pedro Almodovar's movie Talk to Her and insert into the visual frame the actual related screenplay: As it turns out, Zeke has done three other Script to Scene excerpts: Body Heat Hud The Year of Living Dangerously I got in touch with Zeke to ask what inspired him to do this: Why do I make them? I'm interested in the subtle changes that take place in the multiple drafts of screenwriting and how that changes even more from Page to Screen - and how sometimes it doesn't change at all. For example: I read the Paul Schrader draft of Rolling Thunder and liked it very much, more than the version that they filmed rewritten by Heywood Gould. Or how in the script of Hud he kisses her before she gets on the bus - that kiss would have changed everything.Zeke, who is an assistant to a TV-writing team working with the Disney Channel, wrote that he plans to do about "one a week," so why not do like I did: subscribe to his YouTube channel? An easy way to experience the connection from script to scene. | ||
| Writing Question: What's the shortest / longest amount of time it took you to complete a screenplay? Posted: 19 Jan 2010 09:00 AM PST Sometimes a story can just flow out of you. Other times, it's like pulling teeth. So how about it? What's the least amount of time (days, weeks, months) it took you to start and complete an original screenplay? What's the longest amount of time (months, years) it took for you write a screenplay? And the bonus question: Why did do you think it took so little / much time to write the script? | ||
| Daily Screenwriting Jobs – 269th Edition Posted: 19 Jan 2010 10:05 AM PST
Script Writer Needed (Hollywood, CA) Training Video Script Writer Building the script requires you to: NEED MY SCRIPT PUT IN FINAL DRAFT FORM BY EXPERT (LOS ANGELES) WHAT I NEED IS FOR YOU TO HAVE THE MOST CURRENT VERSION OF FINAL DRAFT. I NEED YOU TO TYPE IT INTO FINAL DRAFT FORM. I LOOK OVER THE 1ST DRAFT AND MAKE CHANGES. THEN YOU EDITED IT AND GIVE ME THE SAVED DOC. FREELANCE / CONTRACT SCRIPT WRITER (Union Square) IOMEDIA is looking for a script writer for a 2 -4 minute corporate video – documentary style writing (A&E or History Channel style). This project will start within the next 5 business days and we prefer the writer to be in the NYC area and potentially work in our Union Square office. You will be working directly wit Freelance Entertainment Reporters/Journalists (Beverly Hills) Start up Internet entertainment company is looking for experienced freelance working reporters in entertainment (one on one interviews with people in the industry, overall biz chatter, movie awards season analysis, participation in movie junkets, film criticism, and television biz reportage). The right ca COPYWRITER (COMMERICAL SCRIPT) (Seattle) Position: Copywriter (for a TV commercial script) Job Description: You will be writing a script for a television commercial for a new consumer produ Entertainment Editor (Philadelphia,PA) Job Description: Website Intro Script – 1/4 page (Dallas) Entertainment Publicist Needed for PR (LA) Publicist would be hired to: Screenwriter for Feature Film (Austin) Seeking Script Writer For Rewrite I'm looking for a screenwriter who has written several scripts (although maybe none made into films) who would be willing to rewrite a feature length mockumentary style film along the lines of Best of Show or This is Spinal Tap. The film is darker than both of those, so we are looking for someone that has a dark sense of humor…black comedy is Writers Needed for Entertainment Magazine -Lifestyles (urban, upscale, whats hot around Dallas) short screen play needed for film When I take on a project I take it on completely and make the best quality product with the resources I have. If you have a good screen play or short story, send it my way and it will have a good chance of becoming a film. There are no guidelines for length, genre or stye, I am onl Ghost Writer on Spy/Thriller Script (Greenwich Village) FoodConnect Inc. is a growing company providing social media for food lovers around the world. Our visitors share recipes, post questions, view restaurant listings and share their expert advice. In addition to that, we also provide developmental services for our restaurant clients. We are based out of Vancouver and offer a flexible, cooperative, an Movie Blogger – Filmonic Producer seeking scripts for fully funded independent feature film (Studio City) Funding for feature is guaranteed with budget of $300K. Preproduction to begin April 2010 with principal filming to begin June 2010 with Energetic Arts & Entertainment Writers (Vancouver) Writers who: -love the arts: visual arts, music, fashion, culinary arts, etc. Writer Needed for Feature Film Visit www.rogerscinematic SCRIPTS NEEDED (HOLLYWOOD) If any of this sounds good to Growing Philadelphia website looking for entertainment editor (Philadelphia area) Want to enjoy a challenging opportunity to work with a website with a high ceiling? Then this is the position for you. A growing Philadelphia website is in need of an editor of our entertainment page. This person must be willing to go the extra mile for us. You will wear Producer seeking scripts for fully funded independent feature film (Studio City) Funding for feature is guaranteed with budget of $300K. Preproduction to begin April 2010 with principal filming to begin June 2010 with Related posts: | ||
| Eastman Motion Picture Handbook 1953 Posted: 19 Jan 2010 09:53 AM PST Product Description Eastman Motion Picture Handbook 1953 Related posts: | ||
| Russell Brown on what the WGAW's Low Budget Agreement can do for writers Posted: 18 Jan 2010 11:40 PM PST Related posts: | ||
| Posted: 19 Jan 2010 07:00 AM PST  "I just loved comedians — I couldn't believe they would talk to me. So I wrote for dozens of comics when I first started out — it was a great way to pay my rent. I wasn't making money doing stand-up — I made much better money writing jokes for other people. I wrote Roseanne's act for a year with Roseanne. I used to sell jokes to people: I wrote the Grammys for Gary Shandling one year, I wrote jokes for Jeff Dunham's puppet Walter, the old-man puppet, when I first started out. I wrote for a TV special for Colin Quinn and jokes for George Wallace, and it was always really fun. Those times were great. No one was miserable like George, so it took me a long time to think of a character that would make this relationship interesting. But what is very truthful is how excited I was to be with my heroes."-- Judd Apatow (Boston Phoenix, 7/29/09) | ||
| Questions to ask yourself about your hero Posted: 19 Jan 2010 08:02 AM PST Here are some questions you should ask yourself about your characters: -Where did they grow up? What kind of house or apartment did they live in? Did they have their own bedroom or did they have to share? What was a typical day in their childhood like? -What kind of relationship do they have with their parents? Are their parents still married? Still alive? Do they speak to them often or only once in awhile? -What about siblings and extended family? How many brothers and sisters do they have, and are they close? What about cousins, aunts, uncles, grandparents? Are their grandparents still alive? If not, when did they die and how did this affect your hero? -Did they have pets growing up? What kind? What were their names? How does your hero feel about animals? -Did they suffer from any injuries as a child-broken legs, cuts needing stitches, burns, etc.? How did these injuries occur? -Did they have any traumatic or chronic illnesses? What about surgeries? Does your hero still have his or her appendix? Tonsils? How do they feel about doctors, medicine and needles? -What religion was your hero raised with? Do the still believe? If not, what do they believe? Why? -Where did they go to elementary, junior high and high school? What were their experiences there? -Did they have a lot of friends in school? What clique were they a part of? Are they still friends with anyone from their childhood? -What was their senior quote in their yearbook? What about their picture? Do they look the same? If not what did they look like, and why has their style changed? -What type of music did they listen to growing up? What was the first album (depending upon age-record, cassette, c.d., or iTunes download) they ever purchased? What was the first concert they ever attended? -What TV shows impacted them as a kid? What was their favorite show? How about movies? What was the first movie they went to without their parents? Did they have a crush on any celebrity? Who? Why? -Who was their first crush? What happened? What about their first kiss, their first date, their first time? When was the first time they fell in love? What happened? -What childhood event, memory or moment defined them and made them feel like they had finally grown up? -What did your hero want to be when he or she grew up? Did they follow that dream? Why or why not? -What was their first job? What did they think about it? How much did they make? Why did they leave that job? -Where did your hero go to college? If they didn't go, why not? What did they do at that age instead? If they went to college, what was their major? Did it change? Did they consider other options? What was school like for them? Did they live in a dorm? A sorority or fraternity? Did they party a lot? Did they get good grades? Sleep around? Drink too much? -Has your hero ever had a pregnancy scare? What happened? How do they feel about abortion or adoption? How do they feel about parenting in general? What is your hero's daily routine (note: you are NEVER going to put all the boring details in your script, right? See my post of getting in late and leaving early)? What time do they wake up? What does their alarm clock sound like? Do they take long showers? Eat breakfast? Drink coffee? Read the paper or rush to work? Do they take a long time primping or picking out their clothes? -What is their home like? How is it decorated? Is it messy or neat? -Do they have a pet? If so how did they get it, and why did they choose it and name it what they did? If not, why? Do they want one? Do they particularly not want one? Why? -What is your hero's favorite color? -Favorite ice cream? -Favorite flower? -Favorite varietal of wine? Or if they aren't into wine, favorite beer, mixed drink, or do they not drink? -What outfit does your hero wear that makes them feel comfortable? What about sexy? What would they wear to impress on a first date? How about an interview? A party? A work party? -Describe an object that has special meaning to your hero-the one thing they would save in the event of a fire. What is it? Jewelry? A photograph? A childhood toy? Why is it so special to them? -What numbers are on your hero's speed dial? Who would they call first if they lost their job? Broke up with someone? Got in a car accident? Got a speeding ticket? Got lost? -Where has your hero travelled? Where do they want to travel? Are they an adventurous, outdoorsy traveler, or do they prefer to stay in posh hotels? Do they travel with a budget in mind or are they able to be more extravagant? What is their favorite spot on earth? -What are your hero's finances like? How much do they make? How much do they have in savings? What about a 401K or a stock portfolio? What's their net worth? Do they have credit card debt? A mortgage? A car loan? What do they scrimp on and what do they splurge on? -How do they take their coffee? Steak? Eggs? What kind of bread do they like? What do they like on a sandwich? A pizza? -How would your hero spend an extra $100? How about $1,000? $10,000? $100,000? What if they won the lottery? What would they do? -How do they feel about marriage? Divorce? Do they want kids? Have kids? How many? What would they name their kids? How do they feel about day care, nannies, or stay-at-home moms? -What does your hero listen to in the car? Or on their iPod? What's on their favorite playlist? What radio stations do they have on their pre-set buttons? -Does your hero work a lot of overtime? Do they get to work early, late, or right on time? Do they like their boss? Their coworkers? Their assistant? -What is the first thing your hero does when he or she walks through the door after work? -What would your hero eat for dinner at an expensive restaurant? What about a diner? A fast-food place? What do they eat on a normal night? What would they eat if calories and health weren't an issue and they could have exactly what they wanted? -What habits does your hero have? What would someone observing them notice? Do they constantly apply chapstick? Bite their nails? Blow their nose? Tuck their hair behind their ears? Lick their lips? Sigh? -How does your hero walk? Quickly? Slowly? Do they take careful, short steps or long confident strides? Do they look up, or keep their head bowed? Do they have a bounce in their step? -How tall is your hero? How much do they weigh? What size do they wear? What is their body type? Do they have big hands? Big feet? What are they self-conscious about? What would they change? Have they ever had plastic surgery? Do they want it? What do they want to change? -Does your hero have any tattoos? Why? What about piercings? Would they ever consider getting one? What would they get? -Has your hero ever been confused about their sexuality? If they are straight, how do they feel about homosexuality? If they are gay, when did they first know? Did they have heterosexual relationships first? When did they come out of the closet? How did people react? -What has their love life been like? What kind of relationships have they had? How many people have they slept with? What did each relationship mean to them? Have they ever had their heart broken? What's the story there? Did they ever break anyone's heart? What do they say they are looking for in a partner? What do they really need? -What political party does your hero belong to? Are they active in politics or do they not pay attention? Who did they vote for in the last election? The one before that? What do they think about the war in Iraq? Afghanistan? The military in general? What about healthcare? Taxes? The bailout and stimulus plans? What party will they vote for in the next election? Would they ever consider running for office themselves? | ||
| Posted: 06 May 2005 08:34 PM PDT We have to know who are characters are, before the events in our screenplay, to get a better sense of them now. Your task: Pick a character from something you're writing. Or, make up a character. How old are they now? Make a timeline that spans from birth to their current age. In this timeline, make a notation for each positive or negative impactful event, and write a short sentence or paragraph describing that event. Finally, getting into the mind of this character, do a 10-minute free-write starting with the sentence, "My life is a series of?" | ||
| Posted: 18 Jan 2010 09:00 PM PST The Vail Film Festival has announced their screenplay contest finalists for 2010. | ||
| Rules of Character? Don't Ask Me. Posted: 18 Jan 2010 03:44 PM PST  I have been fretting this week about questions and comments I've gotten, publicly and privately, which I guess go along with the territory of teaching and blogging and writing a workbook about writing as if I really know anything at all about what I'm talking about.(But I have to say there have been a few questions that I should never have gotten at all - it's mystifying. For the record, if you have a grammar question, DO NOT write to an author to get the answer. That is not our job, you will have burned a valuable opportunity to ask something actually worth asking, and it will make us crazier than we already are, and you don't want to do that.) All these questions, aside from the grammar ones, have made me want to say this again, and repeat it often: While in this blog, and in the Screenwriting Tricks workbook, I lay out a formula for film structure that is widely used in Hollywood, the MAIN POINT of what I suggest here is that you study the specific structures of movies and books in your genre and that specifically appeal to you, so that you can discover the specific tricks that great storytellers use to create the stories you love. And whatever it is you think they're doing, you might try doing it yourself. That is the bottom line of every single thing I have ever written here. It's the same with creating character. As much as I get asked to teach, I never teach workshops on character. Not solely on character, anyway. I just don't. It's not that I couldn't figure out something to say. It's just that - as I've said before - I think writers live with characters in our heads on a daily and nightly basis. I could be totally wrong, but I suspect people don't become writers if they don't have characters living in their heads. We don't live with structure quite so intimately, and therefore it seems more teachable. And honestly, I very, very rarely hear anyone say anything about creating character that makes me think – WOW, that's it, I get it now. I see workshop instructors at conferences handing out character charts, breaking down movies or stories I know pretty well myself, and will occasionally swipe one of those charts to see what the secret might be, and am sometimes absolutely horrified at what I see.  Case in point… people love to break down The Wizard of Oz. God knows I understand that. I've used tons of examples from Wizard myself, here. We all KNOW Wizard, so it makes sense to reference it. But The Wizard of Oz is such a special case. It is an iconic movie for reasons that I wouldn't possibly want to have to explain – it's like explaining sunlight, or – a rainbow. You can break it down into its elements, but that will never give you the experience. There was a special magic looking over that movie through all its harrowing changes of writers, directors, actors, etc. - and let's not forget that it was based on a classic SERIES of books - and, oh, yeah - it's a friggin' MUSICAL. And all that terrifying mess somehow combined to make a classic. It is not something anyone could ever duplicate.It's confusing even to break the movie conveniently into sequences, because it is a musical, and musical numbers were cut and rearranged (and rightly so!) which would have made the timing of the sequence structure make more conventional sense. Just as an example - he studio wanted "Somewhere Over The Rainbow" cut because it made the first Kansas sequence too long, but the movie gods apparently intervened, the song remained, completely screwing with the sequence timing, and film students have been arguing about the Act One break ever since. So when I see the characters of a movie like The Wizard of Oz dissected on a chart, I am wary and skeptical. I am hard–pressed to believe that you ever even come close to developing a story as rich and enduring as The Wizard of Oz based on the two-dimensional layout of a chart. Just consider what The Wizard of Oz would have looked like had Shirley Temple (often named as the top choice for the role) been cast instead of Judy Garland, as Dorothy. The casting of Judy Garland, and her lush, just blossoming, completely vulnerable sexuality, TOTALLY changed the dynamic of the character and every single interaction she had with the other characters in the movie. It changed the meaning of the journey. A young woman's dream, or fantasy, or metaphorical journey – whatever you want to call that adventure to Oz – is completely different from a child's. Teenagers yearn for significantly different things that children do. When I was a preteen I became firmly convinced that the whole Wizard of Oz journey was Dorothy's dream letting her explore which one of the three farmhands she wanted to marry - as a young woman reaching marriageable age, those would be her obvious choices in such a farm town. In Oz, Hunk/the Scarecrow is the first one she meets, and over and over and over again the Scarecrow steps forward as the problem solver and her biggest defender. (She also dances with him in a musical number that was cut from the final film – The Jitterbug). When she leaves Oz, she tells the Scarecrow she'll miss him most of all, and when she wakes up in bed, he kneels by the bed and she touches his face. She's chosen. I would tell people this occasionally in college and they'd laugh - but years later I read much more about the elaborate history of the film and learned that the final scene of an earlier script really had concluded with Hunk going off to agricultural school and winning a promise from her to write to him – implying a romance that would continue (and marriage once "The Scarecrow" had his real-life diploma). What I'm saying is, there was a structure built in to the script, as well as the magic of casting, that resonates in a way that is not capturable on a character chart. Okay, I might be the only person who's ever watched the Wizard of Oz and gotten that out of it. Quite possibly. But my analysis of the subtext is meaningful to me, just as my analysis of Ophelia's role in Hamlet is, and my strong personal opinions on the movies I watch and the books I read, however obscure they may seem to other people, have been invaluable to my growth as a writer. Plus, I have more to say about what makes Dorothy a great character. Another level of my take on Dorothy - and I know I'm not alone in this one - is that she is going through an inner journey to internalize the qualities of braininess, heart, and courage - and her higher self, Glinda - so that as she grows into a woman, she will be able to use those qualities against enemies like Miss Gulch instead of running away as she does at the beginning of the movie. And another big change that happens with Dorothy is that we see her in situation after situation go from a scared little girl who needs protecting to a woman who will step forward and protect her friends. It's a big character arc for a teenager, growing up like that. I guess what I'm saying is that a LOT goes into creating a character, and even if some writer or teacher or workshop leader breaks it down brilliantly for you, it's even more important to figure out what YOU think is going on with that character. And I'm also saying - and this is very true of the Wizard of Oz film in particular - sometimes it is absolutely impossible to track how something was written. There were so many writers, directors, artists, producers who worked on this one - somehow certainly the movie gods were watching over it to create the alchemy that makes it the classic it is. Some things are quantifiable, but some simply aren't. And please don't be satisfied with anyone else's quantification. You are the writer. Ultimately, it's you and the page. You are God, baby. Make your own rules. - Alex ------------------------------------------------- Related posts: What Makes a Great Protagonist? Case Study: Jake Gittes What Makes a Great Villain? Creating Character – The Protagonist Collecting Character Screenwriting Tricks For Authors - now available on Kindle and for PC! | ||
| Posted: 19 Jan 2010 07:23 AM PST Related posts: | ||
| staciecannonsblog » The Seagull's Laughter (2001) Posted: 19 Jan 2010 05:24 AM PST dropped her hat during the tricky "Steam Heat'' number, MacLaine uttered the "s'' word loud enough for those in the first few rows to hear. But Hollywood producer Hal B. Wallis, seated farther back in the audience, thought this ... Director Agust Gudmundsson, who wrote the screenplay (based on a popular. Icelandic novel), has a knack for creating eccentric characters. Freya sweeps into the meager household where she once resided, dolled up in the latest ... staciecannonsblog - http://staciecannonsblog.modelsorg.com/ | ||
| Using Facebook & Twitter to Grow Your Acting Career « Brains of <b>...</b> Posted: 19 Jan 2010 05:24 AM PST Puja is also a writer and is in the middle of writing her first screenplay. Aside from acting, she has a passion for politics, community activism, beach side bike rides, and–most recently– changing the world one tweet at a time. ... Follow the trades on Twitter or join fan pages & groups on Facebook for trade publications such as Variety, Hollywood Reporter, IMDB, as well key industry players that are important to you & your career (your favorite directors, producers, ... Brains of Minerva - http://www.brainsofminerva.com/ | ||
| Posted: 19 Jan 2010 04:58 AM PST "The next few years will see photography and filmmaking redefined by technology. While there is no substitute for exquisite lighting – artists will now be able to explore areas once thought impossible to photograph." Vincent Laforet (writing in 2008) Modern technology, with the Internet leading the charge, has in recent years forever changed the music business, [...] | ||
| Dustin Lance Black Gay Sex Scandal – Dustin Lance Black Gay Photo & Video Scandal Posted: 19 Jan 2010 05:23 AM PST
Dustin Lance Black (born 1974) is an American screenwriter, director, film, television producer, and LGBT rights activist. He has won an Academy Award and two Writers Guild of America Awards for his work on the television series Big Love and the 2008 film Milk. Click Here to Learn More About Dustin Lance Black Someone who wants to make a quick buck evidently sold these sex photos of Black and Perez Hilton decided to publish both the censored and uncensored photos. Hilton also says he is told there is a video to go with it. In the pictures, Dustin Lance Black is send giving oral sex to his partner and letting the guy screw him without a condom. I hope they were both tested first! The photos all have a 2006 time stamp on them, so if that's correct then this all went down when Milk was simply a gleam Black's eye. Click Here to Read More About This Breaking Story Black had first visited San Francisco in the early 1990s and was inspired by city supervisor Harvey Milk's representation of the gay community while diagnoses of AIDS among gay people were increasing. He had first viewed Rob Epstein's documentary The Times of Harvey Milk when he was in college, and thought, "I just want to do something with this, why hasn't someone done something with this?" Researching Milk's life for three years, Black met with Milk's former aides Cleve Jones and Anne Kronenberg, as well as former San Francisco Mayor Art Agnos, and began to write a feature film screenplay encompassing the events of Milk's life. The screenplay was written on spec, but Black showed the script to Jones, who passed it on to his friend Gus Van Sant, who signed on to direct the feature. Black is an old friend of Milk producer Dan Jinks, who signed on to the biopic after he called Black to congratulate him and discovered that the project did not have a confirmed producer. On February 22, 2009, Black won the Oscar for Best Original Screenplay for Milk at the 81st Academy Awards. He wore a White Knot to the ceremony as a symbol of solidarity with the marriage equality movement. Click Here to Read More of This Article Image taken on 2008-09-06 20:05:34. Image Source. (Used with permission) Related posts: | ||
| Is there any site where I can study screenwriting online? Posted: 19 Jan 2010 05:01 AM PST | ||
| What the Papers Say: "Material Girl" Posted: 19 Jan 2010 04:52 AM PST  Sam Wollaston, The Guardian "Right, that's the froth dealt with. Now to the espresso underneath. With a glass of Veuve Clicquot and a line of coke on the side. Because Material Girl (BBC1), an important new drama set in the world of fashion, takes on the altogether more profound question: what to wear? OK, it's silly and deeply shallow. It's also gorgeous, fizzy, bitchy, self-indulgent, obviously bad for you but dangerously addictive. Careful, Material Girl could become a habit. Dervla Kirwan makes a splendid queen bitch evil designer with no talent but an impressive Rolodex. Being Human's lovely Lenora Crichlow is again lovely as Ali, the talented young designer, who's tottering in five-inch heels along the thin line between the real world and fashion nonsense. Only the hunk is wrong – too puppyish and doey-eyed to be a hunk, I think. And since when did motorcycle couriers ride Harley-Davidsons? It's part of the Babylon franchise, based on the writing of Imogen Edwards-Jones. This is better than Hotel Babylon though – simply more fun. As usual, IE-J wrote her book with "Anonymous", an insider from the world in which it's set. Unfortunately, although I understand chaos theory perfectly, I know very little about fashion, so can't comment on its veracity. But I know a woman who understands fashion well, my own insider – let's just call her Guardian fashion editor Jess Cartner-Morley. The daft, post-show, backstage "Darling, you are a fashion goddess" conversations between the celebrity and the designer are spot on, says JC-M. Plus the brash, very London supermodel, and the slimy Eurotrash business partner in the turtle neck – right again, those people are real. Obviously a lot of old fashion cliches are dragged out, some of which JC-M could have done without, such as the scene in the shoe shop where Ali sells her soul for a nice pair of shoes: Jess is so over that scene, she's seen it about 5,000 times, come aaaawn. And where it's just plain wrong, she says, is when the baddie journalist demands sexual favours of a GIRL – very unlikely. The men in fashion really are gay. Oh, and she likes it. So I was right about that." %%%%%%%%%%%%%%%%%%%%%%%%%%%%% Tim Teeman, The Times "Flights of fancy were also evident in the glossy BBC drama Material Girl, an hour that felt a bit like a day of blistering sunshine and horrendous hailstorm: funny then not funny; sharp, then suddenly, lamentably pedestrian. The story of a plucky young fashion designer and her evil former boss had all the Cinderella elements of Ugly Betty, the show it most obviously resembled. However, whereas the latter glorifies in its absurdity, its camp cartoonishness, Material Girl allowed Dervla Kirwan as Davina to dress up as Cruella de Vil, and snarl and scowl icily, but then the tone receded and became all workmanlike and clunky. British, in other words. Lenora Crichlow as Ali, who had left the evil Davina to set up on her own, slugged beer from a bottle (to show she was a regular gal), she didn't want some fancy-schmancy star to wear her dress to the Baftas (yeah right!). Her boyfriend is just a regular guy courier who rides a motorbike and who puts her, chaste and untouched, to bed after she gets hideously drunk. What a prince. Material Girl isn't as bad as some critics say, but it's not as fun as it could be. It's not really new to identify fashion as vapid and fashion people as empty, self-serving egotists. (Oh and for all the men to be bitchy, camp gays: there are not enough of them on TV, thanks!) There's a great moment in The Devil Wears Prada where Meryl Streep tells Anne Hathaway she can pretend to be all superior about this empty world, but what about the blue jumper she's wearing ... which Streep then deconstructs piercingly. Material Girl could be very funny, if it had a sharper, more knowing respect for the world it sets out to satirise." %%%%%%%%%%%%%%%%%%%%%%%%%%%%% Rihannon Harries, The Independent "If Glee grabs its stereotypes and gives them a big, bone-crushing bear hug, Material Girl, the BBC's new fashion-world drama, lacks the courage even to shake hands with the stock characters it promised to deal with. The first episode found young designer Ali putting the finishing touches to what was supposed to be a fabulous high-end collection backstage at a Paris fashion show. Sadly, it looked more like the latest Ann Summers range had exploded all over the catwalk and the credibility of the show spiralled downwards from there on. The problem with the costumes (The Apprentice has better-dressed casts) is one of many. Worse is the uneven tone – Dervla Kirwan, who went high camp with her arch bitch performance, clearly didn't get the memo that told the rest of the cast they should play it straight to the point where they seemed to be boring themselves. The whole thing is accessorised with some crudely sketched moral dilemmas ("Is fashion more important than being a good person?"), lots of clunky name-dropping and a female Iraq veteran with Hollyoaks body whose post-traumatic stress appeared to be solved by a skimpy orange dress. The fashion industry may be many things, lots of them worthy of a send-up, but it is rarely dull and never worthy so it's baffling that Material Girl managed to be both. An independent report published earlier this week suggests that the Beeb should spend less time and money chasing 16- to 35-year-olds and focus on quality broadcasting. If confirmation were needed, this series is it." %%%%%%%%%%%%%%%%%%%%%%%%%%%%% Phil Hogan, The Observer %%%%%%%%%%%%%%%%%%%%%%%%%%%%% Maysa Rawi, Daily Mail It was supposed to Britain's answer to Ugly Betty, but new fashion drama Material Girl failed to deliver when it premiered last night on the BBC. %%%%%%%%%%%%%%%%%%%%%%%%%%%%% Overnights: 3 million/12% %%%%%%%%%%%%%%%%%%%%%%%%%%%%% %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 'Material Girl', Thursdays on BBC1 at 8:00pm for 6 weeks | ||
| Screenwriting News – 222th Edition Posted: 19 Jan 2010 04:27 AM PST
'Thor' Roundup: New Casting, Screenwriter Discusses 'Adjustments … Screenwriter » Nine out, Trek in at Oscars? Bookrastination: Book of Eli screenwriter interview on CBR Screenwriter Dan O'Bannon Dead at 63 ReelzChannel.com Movie News: Thor Screenwriter Says Movie Version … Screenwriter's Summit | FILMandMOVIEmaking.com Screenwriting: KINDLE READER REVIEW – A Screenwriter's POV Screenwriter » Movie hack hand-wringing in duplicate Journal of a Struggling Screenwriter – Freelance Writing Job Journey of a Screenwriter: Not a One Trick Pony The Screenwriter's Bible: A Complete Guide to Writing, Formatting … Million Dollar Screenwriting Torrent Would A Million Dollar Life … Chocolate, No Nuts: Blame the Screenwriter Razer Gaming Accessories: StoryLink: Your connection to … Uncompleted Works › Screenwriter Karaoke LA Pictures and New York … StoryLink: Your connection to screenwriting success « Logitech … Confessions of a Dangerous Screenwriter: Query Letter Strategies Screenwriting From Iowa » Vincent Laforet (part 1) Downsizing (G) « Failed Screenwriter's Notebook Hollywood Animal: A Memoir « Screenwriting Books « Books … AZ SCREENWRITER GIRL: REALITY Related posts: | ||
| Case work: give students reason to read Posted: 19 Jan 2010 02:18 AM PST Some of the books students are reading now are poetry collections, some are written in a screenplay format and some are traditional novels. ... | ||
| Iomega <b>ScreenPlay Format</b> Posted: 19 Jan 2010 12:18 AM PST Help with format problem on Iomega ScreenPlay and free tech support for format troubleshooting. | ||
| End Stupid Mistakes With Your <b>Screenplay Format</b> « Screenplay <b>...</b> Posted: 18 Jan 2010 08:13 PM PST When we talk about the process of writing a screenplay, you could say the process is broken into two halves: the creative component and the mechanical… Screenwriting Basics - http://www.screenwritingbasics.com/ | ||
| Posted: 19 Jan 2010 01:45 AM PST | ||
| Watch Armored Full Movie Online For Free Posted: 19 Jan 2010 03:28 AM PST
Armored is a upcoming 2009 Yankee crime thriller film directed by Nimrd Antal, written by first-time screenwriter James V. Simpson, and starring Matt Dillon, Jean Reno and Laurence Fishburne. It is set to be released on December 4, 2009 Ty Hackett ( Columbus Short ) [2] is a young armored automobile guard. When he has difficulties making ends meet, the veteran guards convince him to join them in emptying a van of its $42 million cargo. Conflict occurs when the guards shoot a cop ( Milo Ventimiglia ) and Ty insists on helping him. A standoff ensues, with Ty locked in the armored auto with the cop and the money. 'Armored' is a film of thefts, the kind which are popular both at the hearing, and if they are well narrated that can provide 2 hours of pure entertainment. Here we bring you the trailer, which even though it has a few things ( happy mania, we must go to the films with very little data to be in a position to enjoy the joys of the first viewing ), paints good enough to give it a try. A bunch of security guards decide to rob a van in the organization's own employees. As with all perfect plans, things finish up warping a bit. Nimrod Antal, director of the failed 'Habitacin sin salida' ( even tho with status for 'Kontroll' ), is the director of the film, and its distribution we find such well known faces like Matt Dillon ( actor who never finished off and it's gloomy ), Laurence Fishburne, Jean Reno and Fred Ward. I already had talked continually about'Armored' thriller that brings a bold theft cast led by Matt Dillon, Jean Reno, Laurence Fishburne, Columbus Short, Skeet Ulrich, Milo Ventimiglia and Fred Ward. Its plot centers on a group of agents of a security company transporting cash in an armored automobile and decide to strike robbing his very own company. The film, directed by Nimrod Antal ('Control','Dead End Room' ) on a script by first-James V. Simpson has had the participation of Sam Raimi as producer. Entry may appear characteristic of the genre film, but the trailer is not bad pint and sharing helps add interest. Time To Pay CLOSE Attention! Looking for an absolutely free movie site to watch Armored as well as other new movie releases? Look no Further just watch the full movie by clicking this link: Watch Armored Online For Free Image taken on 2007-07-11 19:01:03. Image Source. (Used with permission) Related posts: | ||
| Posted: 19 Jan 2010 03:09 AM PST
Image taken on 2009-08-30 18:56:05. Image Source. (Used with permission) Related posts:
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| Kenn Davis, creator of PI Carver Bascombe, dies Posted: 19 Jan 2010 02:20 AM PST Mr. Davis, also a screenplay writer and accomplished artist, was 78. He was born in Salinas (Monterey County) and raised in the Bay Area, and served in the ... See all stories on this topic | ||
| NYC judge to rule on tossing Letterman extort case Posted: 19 Jan 2010 01:16 AM PST Halderman says he just offered Letterman a chance to buy — and keep private — a thinly veiled screenplay about his life. The case spurred Letterman, ... See all stories on this topic | ||
| Is 'Avatar' on its way to becoming this season's 'Slumdog Millionaire'? Posted: 18 Jan 2010 09:02 PM PST ... (best supporting actor and actress), "Inglourious Basterds" (original screenplay) and "Up in the Air" (adapted screenplay) are pretty much sure bets. ... See all stories on this topic | ||
| A screenwriting dispute over Jason Reitman's "Up in the Air" Posted: 18 Jan 2010 09:02 PM PST I wasn't surprised when Jason Reitman won the Golden Globe for best adapted screenplay last night; I was surprised that someone named Sheldon Turner did, ... See all stories on this topic | ||
| Review of <b>Screenplay</b> for iPhone and iPod Touch | The iPhone App <b>...</b> Posted: 18 Jan 2010 08:19 PM PST 3 200x300 Screenplay Ideal for Seamless Screenwriting · screenplay 4 200x300 Screenplay Ideal for Seamless Screenwriting · Share/Bookmark · app, app... Robust Reviews - http://robustreviews.com/ | ||
| Man, Stories Are Everywhere! « Your <b>Screenplay</b> Sucks! « Queer Planet Posted: 18 Jan 2010 08:19 PM PST Your Screenplay Sucks! Not to mention that, at 16, she'd had her first lesbian relationship . Her husband was 28… 11 years older. But what if he was 35? Or 45? How would that change the story? How would conflict arise? ... Queer Planet - http://www.queerplanet.com.au/ | ||
| THE BOOK OF ELI (2010) <b>Screenplay</b> | CounterCulture Independent <b>...</b> Posted: 18 Jan 2010 08:19 PM PST THE BOOK OF ELI (2010) Screenplay via Script Collector: THE BOOK OF ELI (2010) Screenplay. CounterCulture Productions Independen... - http://countercultureprodco.com/blog/ | ||
| Movies and Other Things...: Talking Oscar 2009 Take Two: Best <b>...</b> Posted: 18 Jan 2010 08:19 PM PST Up in the Air - This is the film that is without a doubt ahead of the pack in Adapted Screenplay. It's the only "adapted" film in the Oscar top five besides Precious and has a legitimate shot at upsetting for Best Picture ... Movies and Other Things... - http://julianstark-moviesandotherthings.blogspot.com/ | ||
| End Stupid Mistakes With Your <b>Screenplay</b> Format « <b>Screenplay</b> <b>...</b> Posted: 18 Jan 2010 08:19 PM PST When we talk about the process of writing a screenplay, you could say the process is broken into two halves: the creative component and the mechanical… ... Learn all about screenwriting and writing screenplays. Select a Category, Articles, Books, Contests, Digests, Digg.com Digests, E-Books, Filmmaking Articles, Filmmaking Books, Filmmaking Help, Filmmaking News, Filmmaking Videos, Jobs, Movie Script HELP, Movie Scripts VIDEOS, News, Podcasts, Q & A Help, Screenplay ... Screenwriting Basics - http://www.screenwritingbasics.com/ | ||
| Daily Dialogue -- January 19, 2010 Posted: 19 Jan 2010 03:00 AM PST "You're so beautiful, it makes me want to gag". -- Tony Kirby (James Stewart), You Can't Take It With You (1938), screenplay by Robert Riskin, based on the play by George S. Kaufman and Moss Hart | ||
| Posted: 19 Jan 2010 01:19 AM PST The nominations for the Irish Theatre Awards were announced in The Irish Times at the weekend. The entire list is on the web site, and here is the Best New Play category:
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| Tuesday Talkback: Your first script Posted: 19 Jan 2010 12:01 AM PST I have to admit, I usually subscribe to the theory that no one's first script is any good. It's a necessary step to get better, but usually when someone wants me to look at their first script, I brace myself for every amateur mistake that I so often rail against. Given that, I never expected that anyone would sell the first spec they every wrote - which is why I was so surprised a while back when Dan Callahan told me he did just that with College. However, it's worth noting that Dan had always been writing. College might have been his first full-length feature, but he'd written many other things. He was a writing major in college, he'd been writing stories all his life and he had read many, many scripts. Thus, he'd written creatively before and he had a pretty strong knowledge of the craft of screenwriting. Judging but the first-timer scripts I've seen, that sort of background is rare. Because of this, most people's first scripts are crap. In fact, a lot of writers have made the mistake of burning a few of their good contacts on a first script that simply isn't good enough to compete with the other specs out there. I came out to LA with exactly one spec - a screenplay I'd written for a screenwriting class my senior year in college. It was a story I'd toyed with all through college. When I came up with the idea, it was a whodunit that I figured I could make into a 25 minute short. As the years went on, every few weeks I'd pull it out of the drawer, add a few more twists and red herrings, and before I knew it, the idea had gotten to feature-length. Even then, I hadn't formally structured it, at least not consciously. When it came time to pitch ideas for the class, I hauled my synopsis out and was amazed to discover that the story broke neatly into a three-act structure. In fact, it conformed almost exactly to the three-act diagram that my professor provided. This was more a coincidence than anything else, likely the result of me absorbing pacing and structure by osmosis from all the films I'd watched over the years. The result was a procedural murder-mystery that was heavier on the plot twists than it was on character development. I had a mild arc for the lead character, but it is little surprise that most of my classmates who read it felt that it played like an episode of Law & Order. (Fortunately, most of them felt it would have been a good episode of L&O!) Despite that, it didn't have much in the way of a high concept hook. It was the sort of thing that people might read and go, "It's a decent writing sample, but it'll never sell." I showed it to an assistant and a manager at my first internship and got some great notes back. Their input actually helped me cut the story down, improve the pacing and add a few red herrings. Looking at that first draft I gave them, I'm aghast to note that I had written the script using Microsoft Word, with the margins set manually. Not only did I have the margins wrong, but I wrote the script in Times New Roman. The result was that the formatting errors threw off the length of the script. And it looked pretty amateurish. After about three rewrites and exporting the script to Final Draft so I could painstakingly fix each and every last formatting error, I'm left with a script that is at least decent enough to show people if all my other specs fail to get a response stronger than, "What else do you have?" (This is actually a compliment, in some ways. If the reader in question thought my writing was terrible, they'd never ask that.) I'm not embarrassed by the script in its current state, but its a far cry from what it was when I came out here. So tell me about your first script? Does it embarrass you? Have you rewritten and salvaged it? Do you look back on it and cringe? Did you make the mistake of showing it to people before it was ready? | ||
| 'Paranormal Activity 2' Moves Forward Posted: 19 Jan 2010 01:47 AM PST By BRYANT GRIFFIN Paramount Pictures has teamed screenwriter Michael R. Perry and "Saw VI" director Kevin Greutert for "Paranormal Activity 2. ... See all stories on this topic | ||
| <b>Screenwriting</b> News – 220th Edition « <b>Screenwriting</b> News « News <b>...</b> Posted: 18 Jan 2010 11:40 PM PST St. Pete Screenwriter (Michael France) « Screenwriting from Iowa ... We all know that screenwriters need to read more scripts. But how many of us actually ... | ||
| Saw VI Helmer Directing Paranormal Activity 2 Posted: 18 Jan 2010 11:29 PM PST
See all stories on this topic | ||
| No Superman Cameo In Green Lantern Posted: 18 Jan 2010 10:23 PM PST Even though these rumors were brought to us by a the films film's co-screenwriter Marc Guggenheim(the git!), it turns out it was all a load of Bay. ... See all stories on this topic | ||
| <b>Screenwriting</b> From Iowa » Vincent Laforet (part 1) Posted: 18 Jan 2010 10:14 PM PST This entry was posted on Monday, January 18th, 2010 at 11:00 pm and is filed under Screenwriting From Iowa. You can follow any responses to this entry through the RSS 2.0 feed. Responses are currently closed, but you can trackback from ... Screenwriting From Iowa - http://screenwritingfromiowa.cedarvalley.com/ | ||
| Fox greenlights two new pilots Posted: 18 Jan 2010 07:49 PM PST By Mike Moody The broadcaster has ordered an untitled comedy from director Seth Gordon and writer Adam Goldberg, plus the drama Midland from screenwriter ... See all stories on this topic | ||
| Fox misses "Target" on new show Posted: 18 Jan 2010 06:01 PM PST
See all stories on this topic | ||
| [Interview: Part 1] Gary Whitta on 'The Book of Eli' Posted: 18 Jan 2010 06:01 PM PST
See all stories on this topic | ||
| Chocolate, No Nuts: Blame the <b>Screenwriter</b> Posted: 18 Jan 2010 04:25 PM PST Blame the Screenwriter. One of the most controversial movie endings was last summer's My Sister's Keeper by Jodi Picoult. I loved the book and the ending. No spoilers coming, so it's safe to keep reading. ... Chocolate, No Nuts - http://chocolatenonuts.blogspot.com/ | ||
| Confessions of a Dangerous <b>Screenwriter</b>: Query Letter Strategies Posted: 18 Jan 2010 04:25 PM PST The "Dangerous" Screenwriter: Because if you're a pre-pro working honestly and diligently towards a screenwriting career, I'm your competition, powderpuff. View my complete profile ... Confessions of a Dangerous Screenwriter - http://monkeyversuskeyboard.blogspot.com/ | ||
| Uncompleted Works › <b>Screenwriter</b> Karaoke LA Pictures and New York <b>...</b> Posted: 18 Jan 2010 04:25 PM PST Filed under Los Angeles, Networking, New York, Twitter, screenwriter karaoke, screenwriting. Bookmark the permalink. Follow comments here with the RSS feed. Post a comment or leave a trackback. ... Uncompleted Works - http://www.merreldavis.com/blog/ | ||
| Gold for <b>Screenwriters</b>: Bonus Edition | Poet Zero Posted: 18 Jan 2010 04:25 PM PST Often you can find the screenplay linked in the article, but if the screenwriter protests the owner of the blog will take it down. The vision of ScriptShadow is to bring exposure to unknown writers and give aspiring writers more access ... Poet Zero - http://poetzerofilm.com/ | ||
| Clooney's Cookie Crumbs: [Los Angeles Times] <b>Screenwriting</b> credits <b>...</b> Posted: 18 Jan 2010 04:25 PM PST In Michael Tolkin's script for the 1992 Hollywood satire "The Player," studio executive Griffin Mill (Tim Robbins) strangles a screenwriter he believes is trying to blackmail him. It hasn't gotten that gruesome in Hollywood. ... Screenwriters on some of the season's biggest movies have seen acknowledgment for their work, if not choked off, then certainly minimized -- a group that includes, as fate would have it, Tolkin himself. So when the Golden Globes are handed out on ... Clooney's Cookie Crumbs - http://milanocookieaisle.blogspot.com/ | ||
| Fritz: 'Avatar' pulled from 2-D screens by Chinese gov't Posted: 18 Jan 2010 10:51 PM PST The most successful movie of all time in China is being pulled from the majority of theaters there much sooner than expected. The communist nation's state-run movie distributor China Film Group is...
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| Daily Box Office (1/15/2010 Weekend - Estimates) Posted: 18 Jan 2010 10:33 PM PST BOX OFFICE MOJO - DAILY BOX OFFICE http://boxofficemojo.com/daily/chart/ January 15-17, 2010 Rank. Movie Title (Distributor) / Theater Count Daily Gross | % Change (Last Week) | Total Gross | Days in...
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| Posted: 18 Jan 2010 04:29 PM PST I drove past the Music Hall Theater in Beverly Hills the other day. They're showing Sugar and Moon and their marquee looked exactly like the above image, the two movies' posters jammed together for a display. Had I not already seen Moon, I would have guessed that they were showing one movie called Sugar Moon. "One's black, one's white. One's big, one's small. One's close up, the other is far away. One's in front of a bridge, the other is in front of an op-art design. One carries a duffle bag, the other carries an astronaut helmet. Each prefers his title in the lower left-hand corner. Together they fight crime. Sugar Moon." | ||
| Daily Screenwriting Jobs – 268th Edition Posted: 19 Jan 2010 12:04 AM PST
Script Writer Needed (Hollywood, CA) Training Video Script Writer Building the script requires you to: NEED MY SCRIPT PUT IN FINAL DRAFT FORM BY EXPERT (LOS ANGELES) WHAT I NEED IS FOR YOU TO HAVE THE MOST CURRENT VERSION OF FINAL DRAFT. I NEED YOU TO TYPE IT INTO FINAL DRAFT FORM. I LOOK OVER THE 1ST DRAFT AND MAKE CHANGES. THEN YOU EDITED IT AND GIVE ME THE SAVED DOC. Freelance Entertainment Reporters/Journalists (Beverly Hills) Start up Internet entertainment company is looking for experienced freelance working reporters in entertainment (one on one interviews with people in the industry, overall biz chatter, movie awards season analysis, participation in movie junkets, film criticism, and television biz reportage). The right ca FREELANCE / CONTRACT SCRIPT WRITER (Union Square) IOMEDIA is looking for a script writer for a 2 -4 minute corporate video – documentary style writing (A&E or History Channel style). This project will start within the next 5 business days and we prefer the writer to be in the NYC area and potentially work in our Union Square office. You will be working directly wit Entertainment Editor (Philadelphia,PA) Job Description: COPYWRITER (COMMERICAL SCRIPT) (Seattle) Position: Copywriter (for a TV commercial script) Job Description: You will be writing a script for a television commercial for a new consumer produ Entertainment Publicist Needed for PR (LA) Publicist would be hired to: Screenwriter for Feature Film (Austin) Website Intro Script – 1/4 page (Dallas) Writers Needed for Entertainment Magazine -Lifestyles (urban, upscale, whats hot around Dallas) short screen play needed for film When I take on a project I take it on completely and make the best quality product with the resources I have. If you have a good screen play or short story, send it my way and it will have a good chance of becoming a film. There are no guidelines for length, genre or stye, I am onl Seeking Script Writer For Rewrite I'm looking for a screenwriter who has written several scripts (although maybe none made into films) who would be willing to rewrite a feature length mockumentary style film along the lines of Best of Show or This is Spinal Tap. The film is darker than both of those, so we are looking for someone that has a dark sense of humor…black comedy is FoodConnect Inc. is a growing company providing social media for food lovers around the world. Our visitors share recipes, post questions, view restaurant listings and share their expert advice. In addition to that, we also provide developmental services for our restaurant clients. We are based out of Vancouver and offer a flexible, cooperative, an Movie Blogger – Filmonic Ghost Writer on Spy/Thriller Script (Greenwich Village) Energetic Arts & Entertainment Writers (Vancouver) Writers who: -love the arts: visual arts, music, fashion, culinary arts, etc. Writer Needed for Feature Film Visit www.rogerscinematic Producer seeking scripts for fully funded independent feature film (Studio City) Funding for feature is guaranteed with budget of $300K. Preproduction to begin April 2010 with principal filming to begin June 2010 with Growing Philadelphia website looking for entertainment editor (Philadelphia area) Want to enjoy a challenging opportunity to work with a website with a high ceiling? Then this is the position for you. A growing Philadelphia website is in need of an editor of our entertainment page. This person must be willing to go the extra mile for us. You will wear Producer seeking scripts for fully funded independent feature film (Studio City) Funding for feature is guaranteed with budget of $300K. Preproduction to begin April 2010 with principal filming to begin June 2010 with Related posts: | ||
| Posted: 19 Jan 2010 12:00 AM PST "Write what you know" does not mean "write a script about a film school student/struggling screenwriter". -tip by Brie | ||
| Russell Brown on what the WGAW's Low Budget Agreement can do for writers Posted: 18 Jan 2010 11:40 PM PST Related posts: | ||
| Russell Brown on what the WGAW's Low Budget Agreement can do for writers Posted: 18 Jan 2010 11:40 PM PST Related posts: | ||
| Filmmaking News – 215th Edition Posted: 18 Jan 2010 11:31 PM PST
Lia Scott Price's Writing and Filmmaking Blog: What's your Happy … Pick-ups and Rewrites: Indie Filmmaking Tips: Happy MLK day Lia Scott Price's Writing and Filmmaking Blog: What Inspired Lia … Learn the Secrets to Low-Budget, High-Creativity Filmmaking … YouTube Blog: Learn the Secrets to Low-Budget, High-Creativity … Howcast Studios event: Learn secrets to low-budget, high … Finance Company » Blog Archive » Filmmaking Finance – 12 points to … Learn the Secrets to Low-Budget, High-Creativity Filmmaking http … Googland: [G] Learn the Secrets to Low-Budget, High-Creativity … After Film: The Stories From Personal Filmmaking.: Introduction After Film: The Stories From Personal Filmmaking.: Garage Film – A … 1001 Positively True Stories About An Indie Filmmaking: Why Haven … Raw Talent Screenplay Contest FAQ | Christian Independent Filmmaking Bacollywood – Negros Independent filmmaking Scene | SineBuano.com Guerrilla Filmmaking | Live Internet News Patrick Boivin: Ninja's Unboxing | Motionographer | Motion … Hollywood Biz: HollywoodBiz: Producer Ryan Kavanaugh Brings … Post Black: Filmmaking and the art of story: An Interview with … Canon EOS 7D Digital SLR for Filmmaking | FILMMAKING STUFF Related posts: | ||
| Screenplay News – 192th Edition Posted: 18 Jan 2010 10:57 PM PST
Man, Stories Are Everywhere! « Your Screenplay Sucks! Man, Stories Are Everywhere! « Your Screenplay Sucks! THE BOOK OF ELI (2010) Screenplay | CounterCulture Independent … Avatar Screenplay « jdodson.org Creating a Great Screenplay | Music Books & Films Movies and Other Things…: Talking Oscar 2009 Take Two: Best … Movies and Other Things…: Talking Oscar 2009 Take Two: Best … Boywonderesq: The Avatar Screenplay Raw Talent Screenplay Contest FAQ | Christian Independent Filmmaking Puzzle & Tea: Screenplay End Stupid Mistakes With Your Screenplay Format « Screenplay … If Life Were A Screenplay: So, What's Next? Related posts: | ||
| Director's Cut with Aamir Khan Part4 20/01/2008 Posted: 18 Jan 2010 10:53 PM PST Related posts: | ||
| Script Track – January 19, 2010 Posted: 18 Jan 2010 11:01 PM PST Virgin Dad The Whitest Space Lord of the Files | ||
| THE GRAVITY BY WHICH ALL THINGS FALL TO EARTH Posted: 18 Jan 2010 09:12 PM PST  In his marvellous book, On Love, the philosopher, Ortega y Gasset, writes: "…desire automatically dies when it is fulfilled; it ends with satisfaction. Love, on the other hand, is eternally unsatisfied. Desire has a passive character; when I desire something, what I actually desire is that the object come to me. Being the center of gravity, I await things to fall down before me. Love… is the exact reverse… for Love is all activity… It does not gravitate toward me, but I toward it." Without intending to, Gasset articulates a rather unexpected and startling insight concerning the nature of drama and dramatic storytelling. Several years ago, a writing student that came to me complaining bitterly about the screenwriting course at AFTRS with its emphasis on miserable characters loaded down with problems and fears. She couldn't understand why so much importance was being placed upon what she termed their "nasty behaviour". "Why can't we write about happy things?" she asked. "Why can't we write about what's good in the world, and about people who love one another and get along?" It wasn't the sort of question I had ever been asked, let alone one I would've ever anticipated. But there it was. And though I can't remember exactly what it was I said in reply, I'm sure it had something to do with the primordial nature of human existence – that final fact of being, which is pure anxiety. Fact is, "things fall apart" – we fall apart, or merely fall - from grace, from youth, from one relationship into the next, from jobs, from health, from life itself. To exist is to encounter hazards, and what one does in the face of hazard seems to be eternally fascinating and entertaining to most humans. Drama cannot exist if characters aren't involved in hazardous activities, whether they be physical, emotional, intellectual or spiritual. To be is to be anxiously (and urgently) engaged in the pursuit of something that carries risk is the essence of dramatic action. But it can't be thoughtless, or stupidly reckless. When the pursuit is motivated by something that allows us to feel emotionally connected to the characters, the drama becomes real. And the bigger the risk, the more we care, the greater our involvement. You don't have to be Australian to be drawn to characters who make great efforts in the face of eternal hopelessness. That's what great dramatic characters do, even when – sometimes – they are their own worst enemies. The acts of characters are almost always eloquent and attractive to us when they are acts of love. Not love in any conventional sense, not romantic love – but the kind of love of which Gasset speaks when he talks about love as "…power, a vestige of energy"; the love that weeps for humankind's unnamed, unrealised possibilities, that encourages neither indifference nor passive repugnance in the face of deception (evil), but a conscientious striving to recollect that which has been forgotten, to reform that which has been fragmented, to revivify that which the eyes no longer see and the ears no longer hear, even unto death. Such a love cannot be equated with simple-minded happiness. Dramatic characters will sacrifice life itself for their love of country, family, friends. Love is the gravity by which all things fall to earth, giving back to the source that which was taken from it. One merges into the other, and the other merges into us. It is a merging that happens both inside and outside the script. The dramatic journey within the script is the merging of the characters with one another and with their objectives or what stands in the way of their objectives; and echoes the merging that takes place outside the script, in the intricate matrix of empathetic action and interaction taking operating among the screenwriter, the audience and the tribe, and their relationship with the dramatis personae and their story.. It is all right for a dramatic story to end in satisfaction, but it cannot proceed by it. When everything is happy and all are contented, we tend to metaphorically curl up and go to sleep. If a character is to be genuinely and credibly provoked into action, then his or her heart's desire must be compelling, focused and frustrated; the wish must be heartfelt and withheld, or at least misunderstood by those that should know better; and the dream must unexpectedly revert to what it really is: a nightmare in disguise. The frustration of desire – in whatever form it takes – is the catalyst of every dramatic story. It forms the basis of every dramatic problem. In considering character, Michael Shurtleff often asked of his acting students: "where is the love?". It is a question every screen storyteller must grapple with, whether he or she is a screenwriter, a director, a cinematographer or a designer.Who answers that question is important – but What answers it is crucial. What in YOU is answerable to it? If you are to avoid mediocrity as a storyteller then you must not answer it in purely intellectual terms. Love is not only a condition of openness, but an active involvement with ALL of the characters – a quality of engagement in which the storyteller's identity is an active and creative force, in resonant relationship with all of the characters necessary for finding the story. The love that enables that is the purest act of the mediumistic filmmaker, who understands that "…splendid triggering of human vitality, the supreme activity which nature affords anyone for going out of himself toward someone else." | ||
| Alan Watt on Alex Jones Tv:Alan Takes your Calls About The NWO Posted: 18 Jan 2010 10:44 PM PST Related posts: | ||
| Posted: 18 Jan 2010 10:21 PM PST | ||
| Enigma Cinema – How to Watch and Enjoy a Confusing Movie Posted: 18 Jan 2010 09:51 PM PST
There’s a genre of movies that I wish DVD stores would devote a shelf to, maybe in between drama and horror, because that’s what it’s like trying to get through a confusing movie. +++What is a confusing movie?+++ You know you’re watching a confusing movie when your mind is scurrying about with more questions than a Trivial Pursuit deck. Like, ‘why did that happen?’, or ‘I must be so dumb arggggh I’m not getting this!’ Memories of high school aptitude tests returnâ€"except you can’t just colour in ‘ABBA ACDC’ for the entire film. +++What’s so confusing?+++ Mind messiness can be caused by one or both markers of such movies: what it looks like and what it’s about; direction and plot. +++Why do confusing movies exist?+++ So then, if the audience folds origami frowns in foreheads, why do studios produce confusing movies? Because it makes the film seem arty â€" “Oh well, it must be a good film because it was on so much a higher level.†However, just because something seems smarty-pants does not make it entertaining. +++Confounding can be astounding…+++ All that intense thinking needed for confusing movies though can be entertainmentâ€" anything you have to watch more than once to understand is like hiring two DVDs. Plus, there’s the smug feeling of “Oh of course it’s so obvious now.†Who remembers watching The Sixth Sense the second time and seeing how it was all done? Pretty clever hey. And Fight Clubâ€"well, if you weren’t offended you’d be commending how the script, editing and direction all came together. +++But perplexing is too vexing+++ What happens though when the tricky elements don’t come together? Unless you’re watching Inconvenient Truth for education, or a WWF Smackdown ‘documentary’ for post-lobotomy recovery, most films fall into that happy medium of entertainment to keep one occupied for a couple of hours. What a confusing film does to upset this aim is to spark arguments and popcorn fights when the less clever/awake moviegoers forego cinema etiquette and rasp out too many ‘who was that’s’ and ‘I don’t get it’s’. +++How to enjoy a confusing movie+++ Until such time as the Office of Film and Literature Classification runs a statement of ‘Warning, may cause wrinkles’, what is the humble moviegoer to do to ensure they understand what’s going on? 1. —Read the reviews first. If words such as ‘artful’, ‘complex’ and ‘confounding’ crop up, prepare yourself by watching the trailer on the internet. You may even need to read Homer’s Greek epic ‘The Odyssey’ before seeing George Clooney in ‘O Brother Where Art Thou’ to get more from it. And for Georgy boy again, read several issues of The Economist to understand what he’s up to in Syriana. +++Studios should shape up+++ Perhaps the studios would make more money if people weren’t so intimidated by confusing filmsâ€"it is possible to get the balance right. So I plead to the honchos of Hollywood to consider some factors in their confusing films. Give your characters names that are distinguishable and memorable. If you must tell a story that requires watching SBS news every night, just pass it off as ‘based on true events’ and leave it at that â€"or do a Star Wars style text intro. Keep the fancy editing to a minimum and please, if you’re going to use accents (The Wind That Shakes the Barley), shout us all a Guinness beforehand so we can get native. Next time you’re thinking about what kind of movie to see, consider something a little more engaging than a chick-flick or action blockbuster. Confusing movies needn’t be a drama or horror story for audiences; by knowing how to follow a convoluted plot, excellent entertainment value is possible. I am a freelance writer and editor specialising in article and review format. I generate story ideas, conduct research and interviews then complete the piece in line with house style and expected deadlines. The underlying philosophy to any writing I do is 'information through engagement'. Image taken on 2009-04-04 13:46:49. Image Source. (Used with permission) Related posts: | ||
| Posted: 18 Jan 2010 09:26 PM PST BIG MONEY WEEK (SCRIPT 2) Genre: Thriller Premise: By using the ten biblical plagues, a paramilitary group plans to attack ten major cities in the U.S. About: Sold in 1996. 850 thousand against 1.5 million. Adjusted for inflation – 1.16 million against 2 million. Rosenberg is the writer of High Fidelity and Con Air. Writer: Scott Rosenberg Details: 120 pages (1996 spec sale draft)  This is a funny script. I don't know if it's necessarily funny on purpose, but it definitely made me laugh. Why? Well, it's just so unabashedly NINETIES. I half-expected Eddie Vedder and/or the Counting Crows to jump out and start crooning about O.J. Simpson. There's flannel on these pages. Keanu Reeves lives in these pages. But most of all, this script embodies the overly-ambitious throw everything and the kitchen sink on the page mentality of spec scripts at the time. It was kind of like the spec world's sub-prime mortgage. Every writer was so reckless, trying to sell their script without regard for cost or value, that when Hollywood realized they couldn't make these movies, the spec boom imploded. I mean, I'm no producer, but in my estimation, this script had to have been budgeted at at least 250 million. BACK IN 1996! Rosenberg himself is an interesting writer. He wrote one of my favorite movies, Beautiful Girls, which captured what it's like coming back home as a grown-up about as well as any movie I've ever seen. Then over a decade later he writes the exact same movie but for TV (October Road), and it's about the worst representation of what it's like to come home as a grown-up (the comedic sidekick actually refuses to leave his house because he's traumatized by 9-11, like, ever). But Rosenberg's written some pretty cool flicks, like the incredibly cheesy but guilty pleasure that is Con Air. And of course he wrote everybody's favorite record store movie, High Fidelity (although there's some debate on whether he deserved that credit). I think, like a lot of writers out there, Rosenberg can either be so good you wonder how he could ever be bad, or so bad you wonder how he could've been so good. Which brings us to The Ten, the kind of script that's so unabashedly crafted to sell and NOTHING else, that it actually kills a writer every time you read it. Basically, what Rosenberg did was take two of the biggest movies from the 90s - Speed and Seven – and mashed them together. We get the way over the top villain from Speed (making him ten times more way over the top here), as well as Speed's manic tone and energy, mixed with Seven's mystery-driven structure of unique biblical-related deaths (albeit this time on a mass scale). Rosenberg even adds a little Lethal Weapon to boot, as we get the over-the-top (over-the-top is a BIG part of The Ten) wise-cracking partners who would rather be anywhere but with each other. I don't know if it's all shameless or genius. But damn if he didn't sell the thing.  The not as well known as it should be "Beautiful Girls."Kyle Klesko is an FBI agent with a beautiful wife and son. He seems to have it all, though work plays a little more of a role in his life than family and his wife isn't happy about it and— BOOM! A plane blows up!!! Don't worry. Klesko wasn't on it. But the plane's parts come raining down on a farm. We get to see the smoldering passengers cry out for help as their burning bodies are melted into the plastic of their seats. Sweet! Soonafter, the FBI is sent a video message from a man named – no I'm not making this up – Williamton Economides. Williamton Economides is easily, by far, without question, the single most annoying over-the-top villain ever. He starts all his video demands by singing some bizarre song wistfully off-screen, then turning to the camera with a, "Oh, you started already," face, and then giving his demands in a sing-songy half-rhyming nonsensical rant, before cutting out. If ever there was a model for "went too far," Williamton Economides would be it. Economides (I can't even believe I'm writing that name) is the leader of a terrorist group called the People's Platoon. Naturally, the FBI gets all pissed off that Economides and his Platoon Pals blew up a plane, so they go searching for his cult off in the desert, find about 30 of them blindly reciting his teachings, and throw them in the Federal version of the nuthouse. This angers the coo-coo for coco puffs Economides, so he naturally demands that they be released or else. Or else what? Or else he will attack every major city in the U.S! True to his rhythmically annoying words, a few days later Washington DC turns into a bath tub of BLOOD! A lot of it! Oh no no no. I don't mean like people start getting massacred. I mean blood appears everywhere. In its lakes, its showers, its water fountains. So much blood! Blood bath-o-rama. More blood than Carrie. Did I mention there was lots of blood? Then two hours later the blood disappears without a trace. Sneaky blood. Special blood that doesn't stain. In a magically delicious surprise, nobody gets hurt. Hmm, say our FBI agents. That's strange. But not strange enough to do anything about it. Bad move. A few days later Miami is hit. By frogs! Lots of frogs! This overabundance of frogs is more lethal than the laymen might assume as 22 people are massacred by the wild ribbit-fueled hopping. But just like the D.C. fiasco, the frogs disappear within a few hours. The FBI now decides this is serious (note: frogs = serious) and demand that Klesko enlist the help of a man named Eddie Gerrick. We can tell by Klesko's reaction that this is not a good thing. Apparently there's some deep history between the two. But Garrick is a specialist when it comes to Economides, and if they're going to take him down, Garrick will be required.  Cusack and Black in High FidelitySo Klesko shoots off and finds Garrick on the floor of some bar, shitfaced beyond your worst Vegas nightmare. Garrick is not happy to see Klesko, muttering something about how he's a life-ruiner. There's some backstory to this relationship but there's no time to rehash it because Boston is experiencing a vermin meltdown. Cockroaches and rats are taking over the city. The cockroaches and rats are even better trained (or are learning from the blood and the frogs' mistakes) as this time 54 people are erased from existence. Garrick lets Klesko in on the fact that Economides is obviously summoning The Ten Plauges of Egypt. The Ten Plagues of What?? Well, apparently, back in the day, God punished the Pharoa for refusing Moses' demands that all the Israliates be set free. Ah, now I see the connection. Economides is angry that *his* people aren't being set free, so now he's punishing the FBI!!! That sound you hear is me sighing for two days straight. Klesko and Garrick spend the rest of the script arguing and flying from city to city as the Ten Plagues unfold upon the country. I'm not going to pretend like there aren't some fun sequences here (L.A. run amok with lions, tigers, cheetahs, pumas, and bears making meals out of any humans in sight), but if I could boil it down to one word…it's just all so *silly*. There's no threat here. It all plays out like a giant live-action cartoon. The story doesn't even make sense when you add it up. The FBI is holding Economides' cult, who are obviously harmless. The only threat they pose to the public is annoying them to death. Yet for ¾ of the movie, the FBI refuses to release these 30 nimwits, preferring instead to allow Economides to conjure up biblical terrorism at the expense of the United States' safety. The conflict between Klesko and Garrick is likewise over-the-top. Garrick doesn't just dislike Klesko. He HATES him with a burning passion. So all of their investigation is overshadowed by this ridiculous back and forth banter. I guess you're wondering why they hate each other so much. **Half-hearted spoiler alert** Klesko stole Garrick's girlfriend and married her. Garrick then went into Mickey Rourke mode. Unfortunately for Garrick, he didn't have Darren Aronofsky to save him. I'd continue on here, but then I'd be telling you things like Economides ups his demands, which include a grant for his own piece of land so he can start a new country, a 50 million dollar check, and a supermodel. That's not me being sarcastic. That really happens. I mean, here's the thing. The 90s were the decade of the fun no-holds-barred over-the-top action film. We got Con Air, The Rock, and Face-Off, for God's sake. So I mean, if we stay within that context, The Ten makes sense. But there's a point where you've jumped the shark. And I can't help but feel like this script was written over a shark tank, so that it could be suspended in one continuous jump. If you like big and silly action movies light on logic, you might enjoy this. It's also a script that fits perfectly inside the 90s time capsule. But for pure enjoyment, I'm afraid to say it doesn't work. Script link: The Ten (This script is meant for educational purposes only. If you are the writer or copyright holder of this script and would like it taken down, please e-mail me at Carsonreeves1@gmail.com and I will do so immediately) [ ] What the hell did I just read? [x] wasn't for me [ ] worth the read [ ] impressive [ ] genius What I learned: How dangerous influence can be. Remember the 90s when everyone was writing Speed and Seven specs? It was either super cheesy over the top action or gritty religious serial killer procedural. And not a single one of them was ever better than those two. That's my big problem with being influenced by popular movies. That no matter what you do, you will never ever make a version of that movie that's better than that movie. So why even try? Why not create something original that can stand on its own that everybody ELSE tries to copy? I want you to remember that when you're sitting down to write your version of Avatar or Inglorious Basterds. Even if you do a bang-up job, it'll still be seen as, "A not as good version of Avatar or Inglorious Basterds." Is that really how you want your script to be remembered? If you're going to be influenced by something, try to make that influence subtle. Write something that has shades of that film, but isn't built from a template of it. Now that may be why the *movie* never got made. But I can't ignore the fact that the script DID get bought. For 850,000 dollars no less. So how good is that advice I just gave you? Hmm, good question. I think in this day and age, it's good advice. But back then, it might not have been. The 90s spec market was like the 90s stock market. Drop 50 grand in a stock and 5 years later you're buying a condo in San Francisco. So I definitely think spec-happy Hollywood played a part in this. Also, Rosenberg was a hot writer at the time. He had some major indie cred with his two recent films, Beautiful Girls and Things To Do In Denver When You're Dead. And so it made sense that his spec would have a lot of eyes on it. Finally, and probably most importantly, the script could be pitched as Speed meets Seven, less than two years after both of those movies were mega-hits. Now an interesting side note to that is, Speed and Seven weren't just hits. They were both out-of-left-field hits. Nobody expected them to do as well as they did. I think this gave The Ten a hidden advantage in that it didn't have to be as good as a normal spec since the implication was that Hollywood people didn't understand why these types of scripts did well. In other words, if those two movies undeservedly became monster hits, why couldn't this one? Anyway, if you put all those things together, you have the ingredients for a monster spec sale. | ||
| NOLLYWOOD: ORIGIN AND UNRESOLVED PROBLEMS « Chidi Mokeme Posted: 18 Jan 2010 08:01 PM PST The doors of opportunities to be engaged from the pre to the post production stages were flung wide open to welcome Script writers /Screenwriters, Directors, Producers, Costumiers, Camera men, Production Managers, Directors of photography, ... Some of the Hollywood stars who have graced the event in the past at various times include Mo'nique, Cuba Gooding junior, Angela Bassett. The 2009 Awards supported by United Bank for Africa (UBA) had Danny Glover and Forest Whitaker ... Chidi Mokeme - http://chidimokeme.com/ | ||
| Posted: 18 Jan 2010 08:01 PM PST To Sir, with Love is a 1967 British drama film starring Sidney Poitier that deals with social and racial issues in an inner city school. James Clavell both directed and wrote the film's screenplay, based on the semi-autobiographical novel of the same name by E. R. Braithwaite. The film's title song "To Sir, with Love", sung by Lulu, ... Hollywood star Nicolas Cage has spoken out about his long pending tax woes, revealing he still owes $14 million to the US... » ... Akaskee Latest World News Updates - http://www.akaskee.com/ | ||
| maybe i was the pilot « Highlands/Lowlands Posted: 18 Jan 2010 08:01 PM PST It's themed, like… instead of Planet Hollywood, it's Planet Frankenstein and Boris Karloff. They give decent student discounts – 20% off beer and 2-4-1 deals on certain menu items and free food tuesdays. ... Highlands/Lowlands - http://highlandslowlands.wordpress.com/ | ||
| "Nine" review « Talking Pictures Posted: 18 Jan 2010 08:01 PM PST But "Nine" is no "All That Jazz," and that film, still fresh so many years later, casts a large shadow over Rob Marshall's latest. Marshall, who reinvigorated the Hollywood musical seven years ago with "Chicago," a razor-sharp, ... Guido, feeling overwhelmed that his next film is set to roll in 10 days, even though he has not even begun the script, escapes to a seaside Italian town, only to find that his life, including his filmmaking machine, catches up to him. ... Talking Pictures - http://brettonzinger.wordpress.com/ | ||
| Things I learned from the Globes Posted: 18 Jan 2010 08:01 PM PST Latest Poll. Does "Avatar" deserve to win Best Picture? ... I wrote in a Long Shot column last week that this could be the year the mainstream Hollywood reclaims awards season, after independent and European dominance in recent years. .... I think it has a great shot at screenplay and Best Pic still actually. I do not think Avatar will win director or pic, but just technicals. I think we are still seeing a very wide open race for best pic between hurt locker, ... In Contention - http://incontention.com/ | ||
| <b>screenplay</b>. (<b>screenplay</b> los angeles) | ayn rand <b>screenplay</b> Posted: 18 Jan 2010 03:30 PM PST script rent screenplay screenplay it is a new day valkyrie screenplay e t screenplay recent hollywood screenplay and option deals infocus screenplay 5700 ... | ||
| My College Footwear Usc Fan Favorite Slipper Mens Maroongold Posted: 18 Jan 2010 01:36 PM PST My College Footwear Usc Fan Favorite Slipper Womens Maroongold Stuart Weitzman Integrity Womens Black Patent Bailey Of Hollywood Ephod 7017 Mens Fall. No Vehicle Selected Shopping Online- Shop anytime, anywhere with and have part shipped. ... FontHaus is where you can happen, buy and download pop text, show and script fonts. My College Footwear Auburn University Fan Favorite Slipper (Men')- Blue My College Footwear USC Fan Favorite Slipper (Men')- Maroon Gold. ... Price - http://price.toughtip.flnet.org/ | ||
| Spiderman, Spiderman, What Will Become of Spiderman? | Lock, Stock <b>...</b> Posted: 18 Jan 2010 01:36 PM PST Vanderbilt's script reportedly focuses more on character than Raimi's version, and will follow Peter Parker as he deals with the responsibilities of his newfound powers along with the everyday problems of being a high school student. ... However, the idea of rebooting a film series that only just began less than a decade ago suggests that Hollywood has indeed gone reboot crazy, which does pose a threat to some of our more beloved cinematic heroes. ... Lock, Stock, and Two Film Geeks - http://www.lockstockandtwofilmgeeks.com/ | ||
| Posted: 18 Jan 2010 09:45 PM PST Product Description Related posts: | ||
| End Stupid Mistakes With Your Screenplay Format Posted: 18 Jan 2010 08:03 PM PST When we talk about the process of writing a screenplay, you could say the process is broken into two halves: the creative component and the mechanical component. Most people interested in movie screenwriting are a bit more interested in the creative aspect. Their concerns are with the ability to put together a unique, original, and creative script. This is, of course, a good thing since such elements are definitely helpful to those searching for the seemingly elusive answer of how to sell a screenplay. However, it is of paramount important that those seeking to be successful with screenwriting to understand the necessity of proper mechanics. Simply put, when your screenplay format is lacking it can drag down the entire script. This means you won't be selling the script any time soon! Probably the best way to cut down on formatting errors is to use a professional screenwriting software program. These programs are designed in a manner much like a traditional word processing system. The main difference is that that come with scores of functions that allow the writing to fall in line with accepted and standardized screenplay format rules. Can these rules be tough to follow? If you are new to the game, they can be a bit confusing. (Even seasoned pros will make common formatting mistakes and errors) When you use a professional screenwriting software program, you will cut down on the common errors that undermine screenwriting format rules. So, the main point here is to avoid trying to craft a screenplay with a standard word processing program. It will not work! Stick with professional level programs and enjoy the better screenplay format results. It is also necessary to properly familiarize yourself with the common rules of screenplay format. Most people will purchase one of the many excellent books on the subject. This is fine. However, there are many great free resources on the internet that can provide excellent tips and insight into the subject. They are well worth looking at and bookmarking. Can you ever get away with an errant screenplay format error? Look at it this way, if you have a 120 page screenplay and an error pops up now and then, it is doubtful a reader will dismiss an excellent screenplay. So, you might be able to get away with a flub here and there. However, if there are tons of these errors and they start to appear with alarming frequency on the screenplay, the odds are strong that your screenplay will be complete sunk in the reader's eyes. The impression you make will to too poor and the quality of the screenplay will suffer as a result of all the errors. Why deal with such a scenario? Learn and develop the proper rules of screenplay format and prevent yourself from being ejected from the game. Author: Paul V. Warner Related posts: | ||
| Posted: 18 Jan 2010 07:55 PM PST 80 pages in under 2 weeks. Thank you holiday weekend. It's been hellish and grueling since I've only had an hour here and an hour there, never a good idea to be forced to write and not be able to let it flow. Luckily, and this is from the heart, I wrote a really long outline so I can just literally transcribe. It's really helped "zen out" and just keep plugging away. At this point, I'm really just nervous about reading through it. It's going to be a show. | ||
| Posted: 18 Jan 2010 07:30 PM PST  Guys, how's this for a sure fire pick-up line?Margaret Colin is a fine actress. You've seen her on many things I'm sure. Recently she had a recurring role on GOSSIP GIRL. She's been in INDEPENDENCE DAY, THREE MEN AND A BABY, and SOMETHING WILD among other features. In the late 80s and early 90s she was very hot in television. She starred in such series as FOLEY SQUARE, LEG WORK, SIBS, and CHICAGO HOPE. Recently she was on LAW & ORDER (although that doesn't mean anything. Every New York actor is in LAW & ORDER.) Her first series was FOLEY SQUARE, a comedy that aired on CBS in 1985 right after THE MARY SHOW, which was our series (and could have easily been entitled FOLLY SQUARE). Neither show fared well and by early '86 they were both cancelled. Flash forward a few months. I'm on vacation at the San Ysidro Ranch in Santa Barbara. Hanging out at the pool. And I see Margaret Colin. Actually, every guy saw Margaret Colin. On a scale of 1-10 she was a 52. At one point we're both in the pool. I swim up to her and with a panache that the Fonz himself would approve of, say, "Hi there. Y'know, you and I have something in common." She rolls her eyes. Another schmuck. "What?" she asks warily. I said, "You and I both killed Wednesday night for CBS". She was not expecting that. She laughed, I explained who I was and we had a nice chat bitching about the network. A few years later she starred in SIBS for ABC and I did punch-up for that series. She told me that was the greatest pick-up line she had ever heard (and I'm sure she's heard many). So fellas, as a public service I offer the line to you. Best of luck with it. Let me know how it goes. | ||
| The Writing Week (Vol. 3) part 107 - Writing in Chunks Posted: 18 Jan 2010 06:25 PM PST  For the past week and change, I've been struggling with the second half of Act Two. Yes, my friends, it looks like the first League villain that's squared off against me this year is the Dreaded Act Two. Just under a week ago at this point, I turned in a revised (though incomplete) draft of the second half of Act Two for my post-Apocalyptic spec to my producer. It was an odd time to submit to her, since I knew that the pages weren't quite working. On the other hand, I also knew I was stuck. They weren't working, but I needed a kick to help me get them rolling. Hence, what we called a "vomit" draft. In short, the pages sort of sucked. Luckily, Gretchen (my producer) and I have a solid enough relationship that I could turn in what I knew to be flawed pages. There were a couple key lines that just weren't strong enough yet to bring about a twist we were hoping to work into the script. To be honest, they're still not there, but by submitting the pages, at least I gave us a framework to try and make them work in. Pages or not, this is definitely not a time to sit idly by and hope for the epiphany that will clear things up. Though I'm not writing on any official deadline, I want to move as quickly as possible in order to stay immediately relevant. Because of that, I worked on Act Three while stuck on Act Two. Normally, I wouldn't advocate an approach like this - certainly not on a first draft. However, I know what the end of Act Two and this damn twist I'm trying to iron out lead to. I know what has to happen in Act Three. And I know what has to come before all that, too. So, in a slightly nontraditional approach (for me), I'm attacking the re-writes as a series of chunks. Act One is a chunk, in my mind. The next ten pages are another chunk. The remaining pages from Act Two are divided into two more chunks. Finally, Act Three is also two chunks. I guess you could also use the term "sequence" in place of chunk, but it's not necessarily that cut and dry. Whatever terminology you subscribe to, the fact stands - by breaking up what I know I have to do this way, I'm order to make progress in one place while stuck in another. It's sort of a time saving technique. More than that, by smoothing out where my characters have to get to, perhaps I'll better be able to understand how they get there. At any rate, I'm sticking with this method until I work out the end of Act Two kinks. | ||
| Posted: 18 Jan 2010 06:40 PM PST Do you ever look at something and think 'how the fuck did anyone persuade anyone else that was a good idea?' Like genital piercing, for instance. Some caveman mooching around his cave with a hammer and a nail thinks 'I bet I can drive this through my cock'. And he does. Not only that, he somehow convinces other people to follow suit. Millions of years of evolution later and the same species who stood on the moon and watched the Earth rise are still hammering bits of metal into their balls. For fun. Similarly, some TV shows defy explanation. Not their existence, I'm not complaining about quality, but they literally can't be explained as a concept to anyone else. Take 'In The Night Garden …' for example. Have you seen it? If you haven't got teeny kiddies then probably not, but I urge you to seek it out. On first viewing, you'll wonder what the fuck is going on and why you're watching this shit … but one day, after forced and repeated viewings, you'll suddenly realise it's a work of utter genius. And completely unpitchable. I mean, how did anyone walk into anyone else's office and explain the show? "Well, there's this baby, right? And he, or sometimes she, is falling asleep while his or her parent strokes his or her hand and Derek Jacobi sings him or her a lullaby. Then there's this boat with a puppet thing made out of blue towels who takes the sail down, only it's not a sail, it's a blanket and he puts a light up and goes to sleep. Then all the stars turn into flowers and bloom until the sky turns into a garden. Oh, then there's this train thing, only it's not a train it's like a string of kids toys only one of them is like a flying saucer or something and another one is a detached house. And this train, right, this train thing – sometimes it's knee high and sometimes it's big enough to climb onboard. Oh yeah, and it can go up trees and upside down and stuff. So the blue towel thing who's got a bell in his head or maybe his hand or maybe it's a rattle and he falls over a lot, this blue towel thing has got a girlfriend who likes to dance and sing through a megaphone and if you pull a string on her waist then her skirt inflates and rises up so you can see her pants, only she hasn't really got any on, and then she dances and sings. Did I mention her bed follows her around the garden? And there's this other person/thing who's slightly smaller than the others and likes to clean stones and blow his trumpet. Then there's this hedge/house thing with three androgynous people in who fall over a lot and play the drums really, really badly and they've got this 'no trousers' rule in their house. Or hedge, depending on your point of view. Oh and there's an airship which farts and changes size too. And these big pillows with eyes who float around and sigh in satisfaction. And blink. Sometimes they blink. And there's these peg dolls. Ten of them. A daddy with a porn star moustache and a mummy with a pair of binoculars and eight kids and they all dance around their garden. Did I mention they live in a semi-detached house at the bottom of a tree? Oh, well they do. And they've got some next door neighbours called the Wottingers. They're exactly the same, except they're blue instead of red. And they all fart a little bit and play hide and seek and dance and go on picnics. Sometimes on the weird scale changing train/toy thing. Which is sentient. Did I mention the train thing is sentient? So's the airship thing. And there's these birds who sing a song. One of them makes a noise like a trombone." "I see. And do they have adventures with morals for the kids to learn?" "No, not really. They just fuck about on the train a bit. Sometimes there's a big ball which bounces around the garden. Did I mention it's set in a garden? Sometimes they might get on the farting airship. Other times they don't. That's about it, really." To which, of course, the only sane reply is: "Fuck me, that's utter genius! Here's enough money for a hundred episodes." A hundred! One hundred. 100. A hundred fucking episodes of randomly getting on and off an inconsistently sized toy/train thing and polishing some stones. A hundred. How the fuck did that happen? I've thought about this long and hard and the only explanation I can come up with is drugs. Lots of drugs. Of industrial strength. I'd love to meet whoever commissioned it and find out how mind fucked he is. And then shake his hand, because it's fucking awesome. | ||
| Sandra Bullock, Sam Worthington, Sigourney Weaver, Bradley Cooper: Golden <b>...</b> Posted: 18 Jan 2010 07:17 PM PST
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| EXCLUSIVE: Guillermo Arriaga Takes Us to The Burning Plain Posted: 18 Jan 2010 06:09 PM PST Guillermo Arriaga: I'm writing a couple of screenplays that I'm not directing, one of them I'm producing. I'm also producing the works of some friends whose ... See all stories on this topic | ||
| George Clooney, Elisabetta Canalis, Cameron Diaz: Golden Globes Red Carpet Photos Posted: 18 Jan 2010 06:09 PM PST
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| Posted: 18 Jan 2010 03:42 PM PST I'm an indie director/producer looking for unproduced screenplays. If you have a completed screenplay, please email a synopsis to me at: Domster2@gmail.com. ... | ||
| Write Brothers, Inc. - <b>Screenplay</b> Studio Posted: 18 Jan 2010 03:42 PM PST This package is exclusive to Screenplay.com. You can buy it nowhere else. ... Movie Magic Screenwriter is the software Hollywood uses to write screenplays, ... | ||
| Posted: 18 Jan 2010 02:10 PM PST In fact, when I originally scribbled out the idea for my upcoming novel, Combat Camera, I thought it would be a screenplay. But when I went to write it, a little voice said, "Somerset, you have no idea how to write a screenplay. ... Banjaxed - http://ajsomerset.wordpress.com/ | ||
| Awards Daily's Oscar Countdown--Watching Oscar 24/7 » Blog Archive <b>...</b> Posted: 18 Jan 2010 02:10 PM PST Possibly 11 nods, with screenplay being a question mark. How many of those can it win? Oh, just all of 'em. Walking in it's already won Sound, Sound Editing, Visual Effects, Picture, Cinematography, Art Direction. ... Awards Daily's Oscar Countdown - http://www.awardsdaily.com/ | ||
| Gold for Screenwriters: Bonus Edition | Poet Zero Posted: 18 Jan 2010 02:10 PM PST If you are like me you've read the screenplays to your favorite movies and enjoyed seeing how a scene on screen was written on a page. Have you ever had the desire to read a screenplay first and then watch the movie? ... Poet Zero - http://poetzerofilm.com/ | ||
| IFFF BLOG: IFFF 2010 FINAL SELECTIONS: FEATURE <b>SCREENPLAYS</b> Posted: 18 Jan 2010 02:10 PM PST IFFF 2010 FINAL SELECTIONS: FEATURE SCREENPLAYS. More Detail to Follow Soon! DRAMA: CAMP FIRE. DANIELLE'S BEACON. DRAGONFLY. DRESSING UP. ELLIOT. FORT SISSETON – DAKOTA TERRITORY. HOLLY'S CHRISTMAS. RELEVE. ROY RYDELL. SAMSON V-2. SOUTH PADRE. THE FISHING SHACK ... ANDREAS DEJA · ALERT: SCREENPLAY ENTRIES DUE MONDAY, DECEMBER 21... ALERT!!!! FILM ENTRIES DUE TOMORROW! FILM AND SCREENPLAY ENTRIES ARRIVING FROM AROUND T... IFFF AWARDS CEREMONY MARCH 14TH AT RALEIGH STUDIOS. ... IFFF BLOG - http://ifffblog.blogspot.com/ | ||
| Review of <b>Screenplay</b> for iPhone and iPod Touch | The iPhone App <b>...</b> Posted: 18 Jan 2010 02:10 PM PST Whether you're en route to your next destination, or relaxing in bed after a long day, Screenplay is the first fully-functional mobile screenwriting app that allows users to write complete movie and TV screenplays with great ease and ... The iPhone App Review : iPhone... - http://www.theiphoneappreview.com/?q=Save+Us+From+Berlusconi | ||
| 67th Annual Golden Globes Winners! Posted: 18 Jan 2010 02:05 PM PST When the nominations were announced the screenplay category was split up into two categories. Adapted and Original screenplays. Why did they lump them all ... See all stories on this topic | ||
| Time is Too Slow For Those Who Wait... Posted: 18 Jan 2010 07:17 PM PST Just wanted to apologize for the lack of posting. I'm trying to think of decent topics to ramble on but haven't found anything enlightening to share that would be beneficial. Most of my rambling tends to be the opposite so I try to pick and choose my battles lol. With my recent Netflix Heroes season 1 binge I can give you one piece of advice I have learned...."Save the cheerleader, save the world" ;). This week Ralphy and I are doing some revisions so I'll be pretty busy with that. I might attempt to poke my eyes out too, I dunno yet, we'll see. Also I got some feedback reading to catch up on that I put off over my Christmas break. It doesn't help my block class is piling on the work. I usually have something due every night. At the end of this week I have a presentation due on the history of education and one next week over a school law court case of my choice. Sounds awful right? It is. So just stick with me. Hopefully some stuff happens with the revisions and I will have some "a ha!" moments where I can share some things I learned or noticed with you guys. I hope everyone is continuing to read even though I cannot right now. If you need the link to the MSP Library feel free to e-mail me. Also add me on Facebook to get in contact HERE. And last don't forget to get details on Ralphy's interview as well as his new reading notes/coverage service HERE. | ||
| Posted: 18 Jan 2010 06:12 PM PST
Most people thinking about film and television production immediately assume that their favorite films and shows were made in Hollywood. While many movies are still filmed on the back lots of major movie studios, many directors and producers are choosing other locations to film their productions. This growing trend has brought Austin to the attention of the filmmaking community and it is now becoming known as the "second Hollywood," according to some industry publications. Austin is already known for its thriving music community, but in the past several years, the independent film community in the area has begun to grow by leaps and bounds. This is due, in part to the actions of the city in attracting filmmakers to the area. The Austin Film Society has worked with city government to create several resources that are at the disposal of filmmakers, to help draw in producers and directors. The state of Texas has also developed their own incentives to assist filmmakers in using their state's assets to help create motion pictures. There are tax waivers offered, as well as discounts for businesses and services in the area, helping movie makers of all sizes to make the most of their budgets. Already, there have been many well-known and smaller movies made, in whole or in part, in and around Austin. Disney has produced several films using Austin as their main filming location, including the Spy Kids series and The Rookie, starring Dennis Quaid. Popular films like What's Eating Gilbert Grape, Raising Arizona, Miss Congeniality, and many others were also filmed around the city. Small films, made by up and coming directors and students are constantly shooting in Austin. There is such a strong independent and student film community in the area that Austin now has its own Independent Film Festival, which take place in October of each year. The future of film and television production in Austin looks to be huge. With several television series and movies already scheduled for production in the area, more attention will certainly be brought to the city. In preparation for the influx, Austin Studios has recently completed a renovation that is reported to have cost . The studios are equipped to handle film projects from Hollywood proportions to small student filmmaking projects. Recent plans for a major studio in the city were shot down, but there are still talks of building in a location that is easily accessible to the city. Austin has a long way to go before it can compete with Hollywood in the filmmaking world, but the city has taken great strides in the right direction. As a naturally beautiful city, with plenty of scenery options nearby, Austin is a natural choice for filming. Now that the city and state governments have stepped up and begun to do their part to help attract more producers and directors to the area, the trend of filming in Austin is sure to continue to grow. Before long, Austin may have roots as deep as those of Hollywood, in the filmmaking industry. About the Author: Image taken on 2009-06-07 13:03:10. Image Source. (Used with permission) No related posts. | ||
| SNL's "Laser Cats 5," James Cameron, and right-wing politics Posted: 18 Jan 2010 05:00 PM PST Something funny from SNL. James Cameron's latest: "Laser Cats 5": Per Cameron, how about this part of his acceptance speech last night at the Golden Globes: " 'Avatar' asks us to see that everything is connected, all human beings to each other and us to the Earth. And, you know, if you have to go 4 1/2 light years to another made-up planet to appreciate this miracle of a world that we have right here, well, do you know what? That's the wonder of cinema right there."More fuel for conservative bloviators. From the LA Times blog "Big Picture," hosted by Patrick Goldstein "Right wingers launch new attack on 'Avatar'": It seems as if the more money "Avatar " makes at the box office (it's now officially the second-biggest-grossing film of all time), the more incensed its critics on the right become. The best example? Die-hard right-wing blogger/columnist/anti-Islam crusader Debbie Schlussel has now weighed in on the Jim Cameron blockbuster, which managed to drive her so around the bend that she ended up comparing it (I kid you not) to the writings of Noam Chomsky and the speeches of Hugo Chavez.And via The Huffington Post, "James Cameron: 'Avatar is Political, But It's Not Un-American": So Avatar in being pro-environment, pro-community, and pro-peace is somehow un-American? | ||
| Question: Is there a formal list of bad scripts someone can read to learn what NOT to do? Posted: 18 Jan 2010 03:00 PM PST An email from Shawn Larkin: I found your 3 x 14 Days of Screenplays very helpful. There is almost nothing like reading solid scripts to understand the art and craft, except reading "bad" scripts.I've been a screenwriter since 1987 and a teacher since 2002, but I confess I've never gotten this question. From the perspective of someone such as myself, who routinely reads 'bad' script pages, I guess I'm rather immune to what I can learn from them. But Shawn, I'm sure you're right -- that you can learn a lot from 'bad' scripts, specifically what not to do. I don't know of any websites that specialize in collecting bad screenplays. I did a Google search "bad screenplays website" and hit this: "13 Things Bad Screenwriters Commonly Do" and that's a nice list to have handy. But where to go to immerse yourself in bad scripts? What about screenplay sites like simplyscripts.com? Surely they have some screenplays for bad movies there. For example, they have three different scripts for An American Werewolf in Paris, which I thought was a pretty poor movie. The problem there is that even if the story isn't good, the style and format will likely be up to professional standards. So where to go to hit really bad scripts? I'm stumped. GITS readers, what say ye? And do you see any potential educational value in reading bad screenplays? | ||
| Screenwriting Technique #4 – 10 Story Techniques You Must Use to Sell Your Script Posted: 18 Jan 2010 05:03 PM PST The key question that all screenwriters should ask themselves is: how do I write a script that Hollywood wants to buy? Most writers mistakenly think that success is all about connections and star power. Not so. The real trick to writing a script that will sell is to know and use Hollywood's central marketing strategy. And that can be summed up in one word: genres. Former Universal Pictures chairman Marc Shmuger recently said, "There's no doubt the star system is in transformation. Arguably the two biggest stars in the first half of 2009 were Kevin James (Paul Blart: Mall Cop) and Liam Neeson (Taken)…That's a significant shift in the meaning of star power and a shift to the premium that is being put on concept and genre." Shmuger is telling any screenwriter who is smart enough to listen the 1st rule of the entertainment business worldwide: it buys and sells genres. Genres are story forms and each has from 8-15 special story beats (story events) that make up the form. The reason Hollywood marketing is based on genre is that executives are selling to a worldwide audience. And people the world over love particular types of stories that speak to their deepest desires. I'd like to tell you 10 story techniques that must be in your script if you want the best chance of selling it in a genre-dominated business. 1. Know the 10 most popular genres. Step 1 in writing a script Hollywood wants to buy is knowing the 10 most popular story forms. If you write a script that is not based on one or more of these genres, your chances of a sale plummet. They are Action, Comedy, Crime, Detective, Horror, Fantasy, Love, Myth, Science Fiction and Thriller. 2. Combine 2 or 3 genres. In the genre-focused entertainment business, the most important story strategy today is to mix genres. 99% of films made, not just in Hollywood but worldwide, are some combination of the ten most popular genres. Why? It all goes back to that old rule of selling: give the customer 2 or 3 for the price of 1. This, in a nutshell, is how Hollywood works. Let me give you some examples. The super-popular Twilight films are horror + fantasy. The Bourne films are action + thriller. Knocked Up is comedy + love. Little Miss Sunshine is myth + comedy. Titanic, the most popular movie of all time, is love + disaster film + myth. The Dark Knight is crime + myth + fantasy. The Harry Potter stories, the most popular books of all time, are fantasy + myth + horror + coming of age drama. The Pirates of the Caribbean movies are fantasy + action + horror + myth. 3. Find the right genre for the story idea. The single biggest decision you make in the entire writing process occurs right at the beginning, when you are developing your premise, or story idea. The decision is: which genres should I use for this idea? Here's a shocking but eye-opening fact: 99% of scripts fail at the premise. And why? It's not because their original story ideas weren't good. They fail because the writers didn't know the best genres to use to go from a 1-line idea to 2-hour, 120-page script. Each genre will take a story idea in radically different directions. So when writers choose the wrong genres to develop their idea, the result is not only a lot of bad scripts but also the waste of thousands of great story ideas. Given that you can use many genres to develop the same idea, the key question is: what are the right ones? The secret to choosing the right genres is buried in the story idea itself. You need to dig into the premise and find the genres inherent to that idea. Instead of trying to copy a popular movie from the past, you need to find what is original, what is organic to your story. One of the powers of genre is that the right genres highlight the inherent strengths of the idea and hide the inherent weaknesses. In my genre classes, I talk a lot about techniques for digging into your premise and finding the best genres for you. One of them is to focus on the desire line, one of the seven major story structure steps. It turns out that each genre has a unique, pre-determined desire line. For example, the Crime desire is to catch a criminal. Detective is to find the truth. Horror is to defeat a monster. For Love, it's to find love. Myth is to go on a journey, ultimately leading to oneself. Figure out the goal of your hero and see if it matches the desire of any of the main genres. 4. Use myth as one of your genres. Because Hollywood only wants scripts with blockbuster potential, your story must be popular in over 100 different cultures and nationalities. That's a lot of communication barriers to cross. Unfortunately, most writers don't know which genres travel well and which don't. For example, comedies based mostly on funny dialogue DON'T travel. Myth, on the other hand, loves to travel. That's why myth is found in more blockbusters by far than any other form. Myth is the oldest of the 10 most popular film genres, and is surprisingly complex, with 15 special story beats. But boy is it popular. Try adding up the box office of these myth-based films: Batman Begins and The Dark Knight, Lord of the Rings, Harry Potter, Shrek, Star Wars and The Lion King. 5. Combine myth with one or two other genres. While myth is the foundation of more blockbusters than any other genre, it almost never stands alone. That's not just because Hollywood wants to give people 2 or 3 genres for the price of one. It has to do with the deep weaknesses found in the form itself. The myth form is thousands of years old. And it has a very episodic structure, so it can grow tiresome and decline in power through the middle of the story. Top professional screenwriters know this, which is why they always add 1 or 2 other genres to modernize the myth form and overcome its episodic quality. 6. Make one genre primary. Screenwriters who are smart enough to study Hollywood as a business know that it's all about combining genres. Where they sometimes go wrong is in execution. It's one thing to say, "Take 2 or 3 story forms and put them together into a seamless whole." It's another thing to do it well. Combining genres is more difficult than it looks, because of what it does to the story structure under the surface. Each genre has a pre-determined hero, opponent, desire line, thematic focus, and so on. Which is why most writers combining genres end up with a structural mess. They have too many heroes, desire lines, opponents, themes and story beats. Any one of these structural mistakes will kill a script, so imagine what happens if you make them all. When mixing genres, the key is to make one form the primary one. This will give you your hero, a single desire line, a single story line and the most important unique story beats. Then put in other genre elements where they fit, so they amplify the primary form. 7. If you're writing a screenplay for an indie film, write horror, thriller, or love. One of the best ways to break in and separate yourself from the thousands of other screenwriters in the world is to write and make your own film. Of course, that requires keeping costs to a bare minimum. And the cheapest genres to shoot are horror, thriller and love. These genres require the fewest actors, sets and special effects. Of these, horror is the most popular worldwide. But the most important determinants of which genres you use for your indie film are which genres are best for your story idea and which genres are you best at writing. 8. Hit all the genre beats. Writers of blockbuster movies always know their genres so well that they hit every one of the story beats unique to their form. In genre writing, this is known as "paying the dues." And it's absolutely essential or the audience feels cheated. Remember, they are there to see the story forms they love, so you have to know your genres better than anyone else and give the audience what they crave. And that means, knowing how your genres work under the surface, in the structure, where the real story work is done. 9. Be original, transcend the genre. It may surprise you that the biggest reason a reader turns down a script is because it's "derivative." That's a fancy way of saying that the writer hit all the beats of the genre, but nothing more. Readers have read scripts from every genre hundreds of times. So you can't stand out from the crowd just by "paying the dues." That's why professional screenwriters not only hit all the genre beats, they do the beats in an original way. This is known as transcending the genre. And you simply cannot succeed if you fail to transcend the genres you're working in. Unfortunately, there are no simple rules for how to do this for all genres. Transcending genre is different for each form. In the 1-day class I teach in each genre, I spend a great deal of time on exactly how to do this. Transcending depends on the story beats that are unique to your form. It also requires that you study the best films in your form so you know what has already been done. 10. Be honest with yourself, and specialize in the forms that are right for you. Genres are extremely powerful structural tools for a screenwriter, and they are the key to your success in the entertainment business. But they are complex story systems. I don't know a single professional screenwriter who has mastered more than 2 or 3 of them. That's why it's so important that you look honestly at yourself and assess your strengths and weaknesses as a writer. Determine which genres highlight your strengths and express the themes you believe in. Then apply yourself with laser-like focus to mastering those forms. When you let genres do the hard story work, and concentrate on writing them in an original way, you will be amazed at how good, and how successful, your scripts will be. For more screenwriting techniques, go to http://www.truby.com. Author: John Truby Related posts: | ||
| Screenwriting News – 221th Edition Posted: 18 Jan 2010 04:46 PM PST
Film Review Online » Blog Archive » The Book of Eli – Screenwriter … Screenwriter for Hire | Screenwriter for Hire Freelance Screenwriters 'Thor' Roundup: New Casting, Screenwriter Discusses 'Adjustments … Casting Couch Radio: Show Notes – Screenwriter Steve Allrich Screenwriter » Nine out, Trek in at Oscars? Bookrastination: Book of Eli screenwriter interview on CBR software: screenwriter 6 « kiyong's blog of creative pursuits St. Pete Screenwriter (Michael France) « Screenwriting from Iowa Liberalguy: Fidel Castro: Hollywood screenwriter Utterly speechless – Rebel Without A Cause with its screenwriter … PAK-MODEL: Alan Campbell (screenwriter) Screenwriting: KINDLE READER REVIEW – A Screenwriter's POV Journal of a Struggling Screenwriter – Freelance Writing Job … Screenwriter » Movie hack hand-wringing in duplicate Journal of a Struggling Screenwriter – Freelance Writing Job Aspiring Screenwriter: Giddy for Vertigo's scene at Fort Point's … Aspiring Screenwriter: Feast your eyes on Coppola's Zoetrope: All … Journey of a Screenwriter: Not a One Trick Pony Related posts: | ||
| Screenwriting News – 221th Edition Posted: 18 Jan 2010 04:46 PM PST
Film Review Online » Blog Archive » The Book of Eli – Screenwriter … Screenwriter for Hire | Screenwriter for Hire Freelance Screenwriters 'Thor' Roundup: New Casting, Screenwriter Discusses 'Adjustments … Casting Couch Radio: Show Notes – Screenwriter Steve Allrich Screenwriter » Nine out, Trek in at Oscars? Bookrastination: Book of Eli screenwriter interview on CBR software: screenwriter 6 « kiyong's blog of creative pursuits St. Pete Screenwriter (Michael France) « Screenwriting from Iowa Liberalguy: Fidel Castro: Hollywood screenwriter Screenwriting From Iowa » Vincent Lafort (part 1) Utterly speechless – Rebel Without A Cause with its screenwriter … Clooney's Cookie Crumbs: [Los Angeles Times] Screenwriting credits … PAK-MODEL: Alan Campbell (screenwriter) Cole Smithey – Film Blog: Philadelphia Screenwriting Competition Screenwriting: KINDLE READER REVIEW – A Screenwriter's POV Screenwriting Basics – 220th Edition | Mina Zaher Journal of a Struggling Screenwriter – Freelance Writing Job … Screenwriting Foxhole: Avatar The Final Word Screenwriter » Movie hack hand-wringing in duplicate ETB Screenwriting: An Emotional Toolbox Website » Beyond Lemonade … Journal of a Struggling Screenwriter – Freelance Writing Job Daily Screenwriting Jobs – 266th Edition « Screenwriting Jobs … Aspiring Screenwriter: Giddy for Vertigo's scene at Fort Point's … Bartlett's Screenwriting Tips: In Hollywood, Grappling With … Aspiring Screenwriter: Feast your eyes on Coppola's Zoetrope: All … New Year's Resolutions « Screenwriting Unveiled Journey of a Screenwriter: Not a One Trick Pony Related posts: | ||
| A <b>screenwriting</b> dispute over Jason Reitman's "Up in the Air <b>...</b> Posted: 18 Jan 2010 02:04 PM PST A screenwriting dispute over Jason Reitman's "Up in the Air" ... in the Air," but then again, I thought I already knew the screenwriter of "Up in the Air. ... | ||
| Sundance announces Native film lineup Posted: 18 Jan 2010 10:32 AM PST The Dry Land (Director and screenwriter: Ryan Piers Williams)—A US soldier returning home from war struggles to reconcile his experiences abroad with the ... See all stories on this topic | ||
| Posted: 18 Jan 2010 08:49 AM PST
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| Posted: 18 Jan 2010 03:50 PM PST SO SOMETIMES YOU land and you check into your hotel and you just want to drink a bottle of water, and so you flip the dial on the TV and that's how you wind up watching...Rachael Ray. One of the things I vowed this year was to try to be more positive in my work life, and my personal life. And the former isn't always so possible. But for anybody pounding themselves right now trying to make the budget work, or the day out of days line up, or the second draft conform to the three sets of impossible notes, or even try to find that last 10% of financing... ...Kwitcherbitchin' and check your future competition. These kids made my day. Hope they make yours too. Now, turn this up, watch, have fun and then go do another Pomodoro. --for updates and to continue the discussion in comments, please go directly to http://heywriterboy.blogspot.com-- | ||
| Posted: 18 Jan 2010 03:46 PM PST Downsizing (G) Tagline: Down is up Based on the hit Broadway musical of the same name, Downsizing, is the story of Chief Executive Roslyn Walton's (Judi Dench) failed attempt to purposely financially ruin her company to offset the gains of a sister company (as a sort of tax dodge). Citing a 'progressive workplace hiring policy', Walton fires her entire sales team and replaces them with a group of men and women with Down's syndrome (Chris Burke, Madonna, etc), with the hopes that their inexperience will lead to a severe downturn in revenue. Much to Walton's surprise, however, the new sales team – naturally affable, honest and hard-working – performs exceptionally well. (Include scenes of the new pink-shirted sales team laughing, high-fiving, ringing bells intercut with the image of raining dollar bills) Walton is faced with financial ruin but is ultimately saved when the new sales team pulls off a management buy-out and takes over the reins of the company. Possible Dialogue: Ros: You can't do this. You're just a bunch of retards! Corky: No, ma'am… (eyes welling up)… You… You are the retard. (not a dry eye in the house) Posted in Dame Judi Dench, Drama, Movies Tagged: Chris Burke, Dame Judi Dench, film, Madonna, movie | ||
| LEVERAGE #210 "The Runway Job" Post-Game Posted: 18 Jan 2010 02:56 PM PST Odd to do the post-game on an episode we shot six months ago, but I'll see what I can drag out of my Irish Whiskey-and-rpg-addled mind. This episode was written fast. Very fast. Never mind why (such things just happen in television), but basically, we needed extra time to write the introduction episode for Tara. Sliding a new human into a tight ensemble is tricky as hell, and it's not like we're a hospital show. "Oh, that new intern from Mercy General showed up ..." That meant her second episode moved up a full two weeks in production. And, since were already three weeks behind on the writing schedule ... This is why you try to treat your staff well. Because their young, healthy brains will bail you out when your showrunner brain is mush. For your edification, a one act play of how this episode was born: Albert Kim: "How about that fashion show idea we've been kicking around?" John: "Gah, the problem is, there's no threat in the fashion show episode. No menace." Albert: "My research shows the Triads make more money from counterfeit fashion than they do from narcotics." John: "I love you, and have always loved you." Albert: "Please let go of me now." The kids wrote like the wind, we shot the bastard in six and a half days (half hour comedies shoot in five days). My one regret is that we didn't get to use the original ending, based on my Lovely Wife's patient explanation of how fashion shows work. Turns out, immediately after a show, all those one-of-a-kind dresses are then driven -- driven in an anonymous white truck -- to a showcase room, so the buyers can then walk among different kinds of models (apparently called "fit" models? memory's a bit hazy), deciding what to order. So, in the original version, what Nate and Hardison were off to do in Act Four was steal that truck -- then, when the cops arrived, our friend Russel Pan would have a full truckload of stolen dresses in his factory as part of the frame-up. I generally don't like "on-screen only" con payoffs. Scheduling, etc being what they were, though, we wound up with a very satisfying trick of multiple thumb drives with layered files, and I am personally amused at the idea of a factory in Shanghai churning out Pilgrim Chic. The scheduling also meant that Jeri's first day off shooting were all the HQ scenes where nobody likes her and Nate is openly hostile. Weird vibe. Jeri is hard-working, incredibly sweet, and immediately became friends with everyone on the show (she and Beth were inseparable). But first day on the new job, everyone's telling her to go to hell. So, as always, all virtues of an episode are thanks to the very hard-working writers, actors and crew, and all failings are my own. But, hey, that's the joy of shooting television. The. Train. Never. Stops. And I have an opportunity to fuck up again just a few days later. On that note, before we launch into questions, I want to brag about the rest of the season. The staff, actors and crew really stepped up and nailed it under insane circumstances. Seriously, the work they did on the next batch is just ... oy, I'm kvelling. The next episode, "The Bottle Job", is one of my favorite episodes of the entire run. In "The Zanzibar Marketplace Job" the Wonder Twins took an episode about a land grab deal in Venezuela, moved it to a museum scam in the Ukraine and gave us one of the best Eliot episodes -- not to mention a whole new vibe with Sterling. Oh, and the return of Maggie. Berg and Downey dream-teamed "The Future Job", which lays out some (implied) Parker backstory and gives us one our most hate-able bad guys in two years. And the two-part finale is big. Gigante. Baseball stadiums, civic corruption, oil tankers, explosions, helicopters. Although I have a soft spot for the Season One two-part finale , everyone who's seen it digs this one even more. All kidding aside, I think this Winter Season are some of the best episodes of the entire two year run. So I can't wait to hear your reactions. Right. Into the mail back, you surly bastards. If you don't mind, I'm going to skip the straight kudos -- which I think you for, sincerely -- and just focus on questions: @Caitlin (and others): How did Kane react to being put in guyliner? It was hysterical to see BTW Kane is ridiculously confident. He found it funny, and didn't even blink. @Sherri: do have one sort of overarching question, one of those that has a long wind up (sorry). Elliot has always treated Nate with the most respect, deference, and concern of the group. He may complain about doing something, but he jumps up and does whatever Nate asks without arguing. In the series pilot, he was the one who voiced the most concern about Nate. Even when he got angry with Nate (in the Snow Job) it was because he feared Nate was not in control, not able to handle things. So, why? What's in Nate and Elliot's relationship or past or understanding of each other that gives Elliot such complete trust in Nate? We've seen some expansion of relationship between Nate and just about everyone else (Mostly Hardison and Sophie, of course). So what's up with Nate and Elliot? Is Elliot just that kind of guy, the second in command sort who takes orders? Also -- Parker has only one name, but everyone else is called by their first name, except Alex Hardison. He's always called by his last name. Why's that? Just a thing? Did I miss something? Good gravy, I think about this show far too much for someone who isn't paid for it. This turned into a discussion in the Comments of whether Eliot plays a primarily "back-up" role in the team or not, so I'll take a minute to spin it out and answer some of those questions at the same time. It's an okay description, but probably not in the context most people think. If you go back and look at the pilot, there are several intentional implications that Eliot and Nate see each other as peers. The way I originally described it to the actors, back when we were shooting in Chicago, was: "Gunslingers. You know each other. You know how good you are. Half of you wants to settle it once and for all, and half of you is glad to have someone around who's that good." Eliot aquiesces to Nate's wishes out of respect for his talent, and because he appreciates a clean chain of command. But it's also because Eliot plays a generally independent role in the team. He's the escape route. There's actually a speech about this in #215, and it becomes pretty damn clear in #212. Eliot lets Nate do his job because -- and only because -- Nate lets Eliot do his job. And Eliot's job is to be the failsafe that never fails. When it's that character's turn to run the game you get the hell out of the way, because things have gotten very, very bad. And as we'll see, the rest of the team respects that. You see quite a bit of that Nate dynamic with the other characters in the back half of the winter season. Nate has a plan, but execution is up to the individual team member. He lets them run, they focus on their own part of the con, confident that Nate has them covered on their blindsides. They are expected to solve their own specialty problems, often on the fly. For example, I'd say Hardison actually drives the middle of "The Future Job". When Nate can keep his control issues in check, he's actually a very good boss. Too bad he's a rage-addicted obsessive compulsive who self-medicates with booze. @WWWeaves: So, Hyundai is a sponsor? Not just a sponsor, a friend. A savior. I would suggest checking out a Hyundai dealership. Mine makes me look thinner. @OhShinyTomato: Okay, I have to ask. Parker's "hot" comment about Tara... is she canonly bisexual now or was she just trying to mimic Hardison and Eliot? You never can tell with her... haha. As always, the characters' sexuality is ... whatever makes you want to watch the next episode. @Rick: I guess my only real Leverage related question is if there is any news on the Season 2 DVDs yet? Are they going to break it into 2.0 and 2.5, a la Battlestar Galactica? Or wait and release it all as one set. And will it be out in time for ConCon? (Not likely, but had to ask.) We were going to break it, but now it's one set (which means there's some funky dancing around spoilers in the Commentaries that only make sense of you know this.) @MelodyAnne88: And now for the question. There will be NO Tara/Nate right? The whole "Sexy because he's broken" thing did not sit well with me (Apparently it didn't with Sophie either!) Hmm, new gorgeous co-worker, spiralling emotional collapse ... sure, nothing will happen. Nothing ever does in those situations. @Nicole: A.) Nate was obviously having control issues with butting heads with Tara. It seems like the team is worried that he's starting to slip (and he did come across as a little manic, or sloppy) but the risk he took was after he and Tara had come to an understanding. You've said before the back half of the season is more geared toward Nate - is he really starting to slip, or is this just team conflict? B.) You guys were awful teases with that conversation between Tara and Sophie. Will there be any hints as to what Tara owes Sophie for? C.) And finally, I know you guys are gearing up for s3. You've said before that the second season can be a little experimental. Are there any story telling devices (ie: flashbacks) that you want to bring back that you stopped using, or anything you found in the second season that you're going to continue with? A.) Oh, Nate is not doing well at all. B.) See above. C.) Flashbacks are definitely back. There are some internal script structure tricks that we found we liked, but nothing that you folks would notice. I think if anything, we're going to stylistically hew to S1 a little tighter. @Becky (and others): Is Gina going to be back (and not just on a tv/computer screen) by the end of the season or are we going to have to wait for season 3? That is a super good question. @Matt: A.) Who on the team wrote the fake fashion article? Was it just a cut and paste job or was it something more elaborate? B.) I kind of want to see the team go after NBC right now. Er.. BCN right now. Can you manage that for season 3? A.) Hardison has a flair for fake text. He actually constructs them with a software algorithm. B.) Our team go after Zucker? No, that wouldn't be cool ... besides, we may have gone after evil contractors, baby traffickers, murderers -- but the network television world is too evil for even us to play in. @Caitlin: At the end, when Nate and Sophie were talking and then he started shouting at her, he sounded a lot like he did when he was drunk before. We both also noticed that his hair was ruffled like before and his eyes were a tad bit bleary looking, also as before. While we know that Nate is going to be drinking again in the next episode thanks to the preview, was Nate drunk in the final scene of this episode? No, but Tim was. No, no, just kidding. But I was. No, no just ... wait, I was. Anyway, no. But as mentioned, Nate's not doing well. @Anonymous: Or give Eliot a girlfriend at all?Mikel Dyan seemed a good match for Eliot.Like she could take him down a peg when he needed it...Just wondering. Eliot's off-Leverage hours are full. But he keeps it out of the office. @Nikki: A.) Tara had an interesting look on her face as Nate handed her the envelope containing her 'cut.' Will a sense of guilt develop, and will Nate intentionally facilitate it? B.) Sort of springboarding off the previous question: will there be another instance, such as in the Lost Heir job, in which Nate doesn't exactly let everybody in on the penultimate plan? A.) Guilt? I don't ever think she'll go that far. B.) Fuck. Yes. But first, there's one where they don't let him know ... @Klep: A.)(various questions all around Nate falling apart) B.) How many models has Eliot dated? A.) Nate's condition is ... accelerating without Sophie. B.) Not as many as you'd think. He prefers doctors. @Kristin: My question is about Tara's cut: if Nate gave the client fifty thousand dollars, which is what they got from the mark, then where did Tara's cut come from? Who is paying for Tara? Nate took it out of his own pocket. Tara's getting paid, one way or another, and Nate respects that. @Calla: A.)One of the repeats on TNT today was "The Ice Man Job" and while Nate was busy distracting the mark, Eliot was directing Parker and Hardison on the vault break-in while keeping Nate informed. It was a difficult situation and I thought Eliot handled things pretty well - he has potential. Will we see Eliot running a con in the future? B.) will we find out why Tara owes Sophie? A.) Yes. B.) Nope. Although you can probably figure a bit of it out, from context. @Scott: What style(s) of martial arts does Eliot practice? Kane and the fight guys based it off Panantukan and Eskrima, if I remember, with some Krav Maga and that vicious Russian style I can never remember the name of ... @sjrSpike: If Tara is SUCH a good grifter/thief, why didn't Nate recognize her/chase her for IYS? Hard to believe she never stole anything insured by IYS ... just too big a coincidance. Tara's criminal career was directly linked to her original non-criminal career. She never went after the shiny art bullshit Sophie so loves. Different areas of Crime World. @Anna: Did I detect some Elliot/Parker flirtation going on at that clothes rack? Whoa. No, you detected Kane and Riesgraf cracking each other up at 4am. That scene was actually shot much later, during the season finale, and inserted in post. They just tortured each other. If you look again, you can see they're playing it as Eliot suddenly realizing he's bugging Parker, and poking her back a bit for all the poking -- physical poking -- she's done in the past. @Rob Donoghue: But the initial con raised a question in my mind: why not just steal the money? It was a cash operation, and the safe would not have been a challenge for Parker. It's curious that this does not usually come up because, frankly, it is very rare that the client just needs cash (and, relatively sspeaking, such a small amunt of it). The money was step one of a slow con. We just never saw what the back end was going to be. It was STILL going to end with the Pans ruined, though -- Nate doesn't just do money. He does justice. @Annie: How much time does Christian usually have to choreograph (he does, right?) and rehearse a fight? And if the fight is complicated or long does that affect how much Eliot appears in the rest of the episode? A day planning with the fight master, and they rehearse right before they shoot. As far as how that affects his availability for the rest of the show -- well, there's a reason he's having shirts made up called "The Second Meal Brawlers." During the finale, everyone else went home after hour 14. Roskin and Kane and the dedicated stunties and the B camera heroes shot the finale fight until dawn. @DHS: Where is Sophie, really?That bad green-screen is obviously deliberate and the matching headwear-background is trying a bit too hard. Nope, she's on the road. What you're seeing is a side-effect of issues we had with the monitors this year. The color temperature was off, so the comps ... anyway, no she's on the road. And, to be honest, we're having a bit of fun putting her in places with matching costumes. @gwangung: a) is Nate and crew going to be on the hit list for the triads? There was a reason Nate never wanted to get involved with organized crime... b) and wasn't Hardison a bit sloppy not checking for aliases for the Pans? Not the first time they've run across money laundering schemes and financial whitewashing is supposed to be one of his specialties.... a.) Nate is making enemies, although David Hunt covers our thoughts in the Comments pretty well. b.) Hardison is not perfect. @FatherDog: Spent this week catching up on the Season 2 stuff I missed. Couple things - a.) Thank you for being the first show I've ever seen do an MMA episode and not completely fuck it up. Really. b.) Is Marcus Stark's name a callback to Donald Westlake? c.) Who runs the nastiest crew on the OTHER side of the Atlantic? a.) Thanks. When you're working with real MMA fighters, you're highly motivated not to tick them off. Seriously, big props to Albert and Roskin for researching the hell out of that episode. b.) Nope, just a cool name. c.) Season 3. @briddie: Did Tara steal an earbud so she could keep up with them later? Nope, she specifically yells in Eliot's ear. She is budless for the back half of the ep. @SueN: It's well established that Eliot is a low-tech (no-tech?) kinda guy, yet today's law enforcement is extremely high-tech. How has he managed to stay off the radar? Or is the fact that he's still on the loose rather than a guest of the government somewhere just another testament to the complete inability of intelligence/enforcement agencies to play well with each other? Eliot has an agreement with some people. In suits. @USRaider: The only problem I would have with it is that Tara (Jeri) doesn't seem to be in the typical "grifter" mode. Sophie (Gina) would never reduce herself to fighting to get out of a situation. A grifter, after all, will talk themselves out of most situations. How do we explain the difference between Tara and Sophie? Because they're different grifters from different specialties of Crime World. That's not a problem, that's a clue. And she can't hack -- not sure where that came from. She's just got a source for very good quality fake ID's that'll stand up to NSA level scrutiny. Again. Clue. @L: a.) How did Gloria end up working at a sweatshop herself, and how did she get caught? b.) We know Sophie was in Paris when the team was talking to her, Uzbekistan when she talked to Tara, but where was she when she was talking to Nate? c.) Gina mentioned in her TV Guide blog that she worked with a coach to get the langauges/dialect/accent right for all the different personas she had to portray. Did Jeri do the same? a.) She's on the run. That was a non-linear flash. b.) Good question. c.) Yep, as did Aldis. Mary McDonald-Lewis is not just our dialect coach, she was also the voice of Wonder Woman in the Superfriends cartoon. A fact Downey is just a liiiittle too obsessed with. @StaggerLee: So, were Parker's green Docs in her first scene a deliberate costuming choice or has Beth just been taking advantage of filming in the same city as the Dr Martens store for the US? =) Our wardrobe goddess Nadine got those for her. Although I think I've seen Beth in them off-set. @NateSophieFan: a) What did Nate do at the Russian border? b) Which book was Nate reading right before he called Sophie in The Ice Man Job? c.)Okay, Nate said that he'll try to communicate better for Sophie, now how about communicating better with Sophie? a.) He may have technically hijacked a train. b.) A collection of Seamus Heaney poems c.) Oh, he kind of sucks at that. @SethFourTen: Settle a bet: Parker fell off the runway to either A) Provide Elliot a distraction to retrieve the USB stick or B) The world's greatest cat burglar is no good in heels and a long dress. Thanks, and keep up the good work. C.) Both. @Puspa: (various questions in multiple posts, the answer to precisely one of which gives away something too big for me to spoil ...) Yes. @briddie: "Cleavers - haven't done that in a while." Is that just a callback to the Butcher of Kiev, or is it a hint that Eliot has dealt with the triad before? Both. Nice catch. @Anonymous: So, if Nate knew what Tara meant when that whole deal went down in the sweat shop, why didn't he tell the others about it when they were questioning his decision and talking about how he put her in danger? It's was still a bad call, and a bad plan on the fly. If you look, they're talking about his call to leave her, not the aftermath. Interesting actor note: I was on set that day, and Beth asked "How is Parker saying this 'You wouldn't have left Sophie?'" All I said was "It's not about Sophie, or Tara, it's about Parker figuring something out about Nate." She then came up with Parker's thought process was (no need to tell me), and that's what informs that line read. @Melissa: I dont think anyone has asked about when Nate & Parker went to the Pan's house. They were walking up the driving way on one side as Gloria was driving down the other side. Was it a con thing to not pull all the way up to the front of the house? or just convenient for the script. I would think if you were gonna pull in the drive at ALL that you would pull all the way up. I wish we were that thorough. Physical blocking issue at the actual location, that's all. The car was an insert shot later. @mktackebery: a) was there a specific designer or design trend you were making fun of with the buckles? The designs looked familiar to me. . . b) Jeri Ryan's accent in the con was hysterically funny. Who's idea? c) Not knowing anything about the fashion world, I was kind of shocked that security would be so terribly lax at such an event, but it seemed easy for the team to take advantage of it. Convenient fiction for this story? d) I too am wondering why Tara would casually drop Nate's real name to the Triad guy--I realize you were setting us (the audience) up to believe Tara was going to screw Nate because she was pissed at him, and is just a callous bitch and happens to roll like that, but the consequences seem to be severe. Seems a pretty short jump for the Triads to find out who Nate really is and get the drop on him someday. a.) Nope. b) She landed on it after reading the script. She's doing Versace, I believe, while Nate does Lagerfeld. c.) People got into the White House. It ain't rocket science. d.) They got it covered. Although we are discussing Nate's ... identity issues for S3. @Ann: You stated that we get 15 episodes again next season. That is quite a few less that other networks. Is that a choice of TNT or you, Dean, cast...? Bog standard for cable television. And one of the few reasons I returned to TV -- I think it's unspeakably difficult top maintain quality over 22+ eps. Particularly for a con/heist show. 15 is my top-out number of eps per season. @Rosie: 1. I re-watched The Bank Shot Job the other day and spotted our pet FBI agents at the end - but of course, since it was aired before the Wedding Job, we hadn't met them yet! As the insane geek that I am, I'd like to sometime watch through the episodes in the order they were originally intended to be aired. Have you (I couldn't see it but you might've) or could you post a list of them in that order? It's the order on the S1 DVD set -- which is both informative and affordable. 1.) The Nigerian Job 2.) The Homecoming Job 3.) The Wedding Job 4.) The Snow Job 5.) The Mile High Job 6.) The Miracle Job 7.) The Two Horse Job 8.) The Bank Shot Job 9.) The Stork Job 10.) The Juror #6 Job 11.) The 12 Step Job 12.) The First David Job 13.) The Second David Job @zvi: Okay, so, clearly Parker likes blondes (Alice, inappropriate sniffing of Maggie, inappropriate crowding of Monica Hunter, vocal appreciation of Tara.) Is this going to be an issue in Parker and Hardison's budding romance, or can they go out and pick up women together? (I am in favor of option #2.) Speaking of, is their romance going to do any more budding? I mean, I get it, you can't force the lock, but you do still have to keep trying to unlock it or you stay outside the door. Parker has ... personal space issues. But as to the other ... Season 3. Hmm, you folks are putting a lot of work into this whole "watching TV" thing. I hope you and your friends (you are recruiting even more friends, right?) are back next week. We just found out our winter launch numbers were our the second highest ratings of the entire run. Holy crap. More and more people are showing up for our little Heist Movie of the Week, and I'm convinced it's thanks to you superfans out there spreading the word. Next week: we meet the owner of the bar, see Hardison shirtless, and hear Nate's Dad. | ||
| Update: Kyle Killen ("The Beaver") Posted: 18 Jan 2010 01:00 PM PST I know there are a lot of GITS fans of Kyle Killen's script "The Beaver" -- witness here and here -- and we've covered the progress of that script to screen here and here. THR is reporting today that Killen has set up a 1-hour TV drama pilot script at Fox: "Midland," from 20th TV, is a soap set against the backdrop of an oil business that centers on a polygamist living a double life."Dallas" meets "Big Love"? | ||
| Daily Screenwriting Jobs – 267th Edition Posted: 18 Jan 2010 02:03 PM PST
Script Writer Needed (Hollywood, CA) Training Video Script Writer Building the script requires you to: Freelance Entertainment Reporters/Journalists (Beverly Hills) Start up Internet entertainment company is looking for experienced freelance working reporters in entertainment (one on one interviews with people in the industry, overall biz chatter, movie awards season analysis, participation in movie junkets, film criticism, and television biz reportage). The right ca NEED MY SCRIPT PUT IN FINAL DRAFT FORM BY EXPERT (LOS ANGELES) WHAT I NEED IS FOR YOU TO HAVE THE MOST CURRENT VERSION OF FINAL DRAFT. I NEED YOU TO TYPE IT INTO FINAL DRAFT FORM. I LOOK OVER THE 1ST DRAFT AND MAKE CHANGES. THEN YOU EDITED IT AND GIVE ME THE SAVED DOC. Entertainment Editor (Philadelphia,PA) Job Description: FREELANCE / CONTRACT SCRIPT WRITER (Union Square) IOMEDIA is looking for a script writer for a 2 -4 minute corporate video – documentary style writing (A&E or History Channel style). This project will start within the next 5 business days and we prefer the writer to be in the NYC area and potentially work in our Union Square office. You will be working directly wit Entertainment Publicist Needed for PR (LA) Publicist would be hired to: Screenwriter for Feature Film (Austin) COPYWRITER (COMMERICAL SCRIPT) (Seattle) Position: Copywriter (for a TV commercial script) Job Description: You will be writing a script for a television commercial for a new consumer produ Writers Needed for Entertainment Magazine -Lifestyles (urban, upscale, whats hot around Dallas) short screen play needed for film When I take on a project I take it on completely and make the best quality product with the resources I have. If you have a good screen play or short story, send it my way and it will have a good chance of becoming a film. There are no guidelines for length, genre or stye, I am onl Website Intro Script – 1/4 page (Dallas) FoodConnect Inc. is a growing company providing social media for food lovers around the world. Our visitors share recipes, post questions, view restaurant listings and share their expert advice. In addition to that, we also provide developmental services for our restaurant clients. We are based out of Vancouver and offer a flexible, cooperative, an Movie Blogger – Filmonic Seeking Script Writer For Rewrite I'm looking for a screenwriter who has written several scripts (although maybe none made into films) who would be willing to rewrite a feature length mockumentary style film along the lines of Best of Show or This is Spinal Tap. The film is darker than both of those, so we are looking for someone that has a dark sense of humor…black comedy is Energetic Arts & Entertainment Writers (Vancouver) Writers who: -love the arts: visual arts, music, fashion, culinary arts, etc. Writer Needed for Feature Film Visit www.rogerscinematic Ghost Writer on Spy/Thriller Script (Greenwich Village) Growing Philadelphia website looking for entertainment editor (Philadelphia area) Want to enjoy a challenging opportunity to work with a website with a high ceiling? Then this is the position for you. A growing Philadelphia website is in need of an editor of our entertainment page. This person must be willing to go the extra mile for us. You will wear Producer seeking scripts for fully funded independent feature film (Studio City) Funding for feature is guaranteed with budget of $300K. Preproduction to begin April 2010 with principal filming to begin June 2010 with Related posts: | ||
| Daily Screenwriting Jobs – 266th Edition Posted: 18 Jan 2010 02:03 PM PST
WHAT I NEED IS FOR YOU TO HAVE THE MOST CURRENT VERSION OF FINAL DRAFT. I NEED YOU TO TYPE IT INTO FINAL DRAFT FORM. I LOOK OVER THE 1ST DRAFT AND MAKE CHANGES. THEN YOU EDITED IT AND GIVE ME THE SAVED DOC. FREELANCE / CONTRACT SCRIPT WRITER (Union Square) IOMEDIA is looking for a script writer for a 2 -4 minute corporate video – documentary style writing (A&E or History Channel style). This project will start within the next 5 business days and we prefer the writer to be in the NYC area and potentially work in our Union Square office. You will be working directly wit Screenwriter / Confidential / Washington, DC LOOKING FOR SCREENWRITING COLLABORATOR I am an optioned screenwriter with a short drama in production. I would like to team up with another writer with good ideas (high concept) for feature films. If you are working on a script and need help, or if you have a terrific idea or treatment for a story you want to develop, I'd Producer seeks screenwriter for Rom Com set in NY (New York) COPYWRITER (COMMERICAL SCRIPT) (Seattle) Position: Copywriter (for a TV commercial script) Job Description: You will be writing a script for a television commercial for a new consumer produ Screenplays WANTED (Los Angeles) Need Screen Writer (Los Angeles) Website Intro Script – 1/4 page (Dallas) Seeking Script Writer For Rewrite I'm looking for a screenwriter who has written several scripts (although maybe none made into films) who would be willing to rewrite a feature length mockumentary style film along the lines of Best of Show or This is Spinal Tap. The film is darker than both of those, so we are looking for someone that has a dark sense of humor…black comedy is Freelance Entertainment Reporters/Journalists (Beverly Hills) Start up Internet entertainment company is looking for experienced freelance working reporters in entertainment (one on one interviews with people in the industry, overall biz chatter, movie awards season analysis, participation in movie junkets, film criticism, and television biz reportage). The right ca Need ghostwriter to improve my horror screenplay Dialog,small corrections (articles, miscues, etc.), and kinks in the story are are the main problem. The script is written in the final draft, 96 pages. Please, send the links to your works, your rate per page or per hour, total amount of money and time needed. Entertainment Editor (Philadelphia,PA) Job Description: Seeking Screenplay Writer (LA) If this seems like something you can do, reply t Entertainment Publicist Needed for PR (LA) Publicist would be hired to: Screenwriter for Feature Film (Austin) Ghost Writer on Spy/Thriller Script (Greenwich Village) Writers Needed for Entertainment Magazine -Lifestyles (urban, upscale, whats hot around Dallas) short screen play needed for film When I take on a project I take it on completely and make the best quality product with the resources I have. If you have a good screen play or short story, send it my way and it will have a good chance of becoming a film. There are no guidelines for length, genre or stye, I am onl Producer seeking scripts for fully funded independent feature film (Studio City) Funding for feature is guaranteed with budget of $300K. Preproduction to begin April 2010 with principal filming to begin June 2010 with FoodConnect Inc. is a growing company providing social media for food lovers around the world. Our visitors share recipes, post questions, view restaurant listings and share their expert advice. In addition to that, we also provide developmental services for our restaurant clients. We are based out of Vancouver and offer a flexible, cooperative, an Movie Blogger – Filmonic ***Seeking Writer for Screen Treatment*** (Hollywood) If interested, please send a resume with your experience and/or a sample treatment. Thank you. Energetic Arts & Entertainment Writers (Vancouver) Writers who: -love the arts: visual arts, music, fashion, culinary arts, etc. Writer Needed for Feature Film Visit www.rogerscinematic Screenwriter/Scripts Growing Philadelphia website looking for entertainment editor (Philadelphia area) Want to enjoy a challenging opportunity to work with a website with a high ceiling? Then this is the position for you. A growing Philadelphia website is in need of an editor of our entertainment page. This person must be willing to go the extra mile for us. You will wear Producer seeking scripts for fully funded independent feature film (Studio City) Funding for feature is guaranteed with budget of $300K. Preproduction to begin April 2010 with principal filming to begin June 2010 with Related posts: | ||
| Daily Screenwriting Jobs – 266th Edition Posted: 18 Jan 2010 02:03 PM PST
Script Writer Needed (Hollywood, CA) Training Video Script Writer Building the script requires you to: Freelance Entertainment Reporters/Journalists (Beverly Hills) Start up Internet entertainment company is looking for experienced freelance working reporters in entertainment (one on one interviews with people in the industry, overall biz chatter, movie awards season analysis, participation in movie junkets, film criticism, and television biz reportage). The right ca NEED MY SCRIPT PUT IN FINAL DRAFT FORM BY EXPERT (LOS ANGELES) WHAT I NEED IS FOR YOU TO HAVE THE MOST CURRENT VERSION OF FINAL DRAFT. I NEED YOU TO TYPE IT INTO FINAL DRAFT FORM. I LOOK OVER THE 1ST DRAFT AND MAKE CHANGES. THEN YOU EDITED IT AND GIVE ME THE SAVED DOC. Entertainment Editor (Philadelphia,PA) Job Description: FREELANCE / CONTRACT SCRIPT WRITER (Union Square) IOMEDIA is looking for a script writer for a 2 -4 minute corporate video – documentary style writing (A&E or History Channel style). This project will start within the next 5 business days and we prefer the writer to be in the NYC area and potentially work in our Union Square office. You will be working directly wit Entertainment Publicist Needed for PR (LA) Publicist would be hired to: Screenwriter for Feature Film (Austin) COPYWRITER (COMMERICAL SCRIPT) (Seattle) Position: Copywriter (for a TV commercial script) Job Description: You will be writing a script for a television commercial for a new consumer produ Writers Needed for Entertainment Magazine -Lifestyles (urban, upscale, whats hot around Dallas) short screen play needed for film When I take on a project I take it on completely and make the best quality product with the resources I have. If you have a good screen play or short story, send it my way and it will have a good chance of becoming a film. There are no guidelines for length, genre or stye, I am onl Website Intro Script – 1/4 page (Dallas) FoodConnect Inc. is a growing company providing social media for food lovers around the world. Our visitors share recipes, post questions, view restaurant listings and share their expert advice. In addition to that, we also provide developmental services for our restaurant clients. We are based out of Vancouver and offer a flexible, cooperative, an Movie Blogger – Filmonic Seeking Script Writer For Rewrite I'm looking for a screenwriter who has written several scripts (although maybe none made into films) who would be willing to rewrite a feature length mockumentary style film along the lines of Best of Show or This is Spinal Tap. The film is darker than both of those, so we are looking for someone that has a dark sense of humor…black comedy is Energetic Arts & Entertainment Writers (Vancouver) Writers who: -love the arts: visual arts, music, fashion, culinary arts, etc. Writer Needed for Feature Film Visit www.rogerscinematic Ghost Writer on Spy/Thriller Script (Greenwich Village) Growing Philadelphia website looking for entertainment editor (Philadelphia area) Want to enjoy a challenging opportunity to work with a website with a high ceiling? Then this is the position for you. A growing Philadelphia website is in need of an editor of our entertainment page. This person must be willing to go the extra mile for us. You will wear Producer seeking scripts for fully funded independent feature film (Studio City) Funding for feature is guaranteed with budget of $300K. Preproduction to begin April 2010 with principal filming to begin June 2010 with Related posts: | ||
| Studio Stories II – James M. Cain & Raymond Chandler Posted: 18 Jan 2010 12:29 PM PST For the unfamiliar, a "reveal" in screenwriting parlance is the placement of key, revelatory information in a story. Most times, the last reveal is the most important revelation of all. FADE IN: Novelist and screenwriter, James M. Cain (Double Indemnity, The Postman Always Rings Twice, Mildred Pierce) described working with Raymond Chandler, screenwriter on Billy Wilder's film, Double Indemnity: Wilder wanted to explain to me why they weren't using more of my 'deathless dialogue.' He fell for the dialogue in my book, and he was annoyed that Chandler wasn't putting more of it in the script. To try and prove his point he got three contract people up, and they ran through these scenes with my dialogue. But to Wilder's astonishment, he found out it wouldn't play. Chandler said, 'I tried to tell him, Jim,' with that easy familiarity they have out in Hollywood; even first meeting me he called me by my first name. 'Jim, that dialogue of yours is to the eye.' I said, I knew my book is to the eye, although I could write to the ear. Chandler said, 'I tried to explain it to Billy.' Backstory 1, Edited by Patrick McGilligan, University of California Press, 1986, p.127. This is a great example of the value of what are often called, "table readings" of new screenplays. Most writers with a few scripts under their belt know to read their dialogue aloud before they show it to people, especially actors. Otherwise they may find their words not playing in situations where it will hurt them. Actors do not appreciate tripping over their tongues while delivering their lines in a group rehearsal, so writers should constantly test their stuff even before the first reader sees it. Another interesting thing about this anecdote is that it concerns Billy Wilder, a director and writer who is known for his dialogue. But Wilder was relatively young, then, and had the disadvantage of speaking English as a second language, so he had a lot to learn. And, of course, he did... in spades. # FADE OUT Lee A. Matthias | ||
| Beyond Lemonade – Great Story Advice Posted: 18 Jan 2010 12:12 PM PST
. The Importance of a Central ImageMy creative mentor asked me what central image encapsulated the entire Beyond Lemonade project. As we talked, the image of an ordinary woman (my Central Chacracter – Lydia), who has largely remained in the background and who now finally steps into the center of the room. The central image is moving from the sidelines to center stage. The death of her larger-than-life husband forces our protagonist, Lydia, to decide: What comes next? Her financial and personal circumstances are greatly reduced. Will she will use the resources she has left to live modestly, conserving her dwindling capital, and retire cautiously to the sidelines? Or will she stride to the center of the room, bet everything on herself and finally claim the spotlight. Will she have the courage to re-imagine herself and relaunch her dreams? You bet she will! Recently, a Fremantle dramatic heroine has done just that. After the death of her parents, Susan Boyle could have simply faded into the background in her small village. Instead, she takes a huge risk. She steps on stage to initial ridicule and the snide dismissal of those who only see her as a frumpy, quite ordinary middle-aged woman. What could she possibly contribute? Then Susan opens her mouth and sings with all the pent-up talent, energy and passion inside of her. She claims the spotlight and goes on to break every Billboard sales record on the books. And who drove those sales? Women just like Susan! Beyond Lemonade will be the story of another woman who emerges from a personal loss with greater strength and the determination to finally take a chance on herself, risk it all and claim her place at the center of the stage. The Danger of Too Much PlotWhen I asked for advice based on the company's experience with other online dramas my creative mentor warned me about the trap of too much plot. There is a temptation, he said, especially in writing short-form episodes to keep the plot moving at too brisk a pace. The worry being that without enough action the audience will be bored. He cautioned that plot should not hurry the story along at the expense of character. Specifically, he recommended the audience have an opportunity to see the character in moments alone. That is a missed opportunity evident in many television and film dramas. It can be incredibly revealing to see how someone acts when they believe no one else is looking. When a character is alone the character is often at his or her most vulnerable. He warned me that those scenes often wind up on the cutting room floor and that I need to defend their importance. Too much plot also doesn't give the drama time to breathe or unwind naturally. My mentor specifically referenced Chekov. Find big drama in small moments:
The Trap of Too Much Set-Up and Wrap-UpThe final point was another lesson from Chekov. My mentor told me that Chekov often deleted the first scene of his play and the final scene of his play in finishing the draft. The audience feels as if it has stumble upon a life already in progress, jumping immediately into the story and the character's predicament. And, at the end, the audience believes the lives of the characters continue and nothing is conclusively concluded with a final story-ending cherry on the cake. Virginia Woolf mused on the unique quality of the endings of a Chekhov story in her book, The Common Reader :
Chekov seems to me to be a wonderful icon for the new digital short-form story. He wrote small dramas (suitable for a small screen) filled with big emotions. His work has the sense of being fluid and alive, a momentary flash of life, with no ponderous explanations or conclusive endings. Instead, a sense of life continuous lived and glimpsed only in part. Lessons I will take to heart! | ||
| Streaming Local Hero Online « kara2860589 Posted: 18 Jan 2010 05:34 AM PST I trekked some distance (via bus) down to some theatre in Hollywood (I'm from another portion of L.A.) because it wasn't showing anywhere nearby. I wanted to peer it *that* poor. And I certainly wasn't disappointed. When I finally got a DVD player, ... He arrives in Scotland as a guy who is only obsessed with business deals, his car, and his posessions wait on in Texas, but soon he learns there are more considerable things in life. The townsfolk are absolutely astounding, ... kara2860589 - http://kara2860589.jwcetips.com/ | ||
| Zenyatta return an American dream | Horse Racing Forum Posted: 18 Jan 2010 05:34 AM PST In recent weeks American racing had been abuzz with rumours that Zenyatta could be making a comeback. These stories had stemmed from regular sightings of the mare, who had been officially retired after winning the Breeders' Cup Classic at Santa ... It would appear that Zenyatta had not read Hollywood's latest script and instead demanded a re-write. "She came out of the race really well," Shirreffs said. "She was like, 'hey, I want to do more'." As does American racing, ... Horse Racing Forum - http://www.horse-racing-forum.com/ | ||
| Posted: 18 Jan 2010 05:34 AM PST Surely SF knew galvanizing effect he had on New Hollywood acolytes. They tell of finding him night and day bent over a typewriter, knocking out scripts and articles like tabloid pieces he generated daily during gangland twenties. ... Others mostly took screenplay credit, but concepts and ideas seem to have largely originated with Sam. The nice thing about the DVD box is dual usefulness as Fuller instructional plus first acquaintance for many with Columbia B output from ... Greenbriar Picture Shows - http://greenbriarpictureshows.blogspot.com/ | ||
| Khloe Kardashian was home schooled?? Posted: 18 Jan 2010 11:22 AM PST  Rainy days and Mondays always get me thinking.Some of our local movie theaters fill the pre-show time with slides of ads and filler like "Fun Facts". Here's one seen this weekend: Khloe Kardashian was home schooled. She graduated with honors. Don't ya love it? The only thing better would have been "Khloe Kardashian was home schooled. She finished second in her class." The Golden Globes are always held at the Beverly Hilton hotel, about a mile from my house. A few years ago, before smart phones and internet cards, the hotel would stick it to all the journalists, charging hundreds of dollars for internet access. I charged only $50 for access to my Wifi. But that included space on our kitchen table. It's pouring here in Los Angeles. Whenever there's four drops of rain all the local TV stations snap to attention and begin "Storm Coverage 2010". Full team coverage of hot looking Asian reporters in slickers getting soaked reporting the obvious from various Southern California locations. "It's really coming down here in Woodland Hills! Now to Suzie Suh in Orange." "It's really coming down here in Orange!" I love the rainy season.  By the way, Channel 2 has a reporter named Amelia Earhart. She looks great for 113 years old, don't you think? The fact that she's been missing for so long says something about Channel 2's News ratings. For the first time the Golden Globes were televised live in Los Angeles. I always found it ironic that they would tape delay the show to the only city that gives a shit. I wonder if in this new age of Tweets and status updates and live blogging that networks can no longer get away with tape delaying. We'll see when it's time for the SAG awards. In Jennifer Love Hewitt's new dating book (a joke in itself) one of her tips is to glue shiny things on your vagina. It's true! I know a lot of guys complain they can't read down there. There's a whole chapter on this. Well, gotta go. Sharon Tay is live from Fullerton where it appears to be raining. |
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