You’re naturally going to be drawn towards real-life people who are fascinating. That’s a good thing. Observe behavior. Figure out motivations and pathology. Then forget the real person.
In defense of fake tears and the emotional work screenwriters do.
Scott wonders if his online filmmaking classes are teaching him what he needs to know.
For the past few years, I’ve been aiming more towards “areas of interest” rather than true resolutions. That way, there’s no implied promise to be broken.
As the writer, you need to burn down houses. You need to push characters out of their safe places into the big scary world — and make sure they can never get back.
At a screenwriting panel last week, Robin Swicord said something that reframed the issue in a very helpful way.
Do you ever get sick of working with the same script that you are loathe to even look at it anymore? Yes.
I can’t reduce it to some simple “He’s Just Not That Into You” formula, but two months is far beyond the limit.
While it’s great to have an extra brain helping to write a script, you’re unlikely to always agree, and compromises may not always make sense.
Writer Elizabeth Gilbert discussing healthier ways to look at the creative process.
Is one reader’s frustration indicative of the Hollywood culture, or specific to him? Likely both.
They’re not a terrible idea, as long as they’re approached with the right expectations.
Don’t just think about who “owns” what. There are more practical considerations.
I’d recommend writing the one that has the best ending.
The Kevin Williamson Problem, explained.
Hollywood folk are savvy enough to realize that the guys who wrote Saw aren’t any sicker than most screenwriters.
Sometimes there’s good reasons why original writers leave and return to their projects.
Your first script is like the first time you have sex. It’s not the best sex you’re ever going to have. In fact, it would be sad if it were.
Explorations of ownership in a corporate environment.
You made a movie. Get the most you can out of it, then get cracking on doing the next project.
Superhero politics should remain abstract.
Making your movie. Keeping your soul.
Why did Edward Bloom leave Ashland? Does beginners luck exist? Shocking answers revealed, inside!
Killing backstories, writing out lyrics and why you will always want to be writing something else (amongst other topics), explored.
Confronted with a bad script, step back and ask the right questions.