Filmmanuskripter

Derek Jarman's Blue weaves a sensory tapestry that serves as both a political call to action and a meditation on illness, dying, and love. "For Blue there are no boundaries or solutions." -Derek Jarman Originally released as a feature film in 1993, the year before the acclaimed artist and filmmaker Derek Jarman's death due to an AIDS-related illness, Blue is a daring and powerful work of art. The film - and this highly-anticipated book's text - serve as iconoclastic responses to the lack of political engagement with the AIDS crisis. Written poetically and surrealistically, Jarman's text moves through myriad scenes, some banal, others fantastical. Stories of quotidian life--getting coffee, reading the newspaper, and walking down the sidewalk--escalate to visions of Marco Polo, the Taj Mahal, or blue fighting yellow. Facing death and a cascade of pills, Jarman presents his illness in delirium and metaphors. He contemplates the physicality of emotions in lyrical prose as he grounds this story in the constant return to Blue - a color, a feeling, a funk. Michael Charlesworth's compelling introduction brings Blue into conversation with Jarman's visual paintings as never before.

A screenplay

In-depth tome exploring long lost horror films like DRACULA'S DEATH (1920) and LONDON AFTER MIDNIGHT (1928), plus unproduced scripts like WOLF MAN VS. DRACULA (1944) and BLACK LAGOON (1952).

"If your journey is anything like ours, at some point you'll hit a wall. Festivals will reject your screenplay. Agencies will pass on representing you. Executives are going to tell you no. Then maybe one day, someone will say yes to your script." -Screenwriters Scott Beck and Bryan Woods, "A Quiet Place"(from the forward to "Screenwriting with Brass Knuckles")Every screenwriter faces fear and failure. The legendary screenwriter William Goldman once said he was "programed to fail." Yet he went on to have a long career that included winning two Oscar Awards. Susannah Grant put a positive spin on constant failure saying "that free-falling feeling you get right on the knife edge of total disaster may in fact be an essential ingredient to doing anything worthwhile." Arguably the worst failure for the new screenwriting is either not finishing a script -or not even starting the writing process. You'll find throughout this book that talent and hard work are essential to succeed at any level. You can't teach that. But distilled from over 3,000 posts from Emmy-winner Scott W. Smith's nationally recognized blog Screenwriting from Iowa . . .. and Other Unlikely Places, these 10 chapters will hopefully guide and inspire you to improve your writing and output. Sprinkled throughout these pages are quotes curated from an eclectic and diverse mix of many top screenwriters and filmmakers throughout the history of film and television.CONFLICT - Why is this a key foundational concept in all storytelling? It's one thing that movies, plays, television and streaming shows, documentaries, and dramatic podcasts all have in common.CONCEPT - Screenwriter Terry Rossio ("Shrek") believes new writers make one common mistake at the start.CHARACTERS - Why does David Mamet think Wile E. Coyote can be a good role model for your characters?CATALYST - How did screenwriters Debra Granik and Anne Rosellini grab audience's attention early in their movie "Winter's Bone?" No matter what genre you're writing (drama, comedy, horror, action, etc.) something disruptive must happen in the first act.CONSTRUCTION - Why Rian Johnson ("Knives Out") says structure seems antithetical to the free-wheeling creative process but is actually essential to understand.CLIMAXES/ CONCLUSIONS - What does "Toy Story 3" screenwriter Michael Arndt think makes the difference between a good, a bad, and an "insanely great" ending? CATHARSIS - Francis Marion, the first screenwriter to win two Academy Awards (and she wrote one of the first books on screenwriting back in 1937) understood that the goal of writing for film is to make a spectator feel. CONTROLLING IDEA - Perhaps no concept is more divisive that the idea of a theme. Find out how screenwriters Ryan Coogler, Rod Serling, Kelly Marcel, Francis Ford Coppola, and Wes Anderson differ on handling theme. CHANGE - Why is asking the question "What's changed?" so critical to every scene you write?CAREERS AND COWS - Aaron Sorkin, Diablo Cody, James Cameron, Callie Khouri, Barry Jenkins, LuLu Wang, and Alejandro G. Iñárritu all had day jobs (some "survival jobs") before they found filmmaking success. Where one artist found inspiration in an unusual place. And what's the one thing you can do to help get Shonda Rhimes to ask what your spec script is about?

The Golden Theme is the study of writing's essential commonality-the question of what makes writing and storytelling vital to human nature-by award-winning writer/director/producer Brian McDonald.

Inseguendo i Doors è la storia (in sceneggiatura) di qualche giorno della vita di Adam, un ragazzo italiano che trascorre il suo tempo post-universitario cercando di cogliere l'attimo, assaporare con la stessa importanza ogni momento. Nella fase più importante dello scritto, Adam incrocerà i propri sentimenti sopiti con Alisea, una ragazza sordomuta, che riuscirà ad estirpargli la voglia di reagire all'indifferenza di ogni giorno.

All you need to know about writing a screenplay that will WIN a reputable script contest.The author Robert L. McCullough has nearly 300 produced script credits and is a founder of The Los Angeles International Screenplay Awards. He and his team read nearly 2,000 scripts each year, and he knows what it takes for a writer to win the big prize. With a Master's Degree in Screenwriting and a long professional career in which he has helped fledgling writers to become prominent Hollywood producers and showrunners at every major studio, Bob now reveals the principles of writing screenplays that win big in the world of screenplay contests. 10 short no-nonsense chapters show exactly how to write a screenplay that wins major competitions and attracts serious attention from Hollywood studios and producers. Read this book--or listen to the audiobook--and you'll write a screenplay that can be your ticket into the world of highly-paid Hollywood professionals. If you're serious about your screenwriting, then you're serious about seeing your scripts produced. This book delivers the point-by-point essentials behind every successful screenplay and shows you how to demonstrate the professional expertise that will get your scripts noticed. It's a quick, concise read that gets to the bottom line with an irreverent no-nonsense approach to putting your writing on a level with Hollywood's working professional screenwriters. Making movies is a complex matter that is so difficult that very few people do it. And it all starts with writing the script, an equally challenging and complex task. Buy this book now...and tomorrow you can be writing a script that WINS contests.

The most commonly used rejection line spewed by studio executive honchos when passing on a script is, "I liked it, didn't love it." What happensto your screenplay or novel when it leaves your hands and is submitted to a studio or production company? What does "in development" really mean? Rona Edwards and Monika Skerbelis answer those questions and more in this newly revised, greatly expanded 3rd edition of their criticallyacclaimed book, long considered the quintessential bible on development. A required textbook at universities worldwide for writing, producing, and development courses, the book sheds light on the inner workings of the feature film and TV development process, who all the playersare, and how they fit together as content creators at film studios, TV networks, agencies, and production companies. They tackle how to findnew ideas, what it takes to be a development executive or a story analyst, tips on pitching, and how television and the Internet are changing and evolving, creating greater opportunities for storytellers.Are you ready for Hollywood? Get the answers from industry Pros, Rona Edwards and Monika Skerbelis. Through personal experiences and examples they'll teach you what it takes to make it in Hollywood as a development executive, producer, writer or director. Chapters also include exercises that will help readers find new ideas and developing them as well as offer tips on pitching your projects, a comprehensive resource chapter and much, much more.

The screenplay for McCarthy's classic film, bearing in full measure his gift—the ability to fit complex and universal emotions into ordinary lives and still preserve all of their power and significanceIn the spring of 1975 the film director Richard Pearce approached Cormac McCarthy with a screenplay idea. Though already a widely acclaimed novelist, the author of such modern classics as The Orchard Keeper and Child of God, McCarthy had never before written a screenplay. Using a few photographs in the footnotes to a 1928 biography of a famous pre–Civil War industrialist as inspiration, McCarthy and Pearce roamed the mill towns of the South researching their subject. A year later McCarthy finished The Gardener's Son, a taut, riveting drama of impotence, rage, and violence spanning two generations of mill owners and workers, fathers and sons, during the rise and fall of one of America's most bizarre utopian industrial experiments. Produced as a two-hour film and broadcast on PBS in 1976, The Gardener's Son received two Emmy Award nominations and was shown at the Berlin and Edinburgh Film Festivals.Set in Graniteville, South Carolina, The Gardener's Son is the tale of two families: the wealthy Greggs, who own and operate the local cotton mill, and the McEvoys, a family of mill workers beset by misfortune. The action opens as Robert McEvoy, a young mill worker, is having his leg amputated after an accident rumored to have been caused by James Gregg, the son of the mill's founder. Crippled and consumed by bitterness, McEvoy deserts both his job and his family.Returning two years later at the news of his mother's terminal illness, McEvoy arrives only to confront the grave diggers preparing her final resting place. His father, the mill's gardener, is now working on the factory line, the gardens forgotten. These proceedings stoke the slow-burning rage McEvoy carries within him, a fury that will ultimately consume both families.