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Books for Screenwriters who want to master the trade! Screenwriting Books | Bookstore for Writers Tags:







spoke to Kodie Bedford () about the big career breaks that led to a credit on 's production of Mystery Road: "I'm now living as a full-time screenwriter, which I never thought I'd be doing."




, a & , made her debut as a for the drama film Ziddi. A Padma Shri Award recipient in 1976, her first project as a was the film Sone Ki Chidiya(1958), which she wrote and co-produced.







🚨 DEBUTING SUNDAY 🚨 When the wanderlust of two sisters is interrupted, Elise sets out to continue the journey alone. 🤳🏽🌍






















Day 110/1460 #1460 challenge. Monopod Hack 2/3: STYLE POINTS. DM for info. "There's taking pictures... and then there's making ART." -Richard Deakins. : \ • / :




Just finished another script! I so far have one pilot out being shopping around, another one ready for edits and a black mirror spec script! When the industry says that they want to see what you come up with next you don’t hesitate boo!













Disabled vet looking 4 , , 2 write Spec T.V. or film Action Script (Not looking 4 a documentary) on memoir Running Scared (Amazon), based on a true story. I am offering a 3 Year Option for $1.







Day 109/1460 #1460 challenge. Camera Hack 19/20: monopod. DM for info. "Lighting is just painting with light, my friend." -Richard Deakins. : \ • / :



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Professional screenplays have a quality in common with good journalism: they use the minimum number of words to communicate the maximum information.
—  Alexander Mackendrick (in ‘On Film-making’)
Disenchantment

So a few things on this series. First of all, the only outright negative thing I’ll say about it is that Disenchantment has the weakest theme song of Groening’s works. You can hum The Simpsons or Futurama’s openings, but Disenchantment is pretty much “HEY!!!!” *doot doot*

The rest of the review is that it takes a lot to come to terms with the genre shift. The Simpsons is a vaudeville show with wacky characters doing random things. Futurama has a tighter format and is almost relentless with jokes and visual gags from even more greatly exaggerated characters. However Disenchantment is comparatively slow and quiet. There’s a lot of room for tone. Sometimes it doesn’t work and scenes seem long, but on the whole it’s just unexpected. No one expects to see a page from Groening without a laugh, but especially as the series comes to a head there are very deliberate sequences. A method to writing is to find your characters and let them tell the story, then listen to the jokes that you can build around them. Instead of padding the show with as many throwaway gags as possible, Matt Groening wrote Disenchantment as a drama. And that seems to be the key to understanding everything - especially when episode 10 plays out.

When he pitched Futurama, Fox was clear about what he wasn’t allowed to do. Matt said “That’s not how things went when I made The Simpsons.” “We don’t make shows like that anymore.” “That’s the only way I make shows.”

Matt Groening has wanted to do more with his series since then. Apparently he pitched this show during Futurama’s third season. It’s taken so long because he wants to do it right. This is definitely going to be his most ambitious work. I don’t know if it will be funny. I don’t think it’s going to be very fun. I’m pretty sure it’s not going to be one specific emotion or genre. But I’m invested in seeing more of it play out.

Also, Tiabeanie is definitely a half orc, why else would she have that jaw?

Help Finding a Post

Hey so I’m trying to hunt down a post I saw a while back - it was talking about how the showrunners of The Good Place have a set of questions they ask themselves about each episode. It lists those questions. I would very much like to know what those are. 

If you see that post around or have it saved somewhere, would you mind sending it my way? Thanks!

Something I’ve said very often about writing: There are no rules until you write them. You start with a clean page, and you quickly convince yourself that I can’t do this because that has happened, or I can’t do this because I want that to happen. What Mission has taught me is just let all that go. What needs to happen? What needs to happen next? What is the most compelling thing that can happen next? Like you were just saying, the finished screenplay rules. In Mission, the finished screenplay does not. The finished screenplay actually confines and limits. Through discovery, all I really need to know is where is the location and what assets need to be there on the day including vehicles, props, sets and actors. Everything that happens in that scene is malleable, and it can change so long as it conforms to what’s been shot. It does not need to conform to what hasn’t been shot. What hasn’t been shot is completely malleable. So, if we make a discovery on the day, we can change it, but, of course, we can only change it so much. If you already shot the scene that comes before, you have to honor it. What Tom and I have done is we’ve developed a pretty solid set of muscles in terms of how to shoot a scene so that scene can be manipulated, so that it can be quickly reshot. For example, all of the information dumps in a Mission: Impossible movie — whenever possible — are in a car, a phone booth or a confined set of some kind so we can go back and reshoot that stuff. We can change it if we really need to. And, all of the character stuff where we’re finding those characters, whenever we’re shooting it, we cover the scene in such a way that I can lift whole chunks of the scene out if they don’t apply to the movie anymore. So, it allows us to explore. The biggest and most important thing on this movie, in the early stages, was locations. I didn’t really concern myself with what happened at those locations. I just wanted the locations to look like a great-looking spy movie.

peachie-blossom  asked:

Hi I have wanted to write and direct movies for so long the problem is I have so many ideas but can never really stick to just one. I end up leaving scripts undone do you have any ideas on ways to help stay on track with one script?

Hi @peachie-blossom,

This is actually a common problem. Sometimes it stems from the fact that the original idea simply isn’t enough for a film or it’s not interesting enough. In those cases, it’s completely natural for those ideas to remain unfinished forever (or later incorporated in another story).

In other cases, I have found stories are mainly abandoned because 1) the writer forgets why they liked the idea in the first place, and 2) the writer doesn’t have a deadline, schedule, or anyone to hold them accountable. These tend to go hand in hand, because when writing becomes difficult, it’s much harder to push through when there is no pressure to finish the story. So, that makes my first suggestion:

Find someone to hold you accountable. This can be anything from telling a friend you will get a first draft to them by a certain date, to writing a story for a class/work, to planning to submit to a screenwriting contest. The point is to have outside pressure to get your story done. Deadlines are stressful, but they make sure we get things done.

Pick just one story. It’s easy to get distracted when you are brainstorming for one story and have ten different ideas for other films. It’s natural and you should let it happen, but don’t let it derail you. Write down those “extra” ideas as they come to you and set them aside. (I like to use a notebook to hold all of my misc. ideas and I put ideas relevant to my current project in a google doc dedicated to the specific film.)

Make a game plan. Make a schedule that is reasonable for you and give yourself checkpoints along the way. For instance, you can set weekly goals to have the outline complete, character biographies created, or script pages written. Every year I host a screenplay challenge that consists of weekly assignments that walk through all the steps of writing a short film. I keep the posts up on their own page with the tag #screenplay challenge specifically so people can reference them for their own projects and adjust the time frame and requirements as necessary. If you’re looking for planning ideas, it’s a good place to start.

Ask for help. Everyone gets stuck when writing and often you can’t push through it by yourself. Join a screenwriting group, participate in workshops, ask professors, friends, family, and professionals for feedback or suggestions. Often, other people will be able to identify problems (and solutions) that you never thought of before.

Tell people about your project. Not only does it generate interest, but it renews your excitement for the project every time you talk to people about it. And if other people are excited for the film, that’s even more motivation and positive energy to help you focus on your story. It has the added benefit of practicing pitching your film and really getting to the heart of the story you want to tell.

Best of luck and happy writing!

Jules

in defense of the mcu

so there’s this whole “bad writing” thing going around and i wanted to write my unasked opinion

the thing is: marvel movies are for entertainment. they’re genre movies, not think pieces of psychological thrillers or fake deep bullshit stuff. there are some huge mistakes and a lot of the writing doesn’t make sense. but it’s not the purpose of these movies to excel at plot or trama. they are made so everyone has a good time watching them. and that has value, that’s okay. marvel movies are not here to revolutionize literature or screenwriting. but they are revolutionizing the industry. they are events, they are a culture phenomenon. 

every marvel movie is good. not excellent, not oscar worthy apparently but they are fucking good. no one leaves a theater after a marvel movie and thinks oh man that was a waste of time. i value way more a movie that is universally considered as a really good ride than a “well written” 2 hour drama where everyone wants to kill themselves rather than seeing it again.

so yeah, marvel movies aren’t a perfect airtight think piece. but i like them and i like how they are written. even the most peripheral casual moviegoer can see two o three times the same marvel movie. i can see the same marvel movie over and over again without getting bored. you can’t say that about a lot of movies. that’s good cinema.  

The Story of a Conflict

The Mission is to bring it closer to the top of the Los Angeles River in the middle of the field. The second task is to stop the head of the Bureau of Communication by a deadly plant which is a powerful computer and the trail of professional activists turns into a man happy to have a second chance. But when the crew is attacked by a train, they both start to be recovered. However, the other brothers are about to return to their mansion to find the murderer.