If you’re an aspiring screenwriter, it’s important to read scripts. There are several aspects of the craft that you just can’t learn from watching movies. I’ve been trying to read at least one a week. “But where can I find scripts to read?”, you may ask. Well, you’re in luck.
ScriptShadow is a blog that has daily reviews of the hottest sceenplays currently circulating throughout Hollywood. Not only that, but more often than not, ScriptShadow actually includes links to the scripts themselves (unless specifically asked not to by the writer.) It’s THE best place I know of to find current scripts, and the reviews are very helpful as well. Most helpful is the “What I learned” section at the end of each review. Often I’ll skip down to that section for Carson’s verdict and takeaway from the script.
This is a somewhat controversial website in screenwriting circles. Some argue that reviewing a screenplay is reviewing a work in progress and could actually hurt a project before its even had a chance. I can see where they’re coming from, but I think there’s also a lot of fear involved in the criticisms. For decades, you had to be in Los Angeles with some good connections to get your hands on these scripts. Now they’re available to anyone with an internet connection. No one is quite sure how that’s going to affect the industry.
Personally, I’m somewhat torn on ScriptShadow, but since I do take advantage of it, I think it’s only fair for me to let you know about it. What are your thoughts?
I’ve been sharing some tips I picked up in Editing 1 when I was in Film School. Check out the previous posts here and here.
Today’s principle:
An editor always asks three questions:
1) What is the scene about? (The text and the subtext)
The text is basically what the scene is about on the surface and the subtext is what the scene is really about on an emotional level.
2) Who is the scene about?
Asking WHO the scene is about informs who you cut to and when. If the scene is about Character B, I’m probably going to want to stay more on B while A is talking – I want to see how Character A’s dialogue is affecting Character B. “Who is the scene about?”
3) How does it fit into the larger story? (What is the context?)
The larger story is the most important thing to keep in mind while cutting. How does this one chunk help to tell the overall story? What scenes came before this and what comes after? This is important to remember from a story stand point. What plot points must you address in this scene that come into play later on?
It’s also important from a style stand point. If the rest of the film is cut fast paced and you cut this scene slowly, you must have a reason for it.
I’ve got a few more posts on my Film Editing 1 class that I’ll be bringing you. Stay tuned.
It’s the question you can be sure of being asked any time you meet someone new. “So… What do you do?” For most of my adult life my answer was, “I’m a web developer.” If the conversation continued for a while, I might have let them know that what I really wanted to do was write and direct films, but that usually never came up.
I spent most of my time developing web sites, so that was my answer. Sure, I had always dreamed of being able to say, “I’m a writer/director,” but that time hadn’t come yet.
The problem with answering that way is that it reveals what you actually think of yourself. If you don’t think of yourself as a writer, director, or whatever it is that you’re aspiring to be, no one else will either.
A few years ago I decided to change how I answered that question. Now I look people in the eye with confidence and tell them that I’m a writer and director. Just that simple change has done wonders for my confidence. I am a writer. I am a director. Maybe I have to do other work to pay the bills, but that doesn’t define who I am.
So… What do you do?
This week’s pick is the first in a series of Warner Brothers musicals choreographed by the legendary Busby Berkelely. Known for his kaleidoscopes of beautiful chorus girls, Berkeley’s musical numbers are some of the most entertaining moments ever captured on celluloid.
The story of 42nd Street doesn’t really matter. It’s almost always the same in these early Warner Brothers musicals – down on his luck Broadway producer has one last chance to produce a hit, so he gathers a group of gorgeous girls and puts on one heck of a show. These movies are all about the music and choreography.
The great thing about these movies is that although the musical numbers are supposed to take place on a stage, Berkeley didn’t limit himself to that. He knew that he was choreographing for film and not the stage, so he used incredibly elaborate sets and complex camera movements that would never be possible on the stage.
42nd Street was such a huge hit that they repeated the formula throughout the 30s making big stars of Ruby Keeler and Dick Powell. If you enjoy it, stick around for its followup immediately after – Gold Diggers of 1933. It’s got a very young Ginger Rogers singing “We’re in the Money” and showing off her pig-latin talents.
42nd Street (1933) – Wednesday, March 17 at 8:00pm EST
The definitive backstage musical, complete with the dazzling newcomer who goes on for the injured star.
Cast: Warner Baxter, Bebe Daniels, George Brent, Ruby Keeler Dir: Lloyd Bacon BW-89 mins, TV-G
We’re in the middle of a series of posts I’ve been writing based on the notes I took during my Editing 1 class in Film School. I learned so much about editing in that class and I’m glad I can share it with all of you.
Editing involves intimacy and exploration.
Intimacy: knowing your footage.
Exploration: playing with different cuts; trying new things.
Before I begin cutting anything, I make it a habit to know my footage thoroughly. I hate working with editors who just jump right in. How do they know if the shots they are picking are the right ones if they don’t even know what shots there are to choose from?
Yes, I’m anal. But I have the peace of mind to know that I playing the game knowing which cards are in my hand. (I think this is what makes me a great assistant editor as well. Keeping the footage organized is fun for me.)
The second part of this principle is the hardest part for me. Once I get it in my head how a cut should go, I find it hard to try anything else.
Josh and I had this issue on Dangerous Calling. Once a scene was cut, I was married to it and wanted to move on. But Josh was always wondering how we could plus it or change it around completely. We make a good team. I keep us moving forward and he makes sure we explore all of our options.
These posts make me want to cut something. How about you?
Today, I’d like to introduce you to our new and completely original method for improving your writing. This is the answer that you have been searching for. Forget Save the Cat. Forget Story by Robert McKee.
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- Set hard deadlines
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Oh wait. I think I just shared the entirety of this system. Well, you get it for free. Congratulations. But feel free to send money if this helps.
All kidding aside, the only way to become a writer is to put your butt in the seat every day and write. Josh and I fought this for years. We always waited till we were inspired and subsequently didn’t produce much.
But, since we started writing together for 4 hours EVERY DAY, we’ve seen our creativity and productivity increase exponentially. And because the only way to get good at anything is through practice, we’re actually seeing a VAST improvement in our writing.
Don’t get me wrong, it is still hard. But we’re proving to ourselves that we can do this for a living.
Right now, we’re working on an action-thriller that is close to being finished. We already know the next 2 or 3 projects we’re going to work on after this. All because we decided at the beginning of the year to quit playing around and get serious.
One side note – we don’t watch as much TV or play as much X-box anymore. But it’s all about priorities. Do you want to write professionally or goof off? The choice is yours.
So, what excuses are you using to get out of writing?
Warner Brothers is by far my favorite studio of the Hollywood golden age. MGM made some great films, but as I look down the list of my favorite films, 9 out of 10 are invariably Warner Brothers films.
Tonight TCM is premiering a documentary about the 4 brothers who started the studio. I can’t wait to see it. Following the doc, TCM is showing several of their early classics ending with their crowning achievement, Casablanca. That makes for an incredible night of movies. Enjoy.
Brothers Warner, The (2008) – Monday, March 8 at 8:00pm EST
Four brothers pioneer in film distribution then build one of Hollywood’s greatest studios.
Cast: Dennis Hopper, Sherry Lansing, Debbie Reynolds. Dir: Cass Warner BW-94 mins
The Academy Awards are this Sunday. Here are our picks. Not necessarily what we would have voted for, but what we think will win. We’ll check back next week and see how we did.
Performance by an actor in a leading role
- JOSH and JEREMIAH’S PICK: Jeff Bridges in “Crazy Heart”
- George Clooney in “Up in the Air”
- Colin Firth in “A Single Man”
- Morgan Freeman in “Invictus”
- Jeremy Renner in “The Hurt Locker”
Haven’t seen it, but I hear he’s great in it and it just feels like it’s about time for Jeff Bridges to win an Oscar. ~ Josh
Performance by an actor in a supporting role
- Matt Damon in “Invictus”
- Woody Harrelson in “The Messenger”
- Christopher Plummer in “The Last Station”
- Stanley Tucci in “The Lovely Bones”
- JOSH and JEREMIAH’S PICK: Christoph Waltz in “Inglourious Basterds”
No way in hell he doesn’t win. It’s the one given of the night. ~ Josh
Performance by an actress in a leading role
- JOSH’S PICK: Sandra Bullock in “The Blind Side”
- Helen Mirren in “The Last Station”
- Carey Mulligan in “An Education”
- Gabourey Sidibe in “Precious: Based on the Novel ‘Push’ by Sapphire”
- JEREMIAH’S PICK: Meryl Streep in “Julie & Julia”
Even though I didn’t care for The Blind Side, Sandra Bullock did a great job in it, and I’d love to see her win. ~ Josh
I believe Meryl Streep is over-rated but the Academy loves her – and this time she did a voice. ~ Jeremiah
Performance by an actress in a supporting role
- Penélope Cruz in “Nine”
- Vera Farmiga in “Up in the Air”
- JEREMIAH’s PICK: Maggie Gyllenhaal in “Crazy Heart”
- Anna Kendrick in “Up in the Air”
- JOSH’S PICK: Mo’Nique in “Precious: Based on the Novel ‘Push’ by Sapphire”
Smart money is on Mo’Nique. Seems like she’s got all the buzz going into this. ~ Josh
I agree with Josh but figure it could be Maggie’s turn. ~ Jeremiah
Best animated feature film of the year
- “Coraline” – Henry Selick
- “Fantastic Mr. Fox” – Wes Anderson
- “The Princess and the Frog” – John Musker and Ron Clements
- “The Secret of Kells” – Tomm Moore
- JOSH and JEREMIAH’S PICK: “Up” – Pete Docter
Pixar NEEDS more Oscars. ~ Josh
Honestly I’d probably give it to Coraline or Princess and the Frog. Up was great but not my favorite Pixar joint. But it will win. ~ Jeremiah
Achievement in art direction
- Avatar
- JOSH and JEREMIAH’S PICK: The Imaginarium of Doctor Parnassus
- Nine
- Sherlock Holmes
- The Young Victoria
Not a huge Terry Gilliam fan, but you can’t beat his art direction. ~ Josh
Achievement in cinematography
- JOSH and JEREMIAH’S PICK: Avatar
- Harry Potter and the Half-Blood Prince
- The Hurt Locker
- Inglourious Basterds
- The White Ribbon
Duh. Cameron reinvented cinematography. That’s quite an achievement. ~ Josh
Achievement in visual effects
- JOSH and JEREMIAH’S PICK: Avatar
- District 9
- Star Trek
Again duh. Cameron reinvented visual effects. ~ Josh
Adapted screenplay
- District 9
- An Education
- In the Loop
- Precious: Based on the Novel ‘Push’ by Sapphire
- JOSH and JEREMIAH’S PICK: Up in the Air
Just have a feeling the Academy wants to give Jason Reitman an Oscar and I don’t think he’s getting best director. ~ Josh
Original screenplay
- The Hurt Locker
- JEREMIAH’S PICK: Inglourious Basterds
- The Messenger
- A Serious Man
- JOSH’S PICK: Up
It should get this award for the first ten minutes alone. Could see this going to Inglourious Basterds though. ~ Josh
The first ten minutes of up were great but the talking dogs got on my nerves. Inglourious Basterds should win for dialogue alone. ~ Jeremiah
Achievement in directing
- Avatar – James Cameron
- JOSH’S PICK: The Hurt Locker – Kathryn Bigelow
- JEREMIAH’S PICK: Inglourious Basterds – Quentin Tarantino
- Precious: Based on the Novel ‘Push’ by Sapphire – Lee Daniels
- Up in the Air – Jason Reitman
You could make a really strong argument that this should go to James Cameron, but the Academy doesn’t get the chance to honor women directors all that often. I’d be surprised if they didn’t take this opportunity. It’s a shame that people will think it’s because she’s a woman. Bigelow’s work is worthy of the Oscar no matter her gender. ~ Josh
I agree with Josh on this one but I hate the fact that everyone is downplaying Basterds. It really is a big achievement that I think people will look back on as a great film. ~ Jeremiah
Best motion picture of the year
- Avatar
- The Blind Side
- District 9
- An Education
- JOSH’s PICK: The Hurt Locker
- JEREMIAH’S PICK: Inglourious Basterds
- Precious: Based on the Novel ‘Push’ by Sapphire
- A Serious Man
- Up
- Up in the Air
I do think The Hurt Locker is the best film of the year, but it’s very likely that it’ll lose out to Avatar. I don’t see any of the rest really having a chance. ~ Josh
Betting on the under dog. ~ Jeremiah
I had a great idea for a blog post yesterday. A blog post that would be celebrated in blogging lore for years to come. Articles would be written about how influential and groundbreaking this blog post was.
Unfortunately, all the fortune and glory this blog post would bring me have alluded me because I failed to write the idea down.
WRITE YOUR IDEAS DOWN.
That is all.
In January of 2002, I took Editing 1 from one of my favorite professors, Mark Gerstein. I was enrolled at the University of Central Florida in Orlando. During that semester, I learned the basics of what I would go on to use for the rest of my life. It was one of the best and most practical classes I ever took in film school.
Recently I dug up my notes from that class and I’ve decided to share those with all of you. This is the first in a series of short posts on Film Editing.
Here’s what I wrote down on the first day of class.
Editing = Storytelling. There must be a beginning, middle, and end.
It sounds pretty basic and it is. It’s the foundation. As editors, we are storytellers. I’m sure you’ve heard that a film is written 3 times. Once by the writer, once by the director (on set), and the final time by the editor. One must not approach editing lightly. We have the power to make or break the story. (Insert maniacal laugh here.)
Regardless of whether your project is a feature film or just your vacation videos, it is so important to think of it in terms of story with a defined beginning, middle, and end. It helps you to organize what you are cutting together and it’ll make it so much more engaging.
For example - Say I’m cutting footage of our recent trip to Disney world. I might just jump right in and start cutting. But, if I were to remember that I’m crafting a story, I first look for the main elements.
The beginning: I’d cut together some shots of us packing the car, inside the car, pulling up to the hotel, inside the hotel room, etc…
The middle: I’d cut together footage of our favorite rides, us hanging out in the parks, dinners at the restaurants, etc…
The end: I’d cut together shots of us standing as a family watching the fireworks and then a big THE END would fade in across the sky.
It is that simple. Craft your story.
Do you have any practical tips on film editing?
