Feeds:
Posts
Comments

Posts Tagged ‘Scott Myers’

Kon, Zhou & Williams—sounds like an international law firm, right?

If you enjoy the world of filmmaking and are unfamiliar with Satoshi Kon and Tony Zhou then the following seven minutes and 36 seconds of the video below are going to be a real treat. Guaranteed—or your money back.

Last month, in my post Time For A Cool Change I talked about taking some sort of detour after my 2,000th post in the coming months (as I approach the 7th anniversary of this blog). After seeing Zhou’s videos Martin Scorsese—The Art of Silence and The Spielberg Oner—One Scene, One Shot I started thinking about revisiting doing something more video based. I did a couple early on in this blog—and was encouraged by Scott Myers at Go Into the Story to do more—but I just found them too time consuming to produce.

But Zhou has given me a vision that doesn’t require shooting. I’ve already started a list of topic ideas.

Maybe as I hit the reset button in the coming months instead of writing an every weekday blog, perhaps I’ll create a video once a month. Or perhaps a 1 or 2 minute video once a week. Regardless, I love Zhou’s work (and his voice reminds me of the Richard Dreyfuss VO in Stand By Me). I hope you appreciate his film knowledge and time commitment to produce these as much as I do. Here’s his recent video on Robin Williams.

Scott W. Smith

Read Full Post »

“When I face the desolate impossibility of writing five hundred pages, a sick sense of failure falls on me, and I know I can never do it. Then gradually, I write one page and then another. One day’s work is all I can permit myself to contemplate.”
Pulitzer-Prize winner John Steinbeck (Grapes of Wrath, East of Eden, Of Mice and Men)
Travels with Charley: In Search of America

I generally try to discover my own quotes but this one came via a tag team effort—From The Black Board via @GoIntoTheStory (Scott Myers). Both worth following.

P.S. This is in line with the well-known saying; “How do you eat an elephant? One bite at a time.” And echoes of the classic Anne Lamott insight “Bird by Bird.”

Related posts:
Screenwriting Quote #66 (John Steinbeck)
Pages Per Day
Start Small…But Start Somewhere
Stephen King’s Double Wide Trailer “There is a muse, but he’s not going to come fluttering down into your writing room and scatter fairy-dust all over your typewriter or computer station.”—Stephen King
Travels with Steinbeck

Scott W. Smith

Read Full Post »

Over the weekend I saw Saving Mr. Banks and enjoyed it immensely. And there is a line in the film—that I don’t think is a spoiler—that seems to be what the film was about.

“In every movie house, all over the world, in the eyes and the hearts of my kids, and other kids and their mothers and fathers for generations to come, George Banks will be honored. George Banks will be redeemed. George Banks and all he stands for will be saved. Maybe not in life, but in imagination. Because that’s what we storytellers do. We restore order with imagination. We instill hope again and again and again.”
Walt Disney (Tom Hanks) in Saving Mr. Banks

That sounds like a pretty strong theme. And I’m fascinated by the topic of theme because I’ve read successful screenwriters and directors say these contradictory things:

A) I never think in terms of theme
B) I usually start with theme
C) The theme reveals itself somewhere in the writing
D) Theme is something the audience sees when the film hits the theaters
E) I avoid writing from theme to avoid the story being message driven
F) I have no clue what the word theme means

So one thing we can learn from Rod Serling, Alexander Payne, Francis Ford Coppola, and others is the process of screenwriting varies from writer to writer.  Which is why you have visually strong writers and dialogue driven writers.

Now I don’t think that Disney line is a direct quote from the Mickey Mouse creator, but from the imagination of the Saving Mr. Banks screenwriter Kelly Marcel.  I don’t know at what point she wrote Disney’s monologue—or if she even thinks that was the theme of the movie—but I do know she in facts does think in terms of theme.

“I’m personally a big fan of knowing what your theme is before starting. I think they can arise as you tell the story, but writing within and for a theme seems to me to help the process along. It allows for much more intricate storytelling, ways of speaking to the theme and letting your theme to speak to you, even unconsciously. I said ‘theme’ four times in that last paragraph. I shouldn’t be allowed to be a writer.”
Screenwriter Kelly Marcel (Saving Mr. Banks, Fifty Shades of Grey)
Go Into the Story Interview with Scott Myers

Related Posts (and a ping pong of views on theme):

Writing from Theme (Tip #20)
More Thoughts on Theme
Theme=What Your Movie is Really About
Theme=Story’s Heart & Soul
Diablo Cody on Theme
Michael Arndt on Theme
Sidney Lumet on Theme
Shane Black on Theme
Wes Anderson on Theme
Lawrence Konner on Theme
Eric Roth on Theme & Loneliness
William Froug on Theme
Aaron Sorkin on Theme, Intention & Obstacles
Diane Frolov & The Theme Zone
Theme vs. Story
“Network” Notes by Paddy Chayefsky
Writing and Directing “Out of Africa”
Serling vs. Coppola

Scott W. Smith

Read Full Post »

“When you read a good screenplay, you know it—it’s evident from page one.”
Syd Field

“Shakespeare knew his audience; the groundlings standing in the pit, the poor and oppressed, drinking freely, talking boisterously to the performers if they didn’t like the action on stage. He had to ‘grab’ their attention and focus it on the action.”
Syd Field

Syd Field’s book Screenplay: The Foundations of Screenwriting came out in 1979 putting him at the center of a new wave of interest in screenwriting that continues to this day. Sure there were books on screenwriting before Field’s released his “Step-by-Step Guide from Concept to Finished Script” but he had a flair of looking at then contemporary films like Chinatown, Taxi Driver, Midnight Cowboy as well as more mainstream movies;  Star Wars, Rocky and Raiders of the Lost Ark.

By the mid-70s, the party was over for many baby boomers born between 1946-1964 and they were looking for a new guru to lead them into actually finding an income stream. Field’s, who died last month at age 77, filled that void. (And it certainly did provide an income stream for at least one person.)

I bought the “New Expanded Edition” of his book Screenplay when I was in college. To show how times have changed, I bought that book when I was in film school in the early ’80s. I think it was the first book on screenwriting I ever bought. This was long before the Internet became a great free resource for people wanting to learn about screenwriting. Before DVD commentaries featuring screenwriters. In fact, if you go back to 1979 I bet the average American couldn’t have named one screenwriter.

These days I’m often amazed at the way film savvy high school students can talk about movie structure and their favorite filmmakers (including screenwriters). These days the book Screenplay doesn’t exactly take your breath away, but you have to remember that the gems Field’s tossed out—”The first ten pages of your screenplay are absolutely the most crucial”—were not common knowledge back then.

Field wrote from the perspective of the script reader. He had spent several years as the head of the story department at Cinemobile Systems and began to wonder why so few good scripts were recommended for possible development and why other films succeeded.

“My reading experience gave me the opportunity to make a judgment and evaluation, to formulate an opinion. This is a good screenplay, this is not a good screenplay.”
Syd Field

And just as he was formulating his experiences, he was asked to teach a screenwriting class at Sherwood Oaks Experimental College. His book flowed from the years of teaching that class. Of course, not all of his students became working screenwriters. And one could even argue that the ratio of scripts recommended verses rejected today has basically remained unchange—despite the wealth of screenwriting info out there today.

Field addressed that reason in the introduction to his first book—talent. It’s the same reason sometimes that even gifted college athletes (even Heisman Trophy winners) don’t have sustainable pro careers.

Field ended up giving screenwriting workshops all over the world, and took a lot of blame over the years for basically starting a cottage industry that has made a lot of money over the years out of the pockets of dreaming screenwriters, but after his death there were some accomplished screenwriters that had some positive things to say about him.

“What I learned in Syd Field’s class was here’s how Annie Hall works, and here’s how Witness works, and then I begin to think, ‘OK now how would I do it differently than that?’ That concept of ‘Always being in learning mode’ has stuck with me to this day” 
Producer/director/writer Judd Apatow 

“I did a million drafts. And then I did the thing everybody does—I read Syd Field and I used my index cards.”
Producer/writer/actress Tina Fey

“RIP Syd Field. We can argue about formula and dogma, but Field introduced countless screenwriters to the craft. He was an inciting incident.”
Screenwriter John August

“I’m not surprised to have seen the many acknowledgements from screenwriters, professional and non-pros, about Field today. I know I never would have broken into the business without the insights into the basics of screenwriting his book gave me.”
Screenwriter/Go Into The Story blogger Scott Myers

 “I’ve gone from reading [Field's] books, to being taught by him in courses! I think one of us must have done something right! I thank him all the time for inspiring me.”
The Shawshank Redemption writer/director Frank Darabont

Field went on to write several books which reportedly sold over a million copies. Just this past September he delivered the Keynote address at STORY EXPO on Why We Are Storytellers. (I’ll try to track that talk down for a future post. ) You can find several videos of Field teaching online, but here’s a short clip of him interviewing screenwriter Micahel Ardnt. (It’s worth pointing out that Ardnt was a co-screenwriter of The Hunger Games: Catching Fire which has been at the top of the box office the last two weeks and pulled in over $500 million worldwide.)

According to the Syd Field website, they list three places charitable donations can be made in Syd’s name:

P.S.  An interesting sidenote: Field was said to have written nine screenplays, none of which were produced. I have also written nine feature scripts, but have only had my short film scripts produced. I like to point out on this blog that there are several Oscar-winning & nominated screenwriters who have mentioned having no scripts made (or even sold in some cases)  after writing nine scripts including Oliver Stone (Platoon), Sheldon Turner (Up in the Air), and Michael Arndt (Little Miss Sunshine). So I think persistence is the bookend to talent. Arndt said well before his success that he made a commitment to be “a screenwriter for life.” (In his case, he wrote ten scripts before selling one.)

Related posts:

How To Become a Successful Screenwriter (Tip #41)
The Secret of Being a Successful Screenwriter (Seriously)
Screenwriting Quote #144 (Syd Field)
Screenwriting Via Index Cards
Beatles, Cody, King & 10,000 Hours
‘Up in the Air’—Take 2 “I wrote 12 screenplays before I gave one to anybody.”—Sheldon Turner
Screenwriting from Pixar (Part 2) One of the all-time most popular posts on this blog. Arndt, who wrote Toy Story 3 with the Pixar team, breaks down what he found in studying previous Pixar movies.

Scott W. Smith

Read Full Post »

“[Franklin] Leonard grew up in Columbus, Ga., as one of a handful of black students in his high school, which he says has always helped him identify with outsiders.”
Rachel Dodes
The Wall Street Journal

"Screenwriting from Iowa...and Other Unlikely Places" readers in 2013 represent 116 Countries

“Screenwriting from Iowa…and Other Unlikely Places” readers in 2013 represent 116 Countries

It always seems to come back to Juno.

Yesterday I came across the The Black List Annual Report for 2013 and it’s fun to look at just because it’s so well designed by Glen Charbonneau. I also learned that the first script on The Black List to win an Oscar was Diablo Cody’s Juno. The same movie that inspired the launching of this blog because it was written by an outsider. Cody was Chicago born and raised, received her college education in Iowa, and lived and worked in Minneapolis when her writing on the side got the attention of a Hollywood insider.

But beyond the design and glance at the history of launching the first Black List in 2006 the report also gives a sweeping overview of the work they are doing. If you are unfamiliar with The Black List check out The Wall Street Journal article, For Budding Screenwriters, a Way Past the Studio Gates

Franklin Leonard’s had an interesting journey on his way to being the founder of The Black List; Raised in small town Georgia, degree from Harvard, analyst at McKinsey in New York, agent assistant at CAA, and creative executive at Will Smith’s company is Los Angeles.

The Black List has morphed and grown over the years and now includes Scott Myers’ Go Into The Story as its official blog and a forums section, The Black Board, with Shaula Evans as the Keymaster. I see The Black List as a place that celebrates talent, fosters community, and is doing its part in providing a pathway for screenwriters and producers to connect.

And while the bulk of the screenwriters connected with The Black List are in the Los Angeles area it’s also nice to see that they are providing a door to people in unlikely places all over the world.

P.S. On a similar note check out the Reddit poster “profound_whatever” who is a script reader who has also put together a nice screenwriting graphic that offers some insights into where scripts come from and some “recurring problems”the ones he reads has—such as “The story begins too late in the script.” That’s the most common problem I see when people ask me to read a script. Many times I’ve told writers the same thing, “I read ten pages and nothing happened.” And the most common answer I get back  is, “Well, I’m setting up the story.” Go watch Kramer Vs. Kramer and then Winter’s Bone and see how long the filmmakers take in setting up the story. (Spoiler: They both come out of the gate like horses at the Kentucky Derby. Granted ever script doesn’t need to have a scene one inciting incident, but I think the less established you are the sooner your story should start.)

ScreenwritingGraph

P.P.S. Going back to a quote by CodyI first read in ’08, “Just put your stuff out there and see what happens,” I get a kick that since its inception this blog has been read in more than 85% of the countries , regions, and dependent areas of the world, including BurndiMacau, Suriname, and Yemen. Thanks for reading wherever you are in the world and best wishes on your writing finding an audience.

Related Posts:

The Outsider Advantage
The First Black Feature Filmmaker
Screenwriting Quote #180 (Justin Kremer)
The World Outside of Hollywood (Buck Henry quote)
One of the Benefits of Being an Outsider ( Robert Rodriguez quote)

Scott W. Smith

Read Full Post »

“Storytelling can be found in every culture.”
Daniel Milnor

In the wee hours of this morning I caught part of a free rebroadcast on creativeLIVE of a seminar by Daniel Milnor. He began his career as a photojournalist and is now a Photographer at Large for Blurb.  In this era of content creators being content distributors, Blurb is a solid option to tell your story to a wider audience. Think of it as an outlet to reach a global audience.   It could be a book of photos, a PDF, a magazine, or a digital version that combines text, audio, video and/or still photography.

And the great thing is you can self publish via Blurb for under $10. (As in under ten one dollar bills.) I know everyone in the screenwriting world gets excited when a spec script sells, but according to Scott Myers at Go Into The Story spec script sales peaked in 1995 at 173 sales in a year. And I think it would be safe to say that the majority of those scripts never got made. But they’re seen as the grand slam or lottery winner of Hollywood screenwriting and have launched many careers.

Though for the last decade spec scripts sales have averaged under 100 sales a year.That’s not a huge number considering that it’s estimated that between 30,000-50,000 scripts are written every year. So think of Blurb as a creative option to develop your stories. Watch the below video by Milnor on the American West and see how Blurb could help you tell your story. Especially if you’re writing stories in unusual places or telling smaller stories.

And if you have an indie bone in your body you’ll appreciate that Milnor in 2013 is often going against the technology stream by shooting black and white film using Leica and Hasselblad cameras.

P.S. Anyone out there have a self-publishing success story (small or large)? I could see how filmmakers could self-publish a magazine via Blurb and hand it to prospective investors to get them excited about various projects. I

Related Post:
Content Creators=Content Distributors (Words of wisdom from Chase Jarvis, one of the founders of creativeLIVE.)
Ira Glass on Storytelling

Scott W. Smith

Read Full Post »

“After graduating in 2007 [University of Miami], I knew I wasn’t ready to move to LA. My chops as a writer weren’t sharp enough to survive the Hollywood meat grinder. I needed time to hone my craft, so I moved back to Boston and worked at an Italian restaurant delivering pizzas. The best part about living at home was that my expenses were minimal, so every cent I earned went toward my wagons-west-fund. I wanted to make the most of this interim period, so I dove headfirst into writing feature specs. I wrote nonstop. Most of the scripts never saw the light of day, but my skills evolved with each completed draft. I was finding my voice.

During this time, I also made five short films. It was startling how much my directorial endeavors informed my writing. Listening to actors breathe life into your dialogue is a humbling and instructional experience. You start to understand how conversations translate from the page to the set, and how to craft dialogue with a naturalistic ear, while still retaining the narrative thrust essential to story progression.”
Screenwriter Will Simmons (His script Murder City made The Black List in 2012)
Go Into the Story interview with Scott Myers

P.S. Often we only read interviews of writers after they’ve received a measure of success in the films they’ve made or after their first film has been a box office hit. What’s great about the six-part interview Will Simmons did with Scott Myers is it shows us a screenwriter in mid-step. Though none of Simmon’s feature scripts have been produced, he does have deals in the works at Warner Bros.  and is repped by UTA and Energy Entertainment. It’s important to point out that Simmons made a couple short films in college, and five short films after graduating. And his early writing in school led him to an independent study in screenwriting during his senior year of high school. So while he’s a hot young writer now, keep in mind that his writing journey so far has taken 10+ years. As screenwriter Bob DeRosa wrote, “There are no shortcuts. There is only hard work. Perseverance. Luck. Craft. Failure. Success. Mistakes. And yes, dreams that come true.”

In his Go Into The Story interview Simmons said, “I have sort of an old-school, blue-collar mentality when it comes to work ethic, so instead of making excuses I just write nonstop.”

Will Simmons on Twitter @willsimmons_

Related Posts:

The 99% Focus Rule (Tip #70) “99% of your effort should go to writing a good script. “—Michael Arndt
Screenwriting from Massachusetts
Don’t Quit You Day Job
Beatles, Cody, King & 10,000 Hours
Writing “Good Will Hunting”
Screenwriter Scott Rosenberg
Why You Should Move to L.A.
Why You Shouldn’t Move to L.A.
Screenwriter’s Work Ethic (Tip #2)

Scott W. Smith

Read Full Post »

Older Posts »

%d bloggers like this: