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Posts Tagged ‘Edward Burns’

One of the great things about the arc of Tom Petty’s career is he got to have an entire musical experience that’s almost impossible to do these days. He learned to play guitar as a teenager and worked hard on his craft, had a regional following in Florida, and after a decade of performing landed a record contract in Los Angeles.

He had 15 Gold Albums, and according to Billboard “scored a record 28 top 10 hits on the Mainstream Rock Songs airplay chart, more than any other act in the chart’s 36-year history.” He played concerts where he filled large stadiums, won Grammy Awards, traveled the world, got to perform with his musical heroes (Bob Dylan, Roy Orbison, George Harrison, Johnny Cash), and made music videos in the 80s and 90s when MTV was a force and there was a lot of money to make trippy videos.

While he won back to back MTV Awards for best male videos in 1994 (Mary Jane’s Last Dance) and 1995 (You Don’t Know How It Feels), two of my favorites are Into the Great Wide Open (featuring Johnny Depp and Faye Dunaway), and Walls which has a cameo of Edward Burns as a cab driver. (That song is featured on the She’s the One movie which Burns wrote, directed, and starred in.)

And for good measure check out this version of While My Guitar Gently Weeps. 

Scott W. Smith

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In light of my last post (Waiting to Be Great) I thought I’d gather 10 quotes on low-budget filmmaking that I found scattered throughout this blog over the years. I hope two or three inspire you on your filmmaking journey:

“My token advice [to aspiring filmmakers] is do it—make your own stuff. Whether it’s short films or whatever you can do, my advice is make your own stuff. I’m a real believer in preparation meets opportunity. When this opportunity (to write Bridesmaids) came along I really had been at this a long time…I was really prepared when this came along. I’m just a firm believer in ‘just do it.’ If you build it, he will come.”
Annie Mumolo 

Oscar-nominated screenwriter of Bridesmaids
Script Mag Podcast with Jenna Milly

“My example was Robert Rodriguez. In an interview he’d said, ‘Take stock of what you have and work with that. I had a bus and I had a turtle, so I worked them both into the script!’ I thought, I can get my hands on a convenience store…So I went home, and got my job back at the convenience store, fully intending to shoot the flick there. And I started writing like mad. I guess the first draft of it was about 164 pages, pretty long, so I handed it over to my friend Vincent. I was like, ‘What do you think?’ And he was like, ‘It’s really good. I think you should do it.’”
Kevin Smith
My First Movie
Edited by Stephen Lowenstein
page 76-77

“We’re in the midst of a digital revolution that allows you to shoot, edit, and distribute your films for virtually nothing. You have the possibility of creating a You Tube sensation…When I talk to student filmmakers, I tell them ‘Read as much as possible. Write as much as possible. Go read (director) Robert Rodriguez’s book Rebel Without a Crew. Get the mistakes out. Write bad. Direct bad. Learn how to tell stories as you do. Find that short film that says exactly who you are and the stories you want to tell. Make it and submit it to the festival process and realize that you may be great, you may be terrible. You won’t find out until you try to get other people to judge your work.’”
Jason Reitman
Orlando Sentinel
December 2009

“The industry is moving toward the big and the small. I think studios will always want a few of the high-budget high-profile projects. And there will be more and more of the micro-budget stuff. Everything in between is getting cut back, the marketing costs and production costs are too high, they don’t make sense in a world of YouTube, video games, cable programming, etc. By all means, try to make your way to one of those big-budget projects. But also take time to write and produce on the micro-budget scale, because that’s where we’re all going to live in a few years.”
Oscar-nominated screenwriter Terry Rossio (Shrek)
Interview with John Robert Marlow (Published 12/2010

“What’s different now than when I started is you can make your own stuff now. It’s cheap enough that you can film your own movie, edit your own movie, and distribute your own movie if you want to. If it’s a big production you’re going to have to deal with compromise if you’re lucky, because you need a lot of resources. I always recommend keeping it small enough that you can maintain that control. Because even if you win the lottery and somebody buys your thing you’re not going to be happy with a lot of the compromises that are going to take place. It’s too painful. You have to counter balance that with how much heat it’s giving you or how much money you’re getting when you’re starting off and getting your foot in the door. But now I think more and more people are getting their foot in the door by doing really good work on a small scale. And then scaling up as people are looking for fresher voices.”
Producer/writer/director/Actor Jon Favreau (Iron Man, Chef)
The Q&A with Jeff Goldsmith

“At this moment, anyone who dreams of becoming a filmmaker is lucky indeed. For the first time in the history of cinema, filmmaking does not need to be a capitalist enterprise. You no longer need millions of dollars or even hundreds of thousands of dollars. You are no longer beholden to someone writing a check. It no longer needs to be a business. it can be your artistic expression…Now you can buy a consumer-model digital camera and the image looks great…You can even shoot a pretty good-looking movie on your smartphone and then edit it on a laptop…You can post your film on YouTube, Vimeo, and any number of digital platforms and slowly build your audience.”
Edward Burns
Independent Ed

“When I meet with recent film school graduates, I remind them that whatever happens next in the industry won’t be something my generation does. It will happen among the 20-somethings, the narrative entrepreneurs who figure out how to make the next great thing. Rather than seeking permission to work in the existing industry, they’ll make their own.”
Screenwriter John August
What’s wrong with the business

“I wanted this movement to be like the French New Wave, in which directors told different types of stories and used the language of cinema a little differently, with smaller cameras on real locations.
Gary Winick (1961-2011)
Tadpole director and founder of InDigEnt

“I think there’s a slight trend toward embracing new cinema, non-Hollywood blockbuster cinema. It’s not erupting, but because of the Internet, I think people have more of a chance to get buzz going on alternative cinema, so I think it’s hopeful out there.”
David Lynch

“It’s good not to follow the herd. Go the other way. If everyone is going that way, go this other way. Yeah, you’re going to stumble, but you’re also going to stumble upon an idea nobody came up with… It’s lined with gold over there because nobody goes that way—it hasn’t been picked clean yet. And you’re going to stumble upon something. You’re going to stumble a few times, but you’re going to consistently stumble upon an idea no one’s come up with by going that way. I’ve always been that way. If everyone is going that way—like they know what they’re doing with purpose—I don’t know what I’d doing. I’m just going to go this other way. At least it’s a new frontier.”
Filmmaker Robert Rodriguez
Interview with Tim Ferriss

Related posts:
The 10 Film Commandments of Edward Burns
Shooting a Feature Film in 4 Days
Shooting a Feature Film in 1 Day
Shooting a Feature Film Over Dinner
Shooting a Feature Film in a Coffin

Scott W. Smith

 

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“Try to disconnect the idea of cinema with the idea of making a living and money.”
Francis Ford Coppola 
Who said art has to cost money? 

“At this moment, anyone who dreams of becoming a filmmaker is lucky indeed. For the first time in the history of cinema, filmmaking does not need to be a capitalist enterprise. You no longer need millions of dollars or even hundreds of thousands of dollars. You are no longer beholden to someone writing a check. It no longer needs to be a business. it can be your artistic expression…Now you can buy a consumer-model digital camera and the image looks great…You can even shoot a pretty good-looking movie on your smartphone and then edit it on a laptop…You can post your film on YouTube, Vimeo, and any number of digital platforms and slowly build your audience.”
Edward Burns
Independent Ed

As I write this post both Mad Max: Fury Road and Avengers: Age of Ulton are currently in theaters so why have I spent two weeks writing posts about indie filmmaker Edward Burns? It’s because my focus has always been on the outsider. To use a well traveled line, it’s about those who’ve “taken the road less traveled.”

And if you succeed that road may take you to the larger production hubs of Los Angeles or New York City, but I’m really interested inspiring people anywhere in the world in telling their stories. As I’ve said before, that could be a filmmaker in West Des Moines, West Africa or someone just east of the Hollywood sign in West Covina.

I love reading blogs & books, and listening to podcasts, from those on the inside of Hollywood. There are many great insights from those people and over the years I’ve tried to find the most helpful ones and pass them on here.

If you dream of winning the spec script lottery by writing one of the under 200 spec scripts that will be sold in Hollywood this year—great. Dream of being a LA screenwriter on assignment—go for it. There are many talented writers doing that very thing and making a very good living. (Though fewer than you probably think.)

But there is a tertium quid—just to drop what little Latin I know.  A third option if you will. And that’s where Edward Burns comes in to point the way for the outsiders out there—wherever you live. (Burns launched his filmmaking career by shooting parts of his first feature in parents house on Long Island—and he relaunched his career my making three micro budget features. )

“You can learn how to make movies and tell stories by making movies and telling stories. Please don’t listen to the naysayers who complain that we have a glut of movies, that there are too many people making movies and telling stories. Has anyone ever complained about too many poems, songs, or paintings? Because of these technological advances, you are now no different from the kids who keep writing songs on their guitars until they figure out what makes a good song, or the painters who keep throwing colors against a canvas until they realize their vision. Think about that kid from Hibbing, Minnesota, who picked up an acoustic guitar and changed the way we look at the world. Do you think this songs could have been written if Bob Dylan needed to please a money man? Not very likely. That could be you and your camera.”
Writer/director/actor Edward Burns
Independent Ed; Inside a Career of Big Dreams. Little Movies, and the Twelve Best Days of My Life
page 220

Burns’ TV program Public Morals is scheduled to debut Aug 25 on TNT. The executive producer is Steven Spielberg (can’t get much more inside Hollywood than that) and has been a dream project that Burns has had for at least 20 years. It takes a little time sometimes—even if your first film cleans up at Sundance as Burns did with The Brothers McMullen back in 1995.

P.S. I’m not the biggest gear head out there but when you have cameras like the Blackmagic URSA Mini camera hitting the market—a 4K camera for under $3k—it’s kind of astounding to think where production has come in just the last 10 years. If you don’t shoot or edit yourself, I’m sure with a little creativity you can meet some shooters and editors in your area to help get your short films, indie features, experimental films, and long and short form documentaries made. And remember what Austin-based filmmaker Robert Rodriguez said in a post about The Total Filmmaker;  “If you are technical and creative you will be unstoppable.”

Related Posts:

How to Shoot a Film in Ten Days
Off Screen Quote #22 (Bob Dylan)
‘Shelter from the Storm’ (Dylan)
Screenwriting from Duluth
The Outsider Advantage
The 10 Minute Film School
The 10 Film Commandments of Edward Burns
“Don’t try and compete with Hollywood.”—Ed Burns
Screenwriting & the Little Fat Girl in Ohio (2.0)
A New Kind of Filmmaker   “One of the benefits of being outside of Hollywood…”
Revisiting ‘Highway 61 Revisited’ (2.0) Which includes this passage:

Dylan spent most of his youth in the mining town of Hibbing in northern Minnesota. A group of close-knit Jewish people from Eastern Europe drawn to opportunities in the area known as the Mesabi Iron Range. (See David Mamet’s connection to storytelling and Eastern European Jews.) The ore from the area once made the small town of Hibbing very wealthy. But by the time Dylan (then known as Robert /Bobby Zimmerman) was a teenager in the 1950s the mining town’s heyday was over. But it was fertile ground to listen to blues and country on the radio and learn to play the piano and guitar. Dylan graduated from Hibbing High School in 1959.

Scott W. Smith

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“In this screenplay, I imagined a deadbeat father who had bailed on his kids years earlier, looking to return home to make amends.”
Writer/director Edward Burns on The Fitzgerald Family Christmas 

“It’s a good thing our father left—we needed the space.”
Sharon (Kerry Bishe) one of nine Fitzgerald children raised in a 3 bedroom house in The Fitzgerald Family Christmas 

One of the things most (all?) Catholic and Protestant theologians agree on in is that Jesus was not born on December 25. Some scholars even speculate that Christ’s birth account 2000 years ago wasn’t even during wintertime, but in the springtime because that’s when shepherds watch over their fields. (“And there were shepherds living out in the fields nearby, keeping watch over their flocks at night.” Luke 2:8)

So it’s actually not that bizarre to talk about Christmas in May.  And I’ll do so by mentioning what I think is Edward Burns’ tightest script and best film, The Fitzgerald Family Christmas. (It’s currently on Netflix if you’d like to get in the Christmas spirit this spring day.)

“I knew I didn’t want to make the sappy, goofy, funny Christmas comedy. My favorite Christmas film has always been It’s a Wonderful Life, another film that has the perfect blend of light and dark, comedy and drama. George Baily has to cover a lot of tough ground to get that payoff. I also wanted my characters to go on a tough journey so that when the Fitzgerald family got together in the end, it felt earned. As I started to work on the screenplay, a theme of forgiveness started to present itself. Given that it’s one of the themes of Christmas, it tied together nicely. The script poured out of me and within four weeks, I had a first draft.”
Filmmaker Edward Burns (Sidewalks of New York)
Independent Ed; Inside a Career of Big Dreams, Little Movies, and the Twelve Best Days of My Life
page 212

If you just happen to be in the mood for Christmas music today, check out The Fitzgerald Family Christmas Album largely featuring the music of long-time Burns collaborator P.T. Walkley.

P.S. And if you want to add an indie companion Thanksgiving film to your May viewing watch Peter Hedges’ Pieces of April starring Katie Holmes. Fitzmas (2012) and Pieces (2003) cost less than $600,000 to produce—combined. And one connection between both films that I know of is John Sloss was an executive producer on Pieces and received a special thanks credit on Fitzmas (Sloss, a University of Michigan law school grad, also provided legal service on Burns’ first film The Brothers McMullen.)

P.P.S. Yes, that is the talented Connie Britton (Friday Night Lights, American Crime Story) in the screen grab above. She fit in time between shooting the Nashville TV series for the small (but wonderful performance) in Fitzmas as nod/thank you to Burns for casting her in her debut movie The Brothers McMullen (1995).

Related Posts:
The Making of It’s a Wonderful Life
It’s a Wonderful Prison “Shawshank is basically It’s a Wonderful Life in a prison.”—Frank Darabont
Merry Silver Linings Christmas
Christmas & Cancer (Connected because the father in Fitzmas has cancer.)
Bedford Falls vs. Pottersville
Earn Your Ending (Tip #76)
Merry Christmas (2012) Same year as Fitzmas release and my last Christmas in Iowa.
Writing from Theme
Hope & Redemption
Filmmaking Quote #27 (Frank Capra)
Filmmaking Quote # 15 (Edward Burns)

Scott W. Smith

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“Prior to creating my first television show, Public Morals, I made eleven movies in twenty years, and half were considered failures…If you allow yourself to get crippled by the possibility of failure, you’re going to rob yourself of a lot of great experiences. There are very few great films, but something great, be it a new relationship or learning a new technology, has always come from my experiences making films even if the film itself was disappointing.”
Filmmaker Edward Burns (Sidewalks of New York)
Independent Ed, Inside a career of big dreams, little movies, and the twelve best says of my life

In his book (which I highly recommend), Burns points out that several of his key filmmaking partners to this day came from his less than successful movie Looking for Kitty (2004).

P.S. Burns’ first Tv show, Public Morals, debuts in August on TNT. Steven Spielberg (who directed Burns in Saving Private Ryan) is the executive producer.

Related posts:
Tennessee Williams on ‘Apparent Failure’
Who to Blame for Your Failures
‘Failure is an option.’
Commitment in the Face of Failure
Failing—Learning—Succeeding
Hollywood Failure—Robert Altman
Susannah Grant on Failure
Aaron Sorkin on Failure
Spectacular Failures
J.K. Rowling on the Benefits of Failure

Scott W. Smith

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“I remember when we were doing the press for The Brothers McMullen somebody in Fox Searchlight’s press department kept talking about the thing that’s going to help this movie—it’s the movie, but it’s [also] the story of the movie. They said any time you make a movie you should think about that—the other story you can tell. That way you can get two articles in the New York Times. You can get the review of the film, but then the ‘oh, Brothers McMullen—he made it for $25,000.’ There the other story so you can maybe end up in the business section, or the fashion section, or the sports section.”
Filmmaker Edward Burns
Podcast interview on The Moment with Brian Koppelman 3/17/15

Example of indie movies over the years with other stories include:

Hollywood Shuffle (1987) where Robert Townsend said he used credit cards to fund his movie.
El mariachi (1992) where Robert Rodriguez was said to sell his blood and/or undergo medical experiments to fund his film.
Clerks (1994) Kevin Smith sold a chunk of his comic book collection to fund his first film.
The Blair Witch Project (1999) Here the filmmakers had story after story that helped the movie become the biggest box office hit to date for what it cost to make.
Purple Violets (2007) The first film to be released exclusively on iTunes.
Paranormal Activity (2007) The story of Oren Peli’s self-funded almost no-budget thriller was the film that dethroned Blair Witch at the top movie in the ratio of cost to make and profits.

Oscar-winning screenwriters Quentin Tarantino and Diablo Cody both brought interesting personal backstories to their debut films.

I’m sure there are many other examples, but keep in mind your story’s story as you work on your movie. And you can work on your story’s story before you finish making your film.  While it worked out for him, Burns made the mistake of not arranging any still photos during the filming of The Brothers McMullen. (Maybe because he was acting and directing and the 3 to 5 person crew had their hands full.)

Related links:
The 10 Film Commandments of Edward Burns
“Don’t try and compete with Hollywood”—Ed Burns
Earn Your Ending (Tip #76)
A New Kind of Filmmaker 

Scott W. Smith 

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“For your first screenplay, what I’m going to ask all of you is to think about your favorite films and what genre they are. Whatever that genre is, I want you to write that kind of script. If you don’t like murder mysteries, don’t write murder mysteries.”
Robert McKee
(Words that inspired filmmaker Edward Burns before he launched his career)

“I thought about what films I loved the most, I instantly knew the answer: Woody Allen movies. So I said to myself, ‘All right, I’m going to write whatever that genre is; whatever Woody’s genre is, that’s what I’m going to write.'”
Edward Burns

Back in 1995 filmmaker Edward Burns won the Grand Jury Prize at the Sundance Film Festival with his debut film The Brothers McMullen. In his new book Independent Ed he recounts what led to that success giving assists to various college classes, Syd Fields’ book Screenplay, The Foundations of Screenwriting, Robert McKee’s story structure seminar, and working as a production assistant on Entertainment Tonight (ET) where he also found time to crank out “four or five screenplays” that didn’t get sold or produced.  After all that, he finally had an epiphany.

Then one day it hit me. What was it about The Last Picture Show and Marty and The 400 Blows that made me want to be a filmmaker in the first place? They were honest. They felt like they were written by people who had lived those stories. Then I thought about the story I had lived.

The Irish Americans were a big part of New York culture. They were an important in my New York City. And having grown up in a tight-knit Irish American family, surrounded by similar families, my world revolved around this community and culture.

I said to myself, “That’s what I’m going to write. These guys are going to be Irish. And they’re not going to be just passively Irish. I’m going to make them aggressively, nostalgically Irish.”

The sudden clarity I had was stunning. Woody Allen wrote and directed about the Jewish American New York experience; Martin Scorsese wrote and directed films about Italian American New York experience; and Spike Lee was writing and directing films about the African American New York experience. All these guys had carved their own niche. I had been asking what mine would be. Now I knew.
Director/Actor/Writer Edward Burns
Independent Ed: Inside My Career of Big Dreams, Little Movies, and the Twelve Best Days of My Life
Page 17

Related Posts:

Shrimp, Giants & Tyler Perry
‘Super Serving Your Niche’
Finding Your Voice
Syd Fields (1935-2013)
Can Your Identify?
Telling Our Own Shadow Stories )”I see shadows all of the time in my work—things from my life.” Robin Swicord)
Emotional Autobiography (“My work is emotionally autobiographical.” Tennessee Williams)

Scott W. Smith

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“Clichés, in particular, have always baffled me. You’d think it’d be as simple as, ‘Don’t use clichés,’ but it isn’t. I’ve fallen in love with plenty of great movies that others have insisted were riddled with clichés. Many times I have to admit they’re correct, and yet I still love the movie. The ending of Die Hard has Bruce Willis limping up to the bad guy with a gun, who’s holding his wife hostage. It’s the most cliché of cliché situations. And yet I’m riveted. I am riveted by a classic cliché. This implies that there are actually plenty of instances where you want to use clichés.”
Carson Reeves
ScriptShadow Article — A Cliché Article

Warning: A couple of spoilers today since I talking about movie endings.

Writer, director, actor Charlie Chaplin once said The Gold Rush was “the picture that I want to be remembered by.” It not only has a happy ending, it has two of them. One version of the film has Chaplin as the Tramp and a saloon girl he’s fallen in love with by an old house and the other is the above ending where they kiss. Anytime the guy and girl end up together there are plenty of people crying “Cliché!”

“I’m not afraid of doing a cliché, if it’s right. We don’t wade through our existence with any sort of originality. We all live and die and eat three meals a day, and fall in and out of love, and the rest of it. So people say, that’s been done before.

“So what? In avoiding clichés I think one can become dull—it’s like Shaw. I love Shaw, but he’s afraid of the clichés. For instance, Pygmalion. Shaw in his afterward goes to a lot of trouble to explain the fact that Liza did not fall in love with the professor. It seems that Shaw has gone out of his way to avoid it, which makes the ending false. I don’t believe it. I believe the girl would finish up as his mistress. Instead, after this man has created her, she falls in love with this cluck who doesn’t mean much at all. 

“Your story begins—once upon a time—and then you can’t escape. It either finishes happily or tragically. And there you have the clichés. And if you’re going to leave it unsaid, then it isn’t perfectly written. Leaving it up in the air—that’s become very clichés now—is to have no curtain to a story. I get so bored with that.”
Charlie Chaplin Interviews edited by Kevin Hayes

The first time I remember seeing a film hammered by critics for having a clichéd ending was An Officer and a Gentleman (1982) written by Douglas Day Stewart. But I wasn’t a jaded film critic when I first saw the film, I was a 20-year-old working for a factory one summer between my sophomore and junior years of film school. I worked along side people who had spent ten, twenty, even thirty years of their lives in the factory making boat windshields in Central Florida. My boss told me if he didn’t take quaaludes he wouldn’t make it through the day. I worked with a grandmother who was only 32-years-old and an attractive young woman who first explained to me what a sugardaddy was as she told about her experiences living at the Roosevelt Hotel in Hollywood—her expenses paid for by a married guy from Long Beach.

Work in a factory can be boring, but the people are usually interesting. I’m sure that experience shaded my perspective watching the the movie. At the end of the movie when Richard Gere struts into the factory and sweeps Debra Winger off her feet it was exhilarating. I only worked in the factory for three months but I could relate to the Winger character and more than I’d like to admit I connected to the Richard Gere character.

I was at a point in my life where the film just resonated with me in emotional ways that I couldn’t explain until many years later. When VHS players came out it was the first tape I bought. And it was also many years later that I appreciated what director Taylor Hackford pulled off on a limited budget.  I felt, to borrow filmmaker Edward Burns’ phrase about It’s a Wonderful Life, that Hackford and Stewart earned their ending.

Time has been good to An Officer and a Gentleman and actually critic Roger Ebert was an early champion of the film.

An Officer and a Gentleman is the best movie about love that I’ve seen in a long time…This is a wonderful movie precisely because it’s so willing to deal with matters of the heart. Love stories are among the rarest of movies these days (and when we finally get one, it’s likely to involve an extra-terrestrial). Maybe they’re rare because writers and filmmakers no longer believe they understand what goes on between modern men and women. An Officer and a Gentleman takes chances, takes the time to know and develop its characters, and by the time this movie’s wonderful last scene comes along, we know exactly what’s happening, and why, and it makes us very happy.”
Roger Ebert review of An Officer and a Gentleman

You can end your screenplay with a happy ending, a sad ending, an ambiguous ending, or an ironic ending—that’s all the choices you have. Take those options and do the best you can to come up with an Insanley Great Ending.

So I think my take away from all of this is partly, “There’s nothing new under the sun” mixed with the fact that good writing engages you in a story and you don’t care what techniques are being used, while bad writing or less effective storytelling makes it easier for audiences and critics to point out the flaws of the movie.  Cliché belongs on the same shelf as voice-overs and flashbacks—screenwriting books and teachers are always saying to not use them, but you don’t watch the Citizen Kane, Casablanca—or more recently Moneyball— and say “Wow, those would have been better films with out those nagging flashbacks.” Nor do you watch Sunset Boulevard, The Shawshank Redemption—or more recently Moonrise Kingdom— and say, “Those filmmakers really missed the boat using voice-overs.”

P.S. I like to believe that Zack and Paula from An Officer and a Gentleman lived happily ever after in a nice house on Whidbey Island overlooking Puget Sound. (If you know otherwise—I don’t want to know about it.)

Update 1/4/13: Found this interview where Richard Gere thought while shooting Officer that it had the “dopiest ending” and it would never work, but later when he saw the edit with the right music said he got chills on the back of his neck.

Related post:

Movie Clonning (Avoding Clichés)
Writing & Rewritng “Pretty Woman” (Part 2) “It is true that I look for the Cinderella aspect when I am making a film. Most good stories are Cinderella. Audiences like to watch characters whose lives change for the better.“—Director Garry Marshall

Scott W. Smith

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TylerPerryStudio

This morning I returned some rental equipment to PC&E Atlanta and learned that Tyler Perry’s Studio wasn’t far away. So  heading south on I-285 back to Florida I made a slight detour to drive by Mr. Perry’s 200,000 square foot studio. As I took the above photo I recalled the Tyler Perry phrase “Super-Serving Your Niche”— that I first heard Edward Burns say on Jeff Goldsmith’s podcast, but found the same essential comment in a Vanity Fair interview:

“I worked with Tyler Perry last summer on this film called Alex Cross. While we were shooting, he told me that he had just recently re- watched Brothers McMullen and he asked me why that in 15 years, I hadn’t revisited the world that Brothers McMullen and She’s the One had, that Irish-American working-class milieu. Quite honestly, I didn’t have a reason. The story just never presented itself to me. He said, ‘Please take some advice from me. Think about super-serving your niche. I would imagine that a lot of Irish-American folks out there, who felt a connection to those themes and characters, would love to see another of those kind of films from you. ‘”
Edward Burns on his film The Fitzgerald Family Christmas
2012 Vanity Fair interview by Julie Miller 

Related Posts:
Shrimp, Giants & Tyler Perry
The First Black Filmmaker

P.S. Many thanks to Stephen at PC&E for handling my last-minute rental request. In you’re in Atlanta or going to be doing a production in the Atlanta area check out PC&E because it’s an impressive rental house and studio set-up.

Scott W. Smith

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WiteOut

Once upon a time most screenwriters used typewriters to write scripts. Though some still do, I would venture to guess that most screenplays are written on a computer these days. So a word of warning—the wite out test isn’t advisable on computers except in a metaphorical sense. Wite out being the white liquid that was once a daily used commodity in offices everywhere, where if you made an error on the page you would apply wite out over the words you wanted to omit. Once that dried quickly you could type over it. Sure it wasn’t pretty, but it was effective and saved you from having to retype the whole page.

“You know, the idea of individual voices, that’s a toughest thing for a screenwriter. It’s always been the toughest thing for me. The first draft of a lot of scripts that I put down and say, ‘Okay, I’m not going to make that into a film’ is that everybody sounds like a version of me. And a great test that somebody told me to do early on was, ‘Take your screenplay and wite out or cover-up the names of the characters and then read the scenes. And can you tell who’s speaking based on the tone of their voice?’ Is their dialogue distinct enough that you can identify them from the other characters?”
Filmmaker Edward Burns (The Fitzgerald Christmas)
The Q&A with Jeff Goldsmith

P.S. Jeff Goldsmith, formerly of Creative Screenwriting magazine now as a digital magazine called Backstory; The Art and Business of Storytelling.

Related Posts:
The Four Functions of Dialogue
Emotionally Silent Dialogue

Scott W. Smith

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