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Posts Tagged ‘Frank Darabont’

The following question and answer is from the Creative Screenwriting magazine article
“Frank Darabont on The Green Mile” by Daniel Argent and Erik Bauer:

Q. When it came down to translating The Green Mile into a screenplay, how did you put it together? Did you work with paradigms, three-act structures, reverse structures?

Frank Darabont: I don’t think I’d know a paradigm if it came up and bit me. I don’t think in terms of three-act structures. I can’t tell you what’s going to happen in the third act, ‘cause I ain’t there yet. For me, writing is a much more organic process.

You sit down from page one and you try to experience the story as you go, and you try to make the most of the dramatic potential of the story. I generally have an idea where a story begins and I generally have an idea where a story ends.

Believe me, there are plenty of screenplays I never wrote because I could never figure out where the damn thing was going. Why bother starting then? I tend to know certain signposts along the way, and I start working toward the first signpost. And once I’m there I know that off in the distance is the next signpost, and I have to get to that.

All the structural elements flow from walking down that path, and from what the characters are telling me. That’s not to say the more organized method is wrong. Whatever works for the writer is what the writer ought to do. Left to my own devices, it’s an organic process.

In adaptation you have a leg up, because if the material is good at least you know what those signposts are.

 

 

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[M]ost of the characters I’ve known as a writer have traveled something of a path from darkness to lightness. Those are the characters that I love: those who seek some kind of enlightenment or betterment, a nobler sense of themselves. Those are the characters I tend to write. It’s a recurring theme in my work. I love that.

I want more movies showing us the potential of ourselves. People seeking what Abraham Lincoln called ‘the better angels of our nature,’ rather than necessarily being mired in all the ways in which we can fail— spiritually or emotionally. I want to see more movies about working through those pitfalls and coming to a better place.

Hey, I just described Frank Capra, didn’t I? [Laughs] That’s another thing I’ve always admired so much about Steven Spielberg’s work, and George Lucas’s work.

Not to say that there isn’t room in this world for nihilism, but we seem to be nihilistic at the exclusion of all else in our movies of late. And that’s very disheartening to me.”
—Writer/directorFrank Darabont (The Shawshank Redemption)
Creative Screenwriting magazine
“Frank Darabont on The Green Mile” by Daniel Argent and Erik Bauer

 

 

 

 

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“How did I learn screenwriting? Endless hours at the typewriter, then the computer, which came along later. It was really a lot of applied time and effort and self-study. Which is the way most people learn.”
Writer/director Frank Darabont

Long before Shonda Rhimes signed a contract with Netflix for $100 million, she graduated from a series of private schools, Marian Catholic High School in Chicago, Dartmouth College, and and MFA from USC School of Cinematic Arts. Being smart, talented, and driven, I don’t know exactly what scholarships and grants Rhimes received back in the ’80s and ’90s when she was in school, but today that education has a list price of over $500,000.

Perhaps that’s why she gives the following advice to young people interested in going to film school. (And this was before a global pandemic shook up the economy and film industry in ways that will take months or years to sort out.)

“I think that USC was really instrumental for me in getting me contacts and getting me acclimated. I came to Los Angeles not know a single person, and getting an internship, getting to know people, getting the introductions to things—USC was very helpful for that. Here’s what I think, ’cause I think film school is invaluable in that it’s an amazing little lab. And I did come in knowing a lot about production because of it, and that was really helpful as well. But I think it terms of just financially if you are hurting for money if you have to take out a lot of student loans, if there’s not a scholarship waiting for you, and you are worried about that—and frankly it’s different now. Student loans back when I went to school (because I’m an old lady) and going to school now are just different. So, to me, if you have to make the choice between going to film school, and coming out to L.A. and getting a job as a PA [production assistant] on a set, or a job as a PA in some writer’s office or something like that, get the job. Because I think there’s a lot you can get done with you writing at night, and getting a job during the day, and working your butt off and making contacts that way. I think it’s very, very, very expensive to go to school right now. And while I think that everybody should get a college education, I’m not necessarily sure you need a film school education.”
—Writer/Creator Shonda Rhimes  (Grey’s Anatomy, Scandal)
MasterClass, Take the Job Over Film School

Now, you don’t need to do much digging to find production assistants in Los Angeles today complaining about the low pay and long hours of working as a PA in the film industry. On top of living in one of the most expensive cities in the United States. On top of, as of this writing, potentially being laid-off or underemployed because of the shutdown over the coronavirus.

It’s a hard business. Would Rhimes have had the same success if she hadn’t taken the educational route she took? We’ll never know. But we do know there are filmmakers like Quentin Tarantino and Tyler Perry who’ve had phenomenal success without ever attending college. (In fact, both of them dropped out of high school.)

But you have to create. And you have to get good enough at creating something that someone will pay you to create more and you can make a living. That’s the game. And one thing this pandemic has taught us is people still need entertainment (and toilet paper). Actual movie theaters may decline in coming months and years, but streaming content is in ultra growth mode. (Amazon, Netflix, YouTube and others have all had recent jumps in daily viewership.)

Be as creative getting an education as you are with writing stories and creating videos with your friends. Avoid getting monster student loans that follow you for decades and drag you down professionally with house payment-like monthly payments.

Look at inexpensive community colleges with solid digital media programs. (Some two-year schools now offer four-year degrees.) And, yes, there are good film schools out there that aren’t over-the-moon expensive. If you picked up basic production skills in high school, there’s a good chance you can find an entry level production position as soon as the country is back up running again.  “Hire for attitude, train for skill” was an popular expression way back when I went to film school back in the ’80s—and probably long before that.

Which brings up some bonus advice from Rhimes that is helpful if you move to New York, L.A., Atlanta or stay right where you are and take a entry-level PA job:

“A thing that I think can be really helpful for people when they get a job, and people don’t seem to know this right now, and it’s feels very obvious. If you get a job in the industry making someone coffee, making someone copies, running someone’s errands, you better make the best coffee they’ve ever had. And it better be with a smile. The ones that seemed flat out pissed that they’re there, or frustrated, or lazy, or entitled, you want them to go away.  Because you think, man, they’re just sucking the air from the room. . . . People that have a great attitude are the ones that I always end up saying, ‘What’s your script about?’ or ‘What are you doing? What are you interested in?’ Those are the people that get noticed and get their scripts read, and get advice. And get a chance. Because you think, man, they’re working hard.”
—Shonda Rhimes
MasterClass, Do Grunt Work with a Smile

Writer/director Lulu Wang is the most recent filmmaker who did a version of what Rhimes talks about. She did not go to film school but did get her undergraduate degree. (I think she took one or two film/photography classes.) Then she moved to L.A. and did various film-related assistant jobs and wrote and produced her own stuff, networked, until she got the opportunity to make Farewell. Check out the post Lulu Wang’s Day Job Before ‘The Farewell.’

Before Scott Beck and Bryan Woods wrote A Quiet Place they also decided to not got to film school since they’d been making films together since sixth grade. They did get communication degrees before moving to Los Angeles where they had a series of small successes before hitting it big. Read the post How Do You Break Into the Film Industry Without Any Connections to see their abridged version of how they did it.

And lastly, if you‘re into hacks and shortcuts, let me link to a post I wrote back in 2003 that’s one of my favorites on the subject—Bob DeRosa’s ‘Shortcut.’ 

P.S. For those of you graduating from high school or college in 2020, I know this is not how you envisioned the final months of school ideally ending.  But you’ll earn a layer of resilience that will serve you well throughout life. Go back and watch The Shawshank Redemption (1994) again with 2020 glasses. One of the main reasons that film is currently the #1 rated movie of all time on IMDB is that going through a lot of crap in life is a universal experience.

“Hope is a good thing…maybe the best of things.”
—Andy Dufresne (Tim Robbins) in The Shawshank Redemption
Written by Frank Darabont, based on a story by Stephen King
(Darabont was born in a refugee camp, immigrated with his family to the U.S.,  and also did not go to college. He started his Hollywood career as a PA on low budget movies and writing on the side until he got good enough to be paid for doing it.)

Additional related posts (for those without wealthy parents) and a great ending quote from Amazon’s Ted Hope:
Is Film School Worth It?  A post I wrote as a response to The $330,000 Film School Debt.
What’s It Like to Be a Struggling Writer in L.A.?
Scriptnotes Ep 422: ‘Assistants Aren‘t Paid Nearly Enough’

“If I ran a film school, I would require the students to make a feature film for just a thousand dollars. They’d learn tricks that they could apply for the rest of their lives, no matter how poorly the movie turned out.”
Ted Hope
Hope for Film, page 15

Scott W. Smith 

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“How did I learn screenwriting? Endless hours at the typewriter, then the computer, which came along later. It was really a lot of applied time and effort and self-study. Which is the way most people learn.”
Oscar-nominated screenwriter Frank Darabont (The Shawshank Redemption)
The Best of Creative Screenwriting Interviews

And here’s a similar quote from Darabont that I think I originally found in Zen and the Art Screenwriting (Vol. 2) by William Froug:

“For me, it was a matter of years of trying to develop my writing in the same way that some people spend years learning to play the violin.”
Writer/director Frank Darabont (Co-creator of The Walking Dead)

Related posts:

Frank Darabont and ‘The Woman in the Room’
The Shawshank Redemption Payoff of $1 to #1
‘Television Used to Suck’—Frank Darabont
Descriptive Writing (Frank Darabont)
It’s a Wonderful Prison

Scott W. Smith

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“The Woman in the Room remains on my short list of favorite film adaptions.”
Stephen King

If you’re a filmmaker just starting out, don’t compare yourself to Frank Darabont’s The Shawshank Redemption—or his most recent work in creating The Walking Dead—look at what King was doing in his early twenties when he made the short film The Woman in the Room (based on a Stephen King short story).

Scott W. Smith

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’77 was the year young filmmakers—college students, for the most part—started writing me about the stories I’d published (first in Night Shift, later in Skeleton Crew), wanting to make short films out of them. Over the objections of my accountant, who saw all sorts of legal problems, I established a policy which still holds today. I will grant any student filmmaker the right to make a movie out of any short story I have written (not the novels, that would be ridiculous), so long as the film rights are still mine to assign. I ask them to sign a paper approval, and that they send me a videotape of the finished work. For this one-time right I ask a dollar.”
Author Stephen King
Rita Hayworth and the Darabont Redemption
Introduction to The Shooting Script

Frank Darabont did the dollar deal with King when he was 20-years-old and made a short film out of The Woman in the Room. A few years later Darabont wrote King wanting the acquire the rights to King’s novella Rita Hayworth and Shawshank Redemption.

I’m actually not sure if this was a dollar deal or not, but King gave him the rights because he liked what Darabont did with The Woman in the Room, but he also thought the odds of actually getting a old school prison break movie made was a longshot.

And the rest is Hollywood history.

I encourage you to read both Darabont’s shooting script for The Shawshank Redemption and King’s version found in the collection Mean Seasons.  One could teach a whole college semester class just on the Shawshank movie, screenplay, and novella. (And perhaps a second class on another story from Mean Seasons —The Body—which Rob Reiner turned into the movie Stand By Me.)

P.S. To inquire about King’s $1 rights and other questions, visit the Q&A section on his website.

Scott W. Smith

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Earlier this week I heard the first quote listed below on a Scriptnotes podcast and it didn’t take long to track down similar quotes on paying your dues that I’ve posted over the years on this blog. (And while you may see these quotes as more anecdotal than empirical data—there does appear to be a common theme. Press on.)

Eugene Mirman says this thing, because he gets approached by young comics all the time, and they say, ‘what do I do?’ And he says, ‘Start doing comedy, keep doing comedy, call me in ten years.’ And I think that applies to anything in the artistic realm. It’s like it takes a hard ten years.”
Writer/director Mike Birbiglia (Don’t Think Twice)
Scriptnotes interview with Craig Mazin

“I spent 18 years doing stand up comedy. Ten years learning, four years refining, and four years of wild success.”
Commedian/actor/writer/musician Steve Martin (The Jerk)
Born Standing Up

“A mere seven years after my graduation day, I had failed on an epic scale. An exceptionally short-lived marriage had imploded, and I was jobless, a lone parent, and as poor as it is possible to be in modern Britain, without being homeless.”
Author J.K. Rowling (Harry Potter series)
On the Benefits of Failure

“The myth about me is that I sold my first screenplay and it’s true. But I had also worked very hard as a fiction writer for ten years and that’s how I learned the craft of telling stories.”
Oscar-winning screenwriter Akiva Goldman (A Beautiful Mind)

“For me, it was a matter of years of trying to develop my writing in the same way that some people spend years learning to play the violin.”
Writer/director Frank Darabont (The Shawshank Redemption)

“Before I got adept at it, I had to write about ten scripts.”
Oscar-winning screenwriter Brian Helgeland (L.A. Confidential)

Question: How did you first get your break in writing, and what were you doing before writing [the novel] Fight Club?
Chuck Palahniuk: “I worked at Freightliner for thirteen years right after college. I worked on the assembly line for several years. Then I moved into working as sort of a research mechanic, I would do repair and vehicle modification procedures and then write about them. So I worked on trucks and wrote about them.”

“I graduated from Northwestern. I had no money. No one had any money. So I got a day job, shelving books at the Northwestern University Law Library. Every morning I would work from nine to five and shelve books, for ten years. Every single day for ten years.”
Three time Oscar nominated screenwriter John Logan
The Secret to Being a Successful Screenwriter (Seriously) 

“I devoted myself to writing for years without representation or a promise of anything. And there were times when I felt quite down about my prospects.”
Oscar-winning screenwriter Geoffrey Fletcher

“I think every writer harbors—secretly or not-so-secretly—delusions of grandeur. Still, when you’re starting out, it’s hard to imagine how you’ll ever ‘succeed….The question is ‘How do you meet an agent?’ or get your script to an agent—It’s a mystery to me. Everyone sort of is able to find a different path, and usually it just comes to referrals…. I would say 99% of your effort should go to writing a good script.  And my story is a testament to that. I spent 10 years teaching myself how to write. [The Little Miss Sunshine script] went to one [agent’s] desk basically and once it hit that desk though it was like the doors were flying open.”
Oscar-winning screenwriter Michael Arndt (Little Miss SunshineToy Story 3, Star Wars: The Force Awakens)
2007 talk at Cody’s Books

Related links:
10,000 Hours vs. 20 Hours
Stephen King’s Double-wide Trailer
‘Art is Work’—Milton Glaser
Bob DeRosa’s ‘Shortcuts’
Start Small…But Start Somewhere

Scott W. Smith

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“The best thing for me was reading other scripts and then writing, writing, writing.”
Stuart Beattie on launching his screenwriting career

Since 1999 Stuart Beattie has been screenwriting for a living. But before that success he wrote a dozen screenplays “and lots and lots of drafts of that dozen” that didn’t sell. He was working as a waiter in L.A. and while working in a deli he pitched his script of Collateral to Frank Darabont’s fiancé—who was a friend he knew at UCLA.

Collateral was a story that began as an idea just after Beattie graduated from high school in Australia. The sale of Collateral would launch his career. One that had roots back when he was in 3rd and 4th grade and writing 50-100 pages stories. Beattie also earned a journalism degree in Sydney before moving to L.A. to live.

“[Being from Australia] gave me an outsider perspective on everything—gave me a different look at things. And then once people met me it might helped stay in their minds a bit ’cause I had a funny accent. I had other stories than growing up in L.A.”
Stuart Beattie

And after coming to the United States he took classes from working professionals at the UCLA Extension program where Gary Ross (Seabiscuit) and David Koepp (Jurassic Park) were guest speakers he heard. It was there that he won a screenwriting award which led to him getting an agent.

“I like outlines a lot. I usually actually try and do a five-page outline. Act one is one page. Act two is [pages] two, three, four. And act three is page five. ‘Cause I know if I can boil it down to that essence then I’ve got  ‘what is the story?.’ I don’t like to do the 40 page outline because I think that takes away some of the creativity in the moment of writing the script.”
Screenwriter Stuart Beattie (Collateral, I, Frankenstein)
The Dialogue: Learning from the Masters interview with Mike De Luca

P.S. When Beattie was waiting tables at that deli in L.A. Darabont’s fiancé was technically not one of the tables he was waiting on, and he was a little embarrassed to talk to her since he was in fact waiting tables. As Christopher Lockhart says, “Take the shot when you think you’ve got that moment.” So many things had to fall in place for Collateral (2004) to get made that the odds are good that if Beattie doesn’t take that shot, Michael Mann never directs Tom Cruise and Jamie Foxx from a screenplay that Beattie wrote.

Related post:
Getting Your Script Read (Tip #51)
Who to Blame for Your Failures 
Paul Haggis echoes Beattie’s words about what it takes to become a working screenwriter, “In order to get any good at it you have to write and write and write. It took me a long time to get any good.”
The Outsider Advantage

Scott W. Smith

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“I’m not interested in characters who aren’t broken.”
3-time Oscar nominated screenwriter John Logan (Gladiator)

“All characters are wounded souls, and the stories we tell are merely an acting out of the healing process. They are the closing of open wounds, the scabbing-over process.”
Richard Krevolin
Screenwriting from the Soul

Today is the sixth anniversary of Screenwriting from Iowa…and Other Unlikely Places, and I’m pleased to announce my loose and distant connection to a recent (and controversial) Oscar nomination. In fact, Deadline called it the “Academy’s Most Obscure Nominee—Maybe EVER.” Since one of the inspirations for starting this blog was the movie Juno, let me start there.

When Juno MacGuff (Ellen Page) was 17 she got pregnant. When Joni Eareckson was 17 she broke her neck. The movie character Juno gave her baby up for adoption and went back to singing indie songs. The real life person Joni became a quadriplegic and went back to singing gospel hymns.  Screenwriter Diablo Cody walked away with an Oscar for writing Juno. Joni spent the rest of her life in a wheelchair—but also recorded a song that’s just been nominated for an Oscar.

“The world breaks everyone and afterward many are strong in the broken places.”
Ernest Hemingway
A Farewell to Arms

The now 64-year-old Joni also become a speaker, author of 50 books, married Ken Tada, and for the past 35 years has provided a global outreach to people with disabilities—including an organization that restores 10,000 wheelchairs per year and ships them to people in need around the world. If you like heroic underdog stories then you’ll enjoy Joni’s.

The Hollywood Reporter says the Oscar nominated song she sings (Alone Yet Not Alone) caused a “mini-controversy.”  The Week called the nominee “shady” and a “genuine head-scratcher.” You can read those links, but what’s speculated is the song (music by Bruce Broughton and lyrics by Dennis Spiegel—the two who actually got the nomination) benefited from a little Hollywood back scratching.

Hollywood studios spend millions—sometimes $10-15 million on promoting their movies. There’s much written about the fierce battles to win Oscars and how every front door, back door, side door, trap door—and even no door— is explored to win the coveted award that can result in millions of dollars on the back-end of a movie. The stakes are high.  (My friend Matthew recommends the book The Men Who Would Be King which gives insights into the Oscar process. He told me, “In short, it’s ugly. Makes a UFC bout look like a Tupperware party.”)

Hollywood has been called the world’s biggest high school and at this year’s Academy Awards Alone Yet Not Alone is not sitting at the cool kids table. It’s the kid in the wheelchair sitting alone in the cafeteria.  And I hate to throw out the C word here, but adding to the controversy is the song  (which beat out songs by Coldplay, Taylor Swift, Celine Dion and other heavyweights) is from a little seen Christian film shot in the Ohio Valley.

Who knows, maybe the song’s nomination was the Academy’s version of adding a little diversity to the Oscars. A wild card—like sprinkling in Jackass Presents: Bad Grandpa into the Oscar nominations (Steve Prouty for hair & makeup). And maybe, just maybe, the song was nominated on merit. Broughton after all does have an Oscar (Silverado) and 8 Primetime Emmys. (Talent not typically found on a smaller independent film.)

But keep in mind there are four Biblical films coming out this year including Russell Crowe as Noah and the February release of Son of God —and even the book that’s the basis for the Angelina Jolie directed Unbroken (scheduled for a December release) has a Christian theme. Studios are concerned about every Christian with ten dollars in their pocket and just the Academy nominating Alone Yet Not Alone (for whatever reason) I imagine is seen as an olive branch by many Christians.  That olive branch didn’t hurt a little Mel Gibson film a decade ago.

Several years ago when I was based in Cedar Falls, Iowa I provided camerawork for an episode of a TV program that Joni and Friends produced.  (Couldn’t find that program online, but Wheels for a Kid’s World gives you a solid glimpse into Joni’s work and world.) I also produced a video of Joni talking at the Minneapolis Convention Center and remember it well because she quoted a classic Frank Darabont script and movie.

(Here’s a similar context I found online from a book Joni wrote about visiting someone she knew in intensive care and unresponsive after a tragic accident. )

“I sat there by Gracie’s hospital bed. I read Scriptures to her. I sang to her: ‘Be still my soul, the Lord is on thy side.’ I leaned over as far forward as I could and whispered, ‘Oh Gracie, Gracie, remember. Hope is a good thing, maybe the best of things. And no good thing ever dies.’ She blinked at that point, and I knew she recognized the phrase. It’s a line from the movie The Shawshank Redemption.
Joni Eareckson Tada
Hope…the Best of Things

While I did talk with Joni it’s doubtful she’d remember me, but I remember her well. And I got a signed book out of the deal.

Because Joni can’t use her arms she signs books with a pen in her mouth. (And singing is no simple task either for Joni. According to The Hollywood Reporter, “Her lung capacity is just 51 percent of what it ought to be — so weak, in fact, that her husband needed to push on her diaphragm while she recorded the Oscar-nominated song to give her enough breath to hit the high notes.”) She’s an amazing woman and I’m thrilled to see her in the spotlight. And the best thing about a little Oscar controversy is it puts the spotlight on the global work she’s done and continues to do for people and their families dealing with disabilities. You know the old cliché , “Hollywood couldn’t have written a better story”—but I’m glad they added a chapter to Joni’s story.

photo

That book,  Joni, An Unforgettable Story, is an updated version of the book she wrote that became the feature film Joni (1979) written and directed by James F. Collier and stars Joni herself.

“How far you go in life depends on your being tender with the young, compassionate with the aged, sympathetic with the striving and tolerant of the weak and strong. Because someday in your life you will have been all of these things.”
George Washington Carver

1/29/14 Update: According to Indiewire tonight, “The Academy’s Board of Governors voted to take back the Original Song nomination for ‘Alone Yet Not Alone,’  music by Bruce Broughton and lyric by Dennis Spiegel. The decision was ‘prompted by the discovery that Broughton, a former Governor and current Music Branch executive committee member, had emailed members of the branch to make them aware of his submission during the nominations voting period.'”

No additional song will be added. One good thing that came out of this Oscar controversy is it shed a little light on the work Joni is doing.

And really, if you’re a producer of Alone Yet Not Alone you have to take this news like Bill Murray in Scrooged did when he’s told about a woman who had a heart attack over a TV promo his network ran. Murray at first looks distraught, then exclaims, “You can’t buy this kind of publicity!” Alone But Not Alone was put on the radar because of this controversay and today’s news seals the deal on it being locked in as a permenat footnote in Oscar history. Can’t hurt ticket or DVD sales when the film is released. And in ten or twenty years people may forget who won for best picture, or best actor—but will remember the Alone But Not Alone controversy. Call it the year of the “Oscar-nomination but not an Oscar-nomination.”

P.S. When I lived in Burbank, California back in the ’80s I would sometimes get calls to my house asking if I was “the editor Scott Smith.” At the time I was a 16mm operator/editor, but I knew who they were really looking for—  M. Scott Smith. Smith at that point had edited  To Live and Die in L.A. and Some Kind of Wonderful. Other big projects he’s edited are The Crow and Ladder 49 starring John Travolta and Joaquin Phoenix. Turns out he’s the editor on Alone Yet Not Alone.

Scott W. Smith

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Looking for a New Year’s screenwriting resolution? Here’s one nicely tucked in just two sentences that you can adopt:

“The road to Hollywood is neither a sprint nor a marathon…it’s a death march. The smartest things you can do to advance your craft and career are to read scripts, watch movies, be up to date on the current script marketplace/industry, network, and write 2-3 scripts a year.”
Christopher Lockhart
WME Story Editor, Producer
@TheInsidePitch1

And as a bonus link to learn how to get started today (and exactly what equipment you’ll need) to write those 2 or 3 screenplays this year, check out screenwriter Brian Koppelman’s video Six second screenwriting lesson No. 121.

P.S. And that second Lockhart sentence is good even if your goal is making indie films in unlikely places. (My WordPress annual report said last year this blog had readers in 191 countries. Thanks for stopping by and best wishes for you and your writing this year.)

Related Posts:
The 99% Focus Rule (Tip #70)   “I would say 99% of your effort should go to writing a good script.”—Michael Arndt (Toy Story 3)
Bob DeRosa’s “Shortcuts” “There are no shortcuts. There is only hard work. Perseverance. Luck. Craft. Failure. Success. Mistakes. And yes, dreams that come true.” Bob DeRosa (The Killers)
Screenwriter’s Work Ethic (Tip #2) “For me, it was a matter of years of trying to develop my writing in the same way that some people spend years learning to play the violin.” Frank Darabont (The Shawshank Redemption)
The Secret to Being a Successful Screenwriter (Seriously)” “I lived in a tiny studio apartment…” John Logan (Hugo)
How to Become a Successful Screenwriter (Tip #41) “When you’re starting out, it’s hard to imagine how you’ll ever ‘succeed.'” Michael Arndt (Toy Story 3)

Scott W. Smith

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