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Posts Tagged ‘screenwriting’

“I have a whole bunch of little life hacks to break through whatever it is blocking me [from writing]. A bunch of little writing exercises…Write the absolute worst version of the scene. Just get it out of your system. Be as horrible as possible. It shuts up the voice in the head saying, ‘This isn’t any good.’ Good it shouldn’t be.”
Screenwriter Eric Heisserer (Arrival)
Basic Brainheart podcast interview with Hannah Camacho

 

 

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”I don’t particularly like [the writing process], but I don’t dislike it either. I can tell you that I’ve come to a somber acceptance that…my tastes as a consumer of movies and TV exceeds my talents, so all I can do is try my best to close that gap and to get as best a version of what it is in my head on the page.”
Screenwriter Eric Heisserer (Arrival)
Basic Brainheart podcast interview with Hannah Camacho

 

Related posts:
The 99% Focus Rule
Art is Work
Screenwriters Work Ethic

Scott W. Smith

 

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Producer/screenwriter Brian Koppelman on his podcast asked indie producer Christine Vachon about what advice she had for young people today making their way into the entertainment world.

Christine Vachon: Stop calling yourself a filmmaker. Call yourself a storyteller. Call yourself a content maker. Start looking at everything as all the different ways, all the different platforms, all the different methodologies of telling your story and getting it out of there. And don’t confine yourself to one almost archaic form. Now young storytellers will come in and say, ‘This is my series idea,’ ‘This is my long form series,’ ‘This is my episodic series,’ ‘This is my web series’—

Brian: And you’re open to all that stuff?

Christine: Absolutely. A good example is Z: The Beginning of Everything— the series we did for Amazon—Christina Ricci brought us the book and said I want to partner with you. I want to play this role, but I’m open to what it could be. So we talked through what’s the film version, what’s the mini series version?

Brian: How do we tell this story in a way that we actually get the money for it and then sell it in the right way that finds some kind of an audience for it?

Christine: That’s right.

P.S. Speaking of Amazon, here’s a link to their submissions guidelines. Next week I’ll run some posts on indie producer Ted Hope (The Brothers McMullen) who is now the head of motion picture production for Amazon Studios.

Related Posts:

Filmmaking Quote #36 (Being Platformagostic)
Kevin Smith is Platformagnostic
Steven Soderbergh is Platformagnostic
Don’t Wait for Hollywood

Scott W. Smith

 

 

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In the podcast Launch novelist John August gives an insider look into the book making process, down to the font selections and the voiceover narrator for the audio book. Because August is also a screenwriter, there’s a better than average chance that his book Arlo Finch in the Valley of Fire will become a book.

But in another podcast this month he answers the question from a frustrated novelist named Matthew who’s had novels optioned, even screenplays written based on his books and stars attached to the projects, but still not a single movie from his work has come to fruition. Here’s part of John August’s answer why:

“Most books that get optioned don’t get made into movies. Most scripts that get written don’t get made into movies. And when I see authors being so excited about the film rights sold, or it’s going to be a movie, I’m happy for them, but I also want to pull them aside and let them know that like if it gets made into a movie, that’s winning the lottery. That so rarely happens…But other times, like Big Fish, it happens. And so you just don’t know. And you have so little control over it, Matthew. That’s the remarkable thing. As the author you control everything. And every word and every comma. Movies seem like they’re made by magic. Like 200 people are off making your movie. Except most times they don’t get made. They get optioned, they pay someone to write a script. That script sits on a shelf and it doesn’t happen.”
John August
Scriptnotes, Ep. 334

P.S. Speaking of Big Fish (screenplay by John August, based the book by Daniel Wallace), I had breakfast with several people Saturday to remember a man named Jim who died recently at age 85.. At one point they wanted everyone to share a story about this him. I shared a story and then I recommended to Jim’s adult children that they watch Big Fish. Jim was from Kentucky and like a lot of people from the south, Jim could tell a yarn are two. In fact, you never were sure which stories were true and which weren’t. Which is part of the Big Fish story.

Scott W. Smith

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“Feeling completely lost is absolutely necessary to finding your way out [of the dark forest] and becoming good.”
Stephanie Foo (@imontheradio)
This American Life producer

Last week Screenwriter John August launched the podcast Launch. It’s a creative way of exploring his getting lost in the woods as a six-year-old, through the inspiration and publication process of his new middle grade novel Arlo Finch in the Valley of the Fire (aimed for 4th-6th graders).

Here’s an excerpt from the first episode of Launch:
 “The book publishing industry in generally huge. In the U.S. alone books are a 28 billion dollar business every year. That’s more than the NFL, NBA, and Major League Baseball combined. It’s not a dying business at all. Publishers make money. But are authors making money? That’s a little more complicated.”
John August

In the second episode (The Shadow of Harry Potter) August talks about how he overcame one of the challenges of writing the novel in Paris.

“The book is mostly set in winter in Colorado, but I had to write the bulk of it in the middle of summer in an apartment with no air conditioning. I end up finding these tracks on You Tube which are 12 hours of winter storm. I listened to it on my headphones. Seriously, this really helps me get in the right head space.”
John August

Some writers need total silence to write, while Stephen King writes to Metallica. Whatever works, right? One of the joys of writing this blog is seeing the polar opposites that many writers work. Some do their best work early in the morning, while others prefer writing at night. Some write from theme, others avoid theme altogether.

Listening to winter audio tracks while writing a winter story makes sense. Audio tracks of light thunderstorms, ocean waves, and babbling brooks for years have helped people meditate, reduce stress, and sleep. (Yes, there’s an app for that.) Last year when I was working through a coding tutorial I would often listen to the same Steely Dan song over and over again on headphones.  If your writing is lost in the dark forest, try some natural sounds to help get you in the right head space.

I look forward to listening to the whole season of Launch (episode three just dropped this morning), and reading Arlo Finch. And if you’re interested in the craft and business of screenwriting, make sure you check out the Scriptnotes podcast that August does with screenwriter Craig Mazin.

John August Related Posts:
Scriptnotes #300 & the Difference Between Screenwriting and Directing 
The 100th Podcast of Scriptnotes
Is It a Movie? (Touches on Scriptnotes episode #201)

Podcast Related Posts:
Power Your Podcasting with Storytelling (Part 1) 
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‘What’s Your Unfair Advantage?’ (Gimlet Media, Part 1)
S-Town, Brian Reed & Why ‘Podcasting is the Future of Storytelling’
‘Out on the Wire’ Podcast 

Scott W. Smith

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Here’s writer/director Greta Gerwig (Lady Bird) hitting on a theme that’s been central to this blog for ten years.

I’m interested in cinema representing places that don’t usually get representation. I think cinema is one of the better documenters of place. When I go to movie theaters  and I see a world that I haven’t known, or haven’t been a part of, but it feels known intimately by the people who made there’s something—it’s like a visceral experience you get through the screen…I think audiences can breath a certain amount of truth through the screen…So setting [Lady Bird] in Sacramento was a big part of writing it, and starting to find the story. And it’s not only movie I want to make in Sacramento. It’s place I know and I love, and I think you shoot things that are close to you with more care and love than you would a place that means nothing to you.”
Greta Gerwig
Slate’s Represent podcast #70

Here are three movies with a distinct sense of place from Texas to Tokyo with a stop in Denmark.

Scott W. Smith

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“I wanted to make something set in Sacramento, because I am from Sacramento and I love it. I had the idea of wanting to make a love story between a mother and a daughter, but the line I actually started with was the moment in college when someone says, ‘Where are you from?’ and she says, ‘Sacramento.’ And they [not understanding here] say, ‘Where were you from?’ and she says, ‘San Francisco.’ And that was actually the first thing I wrote for [Lady Bird]. And I almost had the sense of wanting to reverse engineer the movie from that moment. What if when she says that line the audience feels like ‘but I know all the people that you’re selling out”? And I know the details. And you sold it out to look 10% cooler to a person you just met at a party.”
Writer/Director Greta Gerwig (Lady Bird)
The Director’s Cut podcast interview (Pe. 111) with Spike Jonze

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