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by Robert Verini
The last time scr(i)pt caught up with Steven Zaillian he
had just directed his own screenplay of A
Civil Action. The
film was the latest in a long line of impressive and personal
projects that have earned him a place on the screenwriters
A-list. Just about the only things he hasn't written,
it seems, are horror movies and sequels. Until now, that
is. Hannibal, the long-awaited adaptation of Thomas
Harris's
follow-up to The Silence of the Lambs, is set to
open in February 2001.
by Rita Cook
Writing partners Markus and Odgers find a home for their
controversial film, Shudder, within the Hollywood system.
by David S. Cohen
Shadow of the Vampire is a movie only a movie lover
could have written. A remake of F.W. Murnau's 1922
classic, Nosferatu. Shadow
of the Vampire explores the power
and fascination of film and filmmaking and provides a provocative
look at moviemaking.
by John Scott Lewinski
With dark clouds already gathering on Hollywood's
horizon, a new winter storm just rolled in from what some
insensitive Hollywood execs might call Old Man Writer. Studios
and agencies face a new threat from writers allegedly
denied a living by age discrimination.
by Diana Saenger
When frustrated screenwriter Alex Keledjian came up with
the idea of a television series about the making of movie,
he took the idea to Matt Damon and Ben Affleck's Pearl
Street Productions and projectgreenlight.com was born.
by John Scott Lewinski
It seemed like a one in a million shot, but persistence and
a willingness to work on faith brought Todd Kip Williams
and master novelist John Irving together.
by Debra L. Eckerling
Filmmaker Chris Nolan has gone from the very independent
route of writing, directing, and producing the no-budget
film noir Following to the slightly more traditional
independent film with Momento.
by Robert Byrd
In classic three-act structure, what should happen at the
turns from Act One into Two and from Two into Three?
by Genia Shipman
Notes are a fact of life in the film industry. Learn how
to give and/or take notes graciously.
by William C. Martell
You've got a hero and a goal. But you don't
have a story until you add conflict. Where does conflict
come from? An antagonist! Find out why you need a proper
villain no matter what genre you're writing.
by Robert King
In combining the fact-based stories of two mountain climbing
incidents, one in 1953, the other in 1996, Vertical
Limit raises a very difficult question: Is heroism always morally
pure?
by Adam Brooks
For Adam Brooks, adaptations can take away a big chunk of
the loneliness of writing. The book effectively becomes the
collaborator and the process of doing the work makes the
writer feel a lot more like a filmmaker.
by Howard Franklin
Creating a stereotypical villain is easy. Creating one as
a full dramatic character the audience can empathize with
is a
challenge one that Howard Franklin meets admirably.
by Gregory Allen Howard
Dealing with race in any script is always a pain in the a**o
a challenge. Since Gregory Allen Howard is associated
with several race-themed projects, it is apt that he holds
forth on how he deals with race in his scripts.
by Robert Nelson Jacobs
A wise, old writer once told Robert Nelson Jacobs there are
10,000 choices a screenwriter must make to complete a script.
Some of these choices are miniscule, others monumental. Jacobs
shares with readers the story of a few of the choices he
made in adapting Joanne Harris's novel, Chocolat,
for the screen.
by Tasha Cronin
A short film can be an incredible marketing tool so
always bear in mind that a bad short film is much worse than
having no reel at all.
by Theresa Welty
A successful screenwriting partnership is a lot like a good
marriage common interests, great chemistry,
and the will to stick together through hard times as well
as good. Brian Koppelman and David Levien have such a partnership.
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