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scr(i)pt Magazine - January/February 2005
January/February 2005
Issue Highlights
FEATURE
By Rachel Wimberly
Writer-directors Wes Anderson and Noah Baumbach had characters, big names attached and a place to set their project before they even knew what the plot was going to be. Rachel Wimberly interviews both filmmakers on their unique and fun way of creating a magical story.
By Nicole Kassell and Steven Fechter
Screenwriter Nicole Kassell and playwright Steven Fechter detail their challenging collaboration on The Woodsman, the harrowing story of one man’s attempt to re-enter society.
By Michael Brandt and Derek Haas
Scribes Michael Brandt and Derek Haas use their experience in the industry to provide a two-step guide for helping writers achieve that elusive script sale.
By William C. Martell
If you plan on screenwriting for a living, you have to start treating the craft like a real job. Ring in the new year right with these self-discipline strategies.
By Bob Verini
When and how should you have characters doin’ the nasty? Columnist Bob Verini examines how the writers of some of the hottest sex scenes have done it.
By Joel Haber
At least a sizable minority of films released each year are not “high-concept” films—those whose plots would not lose much in the translation to a single-sentence description. Here’s a strategy to help grow your kernel of a low-concept idea into a full-fledged, saleable screenplay.
By John Hill and Robin Russin
Great old movies, sometimes with gnarly, nasty protagonists, can be fascinating. But is it smart to write heroes that way for today’s specs? Screenwriters John Hill and Robin Russin square off on this hot topic.
By Marilyn Horowitz
Discover 10 sure-fire ways to push your screenplay over the hump by creating an incredible hero or heroine no one can resist.
By Ray Morton
A lack of focus is one of the most common flaws found in screenplays today, one that can severely limit a script’s creative and commercial potential. Columnist Ray Morton comes to the rescue with tips to help writers make their scripts as clear and sharp as possible.
By John Scott Lewinski
Robin Schorr, president of production at Sobini Films, attributes her success as a producer to her failure as a writer.
By Rita Cook
Comedy sci-fi might not be an easy sell these days, but Paul Davidson beat the odds when Ascendant Pictures snatched up his script Grounded.
By John Scott Lewinski
The spec sale market can be an enigma, even to those who work within it every day. scr(i)pt talked to a few top agents and literary managers to get their views on how screenwriters can succeed in the 2005 market as well as on what the future holds for aspiring scribes.
By Kate McCallum
Executive Producer Jeffrey Katzenberg and showrunners Jonathan Groff and Jon Pollack reveal insider background on the how, who and what of making NBC’s unique CGI-animated prime time series Father of The Pride.
By David S. Cohen
If frothy teen comedies are the disease, Imaginary Heroes is Dan Harris’ cure.
By Susan Bedusa and Douglas Tirola
The new inroad for screenwriters today is the screenwriting version of speed dating. Hopeful screenwriters pay to sit down with producers and agents for five to seven minutes and launch their careers with an idea. Sounds easy ... until you get in a room with 40 other writers all vying for the very same dream.
By Rich Whiteside
The second in a series of articles on development—columnist Rich Whiteside sits down with Cale Boyter, vice president of feature film development at New Line Cinema. They discuss feature film development at a mini-major studio and strategies on how to break in as a writer who has no Hollywood contacts.
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