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July/August 1999 Issue

For Art or Money? Writing Summer Blockbusters, Structure Wars: Part Three, Polly Platt: The Muse, Wild, Wild, West from Script to Screen.

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FEATURE:


For Art or Money? Writing Summer Blockbusters

by Theresa Welty
Since Jaws first broke box office records, Hollywood has been going for bigger and more spectacular movies. Scr(i)pt delves into this enigmatic genre to find out what defines a blockbuster and what it takes to write and sell a high concept spec.

Polly Platt: The Muse
by John W. Kim
She may not be a household name, but Polly Platt has proven to be one of the most influential and talented women in Hollywood.

From Script to Screen: Wild, Wild, West
by David S. Cohen
From television series to silver screen, see how this sure-fire summer Blockbuster fought its way through development hell.

Blockbusters
by John Kim
Summer is upon us, and so are the big-budget summer features. How do you sell the next summer blockbuster, and what are the development execs looking for in high concept spec screenplays?

Camp and Thompson's Point of View
by Diana Saenger
One-time producer's assistants are now making six-figure spec sales. This writing team has certainly come up through the ranks! Find out how they made their names in the industry.

Trial by Fire: Life in L.A.
by Alia Yunis
Thinking about making the Big Move? Screenwriters share their stories of tribulation--and inspiration--after immigrating to L.A.

Independents: The Big Picture
by William C. Martell
Is your next spec the next summer blockbuster? These plot tips and pacing tricks will keep readers turning pages no matter what your genre is.

Structure Wars: Part Three
by Rich Whiteside
scr(i)pt's continuing look at schools of screenplay structure features Viki King's internalized emotional angle and Robin Russin's genre-oriented approach to constructing your story.

The Tools of the Trade-Part Four
by John Scott Lewinski
Our final installment of software reviews covers the software available to help develop plots, narrative, and dialogue. This issue's programs--Plots Unlimited, Story Builder,and Comedy Writer--all offer invaluable tools for screenwriters.

The Blockbuster that Never Was
by Bob Verini
The Last Action Hero has gone down in Hollywood History as the big movie that couldn't. What caused this film to flop when all the elements seemed to be in place, and what can screenwriters learn from this valuable--though expensive--lesson?

The Last Word: Violence is not the Answer
By Sally B. Merlin
Creativity calls for screenwriters to move beyond the easy answer of violence and meaningless killing to create a deeper meaning in today's films.

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