.
scr(i)pt Magazine - March/April 2004
March/April 2004 Issue
Les Bohem reveals the challenges a writer faces in the action genre through writing The Alamo.
by Les Bohem
Action is a challenging genre. Many screenwriters are daunted by the difficult task of writing great characters in compelling action scenes. Les Bohem, a credited screenwriter of The Alamo, tackled his fear of the action scene and found that he had the talent to reveal his character's true nature in scenes that kept the audiences glued to the screen.
By Mark Bomback
Screenwriter Mark Bomback discusses how he brought his idea for a state-of-the-art thriller to the screen and how he kept the suspense at a high level while maintaining the tone of the screenplay from start to finish.
By Shawn Lawrence Otto
Some stories transition easily from novel to film; others require some tender love and care. Learn from Shawn Lawrence Otto, screenwriter of House of Sand and Fog, how this internal story found its way onto the external medium of film.
by Kate McCallum
Making your ideas come to life onscreen is not a simple process. Kate McCallum sits down with writer-director Matthew Hoge to explore how he fought to keep his ideas alive and made his dream of The United States of Leland a reality.
by David S. Cohen
Charlie Kaufman’s latest story starts with a premise familiar to sci-fi fans—a love affair erased from a man’s memory—adds surreal special effects and the unique talents of Jim Carrey, and finally weaves it all into a complex study of the nature of real love. Just don’t call it science fiction.
By Rich Whiteside
Now that there are entire networks dedicated to ‘toons, only the best shows rise above the pack by entertaining both children and adults. Butch Hartman (creator/executive producer) and Steve Marmel (producer/head writer) discuss the secrets to the success of The Fairly OddParents.
By William C. Martell
The key to making fictional characters feel real is giving them true-to-life human traits. But, what if your character isn’t even a mammal? Columnist Bill Martell examines how the writers of Finding Nemo brought human-like emotions to characters who live underwater.
By Robin Russin
To raise your screenplay’s description to the next level, you need to think in terms of specific images—images that evoke the theme and nature of your story.
By Staton Rabin
Think you know what movie stars look for in a screenplay? Think again! Story analyst and writer Staton Rabin explains how she wrote a role that attracted the attention of some of Hollywood’s biggest names and reveals for you her “trade secrets” so you can, too.
By John Hill
There is a thin line between an action film and a thriller. Veteran screenwriter John Hill highlights the ins and outs of these often-stereotyped genres of fading quality. Maybe you can find a way to spice them up.
By Joel Haber
Story analyst Joel Haber explains the process of adaptation: How it’s done, and how practice makes perfect.
Editor's Note
Letters to the Editor
Contests
Sales Force
Ask Dr. Format
Merlin's Musings
Script to Screen
Hot Sheet
Press Releases
Festivals
Sales Force
Classifieds
.
