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scr(i)pt Magazine - March/April 2005
March/April 2005
Issue Highlights
FEATURE
By Peter Steinfeld
Screenwriter Peter Steinfeld coolly reflects upon his experience of adapting Elmore Leonard’s novel into one of the most anticipated sequels in recent years.
By Massy Tadjedin
Scribe Massy Tadjedin details her experience of rewriting The Jacket, a fascinating thriller about one man’s personal quest for identity.
By Ann Peacock
Screenwriter Ann Peacock discusses how the book Country of My Skull, which detailed the traumatic events that occurred under the South African Apartheid government, led to the creation of her screenplay In My Country, a love story set during the Truth and Reconciliation Commission hearings of 1996.
By William C. Martell
Film genres are like food. Do you have a taste for a thriller? Maybe you’re hungry for a rom-com? A script in no specific genre is like a can of generic food ... who wants to eat that?
By David Sals
The term “character arc” usually conjures up images of a curved line showing a character’s path to change. Here’s a completely different interpretation that will help you build a compelling arc in your script.
By Staton Rabin
Did the report on your screenplay say: “We don’t care about your hero or his plight”? Don’t smack the script reader! Hack your way through that Hollywood jungle as story analyst Staton Rabin unveils her best-kept secrets for giving your protagonist the kind of animal magnetism that’ll turn a “pass” into a raucous “recommend.”
By Devorah Cutler-Rubenstein & Kristopher White
Hearing great dialogue is always thrilling. Use these 21 tips to create the memorable dialogue that will help sell your script.
By Ted Rabinowitz
Need honest feedback? Family and friends care too much to say what you need to hear—unless, of course, your friends and family are all literary agents. The best answer is to turn to your peers. Find out what makes a successful and prosperous screenwriting group.
By Ray Morton
What does it take to turn screenwriting dreams into reality? Ray Morton offers a few helpful tips.
By John Scott Lewinski
Sometimes thinking “outside the box” means stepping off your home turf. Learn how Chris Fenton’s H2F Entertainment took their endeavors to China to help the young company grow into a project-selling giant.
By Rita Cook
John Krokidas worked in the film industry for years, but it was a slow ride for him to sell his first screenplay.
By Robert Gustafson
The saying “If it’s not on paper, then it’s not writing” isn’t always true. Chameleon Entertainment’s Robert Gustafson discusses the writer’s role in reality television.
By Kate McCallum
The Herculean labor of writing the NBC television mini-series Hercules is de-mythologized in this candid interview with veteran screenwriter Charles Pogue.
By Daniel Manus
“We’re gonna have to pass”—the dreaded phrase writers never want to hear, but often do. Sandstorm Films' Daniel Manus gives his top 10 reasons for passing on your script.
By Rich Whiteside
Columnist Rich Whiteside takes a look at the inner workings of TV comedy and drama development at a major studio.
By John Hill
What is a treatment? Is it cousin to a synopsis? Stepbrother to a scene outline? Is a logline a baby idea? And which are the bad sheep of the family?
By Marilyn Horowitz
Writing a scene is difficult. Rewriting a scene is really difficult. Marilyn Horowitz, script doctor and NYU professor, shows writers how to make any scene great in 10 easy steps.
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