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scr(i)pt Magazine - September/October 2004
September/October 2004 Issue
Award-winning scribe, Julian Fellows discusses the task of adapting classic literature with his more recent work, Vanity Fair.
by Julian Fellowes
Adapting a piece of classic literature for a modern audience
can be a formidable task. Julian Fellowes, the Oscar®-winning
writer of Gosford Park, details his efforts to adapt
Vanity Fair, William Thackeray’s famous tale
of social ascension.
by John Scott Lewinski
How does a fledgling writer pay the bills? Working for the
CIA? Construction in the African sun? Teaching the techniques
of rock climbing? Renaissance woman Heather Cochran has done
it all on the way to her recent post as the coordinator for
the Academy of Motion Picture Arts and Sciences Museum project.
by Rita Cook
Almost everyone has a story from his adolescence that he wishes
would remain in the past. For first-time screenwriter Blake
McCormick, it was the starting point for his future.
by William C. Martell
With the current trend of major studios buying up independent
companies, fewer and fewer movies are actually being made
independently. William C. Martell explores the world of The
American Film Market, where independents get a chance to sell
their projects on a film-by-film basis.
by Kate McCallum
What The #$*! Do We Know!? is a quantum fable. Part
documentary, part story, with a good dose of special effects
which, when combined, create a new genre format of cinema.
Filmmaker William Arntz explains the what and why behind the
making of this fascinating film.
by David S. Cohen
What’s happened to “From Script to Screen”
this issue is A Dirty Shame ... and it’s all
John Waters’ fault.
by Rich Whiteside
In the first of a series of development articles, columnist
Rich Whiteside sits down with Wendy Japhet, senior vice president
of production at Paramount Pictures. They discuss what screenwriters
should know about bringing big ideas to the big screen at
a major studio.
by Rob Letterman
Debut feature writer Rob Letterman discusses the challenges
of writing an animated film which appeals to both children
and adults for DreamWorks’ upcoming underwater mob story,
Shark Tale.
by Leigh Whannell
How does a screenwriter approach the task of writing a self-financed
film—especially while trying to confine the action to
one room? Leigh Whannell details his method for writing inside
the box for his new thriller Saw.
by Joel Haber
You already know that format errors and poor use of flashbacks
can get under a script reader’s skin. Now learn how
to really get inside their heads and improve your chances
of selling that screenplay.
by Steve Hintz
Comedian Dave Chappelle’s long-time writing partner
Neal Brennan discusses the perks of working with an old friend—especially
for the hottest comedy show on television.
by John Scott Lewinski
Screenwriters are expected to take criticism from all sides,
and to always handle it with a smile. Learn how to take notes
gracefully, how to benefit from some and discard the rest
while maintaining your professional composure.
by John Hill
What is it about screenwriting that makes us vulnerable to
scams or being easily misled? Is it that the screen is so
big, and we’re so small?
by Brant Rose
While some scripts blend different genres effectively, many
others fall into a convoluted, unfocused mess. Agent Brant
Rose explains the delicate process of genre mixing and how
to avoid “the feathered fish” trap.
by Robin Russin
Professor Robin Russin explains why, although it’s necessary
to love all of your characters as you write them, making your
main character unlikable may be your best move.
by Ray Morton
Columnist Ray Morton provides an overview of the birth, growth
and development of our extraordinary craft.
Editor's Note
Letters to the Editor
Contests
Sales Force
Festival Watch
Ask Dr. Format
Merlin's Musings
Script to Screen
Hot Sheet
Press Releases
Festivals
Internet Guide
Classifieds
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