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Script magazine - September/October 2006
Flags of Our FathersBy Bob Verini Academy Award®-winning writer Paul Haggis reunites with Million Dollar Baby director Clint Eastwood for the historical drama Flags of Our Fathers. Haggis discusses his initial misgivings about the project and his belief that characters’ actions should always speak louder than their words. The end result is a film that says as much about hero worship as heroism in a time of war. Who You Know: Michael J. NelsonBy John Scott Lewinski He’s an unassuming comic with Midwestern roots. Still, Mystery Science Theater 3000’s Michael J. Nelson has something to say about living outside of Hollywood and maintaining his perspective. Spec Sale Spotlight: Kelley SaneBy Rita Cook With the William Morris Agency on his team, first-time scribe Kelley Sane celebrates New Line’s acquisition of his feature, the political thriller Rendition. Grey’s Anatomy: All The Right PartsBy Debra L. Eckerling One of the hottest properties in prime time offers flawed characters and universal themes like love, death and growing pains—all from a midseason replacement. Writer-producer Krista Vernoff and Senior Vice President of Drama Development at ABC Entertainment Suzanne Patmore-Gibbs explain how. Why I Write: Bobby MorescoBy Zack Gutin In his past life, Bobby Moresco made a living as a bartender, cab driver and construction worker—but those were always just jobs; his art has been his vocation. Moresco explains how the life of a writer is more about choices than sacrifices. Writing Running With ScissorsBy Ryan Murphy Upon reading the novel Running With Scissors, award-winning Nip/Tuck creator Ryan Murphy developed an intense connection to the material. That intensity impelled a passionate big-screen adaptation of Augusten Burroughs’ memoir. A Guide to Recognizing Your SaintsBy Dito Montiel Dito Montiel always had strong convictions, but the process of bringing his memoir to the big screen gave him a few more: Give your actors room to breathe; learn from your mentors; and thank those who helped you along the way. Independents: Synchronized ScreenwritingBy William C. Martell Columnist William Martell discusses how the cultural zeitgeist informs our screenwriting goals. From horror to romantic comedy to film noir, current events determine cinematic trends. Every Movie is Either Rocky or a James Bond FilmBy Ian Holt We’ve all been told there’s nothing new under the sun. Screenwriter Ian Holt insists that’s not all bad news. He shows how tried-and-true formulas can help focus a logline—and an entire “epic” masterpiece. Adapting The Black DahliaBy David S. Cohen For The Black Dahlia screenwriter Josh Friedman, adapting James Ellroy’s noir classic meant keeping the focus on relationships, not on the whodunit. Bringing The Past to Life: We Are ... MarshallBy Rachel Wimberly Survivors of true-life tragedies often bristle at big-screen adaptations. However, screenwriter Jamie Linden found most residents of Huntington, West Virginia were receptive to the We Are ... Marshall filmmakers and grateful for the catharsis—even 35 years after the tragedy. The Hill With It: Sparsely Page, Screenwriting & TimeBy Rachel Wimberly Survivors of true-life tragedies often bristle at big-screen adaptations. However, screenwriter Jamie Linden found most residents of Huntington, West Virginia were receptive to the We Are ... Marshall filmmakers and grateful for the catharsis—even 35 years after the tragedy. The Write ApproachBy David Landau A story’s point of view defines the hearts and souls of the characters. David Landau dissects the approaches of screenwriters Jeff Nathanson, Bill Condon and Akiva Goldsman. Meet the Reader: Unsung Heroes—Part TwoBy Ray Morton Semple, Mankiewicz, Richter, Forsyth, Meyer and Tesich—this issue, Ray Morton continues his homage to some of the unsung heroes of the screenwriting craft. |
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