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by John Kim
scr(i)pt talks to Hollywood decision makers about what films
the industry is making and why.
by Anthony C. Ferrante
Filmmaking veteran and director of the upcoming feature Snake
Eyes, Brian DePalma discusses how he brings a script
to the screen.
by David S. Cohen
The unlikely writing team of Earl Wallace and William Kelley
produced an American classic, but not without some controversy
along the way.
by Scott E. Schwimer
Stop… before you negotiate your sale, get a good lawyer.
Then make sure he does an excellent job.
by Mark Axelrod
Can successful novels become successful movies?
by Nestor Gregory Carter
You're a young black filmmaker working outside the Hollywood
system; how do you survive and thrive?
by Holly Willis
These underpaid members of the film crew are responsible for
both timing and continuity.
by Diana Saenger
After the third largest spec sale in Hollywood history, writer/director
M. Knight Shyamalan still believes emotion sells the script.
by William C. Martell
Visit the self-proclaimed California Cannes and get a taste
of the American movie climate.
by Kyle Smith
Comedy writing legend Larry Gelbart discusses the treacheries
of Hollywood.
by John Hill
Don't be afraid to put your emotions on the page. For six
figures, they expect heart.
by Christiana Miller
The network execs want the viewers to be happy. The viewers
want the characters to shine. The writers have to make everyone
happy.
by John Kim
Screenwriter Ron Shelton (Bull Durham, Tin Cup) finds working
with the studios difficult despite his success.
by Sally B. Merlin
Why you write is as important as what you write.
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