Jacob Krueger discusses how the writers of Black Mass tried to do the same thing by finding a different element around which to build their Whitey Bulger story than the one at the center of The Departed.
Jacob Krueger discusses how tone does not begin with trying to be funny or trying to be sad, or trying to be dramatic, or trying to be melodramatic, or trying to make the audience cry or trying to do anything.
Jacob Krueger discusses a valuable lesson, whether you’re writing an art film, like The Tree of Life, or are simply in an early draft of a more linear story, exploring alternate forms of structure is important.
Jacob Krueger using There Will Be Blood to demonstrate when you externalize the internal struggle, what it actually does, is it allows the movie to play in your reader’s mind while they read.
Jacob Krueger discusses how creating a movie, and writing a screenplay is actually a process not of manipulation, formula, or replication, but a process of removing our own masks and revealing something about ourselves, not only to our audience, but also to ourselves.
Jacob Krueger discusses a concept called "the game of the scene" using Trainwreck as an example.
Jacob Krueger discusses films as having two different levels of structure. There is the Primary Structure, which is the story that the character is telling themselves as they experience the events of the movie.
Jacob Krueger discusses how when you realize “this is what its really about,” you can start to get even more creative about the horror moments in your script.
Jacob Krueger discusses how in 'Adaptation,' Charlie Kaufman was able to focus on one pure idea and what his process can teach us about rewriting and adapting our own screenplays.