Political conflict makes great fodder for film. In a look back into Script's archives, we found this gem from Ray Morton, interviewing the screenwriter of Frost/Nixon, Peter Morgan, an adaptation based on his own play.
In recent years, how writers begin their stories has changed, choosing action over exposition. Ray Morton reminds writers the value of getting your protagonist off to a good start.
In discussing what makes an Oscar-worthy movie, Ray Morton suggests screenwriters stop thinking in narrow terms of art house versus box-office success.
Ray Morton challenges those who argue against a three-act structure, opining that screenwriting is dramatic writing and the three-act structure is as inherent to dramatic storytelling as steel is to building a skyscraper.
It's possible to have too much action in action movies. Ray Morton explores the reasons modern action movies are so monotonous, all of them having to do with an excess of action.
Where have all the big movie moments gone? Ray Morton shares insights into the missing elements in the spec scripts he reads for screenwriting contests.
Ray Morton discusses the importance of clearly identifying the genre of your screenplay. Believe it or not, some screenwriters purposely misidentify the genre of their work.
The opening scenes of a story set the tone and creates the story's world. The inciting incident sets the story in motion. But one of the most important and least talked about elements of dramatic storytelling is the build.
Ray Morton shares inspiring and beloved memories of the legendary cinematographer Richard H. Kline. Take a wonderful walk through Hollywood history.
Script reader, Ray Morton, explains why there are only four elements to screenwriting that make your story a true cinematic experience.