Filmmaking
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Rediscovering Morality Through Ashgar Farhadi’s A Separation
There is no shortage of ugliness in the world, If Man closed his eyes to it there would be even more.
We know you've been working very hard on your screenplay, but before you go looking for some professional feedback, you might keep in mind the following piece by A History of Violence screenwriter Josh Olson. I will not read your fucking script. That's simple enough, isn't it?
I Will Not Read Your Fucking Script
Being the big super slow-motion fans that we are, last week we went over the several solutions that are there out there to make some good super-slow motion. We began with Cameras that are good to do it . In this post, we’ll take a look at Software.
How To Do Super-Slow Motion: Part II, Software
An alternate title for this post might be, “Things I Think About Writing,” which is to say, these are random snidbits (snippets + tidbits) of beliefs I hold about what it takes to be a writer.
25 Things Every Writer Should Know
You’ve got some basic ideas of what your character is like: gender, age, vocation, manner. As described in Finding and Creating Characters , you’ve given your character a problem, a need. Now you’re ready to flesh the character out.
Creating Fictional Characters—Part 4: Fleshing Out Characters with Tags, Traits, and Relationships : Lillie Ammann, Writer & Editor
A Scripped Compendium by Johnathan Carr Traditional storytelling recounts past events, whereas screenwriting is locked in the present - thus you may not deviate from PRESENT TENSE.
Screenplay Basics - Scripped
Having been going through something of film burnout that began midway through the New York Film Festival last year, I had planned to attend only a few screenings from this year's Rendez-vous with French Cinema as a way of working through the inertia.
Film Fest Journal: Notes from Rendez-vous with French Cinema 2011
Ever wondered how screenwriters do their thing? Lots of people have, and there's a whole genre of books out there devoted to helping up-and-comers understand the arcane art of movie-writing. Despite all the screenwriting panels and workshops and books and DVD commentaries in the world -- all the billions of words printed about screenwriting and how it's done -- when it comes down to it, most writers are relatively private about the nitty-gritty of their process. That's why I love reading John August's blog . August's credits include Big Fish, Go, Charlie and the Chocolate Factory, Prince of Persia and Corpse Bride , among others (so he's definitely not one of the many screenwriting book authors or teachers with flimsy/ancient credits) and one of the best things about his blog are the videos he's been making. They're essentially long-form screen captures of John writing or editing scenes, and talking as he does it.
mental_floss Blog » How to Write Movie Scenes
1. Tiny People On the Beach, Giant Heads in the Clouds