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Latest Articles
Me vs. SXSW – Who Will Kick the Most Ass? Me vs. SXSW – Who Will Kick the Most Ass?by Sara Scott Let me begin with a hearty "hey y'all" from your hotshot Austinite blogger for the SXSW Film Festival. Yeah, I said it: hotshot. I'm not without skills. But can a sassy, film-savvy, eyelash-batting gal like yours truly make this festival her bitch? This remains to be seen, but I'd say round one of the ass-kicking goes to… the fest. |
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The Voice-Over Lie The Voice-Over Lie by Ray Morton I was talking recently with Maureen Green, the former editor of Script, and she was complaining about what she called "the voice-over lie": the notion that even though the general consensus in the screenwriting community seems to be that writers should never, ever, ever use voice-over in their screenplays (ever) – because it's a cheap gimmick used to cover up holes in a narrative or in story logic; because it's a lazy way to present exposition or develop character; because it's redundant and often just describes to us what we are already watching on screen; etc., etc. – they use it all the time anyway, often inventing elaborate rationalizations justifying why their script is the one exception to the "no voice-over" rule. |
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Discussing the March/April 2010 Issue Discussing the March/April 2010 Issue by Andrew Shearer Lucky for both couch potatoes and those of us who appreciate good writing, television shows have gotten a hell of a lot better in the last several years. Beginning with the more substantive content on HBO and Showtime, and now leading up to NBC's smart comedies and better dramas all around, not only are those shows enjoyable for writers to work on, but they have been successful as well. Being that the networks are looking for more and more material, it seems more and more feature writers I know are considering the move to TV writing. My own agent pushed my writing partner and me to do the same thing, and since we've been passionate about current TV content, we decided to go for it. |
The Black Pearl Dream Project: The Black Pearlby Ray Morton Every screenwriter has his or her own dream project – that special script that hasn't landed yet, but that he/she will never give up on until it finally reaches the screen. For the screenwriting duo of Eric Johnson and Paul Tamasy – authors of the upcoming Mark Wahlberg/Christian Bale-starrer The Fighter – that script is The Black Pearl. "That's one that we're really passionate about," Johnson says. "It's one we'd really love to see get made." The Black Pearl is the story of a troubled young man that tries to become a superhero in the real world and all of the complications that ensue. The concept was conceived by Johnson's cousin, actor and comic book enthusiast Mark Hamill following the infamous Bernhard Goetz "subway shooter" incident that occurred in New York City in the early 1980s. As Eric explains: |
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Podcast: Jane Goldman, Kick-Ass screenwriter Kick-Ass is not your typical comic book. The super-violent series follows an ordinary kid who puts on a costume and fights crime as a real-life superhero. Filmmaker Matthew Vaughn read the comic and decided to adapt it—before the series was even completed. Script's Jeffrey Berman talks to Kick-Ass screenwriter Jane Goldman about how the project came to life. Powered by Podbean.com |
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