What’s New in the July/August 2010 Issue of Script

by Ray Morton
Script sits down with first-time filmmaker Angela Ismailos to discuss her new documentary Great Directors and the legendary helmers it celebrates. Page 24.

by Todd Garner
Industry veteran Todd Garner has produced many successful films during his time in Hollywood. However, he admits none of them could have been accomplished unless someone was willing, and able, to write a compelling story with characters an audience would care about. Page 28.

by Dwayne Alexander Smith
Professional screenwriter Dwayne Smith gives his first-person account of a recent phenomenon he'd never experienced before when dealing with film executives -- the peculiar and agonizing "Silent No." Page 32.

by David S. Cohen
Amir Bar-Lev and Mark Monroe, creators of The Tillman Story, unexpectedly found themselves demythologizing a martyred American hero -- and liking him better as they did it. Page 34.

by Michael Finch & Alex Litvak
First-time screenwriters Michael Finch and Alex Litvak were chosen by Robert Rodriguez and presented with the daunting task of re-imagining 1987's beloved horror-science-fiction film, Predator. To do so, they had to overcome their initial fear of failure, dust off the franchise they grew up loving, and, come hell or high water, give die-hard fans of the original movie something they'd enjoy. Page 40.

By Zack Gutin
The writers of Saturday Night Live are a fraternity of the greatest known comedy minds working in television today. Script got a rare chance to spend a production week with head writer Seth Meyers and the other men and women who bring you the late-night sketches and jokes that have America still talking Monday morning. Join us for this rare look inside one of TV's greatest comedy institutions. Page 46.

by Bob Verini
The unlikely screenwriting collaboration of Lisa Cholodenko and Stuart Blumberg took half a decade to scratch out the story for The Kids Are All Right. Through sheer will, they have created what might be one of the very best films of 2010. Page 52.

by Jennifer M. Wood
Silver-screen storytellers Wesley Strick, Phil Hay, and Alexandre Aja are out to prove this year that not all remakes are created equal. Page 58.

by Jenna Milly
A quick search on Google for "screenwriting classes" will return pages of results with a wide range of costs and qualifications, all claiming they can teach you the craft and business of writing for film and/or television. Script examines the top choices for you to hone your talent in our annual guide to the educational opportunities available to filmmakers. Page 62.

by Andrew Gnerre
With online learning options for scribes proliferating and evolving at a stunning rate, we profile 10 screenwriting courses that stand above the rest. Page 68.

by Robert Piluso
Recent first-time writer-directors discuss the valuable insights they gained into the pragmatics and economics of filmmaking, directing actors, and conveying tone. Page 72.

by William Martell
As a teacher and professional scribe himself, columnist William Martell identifies 12 common screenwriting mistakes ... and presents his solutions for each. Page 76.