Okay, so you’re all done with your epic screenplay about dangerous vampires in Boston and now it’s time to start pitching that script to managers and agents in Hollywood. (All of whom have more in common with a vampire than you might realize.)
But before you place that script in an envelope, and believe you’re done learning how to write a screenplay, here are a few tips to help you rewrite your screenplay to make it professional, marketable and the best script it can be.
Tip 1 Don’t do anything
I know. You’ve just typed “fade out” and you’re ready to go. But I would offer it’s good to wait a month, or at least two weeks, before you start rewriting.
Why? Because you’re too close to the material. You’ll be focusing on the little things-grammar, dialogue-when you should be working on building emotion and conflict. So take a break, and put the script in the drawer for awhile.
Many professional writers do just this very thing to ensure they don’t “fix” something that isn’t broken and keep from getting overly frustrated.
Tip 2 Cut the first 5 pages
But you need those pages, right? They are crucial to setting character and setting and…blah blah blah.
I will bet you five dollars you don’t need it. Don’t believe me…give the script out, without the first five pages. If nobody notices, you don’t need it. (It’s one of the biggest mistakes writers make when learning how to write a screenplay.)
The truth is most writers do a lot of “throat clearing” in those beginning pages. Get right to the point. (Remember five finger shoes , readers want to know what’s going on. So let them do a little sleuthing.)
Tip 3 Focused Drafts
Instead of rewriting from fade in to fade out, I like to take a pass at the script numerous times-but with a very focused intent on each rewrite. (It’s one of the hardest things I had to get when learning how to write a screenplay.)
So…maybe I’ll do a rewrite where I focus on nothing but spelling. Another…scene description. Maybe another will be pushing conflict. While another handles dialogue.
Then I’ll do a rewrite for each major character. Maybe I’ll try to add some symbolic images subtly.
After doing 10-20 of these-with very clear goals-it will help me stay on track, and make sure I cover everything.
I guarantee if you follow these 3 steps, you’ll have a tight, focused, and much better script. (Even if it’s about mutant vampires.)
Archive for the ‘Movie Quotes’ Category
There is a lot of jittery cigarette smoking and sloshed-down booze in “Revolutionary Road,” a waxworks edition of the corrosive, furiously unsentimental novel by Richard Yates about an unhappy marriage. Set in the lonely-crowd milieu of 1955, though published in 1961, the novel tracks the unraveling of Frank and April Wheeler, a handsome young couple who have been trying and failing to keep disappointment at bay by pretending that, despite their suburban address — despite a life calibrated to the commuter rail schedule, their two small children, well-stocked bar and picture window that looks over a front lawn as manicured as a cemetery — they are not like everyone else.
Frank and April — Leonardo DiCaprio and Kate Winslet in the film — are crippled by their own acute self-consciousness and their sense that they are superior to the excruciating banality they have fallen into. Fantasies about what Frank calls his “own exceptional merit” haunt the couple, a delusion they cling to like a lifeline and that registers as mutual neurosis and a symptom of some vague, larger social ill. They don’t have much sympathy for each other, and Yates has next to none, though by the time his sad, sad book reaches its terrible, jolting climax, the emotion you will probably feel most acutely is pity, for the Wheelers and perhaps even for the man who has brought them to such merciless life.
Nothing much happens in the story, just two ordinary lives coming apart at the seams. Like the novel, the film begins with a disastrous community theater production of “The Petrified Forest” in which April has the lead female role as the greasy-spoon waitress who dreams of going to France. The play is a flop, but instead of shrugging it off with a laugh as do their next-door neighbors Milly and Shep (Kathryn Hahn and David Harbour), the Wheelers embrace the failure. They drink it in deeply and let it fill them up and then, fortified by it, start hurtling insults at each other, turning the modest public embarrassment of a local play gone wrong into an affirmation of their mutual contempt and loathing.
Things continue to fall apart as Frank shuffles between the traps of office and home, and briefly into the arms of another woman (Zoe Kazan). There’s a short, sweet reprieve when, out of the blue, April decides that the only escape for her and Frank is to pack up the kids and move to Paris, where, she insists, he will at long last be able to find himself and become the man she desperately wants him to be. Paris will be their way out of suburbia and the ticky-tacky little box on a hillside on that cruelly named street, Revolutionary Road. But it’s also clear from the deadening claustrophobia of Sam Mendes’s visual style and the pounding monotony of Thomas Newman’s score that their exit is blocked.
“Revolutionary Road” is the kind of great novel that Hollywood tends to botch, because much of it takes place inside the heads of its characters, and because the Wheelers aren’t especially likeable and because pessimism without obvious redemption is a tough sell. It’s hard to think of many directors who could do it justice: Nicholas Ray, who in films like “On Dangerous Ground” and “In a Lonely Place” conveys an intimate acquaintance with twinned despair and self-loathing, might have made it work, and perhaps Paul Thomas Anderson. Mr. Mendes, a British theater director and occasional dabbler in the movies — “American Beauty,” “Road to Perdition,” “Jarhead” — seems like a bad choice to take on “Revolutionary Road,” though not because of a lack of talent. Watch Redemption Road Movie Online
Certainly there’s no shortage of talent in the movie, which displays all the fastidious attention to detail — the sack suits that seem to be swallowing Frank whole, the touches of Danish modern in the Wheeler living room — you expect from this kind of prestige production. Mr. Mendes himself is a prestige number, of course, as are the two appealing stars, who shed a great deal of sweat and tears trying to put across their characters. They enter the story with their fists in the air, and it isn’t long before they’re slugging away at each other, absorbing low blows and landing brutal hits, which they continue to do to the bitter end, in between angry, accusatory speeches about the lousiness of their lives.
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If those blows don’t resonate, it’s largely because Mr. Mendes’s investment in this story feels professional, diagnostic. Part of what makes the novel so powerful, beyond its familiar American theme of self-discovery, is its unwavering fury and how each intimate and acid word feels personal, as if Yates had dredged them up from some place deep inside his own being. No one gets off the hook in “Revolutionary Road,” least of all its author, whose insistence on stripping his characters down to the marrow is so relentless it can’t help but feel like an act of self-flagellation. As a film director, at least, Mr. Mendes comes across as too coolly diffident for that kind of blazing heat. He keeps his distance. To View The Full HD free_movies_online_for_free
Movie: The Artist
Release Date: 23 November 2011 (USA)
Directors: Michel Hazanavicius
Writers: Michel Hazanavicius
Genres: Romance | Comedy | Drama
Hollywood, 1927: As silent movie star George Valentin wonders if the arrival of talking pictures will cause him to fade into oblivion, he sparks with Peppy Miller, a young dancer set for a big break.
Jean Dujardin deserved his Palme D’or for his captivating and wonderful performance. Where to start…this film is so clever, so beautifully crafted, so mesmerising. The lost art of the silent film is once again brought to life and that era is impressively recreated, whether it be the acting style, the sets, the locations (shot in Hollywood), the shimmering black and white photography. It is obvious to see that the people behind L’artiste respected that era of film making and wanted to recreate the magic with some modern touches ( I won’t spoil them) and totally succeeded. I saw this in Cannes at an 8.30 am press screening and was totally entranced. I cannot wait to see it again!
The Artist is a 2011 French romance film directed by Michel Hazanavicius, starring Jean Dujardin and Bérénice Bejo. The story takes place in Hollywood between 1927 and 1931 and focuses on a declining male film star and a rising actress, as silent cinema grows out of fashion and is replaced by the talkies. The film is itself a silent film and in black-and-white. Dujardin won the Best Actor Award at the 2011 Cannes Film Festival, where the film premiered.
Director Michel Hazanavicius had been fantasizing about making a silent film for many years, both because many filmmakers he admires emerged in the silent era, and because of the image-driven nature of the format. According to Hazanavicius his wish to make a silent film was at first not taken seriously, but after the financial success of his spy-film pastiches OSS 117: Cairo, Nest of Spies and OSS 117: Lost in Rio, producers started to express interest.
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The forming of the film’s narrative started with Hazanavicius’ desire to work again with actors Jean Dujardin and Bérénice Bejo, Hazanivicius’s wife, who had starred in the OSS 117 films. Hazanavicius chose the form of the melodrama, much because he thought many of the films from the silent era which have aged best are melodramas. He did extensive research about 1920s Hollywood, and studied silent films to find the right techniques to make the story comprehensible without having to use too many intertitles. The screenplay took four months to write.
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The film was produced by La Petite Reine and ARP Sélection for 13.47 million euro, including co-production support from Studio 37 and France 3 Cinéma, and pre-sales investment from Canal+ and CinéCinéma. Both the cast and crew were mixed French and American.Filming took place during seven weeks on location in Hollywood. Throughout the shoot Hazanavicius played music from classic Hollywood films while the actors performed
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