Friday, July 03, 2009

July Issue of Script Magazine out now!


First Time's a Charm: Away We Go
Knee-deep in serious solo projects, prose-stylist marrieds Dave Eggers and Vendela Vida took the plunge into screenwriting with a whimsical 1970's-style road movie brimming with heart. Learn how an offbeat take on relationships and parenthood turned into a darlin' screenplay.

Good Character: Dexter
It's not every day that the audience is encouraged to root for a serial killer, but Dexter Morgan isn't your typical murderer, and the characters that populate his show aren't your typical supporting players. Executive Producers Melissa Rosenberg and Scott Buck share their secrets for killing them with character on the award-winning Showtime series.

Scene Fix: Andromache
Greek tragedies are fertile ground for screen epics. But other than retread an existing story, Kellie Rice decided to pick up where Euripides left off -- after the fall of Troy. Screenwriting duo Derek Haas and Michael Brandt assist Rice with a pivotal scene from her prize-winning script Andromache.

Going Global: Screenwriting in the International Marketplace
Production -- check. Effects -- check. Screenwriting -- check? With all of the film-industry vocations that have seen an increase in outsourcing, can screenwriting be far behind? Ray Morton examines the possible globe-trotting trajectory of one of Hollywood's biggest exports: story structure.

Basterd's Father -- A History of Tarantino
Does Quentin Tarantino's forthcoming Inglorious Basterds fall in line with the rest of the auteur's canon, or is it a startling departure? Through examining QT's past works and influences, William Martell analyzes the devices at work in this World War II film.

How to Show, Don't Tell
A character doesn't feel sad; he curls up in the fetal position in his empty studio apartment next to a bottle of cheap tequila. Whether writing fantasy or nonfiction, poetry or screenplays, the most successful stories are shown, not told. Mystery Man explains how writers can put this age-old mantra to use.

The Days Before, The Days Before
The story of Chad St. John and his time-travel epic The Days Before offers a glimpse into the many people an players involved in a spec sale. From bartending to a position on a movie star's payroll to sold screenwriter, St. John's journey is the stuff of Hollywood happy endings.

Independents: Anatomy of an Action Scene, Part 2
In the last issue, "Independents" looked at how action develops character. This time learn how to search the set for weapons, add ironic twists, and create high-concept scenes as William Martell continues his exploration of effective action.

How I Learned to Stop Worrying and Love the Deadline
It's do or die as the deadline looms like the embodiment of evil above the writer's head. But Don Handfield, equipped with the teachings of the great Michael Jordan, has another way to view the writer's worst enemy. Learn his secret to harnessing the power of the deadline -- a term with a fittingly depressing origin.

Writers on Writing: G.I. Joe: The Rise of Cobra
On the eve of the 2007 WGA writers strike, Stuart Beattie was asked to write a script for a movie about one of the most iconic action figures in American history. Read his account of what it took to pull together this action-packed, monster of a film that kept him writing past The End.

Writers on Writing: The Hurt Locker
As a journalist embedded with an Army bomb-squad unit during some of the most intense fighting of the war in Iraq, Mark Boal was an eyewitness to the horror and heroism of combat. After arriving Stateside, he was persuaded to turn his experience into a screenplay. Here, he relives his battle to turn solid reporting into effective film fiction.

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