Friday, December 29, 2017

Del Toro Talks Hitchcock.

With SHAPE OF WATER getting great reviews, I thought we'd let Guillermo Del Toro talk about how Hitchcock influenced his films and more... - Bill



Of course, I have my own books on Hitchcock...

HITCHCOCK: MASTERING SUSPENSE


LEARN SUSPENSE FROM THE MASTER!

Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!

Only 125,000 words!

Price: $5.99

Click here for more info!

OTHER COUNTRIES:


UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.






HITCHCOCK: EXPERIMENTS IN TERROR



Click here for more info!

HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.

Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

Bill

Thursday, December 28, 2017

Thriller Thursday: THE GUILTY MEN

The Guilty Men

The spider web fills the screen, it's Boris Karloff's THRILLER!



Season: 1, Episode: 6.
Airdate: 10/18/1960


Director: Jules Bricken
Writer: John Vlahos
Cast: Everett Sloane, Jay C. Flippin, Frank Silvera, John Marley.
Music: Pete Rugolo.
Cinematography: John L. Russell




Boris Karloff’s Introduction: “Three boys from the slums. One wanted to be a doctor, one wanted to be a lawyer, and the third... he just wanted to be Mr. Big. All three achieved their ambitions with surprising results, as sure is my name is Boris Karloff. They are the guilty men, and that’s the name of our story. That sound you hear is a heart beat. A heart beat that held together a fantastically powerful organization dedicated to big business. The big business of crime. Let me assure you my friends, this is a thriller.”

Synopsis: Kind of a precursor to GODFATHER and GODFATHER 3, the story begins with a boy names Cesare is running down a city street at night, then climbing a fire escape to a New York City rooftop that looks a lot like the rooftop set from VERTIGO... where two other boys are hanging out. The other boys ask what happened when they hear the police sirens from below, and Cesare tells them he got the money to pay for their father’s funeral... $400. His brother Tony is outraged, but Lou asks if he’s going to need an alibi. Cesare says no alibi required, he’s a clever kid and got away clean. Tony doesn’t think their father would want to be buried in a fancy coffin bought with dirty money. Papa wanted the boys to get good jobs and be decent people. Brother Cesare disagrees: “I don’t want the neighbors to laugh, we couldn’t give the old man a decent funeral, capice? We needed the money so I got it, it don’t matter how.”. “It matters to Papa, how many times he tell us a man who lives by violence, he dies the same way.” “I gotta wise saying, too: He who takes gets, and it don’t matter how. You just take and take and take.” These three boys in the slums of New York in the 1920s talk about their futures... Tony dreams of being a doctor, Lou dreams of being a lawyer... and Cesare dreams of being the biggest mobster ever known.



Now we get a montage of Cesare Romano’s rise from that kid on the rooftop to crime kingpin through stock footage and newspaper headlines. As prohibition comes in, he rises to the top, and when prohibition is voted out he organizes all of the other bootleggers into a crime syndicate that controls all of the illegal vices people crave. When the feds begin cracking down, he turns his front businesses into *real* businesses and is able to walk away from Senate hearings a free man because his hotels and shipping and other businesses are legit... they make a ton of money (even though they are still used as fronts from some criminal enterprises). Which takes us to 1960, present day...

An aging “Charlie” (Cesare) Romano (Frank Silvera) is meeting with all of the mob bosses beneath him who form The Syndicate, and some are angry that they so corporate that they are no longer criminals. Leading the pack is Gans (Jay C. Flippin) who thinks they should focus on heroin and other hard drugs before someone else moves in. Charlie says they made record profits *legally*, why push their luck? Mob Lawyer Lou (Everett Sloane) agrees. But Gans is the up and comer, like Mantegna’s Joey Zasa in GODFATHER 3, and thinks heroin is the new Prohibition... and they could become so powerful the government couldn’t touch them. Charlie gets angry and... collapses to his chair, grabbing for his heart pills.



At Charlie’s estate, doctor brother Tony (John Marley... from THE GODFATHER) attends to Charlie as Lou looks on. Charlie and Tony are hardly on speaking terms these days, but Tony is still his doctor. Tony tells Charlie he needs to get his anger under control, that’s what triggered the heart attack today... and then calls his bother scum for being part of the drug trade and says goodbye to Lou and goes back to the hospital. When he’s gone, Charlie and Tony discuss their heroin business... should they drop it? Tony says they should either drop it or get into it 100 percent. Charlie wants desperately to be legitimate, to put his criminal past behind him and decides to get out: *not* allow any part of the syndicate to import or sell drugs.

At the next meeting, Charlie proposes they stop being part of the drug traffic... Gans argues that it’s millions of dollars being thrown away, and they should *focus* on the heroin business and make even more money. Lawyer Lou offers to mediate the dispute between the two men, and most of the other mobsters are dismissed from the meeting. Charlie and Gans face off, the argument becomes heated, comes to blows... and Charlie has another heart attack, reaching for his pills. Gans pulls them away. Charlie reaches, reaches, reaches for his pills. Can’t get them. Dies of a heart attack.



Twist: Lawyer Lou was in on it... afraid that Gans *would* take over the mob, and the mob is 98 percent of Lou’s business. He couldn’t survive if Charlie lost control, so he went along with Gans and kept his job.

Charlie’s funeral: all three boys together again, but one is dead.

Gans in now in control... and wants to go full force into the drug business. When some of the legit business guys and Lawyer Lou think they should not get into it, or at least be very very cautious, Gans rubs out one of them making it look like suicide. The problem with the suicide? It splashes mud on everyone else in the syndicate including Lawyer Lou. For Lou the plan has backfired: he never really wanted to be *Gans* lawyer. In trying to save his income he has sold his soul and is liable to go down with *Gans*. He decides to turn states evidence against Gans and the mob... not knowing that Gans has his phones tapped, and after cutting a deal, leaves to turn himself in... and is shot dead in the street by Gans. But the police arrive and shoot it out with Gans and his men, the end. Everyone who lived by violence has died by violence.



Review: There are a handful of THRILLER episodes that are crime dramas and seem like rejected episodes of THE UNTOUCHABLES that found their way to THRILLER. This is one of them. Many TV shows take a while to figure out what they are, and that must have been even more difficult with an anthology show like THRILLER. There are no continuing characters and no continuing storyline, and for a while no specific *genre*. Hitchcock has a history of films which set the tone for his show, but even that show had occasional episodes that didn’t seem to fit. Hey, it’s television, we have to make a one hour show every single week! Eventually THRILLER would find itself and center on suspense with a touch of weird tales thrown in, but this week it was a crime drama.

And the accent is on the *drama* here, as most of the episode takes place in the mob’s boardroom with dangerous men... talking. This episode could easily have been a stage play about corporate politics instead of organized crime. So it seems slow and stagey, and they chunk of stock footage from some other gangster movie or show with all of the car chases and explosions and tommy gun fights looks even more like stock footage because of it. And doesn’t really inject any action into the episode. Even the three murders on screen, Charlie’s and the other mobster who doesn’t go along with Gans and Lou’s, don’t have any have action. Lawyer Lou’s is the only one with the kind of action you’d expect in a gangster story: he gets plugged in a drive by. Charlie’s comes closest to being suspenseful (THRILLER materialz) because they have to hold him away from his pills long enough to die. Actually an okay scene. The other murder is off screen, with only the discovery of the body on screen. Imagine THE GODFATHER without the violence or the pageantry.

The scene with Charlie and his pills comes in the last half of the episode! That gives you an idea of how much talk there is. And after Charlie is dead... more talk!



One of the great things this episode does is give us a “bridge” between the boys and their adult counterparts, most notably with Cesare/Charlie who slaps his hand on a table hard when making a point. We end with the boy Cesare slapping his hand down and, after the credits and montage, begin with Charlie slapping his hand down on the board room table. Easy for the audience to understand that the boy is now this man. Things like this are part of old school screenwriting and I fear are being lost these days.

It’s great to see John Marley in a GODFATHEResque story made almost 15 years before that film... but his character vanishes at the end. After Charlie’s funeral he isn’t in a single scene. I would have squeezed him in at the very end, just because he *is* the surviving brother. Technically fine, and watchable. But the *next* episode gets us back on course to what THRILLER would become.

FADE OUT

Bill

Buy The DVD!



Thursday, December 21, 2017

Thriller Thursday: The Grinch

Okay, not an episode of THRILLER, but Boris Karloff as the Grinch Who Stole Christmas. This is one of those Christmas classics that everyone my age grew up watching, and having Karloff be in an animated kid's film filled with songs is just... weird. William Henry Pratt (Karloff) was the host of THRILLER but also a legendary star of horror movies since the 1930s. He played Frankenstein's monster! He played The Mummy! And in some *great* Val Lewton horror movies like BEDLAM and ISLE OF THE DEAD (say that outloud). He was so famous as a horror actor, he starred in ABBOTT AND COSTELLO MEET THE KILLER, BORIS KARLOFF. In the early sixties he starred in AIP's COMEDY OF TERRORS with Peter Lorre and Vincent Price. This guy was SCARY! So to put him in a cartoon aimed at kids was genius.

Here's the big song about his character...



And here's part of the ending...



Jim Carrey is no match for Karloff. You wonder who had the dumb idea to remake this as a live action movie, since nothing could be better than the original. They always seem to remake the great films (so that the remake seems terrible in comparison) instead of remake those films that had potential but didn't quite work (where the remake might be an improvement).

Bill

Karloff as Santa?








Buy the DVD.

Monday, December 18, 2017

Christmas Cash? Amazon Gift Card? Blue Books $1 Off!

BLUE BOOK SALE ENDS SOON!

Got Christmas Cash or Holiday money burning a hole in your pocket? Get an Amazon Gift Card from that Aunt who usually give you the ugly sweater? How about buying some ebooks? Start the year with some information and education to help you get more writing done? Or maybe you forgot someone on your gift list? Amazon even has a "gift button" that sends the book in a "wrapper" that must be clicked to find out what the gift book is! So if you are looking for a late stocking stuffer for people with electronic feet - check out these books! Hey, they don't even need a Kindle - Amazon has a free app for any device (it doesn't work on your Mr. Coffee - I tried). Blue Books are $1 off now... but they won't be forever!

- Bill

bluebook

THE BOOK THAT STARTED IT ALL!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Nook!

Why pay $510 for a used version of the 240 page 2000 version that used to retail for $21.95? (check it out!) when you can get the NEW EXPANDED VERSION - over 500 pages - for just $9.99? New chapters, New examples, New techniques!

"SECRETS OF ACTION SCREENWRITING is the best book on the practical nuts-and-bolts mechanics of writing a screenplay I've ever read." - Ted Elliott, co-writer of MASK OF ZORRO, SHREK, PIRATES OF THE CARIBBEAN and the sequels (with Terry Rossio). (ie; 4 of the top 20 Box Office Hits Of ALL TIME.)

Only $9.99 - and no postage!


HITCHCOCK: EXPERIMENTS IN TERROR


HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

** HITCHCOCK: EXPERIMENTS IN TERROR **

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others. Over 77,000 words, under $5!


HITCHCOCK: MASTERING SUSPENSE


LEARN SUSPENSE FROM THE MASTER!

Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!

Only 125,000 words!

Price: $5.99


STORY IN ACTION SERIES


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AND ARE THEY THE RIGHT SCENES?

Your story is like a road trip... but where are you going? What's the best route to get there? What are the best sights to see along the way? Just as you plan a vacation instead of just jump in the car and start driving, it's a good idea to plan your story. An artist does sketches before breaking out the oils, so why shouldn't a writer do the same? This Blue Book looks at various outlining methods used by professional screenwriters like Wesley Strick, Paul Schrader, John August, and others... as well as a guest chapter on novel outlines. Plus a whole section on the Thematic Method of generating scenes and characters and other elements that will be part of your outline. The three stages of writing are: Pre-writing, Writing, and Rewriting... this book looks at that first stage and how to use it to improve your screenplays and novels.



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Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?

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#11 WHAT IS A SCENE?

*** SCENE SECRETS *** - For Kindle!

***

What is a scene and how many you will need? The difference between scenes and sluglines. Put your scenes on trial for their lives! Using "Jaws" we'll look at beats within a scene. Scene DNA. Creating set pieces and high concept scenes. A famous director talks about creating memorable scenes. 12 ways to create new scenes. Creating unexpected scenes. Use dramatic tension to supercharge your scenes. Plants and payoffs in scenes. Plus transitions and buttons and the all important "flow"... and more! Over 65,000 words! Print version was 48 pages, Kindle version is around 210 pages!

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#20 HOW TO SELL!

*** BREAKING IN BLUE BOOK *** - For Kindle!


Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to know for your screenwriting career: from thinking like a producer and learning to speak their language, to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and networking, to the different kinds of meetings you are will have at Studios, to the difference between a producer and a studio, to landing an assignment at that meeting and what is required of you when you are working under contract, to contracts and options and lawyers and... when to run from a deal! Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!

Print version was 48 pages, Kindle version is over 400 pages!

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Already got 'em all? Tell a friend!

- Bill

Monday, December 11, 2017

Fishing Expeditions

From 2008...

A while back I posted that I had a bunch of companies reading scripts, so I figured I’d bring you up to date.

I have this page in a legal pad that says CHANCES TO WIN across the top. When I send out a script or have a meeting or some other thing happens that may result in my name of some silly action movie, I write it down. Hey, it this script sells - I can continue to play the screenwriting game! If it doesn’t, I just cross it out. The thing about the legal pad is that it’s pages and pages of crossed out scripts and a couple that became paying gigs. So out of those six companies reading a month ago, I think one is a possible deal and the one is still just floating out there and four are completely dead - crossed out.

One of the companies requested a script that everyone seems to love and has almost been made 3 times. At one point, a director was hired (paid) and did location scouting on the script for my rewrite... and I hadn’t been paid a cent, yet. We were making a movie! Then there was a change in management at the Cable Net, and all of the old regime’s projects were shelved... including mine. I got the script back, and a year later someone else wanted to make it - and something similar happened. So this script is going to land somewhere someday, but I’m just waiting for the stars to align. Instant rejection from this company - after they requested to read it. This is the kind of thing that confuses me - it wasn’t the idea... was it the execution? If it was the execution, how come the other companies almost made it? My guess is that the company was looking for *something* and had no idea what... so they were reading anything that seemed to be close. Just fishing...

There’s this balance required in this biz between not taking rejection personally, and being blind to the faults of a script. So there’s a moment of “Was it the script? Do I need to fix it?” But I don’t think that was the case here. Next!

One producer instantly sent me a contract... Some boilerplate contract, but a strange one. It was designed for producers without money to go fishing with the script as bait - low option money for a long time period, and when it came to purchase it gets fuzzy and impractical, because that’s not important to this “producer”. Now, I’ve signed “shopping agreements” - which are fishing expeditions - but are up front about that. They don’t tie up the script for *years*. This was a contract that was all about the “producer” not getting cut out of any deal if they set it up... not about actually making a movie based on my script. You know, if I’m the guy who owns the bait, what do I need this “producer” for? I did not sign the contract.

I’d looked this “producer” up after they called me - a couple of “co-producer” credits on small films. One of the problems with producer credits is that it’s often hard to tell who was an actual producer and who just had access to the star they needed or had a facilities deal the company took advantage of. On one of my films, a guy got a producer credit because he *introduced me* to the actual producers. He didn’t do anything. It was a script that had been passed around, and he tore off the title page, gave it to the real producers, and told them if they wanted to buy it, he had the writer’s name, address and phone number. He got a credit and a finder’s fee for that title page! The thing is - how do you know what that producer title means if you’ve never worked with them before? I figured it was worth a shot.

Another producer read the script, liked it, and asked me how much I thought it would cost to make. Could I come up with a budget for them? Oh, and do I know any stars? You know, there are things that are really not the screenwriter’s job. I suspect fishing was involved there, too.

The fourth - oh boy! They wanted a list of all of my available scripts to show to their studio connection... and some sort of $1 option on anything the studio connection wanted to read. I explained to them that my $1 option days were pretty much over... and they told me how amazing their studio connection was - but they wouldn’t even tell me what company this guy was at. Come on!

A few years ago I got this call from a producer named “Terry” who had an office on Sunset and had heard really good things about me, and wanted to meet with me about a project. I drive over to his office, we talk about this project he has and this star who is interested in it... but they need a script to take to his studio connection. Okay, so far... but, of course, they aren’t financed, yet, so if I could write it for free... Um, no. “Come on, it will be good for your career. You’ll get a credit!” First meeting, so I had a couple of - well, probably VHS tapes at the time - in my bag. I pull out CRASH DIVE and toss it on the desk. “I already have some credits.” The guy gives the tape to his assistant who puts it in the player on the other side of the office and hits play - and the movie starts. And it has submarines at sunset... and then my credit comes up, and “Terry” looks confused. “You wrote this movie?” “Yes. And several others.” (I probably pulled something else from my bag.) Seems that “Terry” didn’t look me up - pre-IMDB days, but there was Film Writers Guide and some online databases... and he could have just asked me. But he asks me one more time if I’d write his script for free, and I decline. And as far as I know they never made that movie, and now that we have IMDB I’ve looked up “Terry” under his real name and he’s done nothing. Nada. Zilch. I’m kind of surprised, because he either had huge balls or a pea brain - and either could get him places a normal person can not go. Lotta fishing goes on in this town.

You may be wondering where I find these people... but they’re the ones who find me. Usually someone passes them a script, or someone they have worked with in the past recommends me. So they often have already read a script when they call me. I do the best I can to vet them, usually just looking them up on IMDB (unless they mention some movie I’ve heard of) - and I usually ask what they’ve done. But that doesn’t always separate the nuts from the bolts. I figure if they come through with a deal, that’s great - if they just waste a little bit of my time, well... I’ve had *studios* waste my time.

One of the last two looks like it’s going to happen - should know at the end of this month (reffed twice, now) and one is still floating around... waiting to get crossed out.

But meanwhile some other things have taken the place of the crossed out chances. One is a remake of a 1980s movie for a studio (had a meeting on that Tuesday with the producer, two weeks from now with the studio). One is a movie for Spike TV - real producer with real credits. One is a movie for another cable-net (had a meeting with them a week ago - I thought it went terrible, they want me to bring them some scripts - may tell you more about that in a later post). And I have a producer who seems interested in taking a script to a studio’s new D2DVD label - that has an odd limited theatrical possibility. Probably most of those will be crossed off the CHANCES TO WIN list next month...

I guess I’m fishing, too... but at least I own my own bait!

- Bill

Friday, December 08, 2017

The French Hitchcock?



If you've seen INGLORIOUS BASTERDS, the movie playing at Shoshana's cinema that gets bumped for the Hitler Assassination Plan is called LE CORBEAU (THE RAVEN) - she has to take the letters off the marqee. The film was directed by Henri-Georges Clouzot, who is often called the French Hitchcock. Clouzot also directed a couple of my favorite films, WAGES OF FEAR and DIABOLIQUE. He is a great director - knows how to build tension to the breaking point. LE CORBEAU was only his second film, but it still works decades later.

LE CORBEAU is about an alof handsome young doctor in a village hospital who begins to get threatening letters signed by "The Raven". The letters accuse him of having an affair with an older doctor's pretty young wife... and of being an abortionist, who may even have been the one who knocked up all of the women he's accused of aborting. Because he wasn't born in the village, he's seen as an outsider... and when word gets out people believe these rumors.

The old doctor's wife also gets a letter from The Raven... and soon half the village are getting threatening letters accusing them of some rumored activity. The Raven knows *everyone's* secrets! Who can it be? The old cuckold doctor and young doctor basically must work together to find out who is The Raven. And there are some *great* suspects and a really shocking twist end. Actually, a double twist.



Though this is an early film of Clouzot's - not as suspenseful as DIABOLIQUE, it still packs a punch and has some very well drawn characters and it will keep you guessing until the end. The alof doctor is an interesting protagonist because he has a deep dark secret - and we think we know what it is and we are completely wrong. The character is a twist.

If you're curious about French films made during WW2 and during the Nazi Occupation, check this one out. Oh, and look between the lines for a message about living and working in Nazi Occupied France.

- Bill

Wednesday, December 06, 2017

Great Movie Moments:
Harry's Intro - THE THIRD MAN

When BAFTA - the British version of The Academy Of Motion Picture Arts And Sciences - decided to come up with a list of the 100 Greatest British Films Of All Time, the #1 position did not go to an adaptation of Shakespeare or some other classic novel, nor to any of the gritty realistic films of the 60s and 70s... but to a *thriller* that was a huge financial success - THE THIRD MAN (1949). Based on a novel by Graham Green and directed by Carol Reed, it’s fun and funny and filled with chases and action scenes and other typical genre stuff. Just done right, and about the subject of black market medicine after World War 2.

If you have not seen the film - shame on you, and I’m going to spoil the heck out of it.

The story is about American Holly Martins - a pulp western writer with a silly name - who goes to Vienna when his old pal Harry Lime offers him a job. But when he arrives he discovers that Lime is *dead* - hit by a truck in a mysterious accident. Though only two people (who claim to have been Harry’s friends) were present when Harry died... one witness claims to have seen a third man, who was not questioned by the police. Martins acts like one of his Cowboy Sheriff characters and decides to track down the truth - because maybe Harry was *murdered* and the third man is the killer. This gets Martins into all kinds of trouble, because Harry was involved in the black market and those two “friends” of his are dangerous criminals. Between the criminals and the police (British military police) people are following Martins and maybe trying to kill him. Then, one night, he sees one of the people following him...



Twist - Harry is alive!

- Bill

Monday, December 04, 2017

Loglines For Hit Movies

From May 2009...

Many screenwriters have trouble coming up with loglines for their screenplays. A logline is a one sentence description of their story, like the ones used in TV Guide. The idea behind a logline is to sum up the story in the most interesting and provactive way, which will make readers of the logline wish to read the screenplay. So I have compiled three things to help all of you struggling screenwriters.

1) Often writers want to know what the loglines for hit movies look like, to help them construct their own loglines. Here is a place where you can read actual loglines for popular films: Loglines For Hit Movies!

2) And often writers can be stumped for a high concept story idea, so here is a website that will help you come up with the next seven figure script sale concept: Hit High Concept Movie Ideas!

3) And last... and probably least... here are actual loglines from the listings of my movies from the page for the U.K.'s Movies For Men Channels...

Movies 4 Men:
5/20 - 21:10 - Crash Dive - The crew of a nuclear submarine rescues supposed victims of a boat disaster, but the victims turn out to be terrorists intent on capturing nuclear weapons aboard the sub. 1997.

Movies 4 Men 2:
5/21 - 20:05 - Steel Sharks - When a United States submarine is seized by terrorists, a rescue attempt by Elite Navy Seals goes awry. The submarine crew wages a silent war beneath the waves in this tense undersea thriller.

5/23 - 21:00 - Crash Dive - The crew of a nuclear submarine rescues supposed victims of a boat disaster, but the victims turn out to be terrorists intent on capturing nuclear weapons aboard the sub. 1997.

As usual, the writer gives no refunds...

- Bill
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