Friday, February 24, 2017

HITCH 20: WET SATURDAY (s1e5)

There's a great new documentary video series focusing on the 20 TV episodes that Hitchcock directed called HITCH 20. This episode is WET SATURDAY which also stars Hitchcock regular John Williams (TO CATCH A THIEF), this time as the guy who has no idea he's being framed for murder. This is an interesting episode because it's a calm discussion of a violent act, which somehow makes the violence more violent. Hitch called PSYCHO a comedy... and this episode is as funny as a croquet mallet to the side of the head!



This was the last episode of HITCH 20 in this season... and by next Friday I hope to have the new entry of HITCH 20 (which I'm told is on its way!)



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

Bill

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:
(links actually work now)

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

And....




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 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.

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.

Thursday, February 23, 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!



Wednesday, February 22, 2017

Flashback: My First Agent

A rerun from the first year of the blog...

Another one of those flashbacks that screenwriting gurus hate...

After my first screenwriting career writing Drive In Movies (NINJA BUSTERS) ended, I got a job working for Safeway in their liquor warehouse. Driving a fork lift and Big Joe stacker. I did that full time for almost ten years, writing scripts in my spare time and on my days off. I wrote just under 30 scripts in that decade... and got an agent on one of them.

Now I had a Hollywood agent! Cool! I had sent out about a bunch of query letters - targeting agents in Los Angeles. My thinking was - because I lived out of town I wanted an agent who lived in the same city as the producers. Why should both of us be out of town? I kept hammering the same list of agents with query letters until I got somewhere around 3 positive responses, sent scripts and signed with the first agent to say "yes".

This was a mistake.... but what was tragic at the time I now find pretty funny. I had somehow signed with the worst agent in the world - and every time I thought it couldn't get worse, it always did!

My agent had an LA address - in the San Fernando Valley. The letter he sent me was on cheap letter-head stationary and filled with blotches of white out. I was working on a Commodore 128 computer and my query letters were mistake-free, but this was the mid-1980s and the world was still switching over from typewriters to computers. Many offices still had their big IBM Selectrics and bottles of correction fluid. I figured the agent's secretary wasn't as worried about impressing me as I had been about impressing them. And they were probably using the old stationary for me, and saving the expensive stuff for people who mattered.

My agent (it was cool to say that) asked for 10 copies of the script I'd sent him. I made them up and sent them in 2 shipping boxes. He said he would begin sending them out right away. I went to work every day hoping to come home to that phone call that would change my life. When it didn't come for a few months, I decided to call my agent for a progress report. He answered the phone himself, said the script had gone out and he was still waiting for responses from producers. I told him I had a NEW script, and he asked for 10 copies. I made them up and sent them on my next day off. For a while I was sending ten copies of every new script... and my agent would send them out and we'd wait for the producers to get back. The producers always seemed to be looking for rom-coms or comedies or some other genre than what I'd written. Was he sending them to the wrong producers? He wouldn't tell me who he'd been sending the scripts to... so I decided to help by sending a list of suggestions for each of the scripts I'd already sent him.

After that he began sending me the rejection letters or telling me what the producers had said over the phone. I was getting photocopies of letters from The Thom Mount Company and Silver Pictures and other big companies praising the scripts, usually saying that they were developing a similar project or were looking for a script that could star a particular actor, and make sure that they get a chance to read any new scripts from this writer. Mount and Silver wanted to meet with me, but my agent told them I lived out of town. He took care of sending follow up scripts, and I often disagreed with his choices but at least my agent was actually calling me on a regular basis - cool!

I continued to send 10 copies of every new script, and a list of potential buyers. I read an ad in the back pages of Variety looking for a jungle adventure script... and sent a copy of that ad with my new script TREASURE HUNTER (which originally took place in the Amazon). I pressed him to send them the script, he finally did, and the company wanted to option it! My first Hollywood deal!

It was a German production company, and they weren't going to pay for my airfare or hotel. My agent said he'd do the whole deal himself, but I wanted to BE THERE. So I took the time off from work, bought an airplane ticket and made a hotel reservation, and flew to Los Angeles. I was about to get my big break! Despite the cruddy letterhead, my agent had landed me a deal! I had the greatest agent in the world!

I would find out just how great my agent was when I flew to Hollywood to make the deal. I landed at LAX and waited for my agent to pick me up. Whenever a Mercedes or BMW circled near the arrivals area, I expected it to pull to the curb. They just zoomed past. In Hollywood, presentation is very important - so I knew that he drove a fancy car... even if it leased. I was driving a fairly new blue Ford Taurus at the time (thanks to Safeway Credit Union). Maybe my agent drove a Rolls? Or was sending a Town Car? I kept smiling at drivers whenever a luxury car passed by...

Eventually this beat up old Datsun 4 door pulled to the curb, and my agent swiped all of the junk off the passenger seat so that I could sit down. I had to throw my single piece of luggage in the back seat - he told me his trunk was full (of what?). The passenger window was broken and a piece of plastic tarp had been duct taped over it - it was hot but you can't roll down a piece of plastic tarp. Okay... so my agent didn't drive a pretentious luxury car... or keep his old crappy car very clean.... he probably made up for it with his skills as a deal maker, right?

We went directly to the meeting in Beverly Hills. A small office that I think was on Beverly Blvd. The producer was there, as well as a director. These guys had made a couple of small films with casts from recently canceled TV shows and people like George Kennedy who usually played the sidekick. Their previous film starred George Lazenby - the only one film James Bond. This wasn't going to be a big blockbuster, but was going to be a big film for these guys. I was excited.

When they made their first (low) offer, my agent wanted to take it. I thought we should at least TRY to get more money. Because my agent was playing the good guy, I decided I'd better play the bad guy - I told them when they were ready to make a serious offer, they could contact my agent... and I left the office. My agent was shocked. I got about halfway down the block before the pudgy little producer caught up with me, explaining that was just a starting point in the negotiations.

We agreed on $40,000 with a $5,000 option for six months.

When we got back to my agent's pseudo-car, he chewed me out for making waves - I could have blown the deal! Why did I leave the office and make the producer chase me? Why did I ask for so much money? Why didn't I just let him handle the deal?

As we pulled away from the curb leaving a thick cloud of smoke that drifted over Beverly Blvd, I asked if we'd be going back to his office. "NO!" Instead he'd buy me a celebratory dinner. We'd closed a big deal ($40k is a big deal?) and now it was time to celebrate. Would he take me to Chasens (down the street) where Hitchcock dined? Or Spago? Or Mortons? Or one of those trendy LA places where the stars hung out? "Do you drink?" he asked me. A weird question - but maybe he was going to splurge on a bottle of champagne. Some restaurants had better wine cellars than others. If he was planning on order a bottle of Dom Perignon 1957 (like James Bond) you probably have to select a restaurant that has a bottle in their cellar. "Yeah. I've been known to have a beer or two." "A beer drinker! That's perfect!" Sure - a beer drinker would be more impressed with a bottle of 1957 Dom than a wine connoisseur would. We drove into the luxurious Hollywood Hills...

And over the hills into the Valley. We ended up at this crappy bar near the Van Nuys airport that had beer by the pitcher... and a free Happy Hour buffet. After buying the pitcher and handing me a glass, he pointed to the chicken wings and mini-tacos and said "Dinner!" Not exactly Chasens or Spago... or even Denny's. I ate as many chicken wings as I could, but still ended up hammered and hungry and half-deaf from the airplanes flying right over the bar's roof and landing a few feet away. After happy hour was over, he drove me back to my hotel. I ended up walking down the street to a Denny's and getting an actual meal as soon as he was gone.

The next morning I took a taxi to his office before my flight. It was an 8 by 8 room without any windows over a motorcycle repair shop in the slums of Reseda. No secretary - no room for a secretary. With the door closed, the place was like a cave... or maybe like a closet (except for the din of guys using power tools to repair motorcycles). His office might have been in Los Angeles, but it was about as far away from Hollywood as you can get. I found out that his other clients were mostly washed up rock bands from the 1960s - one hit wonders that you didn't know were still around. He was a nice guy, but not much of an agent. I flew back home that afternoon, got my $5,000 check a few weeks later, but the Germans never made the film and allowed the option to expire.

A couple of months later I went to the American Film Market in Los Angeles for the first time (and adventure I'll chronicle later) and I collected a stack of business cards from companies looking for scripts. One particular company had just co-produced their first feature with a Swedish company - a low budget horror movie - and planned on making a couple of films a year. They needed scripts! I'd pitched them one of the scripts that the Mount Company and Silver Pictures had liked, and it was EXACTLY what they were looking for. The VP of Production told me: "Have your agent messenger it to me on Monday." Cool! I had a potential deal with a brand new company with an upcoming theatrical release. I was in on the ground floor.

I drove by my agent's office on the way home and over the din of power tools told him to make sure he messengered a copy of that script to the company on Monday morning. I offered to stay over an extra night and take it myself, but my agent yelled that he'd take care of it. The entire 8 hour drive home I was excited - I probably wouldn't be working at the warehouse much longer! I worked all day Monday on adrenaline (no sleep) but still had trouble falling asleep that night. Every day when I came home from work I expected a message on my machine from my agent that they wanted to buy the script. By this point in time I knew the Southwest Airline schedules by heart and knew the best inexpensive motel in the Beverly Hills area to stay in (the Holloway). I was prepared to fly down as soon as I got the phone call from my agent. After a couple of weeks with no message, I called for a progress report. My agent didn't know anything. I kept calling every week - still no word from the production company. Did they hate the script? Nina Jacobson at Silver and Bess Semans at Mount had loved it. Maybe they were waiting for the release of their horror movie? I called my agent every week for a progress report... MONTHS later he admitted he still hadn't gotten around to sending my script! By that time the film had come out, become a huge hit, and the window of opportunity had closed. Every agent in Hollywood was sending them scripts. The horror film was NIGHTMARE ON ELM STREET, the company was New Line Cinema. Since then they have TWICE paid $4 million for a screenplay... and recently produced the LORD OF THE RINGS trilogy.

I fired my agent soon afterwards. By then I had sold COURTING DEATH to a Paramount based company on my own and my second career in screenwriting was about to begin.

- Bill

Tuesday, February 21, 2017

Trailer Tuesday: DAVE (1993)

Happy President's Day!

Director: Ivan Reitman.
Writer: Gary Ross.
Starring: Kevin Kline, Sigourney Weaver, Frank Langella, Ving Rhames.


This week, because the President's Day Holiday was yesterday in the USA, we're going to look at the Carpraesque DAVE (1993) about a nice guy who runs a temp employment agency and has a side job as a celebrity look alike for the President, who ends up becoming the temp President when the real one goes into a coma. This is a sweet film that managed to do it all: it’s a great film about American Politics, it has traces of romantic comedy, it’s shows the corrupt back alley deals that go in on (a version of the real life Keating Five Savings And Loan Scandal), it’s about a regular guy taking on the establishment (like Capra’s MR. SMITH GOES TO WASHINGTON) and it’s a fun comedy. Oh, and it’s probably the first film I ever noticed Ving Rhames in, because he steals the show as the President’s #1 Secret Service Agent. He has a line at the end that makes me tear up every time I see the movie, and the way that line is set up is a great lesson in screenwriting.

Crap, now I have to talk about that, huh?



First we need to have the story set up...

Okay, the story has Dave Kovick (Kevin Kline), a nice guy who just wants everyone to have a job on Monday morning so that they can pay their rent by the end of the month, picked to be a “decoy President”... not by the Secret Service, but by the President’s cronies played by the always evil Frank Langella and comic turned actor Kevin Dunn. You see, the President has a girlfriend (played by Laura Linney before we knew her name!) and would like to slip away from the press to meet with her in a hotel. So while Dave is leading the Press in one direction, the real President is going in another direction. The President is stiff, overly serious, and a bit of a dick. Dave, while walking down a hallway in front of the press accidentally adds a little humanity to the President, and is sure they will be mad at him for doing that. You know, he could use the extra money being a Presidential decoy now and then.

But the President’s tryst with his girlfriend goes wrong... he has a stroke mid stroke and goes into a coma. Usually the Vice President would be sworn into office at this time, but Langella and Dunn think the V.P. (Ben Kingsley) is a “boy scout” who won’t go along with the President’s not so nice policies; and hatch a scheme. *Dave* will continue to pretend to be President (but be less visible for a while), they will keep him away from the First Lady (who sleeps in a separate room anyway) (played by Sigourney Weaver), the V.P. will be sent on a tour of foreign countries to get him out of the way, they will pin a scandal on the V.P. while he’s away to discredit him, accept the V.P.’s resignation, and then Dave will appoint Langella acting V.P... and then the President will “have a stroke” and Dave will go back to his temp employment agency as the real President will publically go to the hospital and... well, Langella will take over as President and run the country instead of just being the puppet master behind the President. Great plan!

Except for Dave.

While pretending to be the President Dave is a nice guy who realizes the President’s policies are often not so nice. They often benefit the President’s cronies more than the American people. So when President Dave has a chance to do something good, he does it... making Langella very angry. Dunn is the “pivot character” here who starts out as an antagonist but is won over by Dave and becomes his ally.

Which brings us to that great set up and pay off...

Early in the film, when Dave first gets the job as temp President, he asks the Secret Service Agent played by Ving Rhames if it’s true that Secret Service Agents would take a bullet for the President. Rhames says he would gladly sacrifice his life for the President. Dave asks if Rhames would take a bullet for *him*? Rhames gives him a look. Dave realizes he’s in trouble if someone shoots at him...

This is a great gag...

But also secretly sets up one of the last lines of the movie, when Rhames says he’d gladly take a bullet for Dave. This is one of those big moments that comes out of nowhere and makes your eyes moist.

DAVE is one of those films that manages to be both sweet and savage at the same time. If you haven’t seen it, or just haven’t seen it in a while, check it out.



Bill

Monday, February 20, 2017

My Blue Book Series!

Lancelot Link is on holiday this week!

FILM & SCREENWRITING BOOKS!



Did you get Amazon Gift Cards for the Holidays? Even if you don't have a Kindle device, Amazon has a FREE Kindle Reading App that works on any device (well, not your Mr. Coffee). FREE. So you can read any of these ebooks on your laptop or notepad or iPad or Upad or WePad or... well, just about anything. I have the app on my phone, in case I get stuck in some line at the DMV or something. So these ebooks make great gifts for you or any of your friends... or even your enemies. I think Amazon even has "gift wrapping" and "delivery"! (but, like the app not being available for your Mr. Coffee, the free delivery is not available for babies).

Learn how to write movies from a professional screenwriter: Buy a book!

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"Bill Martell is one of Hollywood's best action-adventure writers, with 19 produced films to his credit. His "Blue Books" on the art of screenplay writing are legendary and "Secrets of Action Screenwriting" is the best." - Best selling novelist Dale Brown.

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bluebook
STORY PROBLEMS?
*** STORY: WELL TOLD *** - For Kindle!

This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story? Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!
Only $4.99 - and no postage!


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NEW!
*** HOOK 'EM IN TEN *** - For Kindle!

Your story doesn't get a second chance to make a great first impression, and this book shows you a bunch of techniques on how to do that. From the 12 Basic Ways To Begin Your Story, to the 3 Stars Of Your First Scene (at least one must be present) to World Building, Title Crawls, Backstory, Starting Late, Teasers and Pre Title Sequences, Establishing Theme & Motifs (using GODFATHER PART 2), Five Critical Elements, Setting Up The Rest Of The Story (with GODFATHER), and much more! With hundreds of examples ranging from Oscar winners to classic films like CASABLANCA to some of my produced films (because I know exactly why I wrote the scripts that way). Biggest Blue Book yet! Print version was 48 pages, Kindle version is over 100,000 words - 312 pages!
Only $4.99 - and no postage!


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MOVIES ARE CHARACTERS!
*** CREATING STRONG PROTAGONISTS *** - For Kindle!
*** CREATING STRONG PROTAGONISTS *** - For Nook!
Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much morePrint version is 48 pages, Kindle version is once again around 205 pages!
Only $4.99 - and no postage!


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I WRITE PICTURES!
*** VISUAL STORYTELLING *** - For Kindle! (exclusive)

Show Don't Tell - but *how* do you do that? Here are techniques to tell stories visually! Using Oscar Winning Films and Oscar Nominated Films as our primary examples: from the first Best Picture Winner "Sunrise" (1927) to the Oscar Nominated "The Artist" (which takes place in 1927) with stops along the way Pixar's "Up" and Best Original Screenplay Winner "Breaking Away" (a small indie style drama - told visually) as well as "Witness" and other Oscar Winners as examples... plus RISE OF THE PLANET OF THE APES. Print version is 48 pages, Kindle version is over 200 pages!
Only $4.99 - and no postage!


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DIALOGUE TO DIE FOR!
*** DIALOGUE SECRETS *** - For Kindle!
*** DIALOGUE SECRETS *** - For Nook!
Expanded version with more ways to create interesting protagonists! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 175 pages!
Only $4.99 - and no postage!


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SECRETS OF SCENES!
*** SCENE SECRETS BLUE BOOK *** - For Kindle! (Exclusive)

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!
Only $4.99 - and no postage!


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BEST SUPPORTING ACTORS?
*** SUPPORTING CHARACTER SECRETS *** - For Kindle! (Exclusive)

Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and 40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page. Includes Story Purpose of characters and Subplots. Print version was 48 pages, Kindle version is around 150 pages!
Only $4.99 - and no postage!


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STUCK IN THE MIDDLE?
*** ACT TWO SECRETS *** - For Kindle!

Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that’s well over 200 pages) of tools and techniques to get you through the desert of Act Two alive!
Print version was 48 pages, Kindle version is over 208 pages!
Only $4.99 - and no postage!



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Only 402 Pages!
*** 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!
Only $4.99 - and no postage!


HITCHCOCK BOOKS



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

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 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. Over 77,000 words!

Only $5.99 - and no postage!

STORY IN ACTION BOOKS



bluebook
Over 240 pages!
*** THE TERMINATOR MOVIES *** - For Kindle!

He's back! The release of "Terminator: Genisys" (now on BluRay) is set to begin a new trilogy in the Terminator story... 31 years after the first film was released. What draws us to these films about a cybernetic organism from the future sent back in time? Why is there a new proposed trilogy every few years? This book looks at all five Terminator movies from a story standpoint - what makes them work (or not)? What are the techniques used to keep the characters and scenes exciting and involving? How about those secret story details you may not have noticed? Containing a detailed analysis of each of the five films so far, this book delves into the way these stories work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

Only $3.99!


bourne

BRAND NEW!

*** THE BOURNE MOVIES

All five "Bourne" movies (including "Legacy" and it's potential sequels) - what are the techniques used to keep the characters and scenes exciting and involving? Reinventing the thriller genre... or following the "formula"? Five films - each with an interesting experiment! A detailed analysis of each of the films, the way these thrillers work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

PRICE: $3.99 - and no postage!



UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

VINTAGE SCREENWRITING BOOKS


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ADVICE FROM #2 SCREENWRITER!
*** VINTAGE #1: HOW TO WRITE PHOTOPLAYS *** - For Kindle!
***
Screenwriting books have been around as long as films have. This series reprints vintage screenwriting books with a new introduction and history, plus new articles which look at how these lessons from almost 100 years ago apply to today’s screenplays. Anita Loos book is filled with information which still applies. In addition to the full text of the original book, you get the full screenplay to Miss Loos' hit THE LOVE EXPERT, plus several new articles on the time period and women in Hollywood.

Only $2.99!

These links all lead to the USA store, if you are in some other country and want to write a review for your country, go to your Amazon website.

Thank you all again.

Bill

Friday, February 17, 2017

HITCH 20: BACK FOR CHRISTMAS (s1e4)

There's a great new documentary video series focusing on the 20 TV episodes that Hitchcock directed called HITCH 20. This episode is BACK FOR CHRISTMAS which stars Hitchcock regular John Williams (TO CATCH A THIEF) as a henpecked husband who finds a permanent solution to his marital problems. In my Thriller class, I talk about the importance of comedy in a thriller to balance the story and make the thrills even more thrilling (peaks and valleys), and this episode has a great light comedy tone which heightens the suspense. Hitch called PSYCHO a comedy... and this episode is as funny as a steel pipe to the side of the head!



There is one more episode of HITCH 20 in this season, which I'll post next Friday.



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

Bill

- Bill

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:
(links actually work now)

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

And....



HITCHCOCK: EXPERIMENTS IN TERROR






HITCHCOCK'S MOST DARING EXPERIMENTS!



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 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.

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.

Thursday, February 16, 2017

STRUCTURING YOUR STORY Blue Book - Coming Soon!

Coming Soon!

STRUCTURING YOUR STORY Blue Book


WHAT IS STRUCTURE?

William Goldman says the most important single element of any screenplay is structure. It’s the skeleton under the flesh and blood of your story. Without it, you have a spineless, formless, mess... a slug! How do you make sure your structure is strong enough to support your story? How do you prevent your story from becoming a slug? This Blue Book explores different types of popular structures from the basic three act structure to more obscure methods like leap-frogging. We also look at structure as a verb as well as a noun, and techniques for structuring your story for maximum emotional impact. Most of the other books just look at *structure* and ignore the art of *structuring* your story. Techniques to make your story a page turner... instead of a slug!

SUBJECTS INCLUDE: Creative Steps, Hero’s Journey, Save The Cat, Seven Act Structure, Nine Act Structure, Leap-Frogging, Navajo Story Circle, Asian Structures, War Movies & Heist Films (2 Acts), Freytag’s Pyramid, Sequencing, Structural Freaks like “Pulp Fiction”, and strange story forms. How to use Chapters, Flash Backs, Parallel Chronology as in “Run, Lola, Run”, scrambled chronology as in the films of Nicholas Roeg, the importance of “flow”, and many many other freaky storytelling methods! Also professional techniques to structure your story - scene order, withholding information, twists, proper use of flashbacks, and dozens of other methods to create an exciting story.

Coming Soon!
Introductory Price: $3.99 ($1 off!)

Wednesday, February 15, 2017

Do You Care? Act Like It!

From *ten years ago*!

Okay, I’m not an actor... I don’t even play one on TV. I have done some acting in the past - in high school it was the only creative class available (for some reason, they didn’t have creative writing class - just your standard English) - but I never really wanted to be an actor. Much of my time in acting class was either trying to see Janet Englebert in her underwear backstage, or trying to round up actors to be in one of my projects. Let me tell you - being the straight guy in an acting class gives you an advantage. I took exactly one semester of acting in Community College - to find a girlfriend and cast my short films. That worked out okay.

I have some friends who act, and my friend John directs stage plays in the Bay Area. So does my friend Dennis, who I met when I cast him in a short film I made about killer mice. I know a bunch of people in the Concord/Walnut Creek, CA area who act, and when I moved to LA I was also appearing every weekend at the Onstage Theater in Pleasant Hill, CA in a play called CHEATERS - I was a Televangelist on the TV. It was kind of fun, because I was on stage almost 400 miles away from where I was working on a script - you *can* be two places at once!

5 SECONDS OF SCREEN TIME

Since then, the only acting I do is a cameo in films I write. The Hitchcock thing. One summer I saw every single Hitchcock movie at the Telegraph Theater in Berkeley. The funny thing was - there was this group of people (together) who would just get up and leave after the Hitchcock cameo! They missed some great movies because they onky saw a few minutes of them.

So, I always write in a "featured extra" role with the intent of playing it. When they made TREACHEROUS, they shot it Mexico and didn’t pay for me to fly down... so you won’t see me in that movie. I’m also not in HARD EVIDENCE (shot in Canada). You’ll find me in the non-USA cuts of VICTIM OF DIRECTOR as the dead guy in the morgue that Pete Spellos is about to cut open - they cut me out of the USA version. That was a difficult role (dead guy) because I wrote all of this funny material for the Medical Examiner... then Pete knocked it out of the park with his delivery. I had to remain still (I was dead) while this actors was saying hysterical things a few inches away. I ruined a take when Pete took a wax pencil and - like an artist - trying to figure out the perfect place to make the incision, marking it with the pencil.

I’m also in VIRTUAL COMBAT as a homeless guy with a sign that says "Will Work For Credit" at the railroad yards. I’m in NIGHT HUNTER as the piss stained drunk who grabs the hero, looking for a handout, and almost gets him captured by the police. That’s actually my favorite role - I get a big juicy close up. I’m in INVISIBLE MOM (shot at the same time) as TEAMSTER #2. They "forgot" to call me for CRASH DIVE and BLACK THUNDER and CROOKED. I show up in CYBERZONE as one of the guys in the "pirate bar" and spent the day watching Brinke Stevens strip over and over again - not a bad day! For STEEL SHARKS I played the fattest whitest guy in the Iranian Army - and the director hated me and cut me out of the movie after keeping me up *all night* waiting for my scene. Sometimes I’m in the film, sometimes I’m not. It’s never in the contract, I just make a deal with the director. If the director doesn’t like me, I probably won’t be in the movie.

READY FOR MY CLOSE UP

Well, my friends at the SoCal Film Group (I plug them in the new issue of Script Magazine) asked if I would do a cameo in a short film... and they put me in a role with almost no dialogue (they don’t know I’m a thespian) as Pizza Delivery Guy. So, I did half of my role a couple of weeks ago and finished it off yesterday. Though I think it all worked out, I was not ready for me close up. After having dinner with my friend Louis I planned on spending an hour in Starbucks reading over my script - which I hadn’t looked at for weeks... but one of the writer-directors of those horror movies from the Trilogy Of Terror entries was there and would not stop talking about his new project - so I showed up on set completely unprepared - the director’s nightmare. I read over my lines, did okay - except I kept forgetting some clever wording in one place. I eventually got one take right. Yeah, this from the guy who is bitching about Busey ignoring his dialogue in CROOKED.

But let me tell you about a couple of weeks ago - the short is a fake DVD behind the scenes extra... on what has got to be the worst movie of all time. So it’s interviews (yesterday) along with footage from the movie and out takes (shot a couple of weeks ago).

Now, if you live outside the USA you may think that shorts are a big thing... because they actually make them and show them in your country. Not here. No one ever sees shorts. They play in film festivals - then no one ever sees them again. Studios don’t fund them, producers don’t fund them, the government doesn’t fund them... Short films are made by someone cracking open their piggy bank and convincing people to work for free. There’s no profit, so there’s no pay. The *film* is the payment - and most people work on shorts in exchange for a copy of the short when it is finished. An actor might want it for their reel, same thing with the DP and director and... well, the craft services (snacks) were really good on this film, but I can’t see this short getting the craft services person any work. Hard to tell how good the food was when you watch the movie. But - this is a no pay gig. You make short film in the USA because you love making movies.

Which brings me to this actor a couple of weeks ago. I have almost no dialogue - nothing to memorize. This guy is one of the leads in the fake bad movie - and this is a scene from the movie. He has freakin’ pages of monologue. Okay - no pay... but this guy has it memorized. Not only does he have it memorized, he figures out physical things to do (business) while he’s doing the monologue that are... Genius. I mean - amazingly funny. He does the monologue - and we have to bite our tongues to stop from laughing - it’s an OSCAR worthy performance. Brilliant. Cut... let’s do it again. And he does a different version with just as much energy... and different really funny business! He does several takes - all at full force, all with really funny business. He’s doing amazing work, all for a copy of the short film.

I feel like a slacker for just memorizing my *line* and offering the director a couple of different ways I can say it.

There are people who don’t give their all when they are writing. You don’t want to be one of those people. You want to be the person who blows everyone away with your commitment, hard work, passion, creativity, and preparedness - even if you are just working for a copy of the danged short. You want to be the writers who goes the extra mile - even if there is nothing in it for you...

Because writing well is its own reward.

And people *do* notice.

- Bill

Tuesday, February 14, 2017

Trailer Tuesday: American Friend (1977)



Directed by: Wim Wenders.
Written by: Wim Wenders based on the novel by Patricia Highsmith.
Starring: Bruno Ganz, Dennis Hopper, Lisa Kruezer, Gerard Blain, Sam Fuller & Nicholas Ray
Director Of Photography: Robby Muller.
Music: Jürgen Knieper.

THE TALENTED MR. RIPLEY is getting a longform TV version from the writer of LUTHER, so let's look at another story in the Ripley series...

One of the things I have realized over the years is that the films you saw when you first *really* got into movies become your favorites because they opened doors in your mind that you didn’t even know existed. Often someone younger than I (that doesn’t take much these days) mentions one of their favorite film... and it’s some movie I think is a piece of crap. Of course, I saw it later in life when whatever door that movie opened for them had already been opened for me... so instead of being amazed at whatever the film did, I compared it to all of the other films that did that and found it lacking. But the same thing happens to me frequently: those young people who had the door opened by their film finally get around to seeing mine and think, “What’s the big deal?” This has taught me to be less judgmental about those films people love. Better that they love films than not love them!

So, in the 70s I caught this film because someone called it “Hitchcockian” and became a fan of Wim Wenders (to this day). This is not the usual Wenders film at all, but I found it fascinating that he actually understood how to make a suspense film: he knew how to use the camera to tell the story and use editing to create suspense. When someone shows that they know how to do something difficult like this, I cut them a lot of slack when they go off and do their own thing in their own style. So I was a fan of his films which are often valentines to America. He can take a 9 year old girl and turn her into the tour guide for America - seeing our world through her eyes... or show us small town life in Texas, or give us a Hollywood full of conspiracies and crime, or the great America road trip... in Germany! But I first discovered him with this Hitchcockian film based on a Patricia Highsmith RIPLEY novel about a normal dad and husband who discovers he is dying of a rare disease and is offered a fortune to leave for his family... all he has to do is kill a guy. A total stranger. A mobster the world would be better off without. Could you kill someone to help your family?



As you can see, BREAKING BAD's concept really owes a lot to AMERICAN FRIEND... the idea of a quiet intelligent man doing terrible things that are against the law to provide for his family because he is terminally ill... and killing a bunch of gangsters in the process... is the basic story of both. In both the lead must keep his side job secret from his wife and kid, and when it is discovered instead of appreciating the *huge* personal and emotional sacrifices he has gone through to provide for his family, they turn against him and he must fight to win them back. The parallels are strong between the two... which makes me wonder why nobody ever mentioned it.

Wenders was a genius for combining Highsmith’s RIPLEY'S GAME and RIPLEY UNDER WATER (the second and third novels in the series after THE TALENTED MR.) and then taking Jonathan's point of view instead of Ripley's. Instead of being the puppet master's story, we get the puppet... who finds himself in over his head just to provide for his family after he dies. The story is filled with twists and turns and has a bit of that 70's stillness used in films like THE PARALLAX VIEW. The film is also filled with music, and a love for The Beatles... and Volkswagen Beetles. Beautifully shot by Robby Muller, with a great score by Jürgen Knieper (who also scored RIVER’S EDGE), the film has a deliberate pace that works for the story...

Jonathan (Bruno Ganz who would later play Hitler in that DOWNFALL movie that you haven’t seen but *have* seen that one scene where Hitler loses it in a million memes) is a picture framer whose wife (Lisa Kreuzer) works for an auction house, and when he is introduced to Tom Ripley (Dennis Hopper, I wish it had been John Malkovich who played this role in a remake) he refuses to shake his hand. Ripley feels insulted, and later when a Paris mobster Minot (Gerard Blaine) is looking for an assassin who can not be traced back to the mob, Ripley gives him Jonathan. You see, Jonathan has a rare blood disease may not have long to live. So Minot approaches Jonathan and offers him a second opinion at the most prestigious hospital in Europe... all expenses paid... as long as Jonathan listens to his offer afterwards. Jonathan goes in for the test... and Minot creates *forged* results saying that Jonathan is knocking on death’s door. Then offers Jonathan a job killing a mobster on a train. Here’s the thing: worst that can happen if Jonathan is caught is that he’ll die before trial, and his family will still get the money and be provided for. Jonathan reluctantly agrees... and then goes to kill the man. Except it’s never as easy as you think. This leads to one of the most intense suspense scenes I’ve seen as Jonathan can’t find the right time to shoot the guy... and every second he hesitates is a chance to be caught!



Eventually he kills the mobster, only to find out there are more mobsters to be killed and Minot wants Jonathan to kill a well guarded mobster on a train. (Lots of trains in this film, it *is* by Highsmith who wrote STRANGERS ON A TRAIN). This time he is *way* over his head and his whole life spirals out of control. One of the things I swiped from this film for my HARD EVIDENCE script that was made for USA Network was the way the protagonist feels he can’t tell his spouse about this problems, when he needs all of the help he can get. Eventually Jonathan admits everything to his wife and they team up to resolve the conflict... though not in the way they thought.

One of the great things are all of the cameos by film directors. Sam Fuller and Nicholas Ray (playing the dead painter Derwatt from RIPLEY UNDERGROUND) and Lou Castel. Wenders was a real fan of American noir films and cast his heroes in the film... later he would make a documentary about Ray’s final days.



The film is an interesting hybrid between studio movie and European arthouse, technically really well made but still focusing on character and those small moments (I love when Jonathan is playing with his son or trying to get two halves of a frame to come together. This film along with Wender’s Polanskiesque GOALIES ANXIETY AT THE PENALTY KICK are slick Hollywood style films with that indie bent. He knew how to do dolly shots and crane shots and make a film that looks bigger than it probably was. His other films like ALICE IN THE CITY and THE WRONG MOVE and KINGS OF THE ROAD have a ragged indie feel to them. Oh, and this film landed him a big Hollywood picture, HAMMETT (the dude who wrote THE MALTESE FALCON based on a novel by Joe Gores... though the movie throws out almost everything from the book), and the failure of that Hollywood film lead to the success of PARIS, TEXAS and WINGS OF DESIRE. He’s done some interesting work since then on films like UNTIL THE END OF THE WORLD and THE END OF VIOLENCE and the doc BUENA VISTA SOCIAL CLUB and he has a new movie out this year.



- Bill

Monday, February 13, 2017

Lancelot Link Monday: Pre-Oscar Awards

Lancelot Link Monday! As we close in on the Oscars Big Night, other awards are given out! You know how it's the Academy Of Motion Picture Arts & *Sciences*? Well they gave out the science awards! You'll see a clip of this on the real Oscars - usually they find the hottest young actress in Hollywood and put her in the skimpiest gown and then have her call the names of the nerdy tech guys when they win - and it's that time in middle school when you were secretly admiring Debbie Morrow's new cleavage right before the bell rings and you had to put your science book in front of your trousers so that yo could leave the room without embarrassment. I think the Academy is secretly considering putting the screenwriting awards in the Science Awards because screenwriters are, for the most part, not pretty. Who wants to see us on camera (aside from our moms)? While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Lego Batman ................... $55,635,000
2 50 Shades ...................... $46,797,825
3 JW2 ............................ $30,015,000
4 Split ........................... $9,321,110
5 Hidden .......................... $8,000,000
6 Dog Purpose ..................... $7,365,335
7 Rings ........................... $5,820,000
8 La La ........................... $5,000,000
9 Lion ............................ $4,083,000
10 Space ........................... $1,760,000


Note the big numbers for the top three films - this was a crowded weekend! SPLIT at #4 is a huge hit, made for pocket change. Once again, this year's box office is beating last year's. Hollywood is doing great!

2) Well, He's Really Big In China!

3) BAFTA Award Winners (British Oscars).

4) Technical Oscar Awards Winners.

5) Tim Sutton On Violence In Indie Films.

6) PLANET OF THE BATMANS?

7) Coen Brothers - THE BIG SCARFACE? "My little friend really tied the room together."

8) We Have Some Notes On That Scene...

9) MGM Buys The Rock's New Film At Berlin Film Market.

10) Scriptor Award Winners.

11) The Failure Of Charlie Kaufman.

12) WGA Contract Update... Will I Have To Run My Strike Tip Again?

And the Car Chase Of The Week:



Okay, not a car chase...

Bill

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IMPORTANT UPDATE:

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Friday, February 10, 2017

HITCH 20: The Case Of Mr. Pelham (s1e3)

There's a great new documentary video series focusing on the 20 TV episodes that Hitchcock directed called HITCH 20, where I am one of the "guest experts". This episode is on THE CASE OF MR. PELHAM about a man who is haunted by a double who is trying to take over his life! A really weird tale, which may have been more at home of the THRILLER TV Show which was shot on the same lot. It's really a lot of fun, so take a look:



Two important things I talked about were cut for time:

1) This episode is based on a book by the screenwriter of Hitch's YOUNG AND INNOCENT which had actually been adapted into a film *the same year* in England. It has even been made a few times since then, including a film with Roger Moore titled THE MAN WHO HAUNTED HIMSELF in 1970. And someone should sue *Harlan Ellison* because his SHATTERDAY short story (made into one of my favorite NEW TWILIGHT ZONE episodes) uses the same idea. (kidding... but it would be funny payback for the TERMINATOR lawsuit.)

2) The *magic* shot. There's part of the shot in the HITCH 20 episode, we see a wide shot of the bar, move in to Pelham flagging down the Psychiatrist, then asking him to join him, and then the camera dollies backwards as they walk to a table and sit down... except that table could *not* have been there when they were dollying back! The camera would have bumped into it! So *off camera* the table was rolled into place as the camera was dollying backwards! It's one of those crazy furniture moves that Hitchcock used in ROPE so that the camera would be able to move fluidly "through" furniture and walls. By making the furniture and walls movable, they could dolly backwards "through" that table in the bar that Pelham and the Psychiatrist would be sitting at! A magic shot!

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

- Bill

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:
(links actually work now)

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

And....

HITCHCOCK: EXPERIMENTS IN TERROR






USA Readers 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.

Thursday, February 09, 2017

THRILLER Thursday: Mr. George.

BEST OF THRILLER THURSDAY: Mr. George.

(Though I have the next episode in season 2 ready to go - I haven't pulled all of the images, yet... and am exhausted today. So I'm playing hooky and doing a rerun.)

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



Season: 1, Episode: 32.
Airdate: May 9, 1961

Director: Ida Lupino
Writer: Donald Sanford based on a story by Stephen Grendon
Cast: Gina Gillespe, Virginia Gregg, Lillian Bronson, Howard Freeman.
Music: Sweet Jerry Goldsmith score.
Cinematography: John Warren.
Producer: William Frye.



Boris Karloff’s Introduction: “Our little friend Priscilla is obviously on urgent business. But in a cemetery, you say? Ah, my friends, this is no ordinary child as you can see, oh no indeed. You see, she has a very special friend and protector resting here. Oh yes, to the rest of the world her friend is properly deceased and quite quite cold. But since Priscilla is not aware of adult concepts of life and death she simply knows that Mr. George has changed his address. That’s the title of our story, Mr. George, and it concerns the fearful effect his untimely demise has on our leading players. They are: Virginia Gregg, Lillian Bronson, and Howard Freeman... and most importantly, Priscilla herself as played by Miss Gina Gillespe. And Mr. George. I warn you, hold tight to your own concepts of life and death because before the hour has ended Priscilla and her special guardian may change them.”



Synopsis: A mansion (Munster House) at the turn of the century. A little girl Priscilla (Gina Gillespie) watches from the top of the stairs until the adults have left the entryway to the house, then sneaks out to see Mr. George... at a graveyard. She goes to his tombstone and leaves a note on his grave... she wants him to come back and live with them.

Meanwhile, the adults are discussing their problem. Priscilla’s mother was wealthy and owned this house. When she passed away, the house and money was put in a trust for Priscilla with Mr. George (the family lawyer... and maybe Priscilla’s mother’s lover) as executor. Now that Mr. George has died, the trust will be passed to Judge Lambeau... who doesn’t trust these adults, who are Priscilla’s cousins: slightly crazy Adelaide Leggett (Lillian Bronson), stuffy Jared Leggett (Howard Freeman) and scheming Edna Leggett (Virginia Gregg). Edna’s dreams of wealth aren’t going to happen on the monthly allowance from Priscilla’s trust. Edna is already scheming: if Priscilla dies, they are next in line for the fortune. Jared goes upstairs...



Just as Priscilla returns. She waits until he’s gone before sneaking upstairs to her room... but she hits the squeaky step, and Edna races out to catch her. But Priscilla is already gone. Did she hear them plotting?

Edna tries to convince Jared to make sure Priscilla has some sort of accident. Jared tells her not to say such things, especially around Adelaide, since she’s crazy and there’s no telling what she might do... and if she did something and was caught, well, she’d be out her share of the inheritance, right?

In Priscilla’s bedroom, the rocking chair next to the bed begins to move and Mr. George’s ghost (voice of Les Tremayne) talks to her. He verbally tucks her in, wishes her a good night, and then the light goes out (by itself?). It’s a really sweet scene... with an unseen ghost.

In the morning, Priscilla runs downstairs to find the cook gone. Edna has fired her along with the rest of the staff. Priscilla goes outside and has a tea party with her doll. She tells her doll how much she misses Mr. George... then the wind blows through the trees and Mr. George’s voice says that he’s back, to watch over her. She thinks Mr. George is playing hide and seek with her, and looks all over for him.



In the house, Adelaide grabs Edna and points out Priscilla talking to herself. Is Mr. George out there somewhere? Or just the kid’s imagination?

At breakfast, Priscilla tells them that Mr. George was talking to her. Jared tells her she must go to her room, and when she is ready to forget this nonsense she can come down. When she’s gone, Edna tells Adelaide she read in the newspaper about some children who climbed in an old trunk and the lid locked... and they suffocated. If such a thing were to happen to Priscilla, they’d all inherit her money.

Adelaide goes to Priscilla’s room and says she thinks she knows where Mr. George might be hiding... up in the attic. Let’s go up and look for him. Adelaide and Priscilla go up to the spooky attic, where Adelaide tries to get Priscilla to look in an old trunk. But when she gets close enough to push inside, Mr. George calls for her to run to her room. Adelaide yells for her to come back... and the trunk lid falls on Adelaide’s neck and kills her!



After Adelaide’s funeral, George’s sister Laura Craig (Joan Tompkins) comes to visit. When George was ill and thought he might be dying he wrote to Laura... telling her all about the evil cousins. There’s a nice moment where Edna, dressed entirely in black from the funeral, and Laura, dressed in a white hat and light colors; do a sort of verbal tug of war over Priscilla. Edna orders Priscilla go upstairs to her room, and they escort Laura out of the house. Darkness wins.

When Edna goes up to Priscilla’s room, the rocking chair is moving and the little girl is talking to Mr. George. Of course, Edna can’t hear him and thinks Priscilla just has an over active imagination. Orders her to stop fooling around and go down to dinner. Now. When they leave Jared walks past... and sees the rocking chair moving on its own. Could George’s ghost be haunting the house? Could George’s ghost have killed Adelaide?



The next day, Jared sees Priscilla on the swing and thinks this might make for a good accident... so he begins pushing her on the swing. Tells her his arms are getting tired and she should get off, then tries to push the swing at her head! Mr. George tells her to run to her playhouse, quick! The swing blasts at her head, missing it. Jared yells for her to come back... then notices the swing has stopped midair. How is that possible? Then it shoots down and hits Jared in the neck... killing him. Great swing POV shot as it moves back and forth over Jared’s body.

Another funeral wreath on the front doors of the house.

Edna finds Priscilla playing hide and go seek with her “imaginary friend” and punishes her. Priscilla says it is Mr. George. Edna asks how can she know who it is if she can’t see him? It’s all in her mind. Is it? Edna sends Priscilla to her room, then there is a knock at the door... Laura Craig. Judge Lambeau has given Laura custody of Priscilla. Light and darkness face off again. Edna can stay in the house. Laura will come to pick up Priscilla at 10am tomorrow.



The next morning Edna ties a piece of string across the top of the stairs and calls for Priscilla to come down. Priscilla starts to run down, but Mr.George tells her to go down the *back stairs* and go to the playhouse. Edna keeps yelling for Priscilla to come down stairs this minute! When she gets no answer, she goes upstairs to grab her... making sure the string is disconnected first. Priscilla isn’t upstairs. Edna blows a gasket and races downstairs... but the string *connects* all by itself! Edna trips and falls down the stairs to her death.

Priscilla meets Laura at the playhouse and they board the streetcar for Laura’s house. Priscilla tells Mr. George that he’ll have to hurry or he’ll be left behind. Mr. George tells her that Laura will look after her now, so this will have to be goodbye. Priscilla says goodbye to Mr. George (dare you not to cry) and the streetcar takes Priscilla to her new home, as the front gate to the old home closes by itself.



Review: This is a strange little story! A tale of ghosts and murder and revenge... that’s charming and heart warming! How do you maintain that balance for an hour? In a strange way this is similar to last week’s episode, since it deals with an underdog character surrounded by schemers... except this underdog is a completely innocent little girl who gets her revenge through her best friend who is a ghost. Not an evil ghost, but a protective ghost. Last week we had an adulterous wife and no shortage of men who don’t mind that she’s married, this week we get Killing Cousins. Both stories feature dark humor and a whimsical tone. It’s impossible not to root for the happy little girl when these downright evil people descend on her and try to steal her inheritance. While they scheme, she has fun! While they fight amongst themselves, she plays in the play house! They are all about money, she is all about just having a great time. And guess what wins in this parable?

One of the great things about this episode is that all three cousins die *by their own schemes*. Adelaide tries to trap Priscilla in an old trunk, and the trunk lid drops on her neck and kills her. Jared tries to kill Priscilla with the swing, not realizing that what goes up (out?) must come down... and the swing slamming into his throat and killing him. Edna creates the tripline on the top of the stairs, and then trips on it herself. It’s as if their own evil is killing them (with a little help from Mr. George).

Hey, Mr. George is an amazing character! He is never seen, but manages to make a real emotional impression on us. We love this (dead) guy! He seems to be as happy and playful in death as Priscilla is in life.



I mentioned the score in the credits, it’s a sweet Jerry Goldsmith score that kind of reminds you of TO KILL A MOCKINGBIRD. The innocence of childhood with a touch of seriousness (for those lessons we learn in childhood). In fact, this is kind of the ghost story version of TO KILL A MOCKINGBIRD... similar tone of small town (even though this is a turn of the century city where Priscilla knows the driver of the horse drawn streetcar). There’s a real feeling of a simpler time.

Though this is Ida Lupino’s second episode on the series as a director (of nine), this shows what a remarkable director she was. She manages to maintain that tricky tone for the hour without a single fumble. She also does some wonderful camera work for an hour long show shot in a week. Other directors seem content to just set up the camera in the easiest spot and let the action unfold in front of it. Here Lupino opens with a complicated moving shot and then continues to pepper the episode of with great angle (that shot of the two evil aunts) and does an amazing shot where the camera is *on the swing* with Priscilla’s POV on the swing, and later a Swing Eye View as the swing passes back and forth over dead Uncle Jared. Cameras weighed a ton back then, so I have no idea how she pulled off this shot. It’s also a *haunting* shot, as the swing drifts back and forth over Jared’s corpse.

I don’t think it’s a secret that I’m a huge fan of hers, and her work in Film Noir both in front of the camera and behind the camera is remarkable. But how could her work as director on THE HITCH HIKER prepare her for an episode like this? This sweet, tear inducing, ghost story? Before her stint on THRILLER she directed 8 episodes of my favorite western show, HAVE GUN WILL TRAVEL. This is such a sweet episode, that it’s hard to believe she was directing a manly man western show before this! Or that she would direct the ultimate edge of the seat suspense episode of THRILLER only a few episodes from this.

Next week an episode directed by Paul Henreid (Victor Lazlo in CASABLANCA) about a famous pianist and his rival... and a war that goes beyond the grave.

Bill

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