Friday, August 30, 2019

Fridays With Hitchcock:
Donald Spoto on NOTORIOUS

Donald Spoto is a film critic and Hitchcock biographer who also wrote one of the best books on Hitchcock's films. Here he looks at my favorite Hitchcock film, NOTORIOUS, and talks about a couple of things I use in my class...

1) The use of "Echo Scenes" (from Michael Hauge's screenwriting book) - where the same location is used for different scenes creating a film version of those puzzle where you look for the differences between two pictures. In my class I use the multiple scenes on the park bench from NOTORIOUS to show the way their relationship changes as the mission continues. Here Spoto looks at the two scenes on the balcony which use the same background to highlight the difference in the foreground. The earlier scene was the two coming together, here we have the two coming apart.

2) Also the use of dialogie as complete counterpoint to action. This is one of those basic screenwriting things - what they say needs to be different than what they do or you have a redundancy. Because "a picture is worth a thousand words" and "don't do what I say do what I do" and "actions speak louder than words", dialogue is usually less important that the actions of the characters. When action and dialogue are at odds, you can create subtext and depth in a scene - the actions telling us the truth and the dialogue as what the characters want to believe or even a complete lie. I use a scene from NOTORIOUS in class to show that what characters *say* in a movie means far less than what they do. This is why skipping the action to read the dialogue is the biggest mistake you could ever make - if anything, do the opposite!

Donald Spoto

Donald Spoto talks about Notorious...

The media player is loading...

If the clip doesn't load, click on the link below and scroll down...
BBC Hitchcock Page - with Spoto clip!

He also talks about the casting of Bergman, but I think that is part of a couple of larger, screenwriting related elements...

1) Interesting characters. One of the things I talk about in the 2 day class is contradiction *within* character - this creates depth. Here we have a patriotic whore and a shy spy. Bergman's character (written by Ben Hecht) is created as a daring contradiction - this is the female lead, the *romantic* lead... and she is a usually drunk party girl who is sent on a mission to screw an ugly Nazi in order to find information. Um, how many whore leads are there in film *today*? (BTW - not my moral judgement, here: women can have a love life equal to a man's... but that is *today*, in the mid-40s this was shocking stuff, and I suspect that if you wrote a rom-com about a woman who had slept with a handful of men on screen, someone would want you to change that *today*. There is a double standard for female leads on screen.) So we have this shocking character... in a love story. Hey, it might have been a big deal to cast Bergman because she'd just played a nun, but casting *any* female movie star in this role would have been a big deal. It's the character created by the screenwriter that makes it interesting no matter who you cast.

And Cary Grant's character is equally complex - he must order the woman he loves to sleep with another man... Complete love vs. duty conflict, and he screws up and picks "duty".

2) Edgy and Dramatic Concept. If I said: "In a war, a woman is forced into prostitution by the government", you would think the enemy country was doing that... not *our side*! The story concept - that a CIA Agent must order the woman he loves to sleep with the enemy - creates the characters that all three leads play. Again, Bergman is brilliant as are Grant and Raines, but the situation is so juicy that the film would have worked with other stars in the leads... maybe not worked as well, but still worked. When a screenwriter creates a dramatic situation like this, it really gives the stars something to work with. Cary Grant starred in a bunch of movies that relied on his wit and charm and good looks - here he is completely dialed down. This films is driven by story rather than star power. I think the casting of Bergman and Grant is genius - because there is a huge contrast between their usual screen personas and these characters. This is not a "Cary Grant role" at all - this guy is shy and quiet and introverted. The story concept itself is shocking and filled with drama, allowing the actors to show great emotions by doing very little. Is your concept this dramatic?

- 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 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.

Bill

Friday, August 23, 2019

Fridays With Hitchcock: Needle In The Haystack Shot

This is a great new documentary series called HITCH 20 that I am a "guest expert" on. The series looks at the 20 TV episodes directed by Hitchcock, and they did a special episode... starring me!





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 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.

Bill

Friday, August 16, 2019

Birthday With Hitchcock: Good Evening.

Happy Birthday, Sir Alfred Hitchcock!

Hitchcock's birthday was Tuesday (the 13th)! What movie did you watch to celebrate?

James Allardice wrote all of the intros for Alfred Hitchcock Presents and Alfred Hitchcock Hour, plus wrote the Hitchcock lead trailers for his films up until 1966 when he died. The Hitchcock intros were witty and dark and their own little stories which usually started with "Good evening" and then continued through the commercial breaks until coming to some sort of fun (often twist) ending just before the final credits rolled. These intros turned Hitchcock into a *star*. Just like a Kardasian, his name was on everything!

I read the ALFRED HITCHCOCK AND THE THREE INVESTIGATORS books as a kid (which were the inspiration for GOONIES and EXPLORERS) and "graduated" to the Dell HITCHCOCK PRESENTS anthologies (in my old bedroom at my parent's house there is an ancient paperback titled STORIES THEY WOULDN'T LET ME DO ON TV which I reread over the holidays) and also ALFRED HITCHCOCK MYSTERY MAGAZINE (which I still had a subscription to until recently). Hitch became the first director who was recognizable to the general public... all because of these sly and wry little intros for his TV show.

While looking for *one* of the intros a couple of days ago, I found *all* of them. So I figured I'd share them with you. Since there were 359 episodes between HITCHCOCK PRESENTS and HITCHCOCK HOUR and Hitch introduced all of them, this clip shows just the opening moments of the little story that each tells. Someone else will have to do a massive supercut of *all* the Hitchcock material!

But that clip has been removed by someone evil at YouTube and Universal. So here is an interview with Hitch from Dick Cavett...



Of course, I have my own book on a selection of Hitchcock's films that do wild experiments with story and cinema...

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!

Only $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.



- Bill

Of course, my first book on Hitchcock...




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.

Friday, August 09, 2019

Fridays With Hitchcock: Documentary On Hitch!

Here is a full length documentary on Hitchcock and his films...





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.






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.

Price: $5.99

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

Bill

Wednesday, August 07, 2019

ATLiH: Walking The Concrete Carpet

An ALL THE LOSERS IN HOLLYWOOD entry from 2006...

Thursday night I went to a movie premiere. Tom Cruise and Katie Holmes were no shows, and I didn’t get a chance to joke with Bill Murray or Jack Black. Entertainment Tonight didn’t scream for an interview with me, and I wasn’t blinded by a million flashes from press cameras. I didn’t get a chance to ask either recently single Kate Hudson or just divorced Denise Richards to ask if anyone was sitting next to them (and might I?). You see, this wasn’t one of those fancy red carpet movie premieres in Westwood or at Grauman’s Chinese in Hollywood... this one was held at the Culver Studios (where David O’Selznick’s huge mansion offices sit, you’ve seen it in the credits before GONE WITH THE WIND and NOTORIOUS) - it’s part of Sony. That still sounds pretty good, right? But this was a rented screening room - no red carpet, just a concrete sidewalk. And the movie wasn’t some big studio blockbuster, it was the latest film from legend-in-his-own-mind Donny Vitamin.

I *have* gone to those red carpet premieres a couple of times. The late Chris Penn was a friend of an actor I’ve worked with a few times, so I walked the red carpet at the premiere of MULLHOLLAND FALLS as part of his entourage. On the real red carpet it’s mostly about not ruining any photographer’s shot of Nick Nolte - basically trying not to be seen on the red carpet.

Here, no one cared if I was on the concrete sidewalk except the security guard who made sure my name was on the list before pointing out where to park the car.

This was a Donny Vitamin movie.

I don’t know where I first met Donny. Might have been at the American Film Market, might have been at a Film Artist’s Network meeting. Donny is a character. He has this comb-over-fro.... kind of reminds you of Trump’s hair. Poofy. And he's always popping vitamins... I think he told me he gets regular B-12 injections. Donny has been around forever, working as a comic book writer and cartoon writer. His big claim to fame: he wrote the novelization of a huge hit movie because he went to college with the director. That novelization became a best seller in paperback due to the film being a massive hit... and a career is born!



I saw Donny’s first film on the big screen TV in a coffee shop (also a premiere with no red carpet) - it was a *musical* about a guy who gets transported back to cave man times and has to escape stop-motion dinosaurs left over from some other movie and a clan of amazon-like cave girls lead by a too-old-for-a-loin-cloth Karen Black. If you can get past the song and dance aspect, the film is... clumsy and not all that well made. Compare it to DINOSAUR ISLAND, co-directed by my friend Fred Olen Ray and my arch-enemy Jim Wynorski which is a fun 6 pack movie about Navy guys who get shipwrecked on an island filled with half nekkid women and man eating dinosaurs. ISLAND isn't going to win any Oscars or make any ten best lists, but it's a pleasant waste of time. It uses the same elements as in Donny's - just put to better use. ISLAND is like an R rated Edgar Rice Burroughs story (and, as a kid reading those books, the Frazetta covers and descriptions of what the women were hardly wearing - the books were R rated to begin with). ISLAND is a fun T&A film, Donny's movie is... a really inept musical.

Oddly enough, the cinematographer on DINOSAUR ISLAND was the cinematographer on Donny’s new film which is a sequel to his previous (low budget horror) movie that I watched on DVD - which was crudely made, but featured lots of naked women. The sequel is more of the same. Basically a soft core porn film about an aging museum curator who discovers an ancient amulet that allows her to recapture her youth as long as she has simulated lesbian sex with a different stripper-trying-to-act every night. Of course, the museum is some cinderblock building with a nick-knack shelf fill of Egyptian junk, and the editor’s office at a big tabloid newspaper is a desk and chair shoved up against the wall in some warehouse. In one of the first scenes, two strippers show up at the opening of the mummy exhibit at the museum. What were they doing there? They acted like strippers, with air-head dialogue about liking old stuff. You know what they were doing there? They were setting up a pointless simulated lesbian sex scene after they leave the museum. What does that have to do with the story? Nothing. Did they have to be air-head strippers? Nope - but, you know, all air-head strippers have lesbian sex in their free time. This is so far past lazy writing I don’t know what to call it!

The film had zero production value - as if it was thrown together at the last minute. The dialogue was awful and the story made no sense at all - in one scene a captured tabloid reporter is wrapped like a mummy for no apparent reason, except that it would be cool to have her unwrapped in the very next scene. They can't even come up with a *bad* excuse to wrap her up! Characters stumble into scenes without reason or motivation... and the whole film looks cruddy. Obviously shot in a warehouse, without anyone caring enough to make it look like whatever location it’s supposed to be in the story.



Before the film, Donny did a little intro where he told us the film was shot for $100k in a week. Now, that isn’t much time to shoot a film, but my CYBERZONE (DROID GUNNER) film was shot in 9 days (a week and an extra weekend) and it looks pretty good. It’s also a sci-fi action flick with space ship battles and all kinds of other time consuming production value elements. As for the $100k budget, afterwards I wondered what they did with the money. Seriously. I’ve seen films made for half that budget that looked much bigger and, well, competent. Since the whole thing was shot in a warehouse in a week, we aren’t talking much in the way of cost. Cast was non-SAG, crew was probably minimal... where did the money go? This terrible film a friend of mine made, SLAUGHTERHOUSE MASSACRE, was shot for a third of their budget in 12 days with lots of gore FX... and a couple of nekkid women. Oh, and we rented a small town location for a chase and did stunts and had a room full of sides of beef, plus a tower of pig heads and some other cool production value stuff. We *built* sets! Even when things went wrong, like losing the school at the last minute, they built a classroom set that looks like a real classroom. It was built in a warehouse, by the way. But there are classroom seats and a chalkboard and the walls are dressed like a classroom. This was all done at the last minute... and looks a million times better than anything in Donny's film.

It seemed as if the only reason this film was made was the simulated lesbian sex stuff. Now, I like nekkid girls as much as the next guy. I can understand why a middle aged man with a bad comb-over would want to make a movie filled with nekkid girls in their 20s. But why make it a *bad* movie? It seemed as if the film part was just an excuse for the nekkid girls. No effort was put into anything, except rounding up nekked girls. The thing that pissed me off the most was that tabloid office, because with a little effort they could have made it look like a real office - but they didn’t. Porn films have better production value - and who cares whether a location is convincing in a porn film?

Sure, this is just a cruddy T&A film, but why did it have to be a bad one? It’s being sold as a horror film, so why not spend a *minute* on the horror plot? Or some real horror? Or some suspense? Why not make the sets convincing? The story convincing? The characters more than moronic cliches (porn films have more characterization than this film - really!)? The leading lady’s acting was bad on purpose - she was given air-head dialogue and then played it so over-the-top that *cartoon characters* are more realistic. Why *try* to make it crappy? Why not make it the best it can be within the confines of budget and schedule and talent? Donny told me he spent twice as much time writing the script as he did making the movie - and the result is something that’s worse than a porn script! Those lucky plumbers and pizza delivery guys have better motivation and dialogue... and more realistic acting. If you’re going to go to all of the trouble to make a film, why not at least *try* to make it good?



You know that scene in ED WOOD where Johnny Depp watches the terrible scene and says “Perfect!” - that’s an untalented film maker who is passionate about his work. At least Ed Wood *cared*. The thing I don’t understand is when they don’t care. I once had a director *read the newspaper* on set, yelling “Action!” and “Cut!” when nudged by an assistant. What is this guy doing in the business? This is my big beef about Donny's film and many other films - the people making them don’t care.

I think you can have nekkid girls a third your age in the film and *still* make it a good film. Even if you have limited talent, if you *try* to do good work, if you *care*, at least the film will be the best you can make it. It may not be great, but it will be something.

After the film was over, there was a little reception with wine and veggie platters in the parking lot. Many cast members were there - including the strippers, who were more intelligent in real life than on screen (they had to be). I think more thought was put into the veggie platters than the film... but I was confused by the whole screening. Why would you rent a theater at Sony to show this film? Why not just collect your check and pretend you never made it? After a few minutes of mingling with sub-Z grade “celebs” (from the Rock Riddle cult - I will do an All The Losers post on them in the future), I bolted down that concrete carpet to the parking garage and got out of there.

Even if you are doing a low budget exploitation movie, you have to *care*. You have to make it the best movie possible at whatever your budget is. Donny only made one film after this... and then people stopped giving him money to make movies. I have no idea what he's doing now.

- Bill

Names have been changed to protect the... well, not exactly innocent!

Friday, August 02, 2019

Hitchcock: Organic

Jimmy Stewart in REAR WINDOW uses a camera to defend himself... He's a professional photographer, what else would he use?



I have a whole article on this, written for Script Magazine about a decade ago, called Hitchcock's Chocolates that gets into using the character and story to find all of the details of your screenplay. It always goes back to character - any question or problem you are having with your screenplay - think character, theme, story... and you will find the answers.

- Bill


Of course, I have my own books focusing 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.

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.

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