Eric Edson, CSUN Professor and Author: Mentor…two more. These are going to go relatively quickly but I would like you to see tonight at least these six. The mentor can be an person, any age as long as they pass on the skills and wisdom to the hero. There can be more than one mentor […]
via How To Write A Great Mentor Character by Eric Edson [Screenwriting Masterclass] — FilmCourage.com
Film Courage: What do you remember about the day where you said “This will be the last time picking up a camera?” Walid Azami, Photographer/Youtuber: I don’t remember the day that was Okay this is going to be the last time. But…can I flip it and tell you about the day that I got that […]
via Once You Lose Your Art, How Do You Get It Back? by Walid Azami — FilmCourage.com
Film Courage: Do you remember something that was said to you in one of these UCLA writing classes which you never forgot? Patricia Vidal Delgado, Writer/Director: Yes, definitely. Richard Walter [recently retired Professor and Associate and Interim Dean of the UCLA School of Theater, Film and Television for 40 years] said Nobody wants to see […]
Film Courage: What did studying Quentin Tarantino teach you about storytelling? Tara Wood, Filmmaker: What did studying Quentin Tarantino teach you about storytelling? His attention to detail on every level, I think that is what Quentin taught me. You have to pay attention, it’s all important. He has the Kangaroo from PULP FICTION on the […]
via What Can Filmmakers Learn From Quentin Tarantino? by Tara Wood — FilmCourage.com
Film Courage: What are three mistakes screenwriters make with loglines? Naomi Beaty, Writer, Screenwriting Teacher and Consultant: The three that I tend to see are stopping at the setup. So describing just the initial situation and not really giving us any indication of what is the meat of the movie if that makes sense? Often […]
via 3 Mistakes Screenwriters Make With Loglines by Naomi Beaty — FilmCourage.com
Jay Silverman, Director (OFF THE MENU)/Photographer: It’s either on the page or it’s not on the page. Scott Kirkpatrick, Author: This whole industry doesn’t exist with people twiddling their thumbs waiting for the right script to drop into their hands. Stanley M. Brooks, Filmmaker/Producer: I’m not sticking here for an hour waiting for you to […]
via 12 Things A Producer Looks For In A Screenplay — FilmCourage.com
Film Courage: Mark can you share with us the use of two narrators? Mark W. Travis, Director/Author/Writer/Instructor: Yes, the story I just told you about my 10th birthday was told mostly in the past tense. Now what we will do when someone asks something and you’re about to tell an autobiographical story or you want […]
via How A Master Storyteller Keeps The Audience Engaged by Mark W. Travis — FilmCourage.com
Film Courage: Should a screenwriter know the ending of their story before attempting to write it? Scott Myers, DePaul University Professor/Screenwriter/Creator Gointothestory.blcklst(dot)com: Well again…no writer is the same and every story is different. I’m reminded of the Writers Guild strike in 1988 which was the longest strike to date. I broke in in 1987 and […]
via The Beginning And Ending Of A Screenplay by Scott Myers of Go Into The Story — FilmCourage.com
Film Courage: To delve more into “flaw,” flaw is the direct opposite of strength? Jill Chamberlain, Script Consultant/Author/Writer: Yes, so on my Nutshell Technique form I pose as two opposites What is the character’s central flaw and then What is the strength? that in the end (in a comedy) they either learn the opposite of […]
Film Courage: I’m hoping we can talk about a character with a goal and a character with no goal. How will I be able to see that my screenplay has a character with a weak goal? Naomi Beaty, Writer, Screenwriting Teacher and Consultant: Interesting. I think most movies mainstream movies that you watch are really […]
via How To Know Your Character’s Goal Isn’t Strong Enough by Naomi Beaty — FilmCourage.com
Student & Young Filmmakers FEEDBACK Film & Screenplay Festival 