Here are the winners for a few categories at the Golden Globes.<\/p>","articlePostDate":"January 9th, 2024","bodyText":"
Here are the winners for a few categories at the Golden Globes.<\/p>\n\n
<\/p>\n\n
Best Motion Picture – Drama<\/p>\n\n
Anatomy of a Fall (Neon)<\/p>\n\n
Killers of the Flower Moon (Apple Original Films)<\/p>\n\n
Maestro (Netflix)<\/p>\n\n
Oppenheimer (Universal Pictures) (WINNER)<\/p>\n\n
Past Lives (A24)<\/p>\n\n
The Zone of Interest (A24)<\/p>\n\n
<\/p>\n\n
Best Director — Motion Picture<\/p>\n\n
Bradley Cooper, Maestro<\/p>\n\n
Greta Gerwig, Barbie<\/p>\n\n
Yorgos Lanthimos, Poor Things<\/p>\n\n
Christopher Nolan, Oppenheimer (WINNER)<\/p>\n\n
Martin Scorsese, Killers of the Flower Moon<\/p>\n\n
Celine Song, Past Lives<\/p>\n\n
<\/p>\n\n
Best Screenplay – Motion Picture<\/p>\n\n
Greta Gerwig, Noah Baumbach, Barbie<\/p>\n\n
Tony McNamara, Poor Things<\/p>\n\n
Christopher Nolan, Oppenheimer<\/p>\n\n
Eric Roth, Martin Scorsese, Killers of the Flower Moon<\/p>\n\n
Celine Song, Past Lives<\/p>\n\n
Justine Triet, Arthur Harari, Anatomy of a Fall (WINNER)<\/p>\n\n
<\/p>\n\n
Best Television Series – Drama<\/p>\n\n
1923 (Paramount+)<\/p>\n\n
The Crown (Netflix)<\/p>\n\n
The Diplomat (Netflix)<\/p>\n\n
The Last of Us (HBO\/Max)<\/p>\n\n
The Morning Show (Apple TV+)<\/p>\n\n
Succession (HBO\/Max) (WINNER)<\/p>\n\n
<\/p>","shortKey":"352ae5cc"},{"title":"LOWTIDE Writer\/Director Sells Short Story and Tabbed to Adapt for Low-Seven Figures","cover":"52ff7e09d5f1c62e819cf60abb06167a.jpg","byLine":"Staff","homeText":"
"Lowtide" writer, director and producer Kevin McMullin has sold his short story "Bomb" and is tabbed to write the script for "low seven figures" and "Gladiator" director Ridley Scott is attached to Direct. According to reports, 20th Century beat out studios Apple, Netflix, Sony, and Warner Bros. <\/p>","articlePostDate":"December 18th, 2023","bodyText":"
"Lowtide" writer, director and producer Kevin McMullin has sold his short story "Bomb" and is tabbed to write the script for "low seven figures" and "Gladiator" director Ridley Scott is attached to Direct. <\/p>\n\n
According to reports, 20th Century beat out studios Apple, Netflix, Sony, and Warner Bros. <\/p>\n\n
"Bomb" is about ahostage negotiator named Frankie Ippolito who is called into work the night before his wedding to talk down a man standing on an unearthed WWII bomb in London. The film is set in a construction site in Piccadilly Circus in London, with the unnamed man only wanting to speak with Frankie. The feature takes place over the course of one night, with the bomber having a secret connection to Frankie.<\/p>\n\n
Scott and Michael Pruss are producing through Scott Free. McMullin previously had his first script “First Harvest” on The Black List, with feature “Low Tide” released by A24. He has also adapted manga series “Made in Abyss” for Sony. McMullin will also executive-produce “Bomb.”<\/p>\n\n
Source: https:\/\/ca.finance.yahoo.com\/news\/ridley-scott-direct-hostage-thriller-200406175.html<\/p>","shortKey":"bc956b0e"},{"title":"Three Books for Screenwriters","cover":"23420af41efd09033640ccde296e7df4.jpg","byLine":"Staff","homeText":"
Books are the fastest and easiest way you can learn from an expert. In screenwriting, it’s no different. Some of the best screenwriters and those who have mastered the craft, have created countless books trying to encapsulate all they’ve learned in their work. If you’re a new screenwriter and looking to improve or simply to learn how to create better scripts, these three books will help you out.<\/p>","articlePostDate":"November 9th, 2021","bodyText":"
Books are the fastest and easiest way you can learn from an expert. In screenwriting, it’s no different. Some of the best screenwriters and those who have mastered the craft, have created countless books trying to encapsulate all they’ve learned in their work. If you’re a new screenwriter and looking to improve or simply to learn how to create better scripts, these three books will help you out.<\/p>\n\n
Yes, this textbook is old but it’s one of the best books you’ll find on screenplay writing. Syd Field takes your hand and gives you a general overview of how movies like Chinatown, Jaws or even The Lost Ark all work in the same paradigm. Then he takes the movies and breaks them down for beginners to understand. You’ll easily find theory and structure in this book.<\/p>\n\n
Once you’ve finished it, you’ll easily see how large productions and even simple but qualified LA or NYC production companies create their stories and films. You’ll be able to identify squarely which act of the movie you’re currently on and anticipating what arc you’ll find next.<\/p>\n\n
The book is a lot like seeing the hood of your favorite car. You’ll marvel at how its assembled and what kind of engine it has but you’ll still be impressed at how fast it can run. <\/p>\n\n
Funny, charming and actually helpful, Save the Cat is a fantastic screenwriting book from a spec writer in Hollywood. Plus, Blake Snyder has the reputation to back up what he’s offering. He’s a multi-million-dollar high concept screenwriter who has sold scripts to the likes of Stephen Spielberg. Plus, his work is entertaining and he offers a solid concept of what he does to make sure what he pitches, before even writing the rest of his script, is something his target market would want.<\/p>\n\n
It might be odd to include this because this isn’t a straightforward screenwriting book. But Lajos Egri provides you with the understanding and basis for how to achieve dramatic writing in your work. It’s a bit dated and yes, Egri has a tendency to ramble and can get wordy, but hang in there and gleam the book for the pure nuggets because they’re there. He gives you the process of drama including an understanding of story.<\/p>\n\n
It’s great for knowing how the characters relate to each other, how to inject conflict and for forming the main plot so your story doesn’t stagnate and always moves forward. Beginner screenwriters should take their time to read this book. It’s a great help.<\/p>\n\n
Obviously, these books aren’t the be-all to screenwriting. But if you’re a newbie filmmaker or screenwriter, you can start with these. Every good film starts with a good story. And every good story contains crucial elements that go together to form a coherent, engaging and entertaining piece. Whether you’re currently stuck working for a NYC video production company, studying for class or doing some other thing but want to keep your writing and story centered for future use, you could gain a lot from reading these books.<\/p>\n\n
<\/p>\n\n
(Source: https:\/\/newdawnfilm.com)<\/p>\n\n
<\/p>","shortKey":"61209cdc"},{"title":"FIVE SCREENWRITING TIPS","cover":"ea76f79e1759f019da563dac1f5f47c7.png","byLine":"Staff","homeText":"
Everybody has a perspective. Everybody in your scene has a reason. They have their own voice, their own identity, their own history… But if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.<\/p>","articlePostDate":"October 13th, 2021","bodyText":"
Five Pros offer Five great pieces of Screenwriting Advice:<\/strong><\/p>\n\n Jonathan Nolan, co-screenwriter of blockbuster mega-hits THE DARK KNIGHT, THE DARK KNIGHT RISES, and INTERSTELLAR:<\/p>\n\n\t\t “Write what you know” is the least useful maxim for writers. It’s nonsense. You should write whatever you want.<\/em><\/p>\n\t\t<\/blockquote>\n\t\t<\/li>\n\t<\/ul>\n\t<\/li>\n\t Tony Gilroy, screenwriter of the JASON BOURNE franchise and sci-fi disaster flick, ARMAGEDDON:<\/p>\n\n\t\t The quality of your writing will be directly related to your understanding of human behavior. You need to become a journalist for the movie that is in your head. You need to report on it; every scene has to be real.<\/em><\/p>\n\t\t<\/blockquote>\n\t\t<\/li>\n\t<\/ul>\n\t<\/li>\n\t Joss Whedon. The man responsible for Hollywood mega-hits, THE AVENGERS, and its sequel, AGE OF ULTRON:<\/p>\n\n\t\t Everybody has a perspective. Everybody in your scene has a reason. They have their own voice, their own identity, their own history… But if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.<\/em><\/p>\n\t\t<\/blockquote>\n\t\t<\/li>\n\t<\/ul>\n\t<\/li>\n\t Paul Thomas Anderson recalled once how his friend John C. Reilly, came up with a series of improvised sketches:<\/p>\n\n\t\t Eventually I started writing all that stuff down. A lot of Jim’s dialogue is based on that improvisation. It really is a pretty f*cking cool way to work. We’ve gotta try that again.<\/em><\/p>\n\t\t<\/blockquote>\n\t\t<\/li>\n\t<\/ul>\n\t<\/li>\n\t Screenwriting guru, Robert McKee:<\/p>\n\n\t\t True character is revealed in the choices a human being makes under pressure – the greater the pressure, the deeper the revelation, the truer the choice to the character’s essential nature.<\/em><\/p>\n\t\t<\/blockquote>\n\t\t<\/li>\n\t<\/ul>\n\t<\/li>\n<\/ul>","shortKey":"980ffbe2"},{"title":"60 Second Screenwriting Tip: The Narrative Spine","cover":"9d1757ae37f36d07660f359ede2ff6e7.jpg","byLine":"Christopher Wehner","homeText":" What is a successful second act? One that keeps the reader engaged, moves the story forward, and successfully delivers it into the falling action; that being the third act climax and the denouement. A bad screenplay has a second act that simply doesn't keep the narrative trajectory in place and thus the spine of the story sags; meaning rising tension and conflict is not taking place.<\/p>","articlePostDate":"May 7th, 2021","bodyText":" (I call this a 60 Second Screenwriting tip as it should only take about sixty seconds to read! I know genius!)<\/em><\/p>\n\n What is a successful second act? One that keeps the reader engaged, moves the story forward, and successfully delivers it into the falling action; that being the third act climax and the denouement. A bad screenplay has a second act that simply doesn't keep the narrative trajectory in place and thus the spine of the story sags; meaning rising tension and conflict is not taking place.<\/p>\n\n The second act begins with a plot point that sends the story in a new and unexpected direction creating a central conflict that must be resolved. The second act is the process of putting the protagonist through hell by placing obstacles in his\/her way. The second act mid-point is when all seems lost. <\/p>\n\n The second act ends on a second turning point that brings a resolution and a climax to the central tension of the story. The second act story beats are the vertebrae of the narrative spine that rise and create drama and action that brings us to the second turning point.<\/p>\n\n Within the struggle faced by the protagonist in this second act you will often have a subplot that joins with the central tension and creates an epiphany whereby the character changes or grows. By making this change the protagonist is able to overcome the central tension, the main obstacle, and defeat the antagonist. <\/p>\n\n Hope this helps. If so take my class<\/a>, starts in a couple weeks!<\/strong><\/p>\n\n <\/p>\n\n <\/p>\n\n <\/p>","shortKey":"1589d526"}]\n\t
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