John Milius made a name for himself as a writer and director of violent action fare that stresses issues of honor, anarchism, nonconformity and the therapeutic aspects of warfare. Milius first made an impact as a screenwriter and uncredited script doctor on such memorable 70s genre films as Francis Ford Coppola's "Apocalypse Now" (1979), Don Siegel's "Dirty Harry" (1971), "Jeremiah Johnson" and John Huston's "The Life & Times of Judge Roy Bean" (both 1972), "Magnum Force" (1973) and Steven Spielberg's "Jaws" (1975).

I’m weighed down at work, so I’m continuing to turn over blogging duties to Adam Levenberg. Adam does provide a service, and I provide a link to his site. If one is in the market for a consultant, Adam should certainly be considered. He has good, practical advice and industry experience.

Deadline reported last week that Screenwriter Karen McCullah (and author) is now with Gersh who will represent her in all her literally needs.  She has written Legally Blonde, 10 Things I Hate About You, She’s the Man, The Ugly Truth, and The House Bunny. 

I've been at this a while -- writing screenplays for three decades and still charging forward. In the course of that time I've had a very up and down career with more downs than I care to remember... But I remember them all!  I've been hired and fired. Bought and sold. Celebrated and berated. Admired and mired. 

Stephen King obviously isn't known as a screenwriter, yet as a writer he can still offer us lessons that will apply to screenwriting, regardless. There are a ton of "Tips from Stephen King" articles on the Internet. I wanted to avoid that take here as they all cover the same things. I wanted to go a little deeper into his book ON WRITING;  a wonderful read about the craft and one I highly recommend to all writers. 

Dr. Linda Seger is the original script consultant having literally inventing the job in 1981; before her it didn't exist.  Since then she has consulted on over 2000 scripts and presented screenwriting seminars in over thirty countries around the world. Seger has written nine books on screenwriting making her the most prolific screenwriting author we have.   Seger consulted for Peter Jackson’s break-through film, BRAIN DEAD and Roland Emmerich’s breakthrough film, UNIVERSAL SOLDIER. She also has given seminars for studios, networks including ABC, NBC, CBS, production companies, television series (MacGyver, The Mary Show), film commissions, universities and film schools. 

This is an interview I was really happy to get back in 2004, it was a pleasure to interview such a screenwriting legend as John Michael Hayes.  We have also added a neat short interview with him where he discusses characters and Hitchcock.

Rear Window is considered to be Hitchcock's most "cinematic" picture. At times it had to communicate a lot to the audience without a word ever being spoken. This isn't surprising as Hitchcock started directing in 1922, during the silent era, making several silent films. By 1954, the year Rear Window was released he had clearly mastered the art of directing. However, before he could unleash his visual brilliance there had to be a great script from which to allow such a great movie to be made.

First let me stop writing the script I am currently working on so I can pound out this short editorial. Though I should say allow me to stop bleeding at the keyboard as I struggle with the current scene I am writing. I have to admit that I am my own worst enemy as a writer.  I procrastinate, often, and it can sometimes be so debilitating that I never finish some screenplays. Why?

The Oscar nominated movie NEBRASKA, with an award winning screenplay by Bob Nelson, is in my opinion one of the better scripts recently produced for screenwriters to learn a little something about the craft. Why? It’s the epitome of efficient and dramatic storytelling. The script is pithy, direct, yet it has depth and emotion (theme) that is so subtle in its presentation.