Phantom, The (1996)
"Adventures of Brisco County Jr., The" (1993) TV Series (creator)
Lethal Weapon 3 (1992)
Lethal Weapon 2 (1989)
"Tales from the Crypt" (1989) TV Series
Indiana Jones and the Last Crusade (1989)
Funny Farm (1988)
Lost Boys, The (1987)
Innerspace (1987)
Dead Zone, The (1983)
Straight Time (1978)
A commercially successful writer who scripted David Cronenberg's fine adaptation of Stephen King's "The Dead Zone" (1983) and has recently specialized in action/adventure "blockbusters", Jeffrey Boam has also produced and occasionally directed for TV. He got his first break when director Ulu Grosbard optioned a script he had written and hired him to do a rewrite on "Straight Time" (1978), on which Boam eventually shared writing credit with Alvin Sargent and Edward Bunker. Grosbard also hired Boam as assistant director, although the screenplay he had optioned was never made. It was five years before "Dead Zone," Boam's second--and first solo--credit. He was also associate producer on the film, which focused on a man who finds himself with second sight after surviving a near-fatal accident. In 1987, Boam co-wrote "The Lost Boys", a tongue-in-cheek yet nevertheless frightening vampire story. That same year came the release of "Innerspace", which Boam and Chip Poser adapted from Poser's story about a man (Dennis Quaid) who is miniaturized and then injected into the body of a hypochondriac. He also acted in a bit role in the film.
Boam's profile in Hollywood increased in 1989 when he wrote the final screenplay for "Lethal Weapon 2" and subsequently co-wrote "Lethal Weapon 3" (1992) as well. In between, came the highly entertaining "Indiana Jones and the Lost Crusade" (1989), which some critics felt was the most full-bodied of the three "Jones" films. In this one, the audience was introduced to Sean Connery as Harrison Ford's father and also saw River Phoenix as a young Indy giving backstory on the character. Boam's work in TV has been sporadic due to his feature film assignments, but he did form Boam/Cuse Productions in 1988 with Carlton Cuse, in part to do some TV work. Subsequently, Boam wrote the pilot for and was one of the executive producers on the short-lived "The Adventures of Brisco County, Jr." (Fox, 1993). He also made his TV directorial debut in 1993 helming an episode of HBO's "Tales From the Crypt", in which a girl is tricked into becoming the sacrifice to a mummy but turns the tide on the trickster. In 1996, Boam acted as co-producer and screenwriter of "The Phantom", inspired by the Lee Falk comic strip. At the time of his death, he reportedly had completed a script for the fourth installment in the Indiana Jones films.
All of us creative types have things we're naturally good at, and things we've learned to do, and things we aren't that good at (yet). This creates a creative trap: when approaching a project, we often work on the part we understand best — the part that scares us least. So if you're good at plot, you write the plot first, and then fill in the characters later. If you're good at characters, you write up the characters and then feel your way towards a plot.
Everyone pursuing a screenwriting career will eventually realize this journey is not for the thin of skin or for those who cannot handle the emotional ups and downs this business brings. If you haven’t yet experienced the soul crushing disappointment of finally having written a script that goes into development, but it doesn’t make it to production and sits on a shelf, I don’t envy you. It’s happened to me a handful of times out of my nearly two dozen paid screenwriting assignments. Learn this early — there are no guarantees in the screenwriting game. You take your lumps, heal, and move on to the next screenplay and the next one.
I love Readers! Yes they are the gatekeepers to the Promised Land and like it or not they do have power. But just how much? Well, I’m here to show you. I got my hands on a classified document folks, the holy grail… An actual copy of a real STUDIO MEMO covering GUIDELINES for their READERS.
Scenes must have a reason to exist in your screenplay. Each scene must advance the plot forward through dialogue and/or visual storytelling. Characters’ journeys drive the script’s narrative, and each scene must steer their journey forward. Although some scenes might not even contain any characters, these scenes must still provide information about your plot, as well as your characters’ lives and actions. There is no set rule as to how many lines, paragraphs, or pages constitute a scene.
The following has nothing to do with wet t-shirts. This entry is actually about screenwriting contests - a subject with little marquee value. One of the most popular category of questions that I find in my e-mail box is about screenwriting contests. As I say over and over, I believe that most are a waste of energy and entry fee. Some - like the Nicholl and Disney Fellowships - are very reputable and have launched a few Hollywood careers. Regardless of how reputable any contest might be, the screening process for most seems tenuous. Low fees for contest readers and a bulk of scripts guarantees a sloppy vetting system.
"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.
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.
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.
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.