Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers. Subscribe to our YouTube Channel!

Logline: Definitions

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Let’s start by saying what it isn’t. It is not a tagline. It is not really a one-paragraph synopsis either. (and it’s definitely not a slug line) The Australian Film Commission says: “filmmakers are often asked to supply a one sentence version of their film story. This one sentence should give the most concentrated version … Read more

Logline: Introduction

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McKee’s STORY gave me the illusion the logline is one of the last things you ever write. Why? Because during development, things can change. Of course McKee is right. The creative process is unpredictable and you know where you start but you don’t know where you’ll end. Really? If you are assuming things can change … Read more

Plot Point: Introduction

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The essence of ‘plot point’ is the essence of drama, yet I find it hard to define. There will always be unresolved elements in its definition, much in the same way the responses to a kid’s unrelenting questions ultimately lead to the question about the Meaning of Life. Inside the Plot Point lies the Meaning … Read more

Mid-Point: One Flew over the Cuckoo’s Nest

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The two-disk release of ONE FLEW OVER THE CUCKOO’s nest features a great commentary by director Milos Forman and producers Michael Douglas and Saul Zaentz. Forman is known for his ability to bring out phenomenal performances. In his trademark Czech accent he expands on his process, from selecting the cast to cutting their dialogue. Zaentz … Read more

Michael Mann and Lev Kuleshov

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Michael Mann’s commentary on the Restored Director’s Cut of MANHUNTER focuses primarily on the parallel psychology of the serial murderer and the cop. But let’s skip to the last few minutes of the commentary in which Michael Mann summarises his approach to filmmaking. “Film is made in the editing room. In the writing and in … Read more