Story. Screenplay. Sale.
This blog started when a certain analysis of Michael Mann’s THE INSIDER sparked my frustration. Discussing BLADE RUNNER in a story workshop recently, I felt I was close to doing the exact same thing. To this date I don’t fully agree with her INSIDER analysis but Linda Aronson taught me this: to learn story, you … Read more
If you want to be a professional screenwriter, be open to spoilers. Furthermore, be open to the weaknesses in your favourite films. Most often, it won’t harm your love for the film. Some of the handful of films I re-watch every year, I won’t mention in my seminars because I appreciate them for reasons other … Read more
The first guy to write down that a story needs a beginning, middle and end, was Aristotle. About twenty-four centuries ago. But his beginning is not the same as our Act One; it is the point in this act where the story kicks off. What Aristotle was talking about, in screen story terms we call … Read more
The following is a basic list of terms I believe you should have an understanding of. To be a professional, it is crucial you can communicate with others to discuss the strengths and weaknesses of your work. It is not enough to know and understand Syd Field’s set of phrases, as some hot shots may … Read more
BRUBAKER strays from the traditional structure because of its offbeat First Act. It lacks an Inciting Incident, nor does it have any significant protagonist characterisation. We witness from Robert Redford’s character’s POV how the most appalling injustice and brutality is inflicted relentlessly upon his fellow inmates. Over thirty minutes into the movie, Redford’s character identifies … Read more