Story. Screenplay. Sale.
A structural overview of Jaws (Peter Benchley, Carl Gottlieb, Novel by Peter Benchley 1975) Steven Spielberg first drew me into movies with Close Encounters of the Third Kind, back in 1977. Because I was too young for Jaws in 1975, it wasn’t until later when I discovered the movie that really made Spielberg. Jaws literally … Read more
In a Q&A for Creative Screenwriting Magazine, Michael Arndt made the point that “happy endings are really underrated”. It got me thinking. What’s wrong with a Hollywood ending? If you have a truly well-written story, why would a happy ending diminish its value? Why is it that writers believe happy endings are a cheap Hollywood … Read more
Should you write a happy ending? Commercial common sense will tell you: yes, you should. Robert McKee says: “Tell the truth.” (see the previous post) McKee means: your story needs to reflect your worldview. If you contradict whatever you believe in for the sake of commerce, you will fail. During his Arthouse seminar, he gives … Read more
A cult comic, two charismatic teen actresses, an inspired director and a sparse score. Six pages of a comic book were turned into one of the coolest movies of the decade. A structural overview of Terry Zwigoff’s Ghost World (2001). Because the plot points are often quite subtle, structurally this film seems a bit fluid and the protagonist’s … Read more
RATATOUILLE has 1 (one) deleted scene. It is a long, uninterrupted travel from a wide establishing shot of the Paris skyline down to street level, through the Auguste Gusteau restaurant and ending on a medium shot of Remi. The shot could have been spectacular, reminding of the opening shot of TOUCH OF EVIL and its … Read more