October 2005

Piecing It Together

Storytelling in the Digital Age

Shortly after Jean-Luc Godard released Breathless in1960, an exasperated journalist said to the young director: “Surely you think that a film should have a beginning, middle, and end.”

On the Same Page

Screenwriting teams discuss collaboration

The Coen brothers after Raising Arizona.

Earlier this year, I got a call from a friend of a friend—a former executive producer of a children’s television show. He asked me, “Are you interested in writing for television?”

Turning Books into Scripts

Independents do it differently

Scott Heim’s 1995 novel, Mysterious Skin, makes for an unlikely film. The story of two eight-year-olds from Kansas who are sexually molested by their little league coach is dark and sad, rife with poignant and haunting detail.

On The Scene

IFC Crashes the Scene

New York cinephiles will endure a great deal of discomfort to see great independent films: the noise of the F train at the Angelika, cramped seating at the Film Forum, the schlep to Brooklyn to see a Wong Kar Wei series at BAM Rose Cinemas.

What Rolled Up Must Come Down

A legal guide to screenwriting credits

Written by? Created by? Screenplay by?

The Many Shades of Ira Sachs

A writer/director as colorful as his characters

Ira Sachs won’t let me watch him bum cigarettes.

Back to Feature

How (some) shorts grow long

A long time ago, in a film school far, far away (from NYU), a young man with big dreams and a small bank account made a short film with a long title. His name was George. And in 1970, between graduating USC’s School of Cinema and pursuing a master’s, George made the student award-winning Electronic Labyrinth: THX-1138 4EB, which he eventually expanded into a feature.

What if nobody "gets" my film?

You are responsible for making sure people understand the message you are trying to convey, the Doc Doctor says

Dear Doc Doctor:

Nobody seems to like my film—they say it’s unclear and hard to follow. Why aren’t they getting the story?

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