You are responsible for making sure people understand the message you are trying to convey, the Doc Doctor saysOctober 1st, 2005 | Fernanda Rossi
Dear Doc Doctor:
Nobody seems to like my filmthey say its unclear and hard to follow. Why arent they getting the story?
Storytelling in the Digital AgeOctober 1st, 2005 | David Alm
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.
Screenwriting teams discuss collaborationOctober 1st, 2005 | Lisa Selin Davis
Earlier this year, I got a call from a friend of a frienda former executive producer of a childrens television show. He asked me, Are you interested in writing for television?
Independents do it differentlyOctober 1st, 2005 | Elizabeth Angell
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.
IFC Crashes the SceneOctober 1st, 2005 | Nicole Davis
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.
A legal guide to screenwriting creditsOctober 1st, 2005 | Fernando Ramirez, Esq
Written by? Created by? Screenplay by?
A writer/director as colorful as his charactersOctober 1st, 2005 | Rick Harrison
Ira Sachs wont let me watch him bum cigarettes.
How (some) shorts grow longOctober 1st, 2005 | Rick Harrison
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.