|
|
|
|
 |
Creative Screenwriting #50 - Pirates of the Caribbean - Jul/Aug 2003
CS-050
People & News
The Buzz
The return of Shane Black, selling a script on eBay,
Stephen Sommers goof, and Malkovichs Mail.
Breaking In
Heather Hatch
Josh Harmon
Scott Elder
Anatomy of a Spec Sale
New Line paid $1.3 million for Anya Kochoffs spec Monster-in-Law. Heres how it happened.
People
Michael Blieden
Gary Shusett
Eli Roth
Charles de Lauzirika
Report from New York
Has Miramax mogul Harvey Weinstein ever read a script?
Lost Scenes
Roman Polanski followed the rules of adaptation religiously for his 1968 adaptation of Ira Levins thriller Rosemarys Baby.
Why I Write: John August
The scribe of Charlies Angels is the first guest in our new column, where Hollywoods top screenwriters tell us why they do what they do so well.
DVD Spotlight
The Mission, Far From Heaven, Spirited Away, and More.
The Code
The secret of success, revealed.
Book Reviews
Youve written the $1,000,000 script, now how do you collect?
Coming Soon...
American Splendor
Harvey Pekar is an average Joe who writes comic books. His American Splendor series redefined the medium. Can a movie version hold its own? By David Goldsmith
Dirty Pretty Things
The Script Factory grinds out a winner with Steven Knights Dirty Pretty Things. By Renfreu Neff
The Magdalene Sisters
Peter Mullan has written another award-winning Indie, this one about Irelands dirty little secret. By Nancy Hendrickson
The League of Extraordinary Gentleman
This comic-to-film adaptation spells the name correctly, but fails to capture the human heart of these literary icons. By Den Shewman
28 Days Later
Despite treading on the well-worn cinematic territory of the post-apocalyptic zombie picture, novelist Alex Garlands recurring themes survive in his screenplay for 28 Days Later. By Francisco Menendez
Columns
The Busine$$ of Screenwriting
The More Things Change&
Some questions about the biz just never seem to go away. By Ron Suppa
Agents Hot Sheet
Tear Down the Wall!
Good news - the wall between features and TV is gone. By Jim Cirile
Belly of the Beast
Executive Decision
Are studio executives a strange, intergalactic species sitting behind giant desks? By Michael Lent
Our Craft
What Comes Next?
Overwhelmed by all the dos and donts? Well help to separate the wheat from the chaff. By Jeff Newman
The Contest Beat
So You Wanna Enter a Contest?
If reading contest promo have ever made you cross-eyed, help is at hand.
The Final Scene
Seabiscuit by Gary Ross
Features
Pirates of the New Sensibilities: Interview with Terry Rossio & Ted Elliott
How do you adapt a Disneyland theme park ride into a summer event movie? First, hire the Oscar-nominated screenwriting team of Terry Rossio & Ted Elliott. Den Shewman talks to the duo about building a better pirate story, why this was the best film experience theyll ever have, and their new Pixar-like project with Digital Domain. By Den Shewman
The Craft of Dialogue
The Craft of series presents its inaugural article, and in-depth look at writing dialogue. Jeff Goldsmith talks to top dialogists Eric Bogosian, Scott Frank, Neil LaBute, Richard LaGravenese, and Nicholas Pileggi to get their insights into what makes for great dialogue on the page and on the screen. By Jeff Goldsmith
Not a Long Shot: Laura Hillenbrands Seabiscuit Makes the Leap to the Big Screen
Laura Hillenbrand felt that her primary responsibility in writing Seabiscuit An American Legend was to be true to the people I was writing about. Fortunately for her and the stirring tale of the extraordinary men who guided the racing icon to victory, screenwriter-director Gary Ross shared the same commitment. His respect for her work also meant that she would be a key consultant when he adapted her book to film. By Peter N. Chumo II
What Happened to All the Women?
Half of all films were once written by women. Now male screenwriting credits outnumber womens by almost nine to one. Why have the numbers gone down instead of up? By Nancy Hendrickson
The Terminator vs. The Hollywood Cyborgs
What if Arnold had been the good guy? Or if Sarah Conner was a twenty-one-year-old junior college student? Terminator co-writer Gale Ann Hurd and T2 co-writer William Wisher discuss how James Camerons feverish dreams and rejected treatment led to one of the biggest sci-fi franchises of the 80s and 90s. by Jeff Goldsmith
|
$10.11
|
|
|
|
|
|
|
