Another: For newer writers, do you think they should do as many steps as a producer asks of them (for free, after the first contracted steps are done)? I ask this because starting out I always felt guilty that if further work was required outside the scope of the contract, it was because my last draft hadn't aced it. Any views?
This is one where I'd defer to some of the pro-writers out there. I know it happens, I know it's not supposed to happen. I know there are pros lurking out there - anyone feel like weighing in, even anonymously?
I like to show my undergrad students scripts and writers that vary in voice and style: the lean and blunt Walter Hill and the loquacious Aaron Sorkin, the chattiness of Shane Black's action blocks and the focus of the Nolan brothers, and so on.
Can you recommend scripts/writers in non-action genres that demonstrate the flexibility in screenwriting style?
Thanks. This blog is on my recommended reading list for the class.
Those poor students. Apologies to all.
Wait, "recommended reading?" Why not "required?" The Dean shall hear of this!
Okay this is a good question. I'm gonna stick to commercially available scripts so as to not put an accredited educator in the position of recommending illicit downloading.
F. Scott Frazier is a huge fan of Tony Gilroy's Michael Clayton and I'd certainly back that up.
It might be interesting to compare and contrast Judd Apatow's Knocked Up with Diablo Cody's Juno. Apatow is lean on description and dialogue-heavy, while my recollection is despite Cody's stylized dialogue, her descriptions are rather short and utilitarian.
In checking out the selection at the bookstore, I realized that Good Will Hunting and Eternal Sunshine of the Spotless Mind were both available. I've never read either, but there's gotta be a lot to be learned from both of those, especially the non-liner way in which Eternal Sunshine unfolds.
1 day ago