The Shining - Thoughts

I loved that the documentary film Room 237 was made because I've been a fan of Stanley Kubrick and The Shining ever since I saw it. Room 237 was great because it was like being with friends who loved the same thing.  I do think that some of the thoughts from 237 are crazy and not what Kubrick intended.  I do think the madness he has sent those analyzers and myself into when trying to figure out what The Shining means is what Kubrick was trying to create.  There are many loose ends through out the film, add that to the belief in Kubrick's genius perfectionism and add a story about seeing different times and you have this perfect recipe for an analyzers joyful madness.  There's a part of me that loves to analyze films.  It's like trying to solve the riddle or figure out the puzzle.  So The Shining is this labyrinth maze with dead ends which makes you want to analyze it.  But you can't find all the answers you want.   It's not about a moon landing message or native Americans.  It's about a guy who goes crazy.  We want to find all the answers but this is part of the madness Kubrick was trying to create and/or did create.  That's what's so brilliant about The Shining.  Ever since I saw it the first time I was thinking, "Whoa this is crazy.  I don't know what it's about but it's crazy."  I've been trying to figure out since.  That's the feeling he want to give the audience.  When I was a freshman in college the first movie I had to write a paper about, I chose The Shining.  I would pay good money if I could find what the 18 year old version of me had written about it.  

Adapting the Bible

There have been several movies adapted from the Bible recently and I wanted to comment on the different ways they have been adapted.  My goal is hopefully to suggest the best way to adapt a Biblical story for film and TV.  As a Christian filmmaker it is exciting to see many parts of the Bible being produced as big budget movies for millions to see.  Even the ones that are most inaccurate are at least putting some part of God's message out into the world, hopefully to help more people to know God.  There are three adaptations I want to discuss in detail *Noah, Exodus: Gods and Kings and A.D. The Bible Continues.*  I will discuss the different types of adaptation of the Bible. 

When adapting any story, whether it's a book, magazine, comic book, or an actual event, the rule of thumb is write the best screenplay.  Don't worry about following exactly what happens in the original material, but tell the best story for the movie.  There are many reasons for this.  A book can cover more, have more characters, have locations that are impossible to film or be very expensive.  Even if that's how it really happened, movie audiences don't care.  They just want a good movie.  Inevitably something will be left out of the adaptation and some fan of the original material will be upset.  Choices will have to be made and not everyone will be happy.  You'll have to make these choices anyway because it is very unlikely that everything in the book will make it into the movie.  This is why everyone says the book is better than the movie.  When you are making the movie you are making it for an audience that has not read the book, so the film or TV show must be able to stand on its own without explanation.  

You can see where this would cause problems when adapting the Bible.  Christians believe every word of the bible came from God so changing God's word is not acceptable.  There are several ways I have seen parts of the Bible adapted.  When adapting any source other than the bible I would change what ever I needed to write the best screenplay.  For adapting the Bible, one must be more careful not to contradict or change the bible.  

The first way I have seen the bible adapted is directly copying from the bible.  The Bible says God told Abraham to sacrifice his son Isaac and we see a scene where Abraham ties up Isaac and is about sacrifice him when God tells him to stop.  The scene plays out exactly how it's described in the Bible.  

Another way I have seen used omitting certain parts to tell a whole story.  This would include taking parts out to shorten the story.  This could go either way, taking out some part that is crucial to the story our how a character is portrayed could completely change the story or it could be benign and simple speed up the story.  

Another step in adapting is where the Bible has a blank spot or a grey area where we don't know exactly what happened and scenes are made up to show how events could have played out.  In AD there are many scenes where Caiaphas talks with Pilot about guarding the tomb of Jesus.  We don't have how those moments actually happened in the bible, but they could have the spirit of what was going on there.  

Sometimes the adaptation is inaccurate, meaning there is a contradiction between the bible and the script.  This could be done, and is simply inaccurate.  Another way this could be done is that it's inaccurate but they are still trying to get the heart or the spirit of the story.  So the facts could be wrong but the meaning is right.  Of course the accuracy could also be wrong for nefarious reasons.  Perhaps they want to pervert the bible and add their meaning to the story.  

I have problems with all three of the these adaptation examples Noah, Exodus and A.D.  All of them are inaccurate.  Sometimes this is forgivable because the filmmakers may not be Christians themselves so they don't have a good understanding of the material.  Some of this inaccuracy could be just a mistake in the writing, which is a hard job.  Sometimes I'm just not sure why they contradicted the bible. 

To me Noah is the best of these three because it engages me in the human drama.  I care about the characters and I'm along for their journey.  There are many inaccuracies in Noah.  Right off the bat there are "The Watchers" which are fallen angels who have hardened into rock creatures.  These are no where to be found in the bible. Of the three films I'm talking about, it's the most glaringly inaccurate part.  There are other inaccuracies in Noah.  In the bible, Noah's sons have wives and families prior to getting onto the arc, in the movie, only one has a wife.  Noah is also a very faithful and obedient man of God in the bible where as the movie makes him out to be more flawed and misunderstanding God.  I still enjoy this part of the movie even though it is incorrect.  It shows me a picture of how we as humans can struggle to understand how God is working in our lives.  God spoke directly to people in the bible, but today he doesn't do that.  This helped me relate to Noah.  Many times we don't know how things will work out until the events are over.  I also love how in Noah there is a distinction between God's people and the world, which is something I feel as a Christian.  I also love how Noah refers to God as the creator and his reverence for him.  It's something very rare to see depicted in any movie.  One of the most haunting images of Noah is seeing the people holding on for dear life on the top of the mountain while the rains come.  It reminds me of how this world is lost and we need to help it.  Even though the antagonist who gets on the arc is not in the bible I like seeing his attitude towards God compared to Noah's attitude.  The antagonist is a consumer and angry at God.  He shows me what we could become, what some people are.  Noah is about how some people will be saved and others will not.  "The storm cannot be stopped, but it can be survived."  This quote left me with the haunting reminder that there will be a judgment in the future. 

Noah falls into the category of inaccurate but trying to get the right heart or spirit.  I know many people couldn't get past The Watchers and the other inaccuracies but if they could they would fine a very rich story about God and his people.  

With the TV show AD, I have a hard time watching.  There are inaccuracies but there isn't a spirit of let's find the heart there are just blatant inaccuracies.  Peter's character seems to be brooding and a thinker.  That's not who I see in the bible.  Peter is a guy who talks so much he puts his foot in his mouth all the time.  I think my expectation for AD was a tv show of the book of Acts.  The show's creator has said he wanted to mix House of Cards and Game of Thrones with the bible.  I think this sounds like a pitch that will help sell your show to the network, but those shows don't have anything to do with being a Christian or what the first century church was thinking about or going through.  My issue with AD is that most of the show is concerned with an argument between Caiaphas the high priest and Pilot about who is in charge of Jerusalem.  Their wives also playing big roles in the scheming.  This is not in the book of Acts nor does it add much to telling the story of the first century church.  As someone wanting to watch Acts adapted for TV this does nothing for me.  Also whenever AD finally gets to a portion that is taken from the bible, which happens only near the end of each episode, it's inaccurate.  It's seems lazily inaccurate, why not have characters say what's in the bible or have it happen like its described in the bible?  Perhaps the screenwriters are taking the traditional approach to adapting and just changing it how they want for their story.  Again this is fine if it wasn't for the book being the Bible.  I'm annoyed with the main characters of AD.  If I want to see a bible show, and you are telling me this is the bible continuing, then give me the bible.  Don't give me Game of Thrones.  It is nice to see certain parts of the bible on screen because I've never seen them in a movie or tv show before.  I just wish there was more of this.  

Exodus: Gods and Kings seems to be a troubled movie that never figured itself out.  It seems that a good amount was cut out like in Kingdom of Heaven which has almost an hour cut out.  In terms of accuracy, Exodus shows Moses as a man who wants to overthrow the government who is enslaving his people.  Moses only speaks to Pharaoh once, not after every plague like how the bible describes.  Moses is also not 80, nor is his family with him.  He seems more like a man rising up to be a political leader than a man God chose to save his people.  I didn't connect with Moses or any main character in Exodus.  When it says how Moses first talked to God in a burning bush, a storm is going and Moses is covered in mud.  It's just inaccurate.  It almost seems like the writers were trying to explain how the exodus came about.  That perhaps some of the parts of the bible could be explained humanistically.  However when they came to the plagues, there was no way to explain it.  They are too bizarre and powerful.  The only explanation is God.  For the most part the overall story of this version is a story of the exodus of the Hebrews.  The details do not follow the bible, but of the three stories I'm focusing on, Exodus actually veers the least from the bible in the overall story arc.  The inaccuracies aren't as obvious as rock creatures or Game of Thrones characters, but the small changes in this adaption take God out of the picture as to why Moses did what he did at certain times.  

In conclusion, for adapting the Bible, the number one goal should be accuracy, and when this becomes difficult for storytelling.  Only change or add to when it adds to the overall meaning or spirit of the moment.  

Kubrick on Kieslowski

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The foreword to Kieslowski & Piesiewicz, Decalogue: The Ten Commandments, London: Faber & Faber, 1991

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I am always reluctant to single out some particular feature of the work of a major filmmaker because it tends inevitably to simplify and reduce the work. But in this book of screenplays by Krzysztof Kieslowski and his co-author, Krzysztof Piesiewicz, it should not be out of place to observe that they have the very rare ability to dramatize their ideas rather than just talking about them. By making their points through the dramatic action of the story they gain the added power of allowing the audience to discover what's really going on rather than being told. They do this with such dazzling skill, you never see the ideas coming and don't realize until much later how profoundly they have reached your heart.

Stanley Kubrick
January 1991

Gravity

The Best Picture of the Year for me is Gravity. It was fresh original, stunning, exciting, visual, everything you want in a movie. My wife liked it and asked why I thought it was so good. It got me thinking why exactly did I love it so much.

I think I’m tired of the sequels, the remakes and the comic book movies. I want to see something I haven’t seen before. I want to be masterfully lead into a story by an authority. Gravity did that for me. 

I’ve never seen a realistic space movie with this type of plot. It feels like it was very well researched. It feels real. I could be wrong about how realistic it is, and I’ve heard some critics talking about the science of it. I don’t care if it’s not entirely accurate, it feels well researched. It has a realistic tone to it. This makes it feel fresh. Maybe it’s also because it’s the first good space movie done in awhile (get ready for many copy cats coming soon). 

This to me is what makes a great film now. It’s a unique story, well told that we haven’t seen in a while. This should have been a major consideration in thinking about nominating the screenplay. The story of Gravity is simply a survival story, and many criticize that it was too simple. What’s great about the writing is coming up with idea, and setting it in this world. We’ve never seen a movie like this. That’s incredible and I think it’s a shame Gravity wasn’t nominated for Best Screenplay. 

Gravity was released at the end of boring summer where people were craving good movies. It was a hit because it was fresh, because it was well researched and because we had never seen anything like that before. 

Walking out of the theater, I knew it would get Best Director and at least a Best picture nomination. That’s when you know you’ve seen something great. I don’t think anyone will remember any of the other nominees. Does anyone remember The Artist or Kings Speech? We just don’t factor in popularity enough in Best Picture and aren’t we picking the best movie? Shouldn’t people like it?

Gravity was my favorite film from 2013 and I’m so glad I got to see it on the big screen.

Stanley Kubrick's Napoleon Screenplay

My initial reaction to reading the script is that it seems unfinished.  I'm a huge Kubrick fan, but I didn't see the greatness in the script.  It has Kubrick touches, but just seems to be a disconnected biography of Napoleon consisting of his love life and his political life.  The script is dated September 29, 1969 and I think this must not be the completed version.  I didn't fully understand the history or story of Napoleon as a historical figure.  I could see why Kubrick liked him as a character because they seem to have similar personalities.  

One tendency for writer/directors is to not fully explain everything in the screenplay.  Perhaps this is what was going on with Kubrick in this script.  This was his passion project and I'm sure there is much more that is not contained in this version of the screenplay that Kubrick had in mind.  Kubrick said in an interview, "There'll be no screenplay of Barry Lyndon published, because there is nothing of literary interest to read."  If you see the attached picture of one of the screenplay pages from Barry Lyndon found in the Stanley Kubrick archives, you'll see why this is true.  I'm sure the same would be true of Napoleon if it would have ever been produced.  

Barry Lyndon screenplay page from Stanley Kubrick Archives.

Kubrick did enormous amounts of research on Napoleon including costumes, european locations and historical information.  The story is that when the Napoleon movie was shut down, he moved all the work he had done i

nto making Barry Lyndon.  There are many similarities between this Napoleon script and Barry Lyndon.  There is is similar progression in the plot.  It's hard to imagine that Kubrick thought of Barry Lyndon after Napoleon.  Maybe he had read the book series before or during his preparation on Napoleon.  The picture below is from the Kubrick exhibit at LACMA and consists of the books dedicated entirely to researching Napoleon.  It's hard to imagine that this library produced only this current screenplay.  

Books used for Kubrick's research of Napoleon.  At LACMA.

I wasn't impressed with the screenplay of Napoleon, but I'm sure if he had made the film it would have been amazing and epic.  Kubrick, at the hight of his powers, working on his most passionate project, would have certainly produced one of the greatest films of all time.  

Parables and Screenplays

Parables

The disciples came to him and asked, “Why do you speak to the people in parables?”
He replied, “Because the knowledge of the secrets of the kingdom of heaven has been given to you, but not to them." 
Matthew 13:10-17

Jesus spoke to people in parables because that was how he could get his message across.  Basically he was teaching people something they didn't understand yet.  The way he did that was by telling people stories they could relate to with the meaning he was trying to get across to them.

This is a great lesson for Christian screenwriters who want to get a message out in their screenplays.  One mistake screenwriters can fall into when trying to write a screenplay with a strong message in it is to make the message obvious and preachy.  Within a few minutes of watching the movie, it'll be obvious that the story is teaching a lesson.  It kills the art of the screenplay because it might as well be a sermon not a screenplay.

Just like Jesus taught people in parables, so should Christian screenwriters hide their messages in the story of the screenplay.    If a screenplay is for Christians with a Christian message, it's preaching to the choir.  The audience already knows the message.  There's no reason to tell the story.  If there is a message you want your audience to grasp, it needs to be something they don't know yet.  If they don't know it yet, then do what Jesus did and tell it in a parable.  As a screenwriter, the job is to tell the story in a unique way that plays out and adds up to message you are trying to get across.

Sometimes talking directly to people about the message doesn't work because maybe they don't want to hear it or don't understand it.  A story or screenplay can get through that without the audience even realizing it.  This is one of the reasons stories are so powerful.  Jesus knew what he was doing.  Try being like him and write your screenplay as a parable.

List of Current Auteur Filmmakers

Hollywood has become focused on making product movies that are only about making large amounts of money.  It has made seemingly endless comic book movies, sequels and remakes.  The quality of filmmaking has declined terribly.  These movies are only for the lowest common denominator and waste the power of film and story telling.  

The best films come from directors with a vision.  These directors are auteurs and we need more of them.  To promote better filmmaking I’ve decided to create a list of current auteur filmmakers.  

This list is not complete or in order.  I need your help to try to name them all.  Enjoy.

Paul Thomas Anderson

Christopher Nolan

Tom Tykwer

Wes Anderson

Joel & Ethan Coen

Steven Soderbergh

Quentin Tarantino

Woody Allen

Spike Lee

Martin Scorsese

Baz Luhrman

Danny Boyle

Peter Jackson

Paul Greengrass

Kathryn Bigelow

James Mangold

Neill Blomkamp

Ridley Scott

Run Lola Run - Analysis

Run Lola Run - Analysis

By Justin Seibel

Run Lola Run is a film about a dating relationship and how if one person in the relationship rushes ahead of the other, the other will be hurt.  The structure of the film plays out in three Acts where Lola replays the same 20 minutes over again.  Only on the third try she does finally get it right. 

In the first Act, Manni robs a grocery store and “rushes” Lola ahead farther than she was ready for.  Manni robs the store, but Lola is the one who gets shot.  In the second Act, Lola rushes ahead and tries to grab control by robbing her father’s bank of the $100,000 she needs to save Manni.  Lola robs the bank, but a truck hits Manni.  Both of their deaths have great symbolic moments of what it feels like if a person is hurt in a relationship.  A woman who loses her boy friend might say it felt like a stab in the chest or a shot through the heart.  That’s exactly what happens to Lola.  She takes a bullet dead in the center of her chest.  For a man who might have his girl friend break up with him, he might describe the pain as if he was hit by a Mac truck.  Lola rushes ahead, robs the bank, but Manni is the one who is hurt and literally run over by a truck.  Both characters are being selfish when they push ahead and it damages the other.  Which is true in a relationship.  What’s great about Run Lola Run is that there are many symbols that are physically used in the film to express the ideas of the director Tom Tykwer. 

One of the clues that points to this meaning of RLR are the red scenes in between the Acts when Lola and Manni lie in bed.  In each red scene, either Lola or Manni are questioning how the other is sure they love the other.  The one who is questioning is the one who had just died in the previous Act.  We know that this must have happened earlier in this scenario because after the red scene it comes back to the dying person in the Act then starts the new Act.  The red scenes act as primer to solving the problem.  They are the keys that tell you what the Act was about. 

The third Act, Lola has run out of options.  She learns as she goes through the Acts.  When Lola first picks up the gun when Manni is robbing the store, she doesn’t know how to take the safety off, but in Act two she knows how to shoot a gun.  When Lola knows that there’s a dog on the stairs at the beginning of Act three she jumps over it.  This helps her be early for her entire run.  She stops Mr. Meyer allowing him to drive and pick up Lola’s dad before she gets there.  She can’t rob the bank and she’s got to keep Manni from robbing the store.  There’s got to be a way for them to get the money in a legal way.

At the end of Act one, Lola is pleading in her head for Manni to wait.  In the moment we think it’s literally for the story point that he’s going to rob the store, but now we can see it as he is pushing Lola forward in the relationship before she is ready.  Here in Act three, Lola doesn’t know what to do and begins running.  She’s almost praying, “I’m waiting.  What do you want me to do?  I’m waiting.  I’m waiting.”  She isn’t trying to rush Manni.  She is earnest about wanting the situation to work out, but not sure of what to do.  There’s something about singlehood that is about waiting.  Everyone wants a relationship, but if it’s rushed it could be the wrong relationship for both of you.  Lola gets to that patient and contented place waiting to find the right one.  She awakens to be staring at a casino.  This leads to one of the most emotional climaxes I’ve ever seen in film.  Lola only has one hundred dollars and she’s going to make a bet on roulette.  The symbolism of her bets are the same as if you like someone and hope it works out.  Let’s say you like some and want to date them.  That’s what it’s like when she puts her first bet down.  You are invested, but if it doesn’t work out it’s not a big loss.  It’s the same investment as you heart.  Maybe if you like someone, but don’t get to date it could hurt, but not as bad as a divorce.  When she takes her winnings, now $3,500, and doubles down on the same number she is more invested.  This is symbolic of a dating relationship and wanting it to become a marriage.  It’s important to note that it’s the same number.  It’s like she’s betting on the same guy again.  In reality it’d be crazy to bet on the same number again.  For the symbolism of the movie it works.  When the ball is spinning around the roulette wheel and Lola screams with all her might she’s expressing that hope we have that the relationship will work out.  It’s out of her hands, it’s chance and it’s everything Lola is hoping for.  Lola screams with all her might, she gets lucky and wins again.  Her winnings add up to over the $100,000 needed to help Manni. 

Lola has saved the day, but the story wouldn’t be complete unless Manni worked his issues too.  Many times in a relationship it’s not just one person that needs to work on things, but both.  In RLR, both Manni and Lola need to work things out and not push the other before they are ready.  Lola learns patience and wins the money and by her working on herself she helps Manni work out his own issues and he gets the money back.  By Lola acting the way she does in the third Act, it puts the trash bag guy near Manni and he gets the money back.  It’s just like both people working on themselves.  Many times problems are amplified by other people and their reactions to our issues.  Another benefit of not rushing the other person is that the issues get worked out.  So in the end not only does Manni get the money back, now Lola actually has a wealth of money for the two of them.

Finally, in the mythic structure, once Lola has learned her lesson she has the healing elixir to bring back to her townspeople.  She has learned her lesson and when she gets into the ambulance she is able to heal the guy having a heart attack.  The previous two Acts she doesn’t get in the ambulance, but the last time she does.  Obviously, there’s nothing medical about what she does by holding the guy’s hand so it must be symbolically that she helps him.  With the other symbols that Tykwer uses it can be accepted that it’s only because Lola has learned her lesson that she’s able give and not take any more.  Since she did things the right way she is able to help instead of taking, as in robbing a bank.  Along with slaying her dragon comes the gold.  At the end, not only has Lola solved her problem as well as Manni solving his, but she also now has the gold, the winnings from the casino. There are bonuses for doing what’s right. 

Run Lola Run is a great symbolic film with great lessons about dating and relationships.  It made me a huge fan of Tom Tykwer and I hope he goes back to this type of filmmaking. 

Write the Story you are Passionate About

I've heard this before but a new insight clicked with me today. Sometimes writers try to write something that is popular now. Say if vampire movies are in then they try to write a vampire movie. One problem with this is that by the time they finish the screenplay and it gets produced that cool fad is over. So now you have this script that no one wants.
My new insight today was this idea of writing what is popular is also not a good idea because it's not something uniquely written by you. What makes any script great and what any producer and audience member is looking for is a great script with a clear vision and direction. If you write a story that's in your head that you have to get out then no matter what the story line or genre it is, it will have a through line that is important to you. If it's important to you then it will connect to other people. The plot points won't be cliched and formulaic because they will be unique to you. It'll be a western your way or a Rom Com your way.
The through line is important because it connects everything. A dream can be wild and crazy but emotionally it feels true. That emotional connection is your through line that you get when you must tell that story. When you've got to write about the hunting trip you went on. It's not because oh hunting wilderness movies are cool. It's because you have this story in you. That's why we want and need stories and why we first listened to them around a campfire.
This is another aspect producers are looking for because it's hard to write an original script. What good writing is today is an old story told in a new way. So if you write about what you care most about and feel like you must write then you will do all these things in the process and end up with a killer script that will have a better chance of getting made.

Special Deal on Screenplay Coverage!

For a limited time, I'll be offering coverage and analysis of your screenplays for only $25!  I'm offering a money back guarantee.  If the analysis is not up to the quality you would like, you will get your money back.  

Coverage is what Hollywood studios use to see if they want to buy your screenplay.  It generally includes a synopsis and an analysis of the commercial value of the script.   At the end of the coverage, the reader will give a grade of the script (pass, consider, recommend).  

Your screenplay will be read multiple times and then summarized so that you get what the reader takes away from the story.  Then a two page analysis of strengths and weakness is written, and solutions are given for the problem areas.  It doesn’t do you any good to come to the doctor and say, “Doc my stomach hurts,” and to have the doctor say, “Your stomach hurts.”  You need the doctor to give you the medicine to get better.  This analysis will not only point out problem areas but offer solutions to fix them.  

Dr. Screenplay - Coverage Deal

Christian Screenplays

I have been a devoted Christian for over 11 years, regularly attending services, reading my Bible and praying daily, and walking the walk.  I’d like to see more spiritual movies, but the sad fact is most Christian screenplays are high on meaning and low on storytelling.  This keeps these screenplays from being made.  One type of analysis offered is taking a Christian or Biblical based screenplay and helping make it the best story to get across the message that the writer wants conveyed.  This analysis will be similar to my regular analysis but will also emphasize storytelling techniques.

Many times the way the Bible and Christianity is portrayed in movies is not close to the Bible so for the writer that wants to correctly show an aspect of the bible, I can be the expert witness on how to make their script authentically Christian.  

I believe that anything that is really truth, is a truth from God. So movies about some true aspect of life is teaching part of God.  Stories can teach lessons without mentioning Jesus, God or the Bible.  Remember what Jesus said in Matthew 13:10:

This is why I speak to them in parables:
   “Though seeing, they do not see;
   though hearing, they do not hear or understand.
   ¹⁴ In them is fulfilled the prophecy of Isaiah:
   “‘You will be ever hearing but never understanding;
   you will be ever seeing but never perceiving.
¹⁵ For this people’s heart has become calloused;
   they hardly hear with their ears,
   and they have closed their eyes.
Otherwise they might see with their eyes,
   hear with their ears,
   understand with their hearts
and turn, and I would heal them.’^[a]
   16 But blessed are your eyes because they see, and your ears because they hear. ¹⁷ For truly I tell you, many prophets and righteous people longed to see what you see but did not see it, and to hear what you hear but did not hear it.


Help with Christian Screenplays - DrScreenplay.com

Doing Research for your Screenplay

“The key to winning this war [on cliches] is research, taking the time and effort to acquire knowledge.” - Robert McKee

One of the most powerful tools we possess as writers today is research.  Today’s audience are highly intelligent because they see stories constantly.  After so many movies it seems that it would be hard to make an original screenplay.  I believe that all the easy stories have been told.  It is amazing how much you can learn about a subject when you study it.  So much of our concept of things comes from the movies, but there is often a difference between reality and how Hollywood portrays things.  One of the best ways to make your script fresh, original and something audiences and readers have never seen, is to do research on a specific topic in your screenplay.  

I deeply believe in research and it’s almost magical power to awaken a script.  For each quarter of your screenplay, I’ll give you five pages of research on a topic in that part of your screenplay.  The research will include scientific, historical, or topical information specific to particular elements, genre research, links to books, articles, and videos online, and a list of similar films to your story that maybe helpful to watch. 

DrScreenplay.com

Why should you use a screenwriting consultant?

Why should you use a screenwriting consultant?  Every writer needs honest, constructive, supportive feedback on their writing that doesn’t come from Mom or a roommate.  Writers can also tend to work in their bat caves, and having someone help you with you as you work can take your screenplay to the next level.  Having a consultant can keep writers from the frustrations of working alone like discouragement, lack of productivity and an unfinished screenplay.  

Feedback will build your screenplay to make it stronger, a better read, more likely to be optioned or sold and ultimately made into a movie.  

Dr. Screenplay is a screenwriting consultant who offers expert analysis, valuable feedback, and solutions to help you tell the story you want to tell.  There are several different types of services offered to help you at different stages of writing your screenplay.

DrScreenplay.com

Treatments

@geektothechic asks:  Is there a definitive right way to write the treatment?


There many different ways to write a treatment for a screenplay.  The focus when writing one should be on your audience.  Ask yourself, "Who is going to read this?"  Is it a producer that will decide if they want to fund writing the screenplay or making the film?  Or is it just for you to summarize your story?  If the treatment is for a buyer or someone else to read, the goal should be to make it an enjoyable read.  The treatment shouldn't be too technical and should have a good flow.  Many times if it is for a producer they will ask for a four page treatment where Act 1 is one page, Act 2 is two pages and Act 3 is one page.  The limitation with this type is that there isn't much detail to your story.  The advantage to even writing this for yourself is that you boiling your story down.  If you can't tell your story quickly, then probably there is something wrong with it.  
A treatment can also be for you to outline your film.  It's helpful to write out each scene with a line or two or a paragraph for each scene.  These can be just notes or thoughts on each scene and not necessarily something that reads.  Sometimes a treatment of this type can be as long as 75 pages.  Back in the golden age of Hollywood writers would write a 100+ page treatment before writing the screenplay.  So they knew their stories well.  The point of this type of treatment is for you as the screenwriter to know your plan before you start writing the script.  If another writer is going to be reading the treatment in order to help write the script, giving them as much to read as possible is a must.  
I hope that helps.  Good luck in writing your treatment!

Dr. Screenplay on Tumblr

I'm trying a new blog on tumblr.  Seems cool.

Dr. Screenplay's Oscar Picks

So if I had a vote, this is what I'd pick:


Best Picture: Inception , Emma Thomas and Christopher Nolan
Writing (Original Screenplay): Inception, Written by Christopher Nolan
Writing (Adapted Screenplay): True Grit, Written for the screen by Joel Coen & Ethan Coen
Directing: True Grit, Joel Coen and Ethan Coen
Film Editing: The Social Network, Angus Wall and Kirk Baxter
Actor in a Leading Role: Colin Firth, The King's Speech
Actor in a Supporting Role: Christian Bale, The Fighter
Actress in a Leading Role: Natalie Portman, Black Swan
Actress in a Supporting Role: Helena Bonham Carter, The King's Speech
Documentary (Feature): Exit through the Gift Shop, Banksy and Jaimie D'Cruz
Foreign Language Film: Biutiful, Mexico
Animated Feature Film: Toy Story 3, Lee Unkrich
Cinematography: Inception, Wally Pfister
Visual Effects: Inception, Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
Art Direction: Inception, Production Design: Guy Hendrix Dyas, Set Decoration: Larry Dias and Doug Mowat
Costume Design: Alice In Wonderland, Colleen Atwood
Makeup: The Wolfman, Rick Baker and Dave Elsey
Music (Original Score): Inception, Hans Zimmer
Music (Original Song): I See the Light (from "Tangled"), Music by Alan Menken Lyric by Glenn Slater
Sound Editing: Inception, Richard King
Sound Mixing: Inception, Lora Hirschberg, Gary A. Rizzo and Ed Novick
Short Film (Animated): Day & Night, Teddy Newton
Short Film (Live Action): God of Love, Luke Matheny
Documentary (Short Subject): Strangers No More, Karen Goodman and Kirk Simon




http://bit.ly/d7ZWc2

2011 Oscar Predictions

Here are my Oscar Predictions.  They aren't necessarily my choice, but who I think will win.  The big news it will be a split Best Director to David Fincher for The Social Network and Best Picture to The King's Speech.

http://mubi.com/users/1193019/predictions
(The green is my pick).

Performance by an actor in a supporting role

Christian BaleThe Fighter	13837
John HawkesWinter's Bone	335
Jeremy RennerThe Town	211
Mark RuffaloThe Kids Are All Right	284
Geoffrey RushThe King's Speech	4443

Performance by an actress in a supporting role

Amy AdamsThe Fighter	1191
Helena Bonham CarterThe King's Speech	2180
Melissa LeoThe Fighter	8409
Hailee SteinfeldTrue Grit	6871
Jacki WeaverAnimal Kingdom	459

Adapted screenplay

Danny Boyle & Simon Beaufoy127 Hours	726
Aaron SorkinThe Social Network	16230
Michael Arndt, John Lasseter, Andrew Stanton & Lee UnkrichToy Story 3	305
Joel Coen & Ethan CoenTrue Grit	1190
Debra Granik & Anne RoselliniWinter's Bone	659

Original screenplay

Mike LeighAnother Year	301
Scott Silver, Paul Tamasy, Eric Johnson, Keith DorringtonThe Fighter	707
Christopher NolanInception	4735
Lisa Cholodenko & Stuart BlumbergThe Kids Are All Right	1463
David SeidlerThe King's Speech	11904

Achievement in music written for motion pictures (Original score)

How to Train Your Dragon	873
Inception	2867
The King's Speech	4240
127 Hours	753
The Social Network	10377

Achievement in music written for motion pictures (Original song)

Country Strong	3808
Tangled	2130
127 Hours	2654
Toy Story 3	10518

Best animated feature film

How to Train Your Dragon	792
The Illusionist	795
Toy Story 3	17523

Art Direction

Alice in Wonderland	7862
Harry Potter and the Deathly Hallows Part 1	826
Inception	4643
The King's Speech	4469
True Grit	1310

Achievement in Cinematography

Black Swan	3430
Inception	4436
The King's Speech	1441
The Social Network	1090
True Grit	8713

Achievement in costume design

Alice in Wonderland	9855
I Am Love	530
The King's Speech	6695
The Tempest	687
True Grit	1343

Achievement in makeup

Barney's Version	4044
The Way Back	2352
The Wolfman	12714

Achievement in sound editing

Inception	14362
Toy Story 3	962
Tron: Legacy	1993
True Grit	956
Unstoppable	837

Achievement in sound mixing

Inception	12702
The King's Speech	1516
Salt	357
The Social Network	3377
True Grit	1158

Achievement in visual effects

Alice in Wonderland	2085
Harry Potter and the Deathly Hallows Part 1	869
Hereafter	112
Inception	15415
Iron Man 2	629

Best documentary feature

Exit through the Gift Shop	6065
Gasland	951
Inside Job	6305
Restrepo	4105
Waste Land	1684

Best documentary short subject

Killing in the Name	5762
Poster Girl	2763
Strangers No More	4686
Sun Come Up	1728
The Warriors of Qiugang	4171

Achievement in film editing

Black Swan	3763
The Fighter	761
The King's Speech	1876
127 Hours	2051
The Social Network	10659

Best foreign language film

Biutiful	9397
Dogtooth	1831
In a Better World	3843
Incendies	3190
Outside the Law (Hors-la-loi)	849

Best animated short film

Day & Night	8869
The Gruffalo	3347
Let's Pollute	1671
The Lost Thing	1715
Madagascar, Carnet de Voyage	3508

Best Live Action Short Film

The Confession	3371
The Crush	3181
God of Love	4050
Na We We	4719
Wish 143	3789

Achievement in directing

Darren AronofskyBlack Swan	2305
David O. RussellThe Fighter	372
Tom HooperThe King's Speech	5022
David FincherThe Social Network	9924
Joel Coen and Ethan CoenTrue Grit	1487

Performance by an actress in a leading role

Annette BeningThe Kids Are All Right	1490
Nicole KidmanRabbit Hole	263
Jennifer LawrenceWinter's Bone	434
Natalie PortmanBlack Swan	16551
Michelle WilliamsBlue Valentine	372

Performance by an actor in a leading role

Javier BardemBiutiful	350
Jeff BridgesTrue Grit	723
Jesse EisenbergThe Social Network	593
Colin FirthThe King's Speech	16784
James Franco127 Hours	660

Best motion picture

Black Swan	859
The Fighter	239
Inception	418
The Kids Are All Right	82
The King's Speech	10843
127 Hours	71
The Social Network	5768
Toy Story 3	97
True Grit	569
Winter's Bone	164