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Write What You Know or Just Say No! (and other rhymes) I’m going to give you procrastinating scribblers a little bit of advice today. Yes me, who gets up at the crack of 10.30 in the AM and eats really really really old Chinese food from the back of the fridge
Screenplay Format – Your 30-step Guide Before you start writing the next great film, it is essential that you have a comprehensive understanding of screenplay format. It won’t matter how amazing your story is if the formatting is sloppy. You’re a professional, so your screenplay must dress to impress and there
Screenwriting Envy “In order to succeed, your desire for success should be greater than your fear of failure”. Guess who said that? You never will. It was Bill Cosby! I have spent the past hour trying to find another quote to go alongside that one, possibly by someone like Ray
The Screenplay. Like some kind of Mordorian tower it looms over the land. We can barely make out the top of it, so shrouded is it in snow, ice and whatever other element that makes things difficult to climb you want to throw in. The screenwriter, a veritable Kal-El among
The Rafn Column Part II 10 Ways to Irritate a Development Executive When I finally made the transition from being a Development Executive to becoming a writer, I believed that I had a genuine advantage because I had been granted the gift of insight having been on both sides of
Nobody worships more reverently at the altar of screenwriting than us. We believe in The Screenplay. We recognise it as the critical component in whether a film or TV shows lives, or dies. In its own right, we recognise that crafting a superior screenplay is a magnificent feat in itself –
Sceptical of Script Hosting Sites “I’ve barely got enough time for my existing clients, let alone trawling around websites looking for more” – Prominent UK lit agent. We’re not going to lie, here at Industrial Scripts one of the toughest parts of our work is gaining industry traction for our
Michael Mann Michael Mann started out writing for TV in the 1970s but made his feature directorial debut with THE JERICHO MILE in 1979. Several films later he finally struck gold in 1984, creating the long-running TV show MIAMI VICE which made Don Johnson a household name and pastel clothing
Be in no doubt about it – if you’re going to write for the screen, then you’re going to be writing genre. Thriller, sci-fi, crime, fantasy, comedy, horror and so on, everyone wants genre and these days they often want two genres, a comedy isn’t enough: it has to be
How many times have you heard someone describe a film as “it’s something meets something”? Unoriginal, or the keys to producers’ bank vaults? Industrial Scripts examines how to improve your chances of a spec sale – without selling out your originality with a list of our invaluable screenwriting tips.
With the arrival of GODZILLA at your local multiplex you might be thinking it’s time to get writing some monster movies of your own — how hard can it be, right? But while GODZILLA may have roared onto screens large and small over 200 times since the mid 60s, quantity
Fertile stories and multi-faceted characters will only take a script so far if the writer cannot repeatedly craft memorable and compelling framing scenes. Industrial Scripts looks at Ewan McGregor starrer BEGINNERS for inspiration in making scenes stand out. Writer-Director Mike Mills (no, not the bass player from R.E.M) is
Mastering the basics is an essential step in any screenwriter’s career progression – and yet many aspiring screenwriters forego very simple script choices which would make their projects stand out from the swirling mass of unfilmable spec scripts.
As our article on Jeffrey Katzenberg highlighted, gathering industry intel is vital for making it in this business. Industrial Scripts looks to the best Twitter Screenwriting resources – from box office numbers, to job opportunities and just plain amusing screenwriters given a voice. Of course, there’s also our own @Indust_Scripts
Jeffrey Katzanberg From bringing STAR TREK to the big screen, reviving Disney’s fortunes in the 80s and 90s, to being the K in Dreamworks SKG, Jeffrey Katzenberg has been a pivotal industry figure for four decades. “I have rhino skin. Rejection is part of the process. If I took it
“You can make the movie or you can make excuses” The path from script to screen is often torturous – but made longer when excuse making and defeatism set in. Industrial Scripts looks at common film industry excuses and defences no writer should be making – and how to overcome
“I can tell you I don’t have money. But what I do have are a very particular set of skills; skills I have acquired over a very long career. Skills that make me a nightmare for people like you.” – Liam Neeson’s Bryan Mills in TAKEN. Can we cast it?
With the box office increasingly dominated by big budget ‘Four Quadrant’ movies, squeezing out mid-budget releases, Industrial Scripts looks at the recipe for quadrant movies’ success in that seemingly impossible goal – appealing to everyone. Firstly, what are four-quadrant movies? Four-quadrant movies are mass-appeal films, very much favoured by
In America, screenwriters can earn an average annual wage of $77,260. At least, that’s what the Bureau of Labour Statistics tells us. The evidence is there: Bill Marsilii and Terry Rossio earned $5m for their spec of DEJA VU, while M. Night Shyamalan took home a healthy pay packet of £2.5m for THE
This is a brilliant page from the Knight Hall Literary Agency – one of the UK’s leading screenplay agent company who are representing screenwriters, directors and authors. It’s essential reading for screenwriters in particular, and while there are some extreme (true life!) examples below, general etiquette and knowing how to deal
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