National Screenwriters’ Conference 2009: Kenny – Plumbing the depths by: David Tiley Screen Hub Thursday 26 February, 2009 Before opening a completely charming discussion with Andrew Knight about the writing of ‘Kenny’, Clayton Jacobson produced some very sobering numbers. Kenny cost $500,000. By the time the film
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A friend asked me if I would be offended should he spend $600 to go see McKee in Melbourne. Years ago I happened to be in LA in the first days of release of the first edition of STORY (McKee’s bestselling book). I purchased two copies: one
Read more →THE EMPOWERMENT THEORY Machiavelli postulated that man’s quest is for power. He said that no-one is more miserable than a disempowered man. Ironically, he wrote his thesis as a book called THE PRINCE but when he presented it, hoping to impress his Medici rulers, to reap glory
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I like it. I don’t love it. And I see why it is not getting the word of mouth it deserves. My take on the film is primarily from a broad story perspective. I don’t go into dialogue, performance, SFX etc. because I believe they are secondary
Read more →The Story Dept. is proud to be part of the first Creative Masters Forum DVD: “Ron Cobb: Concept to Creation” Karel Segers interviews the legendary writer/director, designer, concept artist Ron Cobb about his life, his cartoons, his views on cinema, science-fiction and the future. Ron also shares
Read more →Zinneman called it a ‘necessary evil’ and wordsmith par excellence David Mamet says: “A good film script should be able to do completely without dialogue.“ I am not an expert, not even a native English speaker and I most certainly lack a deep knowledge of vocabulary. My
Read more →Following UNK’s publication of his post on The Mid Point and to the benefit of the students in a recent HERO’S JOURNEY workshop, I have updated the article of 20 April last year about this important turning point. Since writing the below post, I have come to
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A structural overview of Jaws (Peter Benchley, Carl Gottlieb, Novel by Peter Benchley 1975) Steven Spielberg first drew me into movies with Close Encounters of the Third Kind, back in 1977. Because I was too young for Jaws in 1975, it wasn’t until later when I discovered
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