#FAMOUS SCREENWRITER MOVIE#
A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. A publisher had taken it, gingerly had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. Once, twice, he had been victorious, objectively at least. Sometimes he would turn to face it, and do battle. Sometimes it would pursue him for days and years as he fled desperately. Wailing like a neglected ghost, the vast notion would beat its wings into the void. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve.
Both kinds have value and both are poems but it's fatal to confuse them. There is the kind you write there is the kind you talk about in bars. The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems.
#FAMOUS SCREENWRITER SERIES#
The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies translating even his contempt and boredom with that famously foolish book into a euphuism.
It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. “When he was in college, a famous poet made a useful distinction for him. And in the books you’ve read and the relationships you’ve had and your ability to use those things.” All the information you need is the movies and screenplays you love. This sounds basic, right? That’s because it is basic. And how the movies built from these screenplays did or didn’t hit you the same way.
Think about how the screenplays made you feel. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. If they have the secret rules, then you need them if you want to Because that makes you dependent on them. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is.
Experts win by getting us to be dependent on their view of the world. To me, the writer wants to get as many outside voices OUT of his/her head as possible. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars.īut for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. Yes, McKee has been able to break down how the popular screenplay has worked.
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