Who is the biggest dead celebrity money maker in the world? If you said Elbert Einstein you would be right. Another interesting fact reported by Steve Kroft of 60 Minutes is (according to the IRS) there are currently over 84,000 people listing Elvis Impersonator as their primary profession. Somehow those two facts make the World seem right.
This Jonathan Post Experiment is a new technology for 3D screens without glasses. It syncs your eyes with the action on your screen, thus simulating 3D active shutter glasses. I don’t know about you, but I think I’ll stick with the glasses.
This video is from a series created by Vimeo and Philip Bloom that covers DSLR Basics. It gives you a short lesson on settings for nighttime shooting with a DSLR.
Charlie Rose discusses Facebook and the future of social networking with Ken Auletta of the ‘New Yorker,’ David Kirkpatrick of The Daily Beast & author Michael Malone.
A concise look at some of the more bizarre visual aspects of The Shining. Through interviews with collaborators, current filmmakers and authors, we’ll examine how Kubrick used his unique brand of visual storytelling to convey madness, evil, and the power of the supernatural without relying on dialog or conventional exposition. As much as any film he ever made, The Shining illustrates Kubrick’s talent for using the language of pure cinema to tell his stories.
Cowboys, frat-boys, soldiers, fishermen and prisoners; what do they have in common? No, they are not Sarah Palin supporters. Each of these icon character types is represented in our list of the Top 7 non-musicals with men singing together. As to why Gene Wilder stars in three of these films, I can’t answer that.
#7: Blazing Saddles
#5: Stir Crazy
#3: Young Frankenstein
#2: Animal House
#1: Rio Bravo
Extra Credit: Fight Club
While it never made it into the final film, I think it belongs on the list.
It’s Mickey’s Birthday and his girlfriend just left him, so that’s when his friend Clarence shows him a birthday he’ll never forget. The film was completed, but the final reel was destroyed in a lab fire that broke out during editing. The surviving part of the film was shown in part to a small crowd in early 1987. It Later became the basis for True Romance.
In this clip from “Jeff Bridges: The Dude Abides” airing this month on PBS (check local listings), Bridges visits the shop in New York’s Greenwich Village called The Little Lebowski dedicated to collector items for The Big Lebowski and explains how he first got involved acting for the Coen Brothers.
Future Shock is a 1972 short documentary film directed by Alex Grasshoff and narrated by Orson Welles. It was screened at the 1973 Cannes Film Festival, but wasn’t entered into the main competition. It is based on the book of the same name.
Edward Jay Epstein explores how the changing financial landscape is making it harder to get small independent films funded.
…What caused this sudden decline was the closing of most of the studio-backed specialty distributors. Within the space of a few months, New Line Cinema, Miramax, Fine Line Features, Picturehouse, Warner Independent Films, Fox Atomic and Paramount Vantage shut down. Most of the remaining ones sharply cutback on making advance commitments. The causes of this cratering ranged from faltering DVD sales in large retail chains to the ending of output deals by HBO and other Pay-TV channels.
The result was that indie producers had to base their ability to borrow money almost entirely on the foreign market. Yet foreign distributors then greatly reduced the amount they were willing to commit because they could no longer be confident that indie films would have the publicity and hype that goes with an American release.
— The Wrap.com| Read The Full Article
by Paul Chitlik
In every movie of quality, there are three stories going on either simultaneously or in close proximity. One of the first things you need to look at when you approach a rewrite is to make sure all the stories are fulfilled and in the right proportions. The closer they are in theme and proximity, the better. They should support each other and the script as a whole. Knowing what they are and how to integrate them will make your script more consistent and stronger in its core. Here’s how I do it and how we talk about it in my seminars.
You already know the first two stories, commonly referred to as the A story and the B story. Let’s make those clear. The A story is what most people would call the plot. It’s the journey of your central character from the seemingly normal life s/he starts out with through the perilous quest for whatever his/her goal is. Yes, in a good story, that goal will change at the midpoint, but, for the most part, this is what people would call the central story of your picture.
The B story is less clear, though. This is the story of the central emotional relationship as seen through the eyes of the protagonist. In other words, the love interest in a romance or romantic comedy, the friend in the buddy pic, the kid in a father/daughter picture. This is the emotional heart of the picture, and even a rough and tumble picture like “Die Hard” has one. As a matter of fact, that’s what makes the picture so memorable – it has a heart. In every movie, there is a relationship to be established or repaired. That’s the B story. Making sure your B story is solid will add depth and emotion to your script, making it easier for the audience to relate to.
In a somewhat tricky reversal, in a romance or romantic comedy, the A story becomes the B story and the B story becomes the A story. Let’s have a look at two very different movies, “Die Hard” and “Life as We Know It.”
In “Die Hard,” there’s no doubt that the A story is about the takeover of the skyscraper by a terrorist group, though the movie starts out as a relationship pic – Willis’s John McClane is going out to Los Angeles to see if he can win his family back, or at least pay them a civil visit. Soon, the terrorists take over the building his wife works in and hold her and the other workers hostage. McClane’s goal becomes clear: defeat the terrorists, free the hostages, and get his wife back. In the end, he does them all, but the emphasis is definitely on dealing with Hans and his gang. And yet, he could have just walked away from all this had his wife not been a hostage, so the heart of the story is the relationship. That’s what engages the audience.
In “Life” the Katherine Heigl and Josh Duhamel characters are tasked with taking care of a little girl together. Though that is ostensibly the story, the real story is their romance and how it will take off and eventually influence what appears to be their primary goal as a couple. In fact, since it is a romantic comedy, the B story has become the A story – the more important story – and the A story has become the B story – the taking care of the child.
Okay, confused yet? Because there’s a C story in most every film, too. That’s the story of the character’s change, what most people call the “character arc.” Obviously this story goes hand in hand with the others, but it’s a good idea to have a clear grasp of a) what the character’s flaw is; b) when he realizes that flaw; and c) how he overcomes that flaw in the final challenge (climax).
So, how to best get a grip on these stories and use them to guide you through the rewrite? After reading through your latest draft, see if you can sketch out the seven points of each story. Briefly, the seven points are 1) the ordinary life of the character; 2) the inciting incident; 3) the end of act one – goal and plan; 4) the midpoint wherein the story goes off in a new direction and your character develops a more important goal; 5) the low, or all is lost, point; 6) the final challenge wherein your protagonist defeats his antagonist; and 7) the return to the now forever changed ordinary life.
Almost every movie can be seen in this way from “The Wizard of Oz” to “Avatar.” Organizing your script this way can simplify the rewrite process.
Yes, many of the points will (should) coincide. That means you’ve done your job well. But if you can’t identify the points of, say, the B story, then you have some work to do. If there is no C story, then you have some character work to do.
So, the first thing you must do is organize the A, B, and C stories from the point of view of the central character. Once you have these outlined (and they shouldn’t take more than a page each), it’s a good idea to twist your perspective around and look at the A story from the points of view of the person who is the central emotional relationship, and the person or force who is the antagonist. Then write the seven points of their stories. Of course, the antagonist doesn’t triumph in the end, but he has wants and needs (goals if you will) in the same way a protagonist does. And instead of a flaw, you might identify his human quality, the one that lifts him up from being just a two-dimensional villain. Doing this will give your antagonist more of a sense of purpose and will give your audience a better appreciation of his motives. It will also make for a fair fight and maybe even a little ambiguity, which is a good thing. Layers and depth, that’s what you’re looking to add in a rewrite.
Writing the wants and needs of the person who is the central emotional relationship of your protagonist will lend that person and that relationship depth as well. If you don’t find them in your story, that’s another factor you will need to consider adding during the rewrite. It’s really the emotional story which grips people and makes us care about what happens to the protagonist in the A story. Once you’ve got all these stories outlined, you can then go back and make sure that you’ve expressed them well and interwoven them into your script.
If you’ve just re-read your script, none of this re-outlining should take long. The mere fact of knowing each story in your script from each character’s POV will get you closer to a professionally polished screenplay. And any extra time you take to layer in new discoveries you make about your characters will be well rewarded with a richer, more meaningful, and emotional screenplay. In other words, it will make it a movie you and millions of others would like to see.
Paul Chitlik, screenwriter/producer/director, has written for all the major networks and studios. He was story editor for “The New Twilight Zone,” and staff writer for Showtime’s “Brothers.” He has written features for Rysher Entertainment, NuImage, Promark, and others. He received a WGA award nomination for his work on “The Twilight Zone,” a GLAAD Media Award nomination, and won a Genesis Award for a Showtime movie.
Video editor Oliver Noble of FilmDrunk brings us this video history of product placement in the movies. You may be surprised to learn the first film that won an Oscar for best picture (“Wings”) had product placements. Although, I’m sure it wont surprise anyone to learn that Michael Bay won “The Whore Award” for a record 47 product placements in Transformers: Revenge of the Fallen.