‘Process’ in Storytelling If you’re a screenwriter, one questions you’ll always find yourself asking is “what gives my story structure?” What is it that keeps the audience engaged as they watch and then provides a pleasing sense of closure? Traditional Hollywood script gurus will point you to The Hero’s Journey. According to this model, the […]Read More From Hairdressing to the Fall of the Roman Empire
Why directors make their mark ☛ One thing that distinguishes many successful directors is their tendency to leave their own personal stamp on a film. From Woody Allen to Ken Loach, Spike Lee to Tarantino, directors whose names we know often give their films such a distinctive feel that, were we to be dropped into […]Read More Directorial Style
Listen Marty, some friends of ours—not me—are concerned about what you’ve been saying recently. They’re very concerned. The guys at Marvel have asked me to tell you… ‘it is what it is’. [Apologies to those who haven’t yet seen The Irishman.] After Martin Scorsese doubled-down on his comments about Marvel films not being cinema in […]Read More Marty vs Marvel: the Flaw in the Argument
The Primacy of Emotion in Screenwriting ☛ Emotion is at the heart of every story. This statement won’t sound controversial if you write relationship dramas or rom-coms, but those of you who pen complex political thrillers or action movies will probably disagree. If you do, you’re wrong and I’ll tell you why. In a bit. […]Read More The Heart of the Matter
Cutting on Location ☛ I’ve written before about the advantages of cutting during the shoot, but on my last job – a lovely British feature called Me, Myself & Di – I went a step further and was cutting on location with the crew. I learnt some interesting things to share with you. To clarify, […]Read More Don’t Forget to Pack Your Editor
There’s a question that’s on the lips of virtually no screenwriter. So how is that a good subject for a blog? Because, while they rarely ask it openly, it’s a question all writers will have asked themselves privately at some point in their career. And it is: What should I write? Whether you take that […]Read More Not ‘How’ but ‘What’
The Spielberg Supremacy ☛ Last week Steven Spielberg called for a tightening of the rules of the American Academy, which awards the Oscars, to prevent films like Roma, which is backed by Netflix, being eligible in future. Now BAFTA is also feeling the pressure, with two cinema chains – VUE and Cineworld – protesting over the eligibility […]Read More When is a Movie not a Movie?
As camera resolutions improve and file sizes increase, filmmakers need more and bigger hard drives. But we have a variety of requirements of a device to store our media, for example: It needs to have the capacity to hold a lot of very large files. It needs to have a fast read speed, so […]Read More PRODUCT REVIEW G-Drive mobile SSD Rugged
The Art of the Flashback ☛ Flashbacks are on my mind at the moment. I’m currently working on two feature projects – one as writer, the other as editor – which are structured around multiple time periods, so my brain has got well-used to jumping around in time. Flashbacks are pretty common these days, but […]Read More How to Travel in Time
How many takes to shoot ☛ “One for Lloyds…” is a phrase often heard on movie sets in the UK. It means shooting a second take, even if take one was perfect; y’know, just in case. Lloyds is the centre of the British insurance market – I believe their policies once demanded that a minimum of […]Read More “One for Lloyds”?