I Feel Pretty writers predict the comeback of character-driven comedies
Though I Feel Pretty might sound like the brainchild of Amy Schumer herself, it wasn’t. The idea was all Kohn and Silverstein’s and when they pitched it to Schumer, she loved it. But there was one element of the story that needed to be addressed: after Renee hits her head and believes herself to be appealing in every way, does her on-screen physical appearance actually change? Would Schumer’s image be replaced by that of a size 2 supermodel?
5 Things To Know Before Writing That Science Fiction Script
Science fiction movies are a perennial favorite among movie audiences. They dazzle us with intriguing concepts, strange terrors and stunning visions of our future. Some of the highest grossing films in Hollywood have been sci-fi driven.
You Gotta Have Heart: Ways to Make Your Script Resonate
One of the first things you learn as a screenwriter is that your character(s) need to have an arc. They need to start in one place and finish in another. It’s a journey and it needs to be an emotional journey. However, it’s more complicated than that.
To Win or Not to Win: Writing the Sports Movie
I have to be honest, I’m not a sports fan. But I love sports movies. That might sound illogical but when you consider that sports movies run the gambit of genres (sports/comedy, sports/romance, sports/bio-pic and sports/drama) there’s a lot to like. So, what are the common elements to a sports movie regardless of the genre its married to?
Isn’t it Romantic? Making Sense of the Romance Genres
If you’ve got a great idea for a movie centered on a romance the first thing you need to do is understand the structural differences that define each romance genre. Here are the three primary romance genres and some thoughts on how to approach them.
4 reasons not to use flashbacks
Discussing whether flashbacks are a good idea with writers is about as easy as trying to choose your favorite Star Wars movie. There really isn’t one definitive answer. We just want to say that avoiding flashbacks more often than not is probably a good rule of thumb for all screenwriters.
What is a set-piece?
So, the first thing I found out by researching set-pieces is that there’s not a long of agreement as to what they are exactly. My understanding has always been that a set-piece is a self-contained portion of your story which can stand on its own. That is certainly the dictionary definition. However, some sites are saying that a set-piece is an expensive sequence that is the dramatic or comic highpoint. That’s a definition I disagree with so what I’ll be discussing here is the first idea of a set-piece as a self-contained portion of your story.
The Big Finish: Tips for Act Three
In some respects, writing your third act is the easiest part of your script. You’ve done all the exposition, the audience has fallen in love with your characters, and the only thing left is explaining how the story resolves. Well, maybe it’s not that easy. You do have to answer all, or at least most, of the questions you’ve raised, let the audience know what happens to each of the characters, tie up every loose end and make it all really, really exciting.
What Makes a Great Christmas Movie?
Christmas movies are becoming more and more popular. This year, the Hallmark Channel ran a Christmas movie for the first 25 days of December. Meanwhile, in the theaters there’s The Man Who Invented Christmas, Daddy’s Home 2, and A Bad Moms Christmas. So, what do you need to know to jump into this growing market? What are the basic elements of a Christmas movie?
Rom/com writer reinvents himself with the trash-tastic I, Tonya
The indie biopic I, Tonya tells the story of the infamous figure skater Tonya Harding and her quest for Olympic gold. Writer Steven Rogers (Kate & Leopold, Hope Floats), known for writing in the dying genre of romantic comedies, decided it was time to reinvent himself as a writer. Here’s how he did it.
Did You Have Overly Critical Parents? Then You Probably Have an Overly Active Inner Critic.
When we talk about the inner critic we usually focus on someone else’s inner critic—we read the article about the successful director that still suffers from self doubt, or we talk to the person in our writing group who just sold a script and they tell us they’re worried that everyone will think they’re a fraud. In cases like these it’s easy to see the inner critic for what it is: A nebulous cloud of doubts and worries that isn’t rooted in reality. But when it comes to our own inner critic, truth and fantasy become much more difficult to separate from each other.