Posts tagged movie
Posts tagged movie
Or about 3 screenplays. Thanks Final Draft
Don’t give up
Each Tuesday and Thursday this year, the Writers Guild Foundation is pulling one of the WGA’s 101 Greatest Screenplays off its library shelves and posting a few pages. Now, if you live in Los Angeles or you happen to be in LA with a few hours to spare, you can visit the Writers Guild Foundation library and read these screenplays for yourself. For the rest of us, we’ll have to make do with the few pages posted to the Writers Guild Foundation blog twice a week.
“You can write the sharpest, most glittering, wisest, poetic, hilariously dazzling dialogue, but if that dialogue doesn’t do its true work and open the dramatic world underneath, it’s dead on arrival.” John Guare, author of Six Degrees of Separation, House of Blue Leaves, and one of my favorite titles of all time, Bosoms and Neglect.
When you’re telling a real story, you want to be as comprehensive as possible, making sure not to leave out any important details. Other people are relying on you to give a complete retelling of the events that unfolded, so you don’t want to leave big holes in the tale. In screenwriting, leaving…
The Five Elements of Story
Two sentence horror stories.
Using some of these to spur my creative juices.
Bryan Fuller, Hannibal, Dead Like Me, Pushing Daisies, Wonderfalls, talks LGBT in television with Neil McNeil.
“Too much is known of Coppola’s own voyage into the heart of darkness, his encounters with ‘the horror,’ and the exasperations of finally realizing a work that would transcend the myths. Too little is know about the genesis of the film—its transformation from a script by John Milius to a film by Coppola. A reading of Milius’s first-draft script—dated December 5, 1969—dispels another myth: that Coppola completely rewrote the Milius work, an assumption promoted by Milius himself in his interview in FILM COMMENT (July/August 1976).
If the film strayed from the first draft, it was not so much away from Milius’s conception as it was towards Milius’s own source, the Conrad novel; and the final result is far from what Milius contemptuously referred to as ‘an anti-war movie.’ But Milius seems to have had his own preoccupation with ‘Heart of Darkness,’ which had more to do with his identification with and of Kurtz as a ‘rotting god’ and ‘legend to a primitive culture.’ Combining his own professed desire to ‘lord it over the monkeys’ with his apolitical obsession with war as the ultimate expression of ‘man’s inherent bestiality,’ Milius fashioned a script that structured itself in general terms after the Conrad work, but which incorporated many references to his own interests. These were represented most clearly by Kilgore (named Kharnage in the first draft), a surfing major whose own god-like resistance to fear is matched only by his Patton-like lust for napalm’s ‘smell of victory.’ The Kilgore section of the original draft, though appropriately shortened by a few pages, stands otherwise untouched and remains the most recognizably Milius element in the final film.
In fact, it’s surprising, after all the talk of rift, how much Milius’s original script shows up in the final cut. Two major scenes that don’t—an overnight stop at a French rubber plantation and an encounter with stranded Playboy bunnies—were filmed by Coppola and only excised later at the editing table.” —Brooks Riley, Apocalypse Now: Heart Transplant, Film Comment
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