Transpecos: Moving the Big Reveal to the First Act
Greg Kwedar on building the story from the world up, when to scrap a monologue, and what happens when you move the big reveal into the first ten minutes.
Greg Kwedar on building the story from the world up, when to scrap a monologue, and what happens when you move the big reveal into the first ten minutes.
Writing: The Dying Art. Kaufman on Ace the Case
Kevin Kaufman on screenwriting takeaways from docu-dramas, realistic dialogue for children, and working with the biggest rabbit he's ever seen.
Kevin Kaufman on screenwriting takeaways from docu-dramas, realistic dialogue for children, and working with the biggest rabbit he’s ever seen.
The Nine Lives of Rachel Weisz in Complete Unknown
Joshua Marston on the idea for this unique character study, the underlying theme behind the film, and why screenwriters need to get out more.
Joshua Marston on the idea for this unique character study, the underlying theme behind the film, and why screenwriters need to get out more.
“That’s my family, more or less.” Jim Strouse on The Hollars
Jim Strouse on character-driven movies, basing a script on real-life events, and what makes a good story.
Jim Strouse on character-driven movies, basing a script on real-life events, and what makes a good story.
Taylor Sheridan on Sicario and Hell or High Water
Taylor Sheridan discusses research, challenging the audience, and the importance of being selfish.
Taylor Sheridan discusses research, challenging the audience, and the importance of being selfish.
