Screen Plays: How 25 Scripts Made It to a Theater Near by David S. Cohen

By David S. Cohen

During this interesting survey of up to date display craft, David Cohen of Script and diversity magazines leads readers down the lengthy and harrowing highway each screenplay takes from thought to script to reveal. In interviews with Hollywood screenwriters from around the board—Oscar winners and beginners alike—Cohen explores what units aside the blockbuster successes from the downright disasters.

Tracing the fortunes of twenty-five motion pictures, together with Troy, Erin Brockovich, misplaced in Translation, and The Aviator, Cohen bargains insider entry to again plenty and boardrooms, to studio heads, administrators, and to the over-caffeinated screenwriters themselves. because the tale of every movie evolves from the planning stage to the massive reveal, Cohen proves that how a script is written, bought, built, and filmed might be simply as dramatic and fascinating because the motion picture itself—especially whilst the ensuing motion picture is a fiasco.

Covering movies of all kinds—from tongue-in-cheek romps like John Waters's a grimy disgrace to Oscar winners like Monster's Ball and The Hours—Screen performs is an anecdote-filled, usually inspiring, constantly revealing examine the alchemy of the motion picture enterprise. With Cohen as your professional advisor, monitor performs exposes how and why convinced movies (such as Gladiator) turn into "tent poles," these runaway successes each studio must continue to exist, and others develop into teach wrecks. packed with serious clues on the way to promote a script—and stay away from seeing it destroyed sooner than the director calls Action!—it's the single ebook each aspiring screenwriter will locate impossible to resist.

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Extra resources for Screen Plays: How 25 Scripts Made It to a Theater Near You--for Better or Worse

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Even instruction is handling a rifle can be drummed into the heads of the densest raw recruit if the instructor uses the method of ‘decomposition’. The most interesting link is of course the one between Japanese theatre and sound film which can and must learn from the Japanese what to it is fundamental: the reduction of visual and aural sensations to a single physiological denominator. Thus, it has been possible to establish briefly the fact that the most varied branches of Japanese culture are permeated by a purely cinematic element and by its basic nerve—montage.

But let us for the moment return to one of the most interesting optical conflicts: the conflict between the frame of the shot and the object. The position of the cinema represents the materialisation of the conflict between the organising logic of the director and the inert logic of the phenomenon in collision, producing the dialectic of the camera angle. In this field we are still sickeningly impressionistic and unprincipled. Nevertheless there is a clear principle even in this technique. A mundane rectangle that cuts across the accident of nature’s randomness.

FOR ART IS ALWAYS CONFLICT: 1. because of its social mission. 2. because of its nature, 3. because of its methodology. 1. Because of its social mission, since: it is the task of art to reveal the contradictions of being. To forge the correct intellectual concept, to form the right view by sitting up contradictions in the observer’s mind and through the dynamic clash of opposing passions. 2. Because of its nature, since: because of its nature it consists in the conflict between natural being and creative tendentiousness.

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