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The July/August Issue of SCRIPT is on Newsstands Now! |
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 Read a digital preview of the July/August issue, which includes Mark Boal’s Writers on Writing: The Hurt Locker; William Martell’s Basterd’s Father, a meditation on the Tarantino canon; and Don Handfield’s How I Learned to Stop Worrying and Love the Deadline.
For the digital preview, visit viewer.zmags.com/publication/b8afbc6e#/b8afbc6e/1 |
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Showrunners Speak Out: The State of Scripted Television |
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 Are the writers and creators of television dramas feeling a bit threatened these days? You bet they are, and it's not just from a case of ill-felt paranoia. Under the gun to cut costs in the heyday of reality shows, they're all waiting to see the outcome of NBC's bold move to fill five prime-time hours each week with Jay Leno's new show. Throughout the TCA this year, the issue came up again and again and John Wells and other writer-creators have expressed dismay to outrage over NBC's experiment. Peter Tolan, co-creator and executive producer with Denis Leary of Rescue Me, was particularly colorful in his thoughts on the peacock network's strategy.
To continue reading, visit
www.scriptmag.com/features/showrunners-speak-out-the-state-of-scripted-television.html |
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Discussing the July/August Issue With Andrew Shearer |
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 When I first read Wesley Rowe’s column Hitting the Boards in the July/August edition of SCRIPT magazine, it pissed me off. I was thinking, do burgeoning screenwriters really need advice on how to “up their quota” and figure out the best way to produce unoriginal work by having their own “twist on a classic” in their back pocket? Just last month, the subject of my blog was on the common concern voiced in SCRIPT about the lack of support for the unique voice in Hollywood. Shouldn’t we be encouraging screenwriters that if you’re focused on the money, you’re probably not going to make it in the first place?
To continue reading, visit scriptmag.blogspot.com/2009/08/discussing-julyaugust-with-andrew.html |
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Barney Lichtenstein: A Story Analyst's Top-10 List |
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 Setting the tone of your screenplay: Look for predominant tone established quickly and kept consistent, balanced. “Seeds” should be planted if the tone is going to change significantly (i.e. a serious prologue at beginning of Life is Beautiful suggests darker events to occur in a film which begins as a lighter comedy; mother’s concerns about crib death at the outset of Terms of Endearment create the same effect). Too often, scripts either start as humorless and heavy-handed, or too light and frivolous. Make sure the author is clearly creating a specific, effective tone.
To continue reading, visit scriptmag.blogspot.com/2009/08/barney-lichtenstein-story-analysts-top.html |
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Podcast: Elena Moscatt’s Life After Lisa |
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 In 1998, Elena Moscatt created Jamie’s Way, one of the Web’s first series, and built a large following through word-of-mouth and sites geared to teenagers. Now, after finishing her stint as key craft-services on Baltimore-based The Wire, Moscatt has two episodes of her new Web series Life After Lisa in the can. SCRIPT talked to the webisode pioneer about DIY Web series, marketing strategies, and the importance of sharing your work with others.
To listen to the podcast, visit www.scriptmag.com/interviews/elena-moscatt-s-life-after-lisa.html |
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Podcast: Orphan Scribe David Leslie Johnson |
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 In this SCRIPT Q & A, David Leslie Johnson discusses his mentor Frank Darabont, the 20 scripts no one will see, and what inspired his petite villain, Esther, in the recent release Orphan.
To listen to the podcast, visit
www.scriptmag.com/interviews/podcast-orphan-scribe-david-leslie-johnson.html |
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