Vol. 5, Ed. 2 - Springtime is here! Your next great script may be hiding just behind the next blue-skied corner, or in a new springtime crop of thoughts. A bunch of exciting new movies are coming out (everything from Basic Instinct’s next installment to V For Vendetta) DreamWorks SKG and Paramount have become one, and everyone is still talking about how CRASH overtook BROKEBACK. Which just proves: Anything can happen in Hollywood. So what better time to get your resources in order, zero in on a great idea, kick back and write?
 


BASELINE STUDIOSYSTEMS &
THE HOLLYWOOD CREATIVE DIRECTORY

present:

A complete breakdown of film development project tracking:

- A-Z listings by title
- Spec screenplays sold
- Hot studio projects
- By studio, production company and genre

Keeping track of the Studios' frenzied activity can prove daunting for even the most well-informed of professionals. With this in mind, the Hollywood Creative Directory and Baseline StudioSystems are proud to present The Studio Report: Film Development.

This great new directory consists of an alphabetical listing of all in-development projects that have achieved a forward-moving milestone some time in the last five months. Subsequent sections sort and cross-reference the information to highlight various aspects of the projects.

All for only $39.95

Use Code: BSS0306

Click Here to Purcase your own copy.


 



A-List Advice from A-List Talent
Sharpen your skills with the pros at Scriptwriters Showcase

Finally, an event that brings the writers of the films, television shows and commercials that you love to you. Don’t miss the largest gathering of writing talent anywhere, featured in one place for an all-you-can-handle writing conference! Only Final Draft and scr(i)pt magazine could bring you an event of this quality. Learn from the pros how to write for a living—don’t ask a teacher … ask a writer! From screenwriting to television writing to writing for commercials, documentaries and theatre … no matter what your interest, we’ve got it.

Take A Meeting: Scriptwriters Showcase offers writers a professional, comfortable environment in which to develop a rapport with and pitch an executive for 15 minutes. Each writer is introduced and allowed to “Take a Meeting” with the executive of his choice. The twenty execs only hear three meetings an hour. There is time to develop story ideas, get feedback on your pitches and career path, and create a contact in the industry. Scriptwriters Showcase also features networking parties, studio tours, meet and greets, and advanced screenings!

www.scriptwritersshowcase.com





Biography:
PAUL HAGGIS

For writer-director Paul Haggis, Hollywood has been hard won. Years spent writing for awful sitcoms and seeing pet projects get summarily axed by networks for poor ratings despite good quality eventually led to a rebirth in film. The Oscar nomination he received for penning “Million Dollar Baby” (2004), the underdog tale of a determined female boxer who overcomes pain and loss both inside and outside the ring, marked his resurgence as a potent creative force after his career in television appeared to have stalled. Mining personal troubles for creative material may have helped: exploring his failures in personal relationships despite thinking himself a good guy inspired him to write about the complex and contradictory natures that lie in all of us.

Originally from Ontario, Canada, Haggis was reared on Alfred Hitchcock and Jean-Luc Godard—early inspirations that fueled his fascination with art and storytelling, leading him to study art at H.B. Beal secondary school. Later influenced by Antonioni’s “Blow Up” (1966), he moved to England to become a fashion photographer, but went hopelessly broke instead and returned to Canada to study cinematography at Fanshawe College. While in school, he spent his summers working for his father’s construction company—a job his dad said he was no good at. Meanwhile, Haggis wrote plays, some of which were performed with his sister, Kathy Slevin, at The Gallery Theatre, then owned their father. Haggis later described the plays as “awful,” one of which, the musical comedy “Oh! Canada,” ignited calls for him to leave the country.

With encouragement and financial support from his father, Haggis moved to Los Angeles to start a writing career. Times were tough—he worked odd jobs as a furniture mover and an in-store photographer for a department store while honing his craft at night. He was eventually tapped by Jack Humphrey at CBC to write the pilot for “Hangin’ In,” a sitcom about a social worker who runs an inner-city youth counseling center. Then while taking a writing course, Haggis ran into a writer from “Diff’rent Strokes” (NBC, 1978-1985; ABC 1985-1986) who had just broken up with his writing partner. With a script for the show due the next day, Haggis offered his services gratis. The sitcom writer wanted Haggis to earn something for his work, so in exchange he took an upholstered chair bought at the Salvation Army. The chair remained in Haggis’ office as a reminder of what became the turning point in his career.

Haggis soon became a story editor on “Diff’rent Strokes,” then moved on to write another Norman Lear-produced sitcom, “One Day at a Time” (CBS, 1975-1984). Once that show was canceled, he went from bad to worse, becoming a writer and executive producer on the schoolgirl sitcom, “The Facts of Life” (NBC, 1979-1988), a series he hated. Haggis was fired a year after becoming executive producer for suggesting they make the show funny—a move that earned his gratitude. The knowledge he gained of producing, editing, working with writers and putting together the elements of a show, however, were fruitful later in his career. Meanwhile, he penned episodes of “Who’s the Boss?” (ABC, 1984-1992) and “ L.A. Law” (NBC, 1986-1994). Then Haggis was approached by producers Ed Zwick and Mark Herskovitz and asked to join the one-hour drama “thirtysomething” (ABC, 1987-1991) as a writer and supervising producer. Despite numerous critics lambasting it as self-indulgent and the creative forces behind the scenes—including Haggis—fretting about the show’s chances of survival, “thirtysomething” went on to earn several awards after its first season, including an Emmy and Humantis Prize for Haggis.

The success of “thirtysomething” allowed him to develop shows closer to his own artistic sensibilities—dark, complex and ambiguous. He created the political satire, “City” (CBS, 1989-1990), starring Valerie Harper as a city manager at city hall who juggles corruption at work and life at home as a single mom. Though critically acclaimed, the show proved to be too dark for audiences and network canceled the series after thirteen episodes. He moved on to create another critically acclaimed, but ill-fated series, “Due South” (1994-1996), about a Royal Canadian Mountie (Paul Gross) who goes to Chicago to find his father’s murderer and ultimately sticks around to help the Chicago police solve crimes with a grizzled local detective (David Marciano). The series attracted a small, rabid following but ratings once again proved to be a show stopper. It was revived on other networks—TNT and CTV in Canada—after its initial season on CBS, but ultimately failed to attract a wide audience.

Though credited as a co-creator of the hit Saturday night action-drama, “ Walker, Texas Ranger” (CBS, 1992-2001), Haggis moved on to what he thought would be greener pastures. Perhaps wanting complete control over a project led him to create “EZ Streets” (CBS, 1996-1997), a compelling and hard-edged drama about a cop and an ex-con living parallel lives on opposite sides of the law in a decaying city. Haggis maintained artistic control over the material—a position he previously never held—but his vision of a show with amoral characters, stark cinematography and Celtic music was doomed to failure. The series was canceled after a ten episode run and ranked of 111th out of 125 in the ratings. Haggis attempted another series, “Family Law” (CBS, 1999-2002), a one-hour legal drama about a Southern Californian firm handling divorce and child custody cases. The show managed to survive its first season, but the ratings bug sickened this show, too, and the sheet was eventually drawn over the corpse.

In 1996, Haggis made his feature debut as both a writer and director with the little-seen period drama, “Red Hot,” which depicted four Russian teenagers who in 1959 try to form the Soviet Union’s first rock-n-roll band. He waited eight years to write another film, but his patience paid off when he adapted F.X. Toole’s collection of prize fighter stories, “Rope Burns,” into the Oscar-winning “Million Dollar Baby.” Though Haggis was passed over for Best Adapted Screenplay, he managed to reinvigorate himself in a new medium. His solid working relationship with director Clint Eastwood led the screen legend to hire him to develop the World War II drama, “Flags of Our Fathers.” Meanwhile, Haggis directed his second feature, “Crash” (2005), a challenging racially charged drama about the interlocking lives of several Los Angelenos. The film was to be adapted for the small screen by the FX cable network, with co-star and producer Don Cheadle likely appearing in and directing several episodes of the gritty race drama. Haggis earned the WGA Award and British Academy of Film and Television Arts Award for Original Screenplay. He also won Oscars for Best Adapted Screenplay and Best Picture at the 78th Annual Academy Awards.

1986 Wrote for David E. Kelley's " L.A. Law" (NBC)
1996 Created the CBS drama "EZ Streets," a dark, ambiguous Mob tale starring Ken Olin and Joe Pantonliano
2004 Wrote the screenplay "Million Dollar Baby," based on a book of short stories by longtime fight manager Jerry Boyd; received an Academy Award nomination for best adapted screenplay
2005 Made feature directing debut with "Crash," a drama featuring an ensemble cast that explores racial tensions in Los Angeles; also produced and co-wrote the screenplay; earned a Golden Globe nomination for Best Screenplay and an Oscar nomination for Directing; was also nominated by the Directors Guild of America

All data from Baseline StudioSystems. For more information on writers, directors, actors, and producers, please visit BaselineFT.

 


Free Industry Help!

Sunday, April 16th @ 6pm

Join ScriptShark Director Lee Zahavi for an evening of information and education on key business aspects of professional screenwriting. Learn about players, techniques, strategies and shortcuts that can help you prepare for a writing career.

Email now to reserve your space: scriptshark@blssi.com

 


CALLING ALL ENTRIES!

The ScriptShark Insider is not just about winning awesome prizes, it’s about really moving your career forward. With the final round of judging conducted by reputable industry producers, this contest puts you right to the middle of the real, professional market-place!

  • PROFESSIONAL Judging by people at high levels in the industry...
  • Manager Colin O'Reilly to guide Grand Prize Winner as they develop and shop a pitch...
  • Grand Prize Winner to receive one-on-one pitch coaching from Good in a Room.
  • Finalists distributed to Hundreds of agencies, management, and production companies...

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NEW IN 2006!
All entrants to receive a FREE 6-month Spec Market Posting

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ScriptShark KNOWS talent discovery!

$40 Before May 1, 2006

Visit The Insider

 


ANATOMY OF A GREAT LOVE SCENE

Anyone that has ever engaged in a real-life love scene understands what makes a great on-screen moment… right? Actually, that’s about like saying if you speak English, you can jump on a Broadway stage and deliver a great performance of ‘Hamlet.’ The truth is that understanding the anatomy of a “Love Scene” can be much more elusive than enjoying one.

Many people simply classify this type of celluloid moment as a sexual event on the big screen – like the one shared between Mark Wahlberg and Heather Graham in PT Anderson’s Boogie Nights. Similarly, a great number of other people feel love scenes are simply overtly heightened romantic moments, like any number shared between Ryan Gosling and Rachel McAdams in the 2002 hit, The Notebook. Although a case can certainly be made for both, great love scenes effectively blend exciting, passionate moments with a heart-stopping character connection. While these other moments can (and certainly do) exist exclusively, the great scenes find a way heighten their audience’s emotional state through a shared act of passion between two characters.

Sex vs. Love

So, what exactly separates a great love scene from an everyday roll in the hay? The answer, of course, is in the intention. Most films aiming to satisfy through good, old-fashioned sex tend to focus on helping audience members achieve heightened physical arousal. Porno flicks, of course, are the extreme example of this. Guy(s) meets girl(s), and with little or no character development – they get to know each other really well. And while this is the basic crux of most late-night Cinemax films, there are a number of contemporary main-stream flicks that take advantage of this – teen sex champion, American Pie being a prime example. While films such as this tend to mask their intentions with some modicum of character motivation, their basic entertainment goal (or at least part of it) focuses on generating a sexual-based response from their audience. And while this may be enjoyable for those that are old enough to, sex for sex sake doesn’t make a great love scene.

Similarly, there are a number of films that gently dance their way through Hollywood, engaging in elusions of sexual acts, but never fully consummate. For instance, movies such as Sleepless In Seattle, You’ve Got Mail, and well, actually, most of Meg Ryan’s filmography, tend to exploit the romantic aspects of love, without ever delving into the nitty-gritty of on-screen intimacy. And while physical interplay certainly isn’t required to create an enjoyable and successful Romantic film, it’s important to clarify that there is a difference between a “Love Scene” and a movie about love.

The Build Up/Tension

Successful love scenes are like finely tuned pianos - when in-check, they elicit a deeply connected sound that resonates to both the player and the audience. However, when the tension of the chord falls flat, it’s often painfully apparent. And like a piano, one of the keys to eliciting an impacting moment is the continual build-up of tension. Flat love scenes usually fail to properly establish and expand on the chemistry shared between two characters. In other words – a less experienced writer/director will often jump right into the moment, not allowing the audience to journey through the connection of the characters. You may know people like this, as well. In both cases, the connection (or struggle to connect) establishes the intensity of the ultimate pay-off, and usually determines how good it will be.

The tension itself stems from a question as to whether the participating characters will be successful in developing their relationship. Perhaps the best example of this can be found in Pretty Woman. With Vivian, the lead character, working in the sex industry, how were the filmmakers going to create a love scene – which was almost a thematic requirement - that wouldn’t simply feel like work? That’s right; tension - hold it off and build it up. The audience watched as Vivian and Edward established a mutual chemistry through a series of plot-driven trials that continually called into question their ability to accomplish what they were both initially after – sex. And, as a result, the physicality behind their ultimate “big moment” turned out to be much more intense than a simple financial collaboration with physical benefits. In fact, by the time they actually got down to an actual encounter, the conflict between their personalities had the audience so engaged in the relationship that it was much more exciting. As a result, the resulting love scene at the piano would have had little meaning without the characters having time to get to know one another. And, ultimately, this tension-building process elevated their on-screen connectedness past a one-night stand. In turn, the events were that much more engaging.

The Big Moment

This of course leads us into the act, itself -- two people, in front of a camera, pretending to engage in a deeply intimate, human moment. And although it appears to be real, we, the audience, have been successfully tricked by the filmmakers into suspension of disbelief. But this trick isn’t simple – even in reality, you have two humans exposing private moments for the entertainment of millions. But this voyeuristic act is only successful when the actors feel safe enough to commit to the event. Additionally, the director must possess a keen understanding of the thematic limitations of his/her core audience. In other words, while funny love scene like those found in 40 Year Old Virgin may work with males between the ages of 16 and 40, it may not play so well to a female, senior citizen audience.

The effectiveness of this intimacy requires great attention to detail. For instance, Dirty Dancing’s first love scene shrinks the contextual scope of the camera range and drops the audience directly inside Jonny’s small apartment. Additionally, the sequence is layered with moody music, the pattering of rain, and much dimmer lighting. In turn, the filmmakers extracted us from Jonny and Baby’s exterior conflicts and sweep us into their private moment. Combined with an effective build up of tension, the physical presentation of the scene allowed the character connection to be richer and much more fulfilling.

So how do good writers and directors generate these pretend events into something we not only enjoy, but momentarily believe? Effective settings and top production design are a necessity. A great example of this can be noted in the The Constant Gardener. Director Fernando Meirelles paints a beautiful landscape for Ralph Feinnes’ and Rachel Weisz’ characters to discover truly intimate moments. Taking the audience deep into an impoverished world through dynamic camera work and effective story-telling, he helped extract us from our awareness of them as actors and made us believe we possessed a camera-view into their lives and their connectedness. In the earlier love scene just after the class in which they meet – as with the later love scene in the house – the director bonds the emotional battle of the struggles with the physical chemistry shared between them. Using lights and suggestive angles, he takes the audience into the passion of the act – making it so much more than just sex.

Getting Into The Role

To pull all of this off, however, great love scenes require great actors. Beyond having the ability to perform comfortably in their most vulnerable moments, effective performers know how to let an audience share in an intimate exchange between characters. A successful performance usually stems from a skilled combination of relaxed action in the moment, and well… you know… that “thing.” That natural sexiness certain people possess. That combination of looks, confidence, and small wry wrinkle of the brow. That ability to engage both physically and emotionally on camera, on command. George Clooney seems to have it. Angelina Jolie seems to have it. Ewan McGregor – an actor who is notoriously comfortable in his own skin – seems to have it. But how do they get “it”?

Although it is easy to focus on the obvious attractiveness of actors like Halle Berry and Viggo Mortensen, looks are never the defining factor of a great performance. Like a top action star performing his/her own stunts, great love scenes require knowledge, preparation, and flawless execution. Beyond beauty, top romantic actors are aware of how lighting effects their presentation, how to implement subtle facial expressions in order to emit sub-text, and most importantly just how far to go with the actual physicality. Their physical confidence is then heightened by their tonal control of the situation. In other words, their ability to emote the current state of the character, makes us truly believe we are watching a real act between two people. Great movie stars allude to the emotion that we, as an audience, don’t see on-screen. And while the lights are shining and cameras rolling, they must communicate all of this in a single set of movements to millions of fans waiting to be “entertained.”

Great love scenes like those found in The English Patient, Body Heat, and Closer require more than hot couples and a purely physical approach. Like moments in real life, they must touch a deeper emotional chord. And with romance ingrained in almost every movie you see, Hollywood has the anatomy of a love scene down to a science.

 

Chris Huntley, co-creator of the Dramatica Theory of Story, will lead a weekend workshop designed as an introduction to the Dramatica theory, a bridge between "traditional" story concepts and Dramatica's own reinterpretation of those story concepts. Dozens of current and classic film examples are used and interaction is encouraged. Familiarity with the Dramatica theory of story or Dramatica software is not necessary to get the most from this workshop.

Some Workshop topics include:

Dramatica Story Basics—The Big Stuff; Discover four key story points that can make or break your story and explore the four story domains—elements key to developing your story’s genre.
Dramatica Story Dynamics—Key Questions about Character and Plot; Eight Essential Questions of Character and Plot.
Dramatica Archetypes and Complex Characters—How to Make Them
Dramatica Plot—More than just Beginning, Middle, and End; Discover how plot really works. We explore three and four act structures and show what goes on in the “second act.”
  • WHEN: Saturday and Sunday, April 1 & 2, 2006.
  • WHERE: Write Brothers, Room 202, 138 N. Brand Blvd., Glendale, CA 91203
  • SEATING: Limited to 20 people -- First come, first served. Reservations Required.
  • COST:
    • $300.00
    • Special Savings Save $50 if you are a registered user of Dramatica Pro or Writer's DreamKit
    • REPEAT STUDENTS get 50% off. Call Write Brothers for details.
  • PREREQUISITES: None. The Workshops are open to all interested. You do not need to have Dramatica Pro or Writer's DreamKit to get value from the workshop.
To reserve your space click below or Call 1-800-84-STORY.

LEARN MORE

 



Presents:

Development Snapshot
New projects in D at the studios:

SECOND WORLD
Writer:
Scott King
Producer:
Jon Avnet
Production Co:
Emmett/Furla Films, Brooklyn Films
Logline: A top assassin--and mother--must stop a deadly virus from spreading. But in order to halt the potential pandemic, she must team up with the virus' creator, who also is her target.
   
LIFT EVERY VOICE
Writer:
Bobby Smith, Jr.
Producer:
Mark Ordesky
Production Co:
New Line Cinema, Releve Entertainment
Logline: A young minister returns to the mean streets of Camden, New Jersey, and creates a gospel choir to keep kids away from drugs, gangs and violence. The choir begins to win gospel competitions, culminating in the national championship.
   
KING TUT
Writer:
Neil Crawford
Producer:
Lorenzo Di Bonaventura
Production Co:
Di Bonaventura Pictures
Studio:
Paramount
Logline: The story about Howard Carter discovering King Tut's treasures in Egypt in 1922.
   
AMUSEMENT
Writer:
Tanya Hamilton
Talent:
Mos Def
Producers:
Sean Costello, Jen Roskind
Production Co:
Redbone Films
Logline: In 1978, an adolscent girl watches the broken love affair between two former Black Panther members.
....................

All data from Baseline-StudioSystems.  For more information on writers,
directors, actors, and producers, please visit BaselineFT.
 

"Lost," FREAKY FRIDAY, "Weeds," RUNAWAY JURY, "Crossing Jordan," BLUE CRUSH,  "Entourage," ICE PRINCESS, WONDERLAND, ROUNDERS, ENCINO MAN, CRAZY/BEAUTIFUL, 3000 MILES TO GRACELAND, "Friends," "Sex and the City," "Prison Break," "Buffy the Vampire Slayer," "The Sopranos," "Scrubs," "The OC," and many, many more.  What do these movies and TV shows have in common?  They were (and are) written by Writers Boot Camp alumni.

Infusing all of its coursework, both online and "live," Writers Boot Camp's unique approach to empowering writers stems from a vocational, practical process for systematically attacking the most challenging aspect of writing--full and entertaining conceptual development.  The true "heavy lifting" of the writing process, conceptual development is all too often glossed over by newer writers in the "rush to pages."  Writers Boot Camp's curriculum revolves around a series of Tools that first help facilitate brainstorming on the conceptual level, then help manage the decisions and distinctions arising from that brainstorming throughout the project development cycle.   

Writers Boot Camp offers courses in Los Angeles, New York City, and online.  For more information please visit www.writersbootcamp.com or call 800/800-1733.

3415 S. Sepulveda Blvd, Suite 200, Los Angeles, CA 90034
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