Podcasts about Syd Field

Salve, galera. Mais um minipod do ar! No programa de hoje, descubra o que foi a Geração Beat e entenda a sua importância para o cenário cultural dos anos 50, 60 e 70. E ainda: conheça as polêmicas técnicas do roterista americano Syd Field; confira algumas obras de terror japonês; aprenda a utilizar melhor o segundo ato na narrativa; e se prepare para participar do nosso próximo Retiro Literário, que acontecerá entre os dias 19 e 22 de junho no interior de São Paulo.

Rylend and David intended to have one of their standard “state of the comic union” discussions with Syzygy Publishing co-founder Chris Ryall, but - as happens with great guests - ended up with something much more fun, layered, and nuanced in the end. Special appearances by Cassandra Peterson, Syd Field, and Tyrese and Ludacris. CHRIS RYALL Twitter: @chris_ryall Instagram: @chris_ryall Website: worldofsyzygy.com Website: chrisryall.substack.com --Please leave us a rating on Apple Podcasts/iTunes!-- Website: pendantaudio.com Twitter: @pendantweb Facebook: facebook.com/pendantaudio Tumblr: pendantaudio.tumblr.com YouTube: youtube.com/pendantproductions

Hosted by: Geoffrey D. Calhoun, known for his dedication to educating and uplifting writers through The Successful Screenwriter Podcast. Geoffrey, has been deeply influenced by foundational texts in screenwriting and aims to honor the legacy of screenwriting legends through his work.Guest: Viki King, author of "How to Write a Movie in 21 Days," which is heralded as a cornerstone in screenwriting literature. Viki, the "mother of content" in screenwriting circles, brings an intuitive and heart-centered approach to storytelling, shaping the narratives of countless writers over her illustrious career.Episode Overview:In this episode, Geoffrey and Viki engage in a deep dive into the core of screenwriting, discussing the spiritual journey of storytelling, the impact of seminal screenwriting texts, and the process of turning a spark of an idea into a compelling screenplay. This conversation offers invaluable insights into creating stories that resonate on a personal and universal level.Key Moments:Geoffrey Calhoun expresses his admiration for Viki King's work and its foundational impact on his screenwriting career.Viki King reflects on the early days of screenwriting education and her collaboration with Syd Field, emphasizing the complementary nature of their contributions to the craft.Viki praises Geoffrey's book for demystifying screenwriting, highlighting its practicality and the importance of format in storytelling.Geoffrey shares his personal journey with screenwriting, marked by dyslexia and the profound influence of Viki's book.Viki discusses the genesis of her book "How to Write a Movie in 21 Days" and the importance of staying true to one's heart in the creative process.The conversation turns to the evolving nature of screenwriting and the need for originality in an industry saturated with sequels and remakes.Geoffrey and Viki explore the concept of the "inner movie method," a personal journey of discovery through screenwriting.Notable Quotes:"The deal is we all come in and we all have a piece of the puzzle. And it's our business to put the piece of the puzzle in the big picture. Otherwise, there's a hole in the picture. But we don't have to know who's looking at the picture. That's not part of the business. It takes everything you've got just to put your piece in." - Viki King"I view what I do as part of my own personal growth. And to see someone like yourself who was a trailblazer kind of evolve through this industry is absolutely, inspirational." - Geoffrey CalhounClosing Thoughts:This episode not only sheds light on the mechanics of screenwriting but also delves into the soulful aspects of the craft, encouraging writers to explore and express their deepest truths through storytelling. Viki King's perspective on writing as a journey of personal discovery and Geoffrey Calhoun's dedication to empowering screenwriters make for a compelling and profoundly inspirational discussion.Connect with Us:Listen to more episodes: The Successful Screenwriter PodcastFollow Geoffrey D. Calhoun on Instagramr: @ScreenwriterpodDiscover Viki King's work: How to Write a Movie in 21 Days

In a past episode in which they discussed the films of Tom Cruise, Mike told Dan, “You're the smartest person I know who ever made it all the way through Eyes Wide Shut.” After reading a forthcoming biography of Stanley Kubrick, Dan returned to the film and urged it on Mike, who rewatched it, but who still finds it a total failure. Dan thinks it's a sobering and startling portrayal of a man exiled from his own Eden—a fool's Paradise—while Mike finds every element and deviation from established structures to be both ponderous and insincere. Is the film a misunderstood look at the nightmare of not knowing one's spouse? Or is it simply an indulgent mess? Mike and Dan agree on the quality of 99% of the films they discuss, but like true film fanatics, bicker about the other 1%. Come along for the conversation about what makes a film successful--the password is “Fidelio!” Those on Dan's side will want to read Eyes Wide Shut: Stanley Kubrick and the Making of his Final Film. Those on Mike's will want to urge Syd Field's famous Screenplay: The Foundations of Screenwriting on their opponents. Follow us on X or Letterboxd. Incredible bumper music is by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In a past episode in which they discussed the films of Tom Cruise, Mike told Dan, “You're the smartest person I know who ever made it all the way through Eyes Wide Shut.” After reading a forthcoming biography of Stanley Kubrick, Dan returned to the film and urged it on Mike, who rewatched it, but who still finds it a total failure. Dan thinks it's a sobering and startling portrayal of a man exiled from his own Eden—a fool's Paradise—while Mike finds every element and deviation from established structures to be both ponderous and insincere. Is the film a misunderstood look at the nightmare of not knowing one's spouse? Or is it simply an indulgent mess? Mike and Dan agree on the quality of 99% of the films they discuss, but like true film fanatics, bicker about the other 1%. Come along for the conversation about what makes a film successful--the password is “Fidelio!” Those on Dan's side will want to read Eyes Wide Shut: Stanley Kubrick and the Making of his Final Film. Those on Mike's will want to urge Syd Field's famous Screenplay: The Foundations of Screenwriting on their opponents. Follow us on X or Letterboxd. Incredible bumper music is by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In a past episode in which they discussed the films of Tom Cruise, Mike told Dan, “You're the smartest person I know who ever made it all the way through Eyes Wide Shut.” After reading a forthcoming biography of Stanley Kubrick, Dan returned to the film and urged it on Mike, who rewatched it, but who still finds it a total failure. Dan thinks it's a sobering and startling portrayal of a man exiled from his own Eden—a fool's Paradise—while Mike finds every element and deviation from established structures to be both ponderous and insincere. Is the film a misunderstood look at the nightmare of not knowing one's spouse? Or is it simply an indulgent mess? Mike and Dan agree on the quality of 99% of the films they discuss, but like true film fanatics, bicker about the other 1%. Come along for the conversation about what makes a film successful--the password is “Fidelio!” Those on Dan's side will want to read Eyes Wide Shut: Stanley Kubrick and the Making of his Final Film. Those on Mike's will want to urge Syd Field's famous Screenplay: The Foundations of Screenwriting on their opponents. Follow us on X or Letterboxd. Incredible bumper music is by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices

In a past episode in which they discussed the films of Tom Cruise, Mike told Dan, “You're the smartest person I know who ever made it all the way through Eyes Wide Shut.” After reading a forthcoming biography of Stanley Kubrick, Dan returned to the film and urged it on Mike, who rewatched it, but who still finds it a total failure. Dan thinks it's a sobering and startling portrayal of a man exiled from his own Eden—a fool's Paradise—while Mike finds every element and deviation from established structures to be both ponderous and insincere. Is the film a misunderstood look at the nightmare of not knowing one's spouse? Or is it simply an indulgent mess? Mike and Dan agree on the quality of 99% of the films they discuss, but like true film fanatics, bicker about the other 1%. Come along for the conversation about what makes a film successful--the password is “Fidelio!” Those on Dan's side will want to read Eyes Wide Shut: Stanley Kubrick and the Making of his Final Film. Those on Mike's will want to urge Syd Field's famous Screenplay: The Foundations of Screenwriting on their opponents. Follow us on X or Letterboxd. Incredible bumper music is by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

“The lesson we keep learning is that the thing that breaks you [into Hollywood] is your weirdest idea. The thing that only you can write… All of our friends who have done that – it's been a fulcrum in their career,” says Phil Lord, co-writer of Spider-Man: Across the Spiderverse. On today's episode, I chat with Phil Lord, Christopher Miller and Dave Callaham about taking the Spider-Man franchise into the modern era, making it fresh, heartfelt and multicultural. While Lord and Miller both won Oscars for 2018's Spider-Man: Into the Spiderverse, they brought Callaham on board to help finish the sequel and collaborate on the third installment, Beyond the Spiderverse. What surprised me most about my Zoom chat with the trio was how down to earth they seemed, how open and honest they were about struggling to make Across the Spiderverse work for everyone, including their discerning animators in India. Lord, Miller and Callaham also talk about taking a risk with the first act of Across the Spiderverse, turning their villain Spot into a multidimensional character and why creating a “multiverse” of Spider People was important to them. Callaham also shared this turning point in his career: “I had not gone to film school so everything I learned about screenwriting was from Syd Field and from coffee table books and there were all these rules about how you have to write and how a structure has to be. And how you have to handle things on the page. Ten years in, I got really bored. I felt like I wasn't being honest about the way I was writing material… So I wrote this fairly idiotic, ridiculous script but I wrote it in a style that sounded like the way that I talk, it was conversational and it was fun. I had little of asides to the reader which I know sounds really awful, but it seemed to work at the time and that opened my career up pretty substantially… That happened because I was being more honest with myself as a writer and I was not trying to write like other people anymore. It worked and I never looked back,” he says. Listen to hear more about the writing process for Spider-Man: Across the Spiderverse.

“Billionaires can't take a week off? What's the point of having a billion dollars if they have fewer options than I do?”  –Tim Ferriss In this episode of Deviate, Rolf and Tim discuss common travel fantasies, and the fears that keep people from traveling (5:00); how we can redefine what "wealth" is and live fuller lives (18:00); why keeping a healthy perspective on information intake, technology, and "efficiency" is important, both on the road and in daily life (25:00); the "beginner's mind," and tips for writing and creativity (54:00);  the merits of going on foot and "getting lost" on the road, and how this figured into Rolf's writing classes (1:17:00); notions of "success," and how to definite the notion of success in a way that enhances one's way of being in the world (1:37:00); and Rolf's recommendations for drinks, food, documentaries, books, and poetry (1:50:00); Tim Ferriss (@tferriss) is a best-selling author and podcaster. General Links: Paris Writing Workshops (Rolf's summer writing classes) Vagabonding, by Rolf Potts (audiobook) The Game Camera (short film cowritten by Rolf and Kristen Bush) Tim Ferriss on how to create a successful podcast (Deviate episode) Arnold Schwarzenegger on The Tim Ferriss Show LeBron James on The Tim Ferriss Show Cheryl Strayed on The Tim Ferriss Show Jerry Seinfeld on The Tim Ferriss Show Tortuga (bags design for long-term travel) Unbound Merino (travel clothing company) AirTreks (round-the-world flight planner) BootsnAll (online travel community) Interview Links: Van Life before #VanLife (Deviate episode) Man bites dog (aphorism about journalism) “War is God's way of teaching Americans geography” (quote) Beginner's mind (attitude of openness) Adaptation (2002 film) Anne Lamott (American author) Kurt Vonnegut (American author) The Hero's Adventure with Joseph Campbell (podcast remix) Flâneur (urban wanderer) Situationists (1960s social and artistic movement) Psychogeography (exploration strategy) Dave Chappelle (comedian) John Hughes (filmmaker) Rachel Kaadzi Ghansah (American essayist) Grizzly Man (2005 documentary film) Werner Herzog Reads Curious George (satire) Con Air (1997 film) Aimee Nezhukumatathil (poet) Naomi Shihab Nye (poet) Major Jackson (poet) Donald Hall (poet) Books mentioned: Walden, by Henry David Thoreau (book) The 4-Hour Work Week, by Tim Ferriss (book) The Art of Nonfiction, by Ayn Rand (book) Writing Tools, by Roy Peter Clark (book) To Show and to Tell, by Phillip Lopate (book) Screenplay, by Syd Field (book) Story, by Robert McKee (book) Save the Cat, by Blake Snyder (book) A Moveable Feast, by Ernest Hemingway (book) Leaves of Grass, by Walk Whitman (book) Good Hope Road, by Stuart Dischell (poetry) Alien vs. Predator, by Michael Robbins (poetry) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

Leur métier : enseigner l'écriture de scénario, et la profession de scénariste. Dans ce 24e numéro de l'émission, au tour des formateur·rice·s de discuter de leur rapport au scénario et aux scénaristes. Nous recevons : -

⬆️ Muito bom dia, confrades. Boa sexta-feira para todos! No programa de hoje, conheça algumas técnicas de escrita do polêmico roterista Syd Field em seu livro “Manual do Roteiro”; entenda a importância da tradução para um texto literário; conheça um controverso hardware para escritores e confira a nossa opinião sobre duas obras muito famosas: a coleção “A Torre Negra”, de Stephen King; e a série “Lost”, que foi ao ar entre 2004 e 2010 pelo canal de TV americano ABC. ✈️

This week, we continue with the Martha Coolidge lovefest with her one truly awful movie, Joy of Sex. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Last week, we talked about Martha Coolidge and her 1983 comedy Valley Girl, which celebrated the fortieth anniversary of its release this past Saturday. Today, we're going to continue talking about Martha Coolidge's 1980s movies with her follow up effort, Joy of Sex. And, as always, before we get to the main story, there's some back story to the story we need to visit first. In 1972, British scientist Alex Comfort published the titillatingly titled The Joy of Sex. If you know the book, you know it's just a bunch of artful drawings of a man and a woman performing various sexual acts, a “how to” manual for the curious and adventurous. Set up to mimic cooking books like Joy of Cooking, Joy of Sex covered the gamut of sexual acts, and would spend more than a year on the New York Times bestseller list, including three months at the top of the list. It wasn't the kind of book anyone could possibly conceive a major Hollywood studio might ever be interested in making into a movie.  And you'd be right. Sort of.  When a producer named Tom Moore bought the movie rights to the book in 1975, for $100,000 and 20% of the film's profit, Moore really only wanted the title, because he thought a movie called “Joy of Sex” would be a highly commercial prospect to the millions of people who had purchased the book over the years, especially since porn chic was still kind of “in” at the time. In 1976, Moore would team with Paramount Pictures to further develop the project. They would hire British comedian, actor and writer Dudley Moore to structure the movie as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask. Moore was more interested in writing a single story, about someone not unlike himself in his early 40s coming to grips with being sexually hung up during the era of free love. Moore and the studio could not come to an agreement over the direction of the story, and Moore would, maybe not so ironically, sign on the play a character not unlike himself, in his early 40s, coming to grips with being sexually hung up during the era of free love, in Blake Edwards' 10. Still wanting to pursue the idea of the movie as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask, Paramount next approached the British comedy troupe Monty Python to work on it, since that's basically what they did for 45 episodes of their BBC show between 1969 and 1974. But since they had just found success with their first movie, Monty Python and the Holy Grail, they decided to concentrate their efforts on their next movie project. In 1978, Paramount hired actor and comedian Charles Grodin to write the script, telling him it could literally be about anything. Grodin, one of the stealthiest funny people to ever walk the Earth, had written a movie before, an adaptation of the Gerald A. Browne novel 11 Harrowhouse, but he found himself unable to think of anything, finding the ability to write anything he wanted as long as it could somehow be tied to the title to be an albatross around his neck. When Grodin finally turned in a script a few months later, Paramount was horrified to discover he had written a movie about a screenwriter who was having trouble writing a Hollywood movie based on a sex manual. The studio passed and released Grodin from his contract. In 1985, Grodin was able to get that screenplay made into a movie called Movers and Shakers, but despite having a cast that included Grodin, Walter Matthew, Gilda Radner, Bill Macy, and Vincent Gardenia, as well as cameos from Steve Martin and Penny Marshall, the film bombed badly. After the success of The Blues Brothers, John Belushi was hired to star in Joy of Sex, to be directed by Penny Marshall in what was supposed to be her directing debut, produced by Matty Simmons, the publisher of National Lampoon who was looking for another potential hit film to put its name on after their success with Animal House, from a script written by National Lampoon writer John Hughes, which would have been his first produced screenplay. Hughes' screenplay still would be structured as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask, but Belushi would pass away before filming could begin. Penny Marshall would make her directing debut four years later with the Whoopi Goldberg movie Jumpin' Jack Flash, while Hughes' first produced screenplay, National Lampoon's Class Reunion, would actually begin production four weeks before Belushi died. Belushi kept getting the production start date for Joy of Sex pushed back because of he was working on a screenplay for a movie he really wanted to make, a diamond smuggling caper called Noble Rot, which Paramount had agreed to make if Belushi would make Joy of Sex first. After that, Paramount would hire the unlikely team of screenwriting teacher Syd Field and shock jock Don Imus to try their hand at it, before going back to Hughes, who at one point turned in a draft that was 148 pages long. After the success of Porky's around this time, Paramount would have the script rewritten again, this time by The Outsiders' screenwriter Kathleen Rowell, trying to make it into a raunchy comedy. Amy Heckerling, the director of Fast Times, was approached to direct, but she would turn it down because she didn't want to get pigeonholed as a raunchy sex comedy director. The studio needed to get the film in production by the end of May 1983, or the rights to the book and the title would revert back to its author. After Valley Girl started to get some good buzz just before release, Paramount would approach Coolidge to direct. Although the budget for the film would only be around $5m, Coolidge would earn far more than the $5,000 she made for Valley Girl. So even if she wasn't too thrilled with the script, it was good money. Maybe she should have waited. The film would begin production in Los Angeles and Santa Monica beginning on May 31st, 1983, literally the day before the movie rights would have reverted back to the author, and Coolidge would only be given twenty-six days to film it. It also didn't help that the production was working under Paramount's television division, and the producer, Frank Konigsberg, had never produced a feature film before. This final version of the script she would be working with, credited to Kathleen Rowell and first-time screenwriter, J.J. Salter, would be the nineteenth draft written over the course of eight years, and wouldn't quite be the raunchfest Paramount was hoping for, but they were literally out of time. To try and make things as comfortable for herself as possible, Coolidge would hire a number of actors and crew members from Valley Girl, and tried to shoot the film, as straight as possible, even with the studio's request for lots of gratuitous nudity. Michelle Meyrink, one of Julie's valley girl friends in Coolidge's previous film, would star as Leslie, a high school senior who tries to lose her virginity when she mistakenly believes she only has six weeks to live, alongside her Valley Girl co-stars Cameron Dye, Colleen Camp and Heidi Holicker. Also on board would be Ernie Hudson, who would go straight from making this film into making Ghostbusters, and Christopher Lloyd, who was still a couple years away from starring as Doc Brown, as Leslie's dad, a coach at her school. Coolidge's saving grace was that, despite the pressure to have scenes of nubile young co-eds running naked down the school halls for no good reason, the core of the story was about two teenagers who, while trying to learn about sex, would discover and fall in love with each other. Paramount would set the film for an April 13th, 1984 release, even before Coolidge turned in her first cut of the film. But when she did, that's when the proverbial poop hit the proverbial fan. Coolidge made the movie she wanted to make, a sweet love story, even with some scenes of gratuitous and unnecessary nudity. Which is not the movie Paramount wanted, even if it was the script they approved. Her relationship with the studio further soured when the first test screening of the film turned out to be a disaster, especially with teenage girls and women, who loved the love story at the center of the film but hated the completely gratuitous and unnecessary nudity. Coolidge would be fired off the film, the television and film departments at Paramount would get into vicious finger pointing arguments about who was to blame for this mess and how they were going to fix it, and Matty Simmons would pay Paramount $250,000 to have National Lampoon's name removed from the film, claiming the film did not represent what the magazine had originally signed up for. Paramount would cancel the April 1984 release date, while hiring two new editors to try and salvage the mess they felt they were given. The Directors Guild offered to allow Coolidge to take her name off the film and have it credited to Alan Smithee, but she would decide to leave her name on it. Even if the film bombed, it was another directing credit to her name, which could still help her get future jobs. When the new editors finished their work on the film, they had whittled down Coolidge's original version that ran 115 minutes into a barely cohesive 93 minute mess, and the studio decided to release the film on August 3rd. In the 80s, the entire month of August was pretty much considered a dumping ground for movies, as families were often eschewing going to the movies for their last moments of summer fun before the kids had to go back to school. Opening on 804 screens, Joy of Sex would open in ninth place, grossing an anemic $1.9m in its first three days. Ghostbusters, in its ninth week of release, was still in first place with $6.5m, and it would also get outgrossed by Gremlins, Indiana Jones and the Temple of Doom and The Karate Kid, all three having been released in May or June. After a second weekend where the film would lose nearly 20% of its theatres and 55% of its first week audience, Paramount would stop tracking the film. It's final reported ticket sales total would be just $3.69m. Because I am cursed with the ability to remember the most mundane things from nearly forty years ago while being unable to remember where I left a screwdriver yesterday, I still remember seeing Joy of Sex. It was on the #1 screen at the Skyview Drive-in in Santa Cruz. It was the A-title, playing a double bill with Cheech and Chong Still Smokin', which had not done very well when it had been released the previous May. My friends and I would head out to the theatre, Dick and some friends piled in his Impala, me and some friends in my AMC Pacer, with lawn chairs and frosty beverages in the trunks, ready to completely rip apart this film we heard was really bad. And rip it apart we did. I think there were maybe ten cars on our side of the drive-in, plenty of room for a bunch of drunken teenagers to be far away from everyone else and be obnoxious jerks. In 1984, we didn't have the internet. We didn't have easy access to the industry newspapers where we may have heard about all the troubles with the production. We just knew the film stunk something foul, and we had one of our most fun evenings at the movies destroying it in our own inimitable way. Not that I was going to give the movie another chance. It stunk. There's just no two ways about it, but I am now more forgiving of Martha Coolidge now that I know just how impossible a situation she was put in. Ironically, the debacle that was Joy of Sex would be part of the reason I so enjoyed Coolidge's next film, 1985's Real Genius so much, because Joy of Sex was still fresher in my mind than Valley Girl. But we'll talk more about Real Genius on our next episode. Thank you for joining us. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Joy of Sex. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

This week, we continue with the Martha Coolidge lovefest with her one truly awful movie, Joy of Sex. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Last week, we talked about Martha Coolidge and her 1983 comedy Valley Girl, which celebrated the fortieth anniversary of its release this past Saturday. Today, we're going to continue talking about Martha Coolidge's 1980s movies with her follow up effort, Joy of Sex. And, as always, before we get to the main story, there's some back story to the story we need to visit first. In 1972, British scientist Alex Comfort published the titillatingly titled The Joy of Sex. If you know the book, you know it's just a bunch of artful drawings of a man and a woman performing various sexual acts, a “how to” manual for the curious and adventurous. Set up to mimic cooking books like Joy of Cooking, Joy of Sex covered the gamut of sexual acts, and would spend more than a year on the New York Times bestseller list, including three months at the top of the list. It wasn't the kind of book anyone could possibly conceive a major Hollywood studio might ever be interested in making into a movie.  And you'd be right. Sort of.  When a producer named Tom Moore bought the movie rights to the book in 1975, for $100,000 and 20% of the film's profit, Moore really only wanted the title, because he thought a movie called “Joy of Sex” would be a highly commercial prospect to the millions of people who had purchased the book over the years, especially since porn chic was still kind of “in” at the time. In 1976, Moore would team with Paramount Pictures to further develop the project. They would hire British comedian, actor and writer Dudley Moore to structure the movie as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask. Moore was more interested in writing a single story, about someone not unlike himself in his early 40s coming to grips with being sexually hung up during the era of free love. Moore and the studio could not come to an agreement over the direction of the story, and Moore would, maybe not so ironically, sign on the play a character not unlike himself, in his early 40s, coming to grips with being sexually hung up during the era of free love, in Blake Edwards' 10. Still wanting to pursue the idea of the movie as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask, Paramount next approached the British comedy troupe Monty Python to work on it, since that's basically what they did for 45 episodes of their BBC show between 1969 and 1974. But since they had just found success with their first movie, Monty Python and the Holy Grail, they decided to concentrate their efforts on their next movie project. In 1978, Paramount hired actor and comedian Charles Grodin to write the script, telling him it could literally be about anything. Grodin, one of the stealthiest funny people to ever walk the Earth, had written a movie before, an adaptation of the Gerald A. Browne novel 11 Harrowhouse, but he found himself unable to think of anything, finding the ability to write anything he wanted as long as it could somehow be tied to the title to be an albatross around his neck. When Grodin finally turned in a script a few months later, Paramount was horrified to discover he had written a movie about a screenwriter who was having trouble writing a Hollywood movie based on a sex manual. The studio passed and released Grodin from his contract. In 1985, Grodin was able to get that screenplay made into a movie called Movers and Shakers, but despite having a cast that included Grodin, Walter Matthew, Gilda Radner, Bill Macy, and Vincent Gardenia, as well as cameos from Steve Martin and Penny Marshall, the film bombed badly. After the success of The Blues Brothers, John Belushi was hired to star in Joy of Sex, to be directed by Penny Marshall in what was supposed to be her directing debut, produced by Matty Simmons, the publisher of National Lampoon who was looking for another potential hit film to put its name on after their success with Animal House, from a script written by National Lampoon writer John Hughes, which would have been his first produced screenplay. Hughes' screenplay still would be structured as a series of short vignettes not unlike Woody Allen's Everything You Wanted to Know About Sex But We're Afraid to Ask, but Belushi would pass away before filming could begin. Penny Marshall would make her directing debut four years later with the Whoopi Goldberg movie Jumpin' Jack Flash, while Hughes' first produced screenplay, National Lampoon's Class Reunion, would actually begin production four weeks before Belushi died. Belushi kept getting the production start date for Joy of Sex pushed back because of he was working on a screenplay for a movie he really wanted to make, a diamond smuggling caper called Noble Rot, which Paramount had agreed to make if Belushi would make Joy of Sex first. After that, Paramount would hire the unlikely team of screenwriting teacher Syd Field and shock jock Don Imus to try their hand at it, before going back to Hughes, who at one point turned in a draft that was 148 pages long. After the success of Porky's around this time, Paramount would have the script rewritten again, this time by The Outsiders' screenwriter Kathleen Rowell, trying to make it into a raunchy comedy. Amy Heckerling, the director of Fast Times, was approached to direct, but she would turn it down because she didn't want to get pigeonholed as a raunchy sex comedy director. The studio needed to get the film in production by the end of May 1983, or the rights to the book and the title would revert back to its author. After Valley Girl started to get some good buzz just before release, Paramount would approach Coolidge to direct. Although the budget for the film would only be around $5m, Coolidge would earn far more than the $5,000 she made for Valley Girl. So even if she wasn't too thrilled with the script, it was good money. Maybe she should have waited. The film would begin production in Los Angeles and Santa Monica beginning on May 31st, 1983, literally the day before the movie rights would have reverted back to the author, and Coolidge would only be given twenty-six days to film it. It also didn't help that the production was working under Paramount's television division, and the producer, Frank Konigsberg, had never produced a feature film before. This final version of the script she would be working with, credited to Kathleen Rowell and first-time screenwriter, J.J. Salter, would be the nineteenth draft written over the course of eight years, and wouldn't quite be the raunchfest Paramount was hoping for, but they were literally out of time. To try and make things as comfortable for herself as possible, Coolidge would hire a number of actors and crew members from Valley Girl, and tried to shoot the film, as straight as possible, even with the studio's request for lots of gratuitous nudity. Michelle Meyrink, one of Julie's valley girl friends in Coolidge's previous film, would star as Leslie, a high school senior who tries to lose her virginity when she mistakenly believes she only has six weeks to live, alongside her Valley Girl co-stars Cameron Dye, Colleen Camp and Heidi Holicker. Also on board would be Ernie Hudson, who would go straight from making this film into making Ghostbusters, and Christopher Lloyd, who was still a couple years away from starring as Doc Brown, as Leslie's dad, a coach at her school. Coolidge's saving grace was that, despite the pressure to have scenes of nubile young co-eds running naked down the school halls for no good reason, the core of the story was about two teenagers who, while trying to learn about sex, would discover and fall in love with each other. Paramount would set the film for an April 13th, 1984 release, even before Coolidge turned in her first cut of the film. But when she did, that's when the proverbial poop hit the proverbial fan. Coolidge made the movie she wanted to make, a sweet love story, even with some scenes of gratuitous and unnecessary nudity. Which is not the movie Paramount wanted, even if it was the script they approved. Her relationship with the studio further soured when the first test screening of the film turned out to be a disaster, especially with teenage girls and women, who loved the love story at the center of the film but hated the completely gratuitous and unnecessary nudity. Coolidge would be fired off the film, the television and film departments at Paramount would get into vicious finger pointing arguments about who was to blame for this mess and how they were going to fix it, and Matty Simmons would pay Paramount $250,000 to have National Lampoon's name removed from the film, claiming the film did not represent what the magazine had originally signed up for. Paramount would cancel the April 1984 release date, while hiring two new editors to try and salvage the mess they felt they were given. The Directors Guild offered to allow Coolidge to take her name off the film and have it credited to Alan Smithee, but she would decide to leave her name on it. Even if the film bombed, it was another directing credit to her name, which could still help her get future jobs. When the new editors finished their work on the film, they had whittled down Coolidge's original version that ran 115 minutes into a barely cohesive 93 minute mess, and the studio decided to release the film on August 3rd. In the 80s, the entire month of August was pretty much considered a dumping ground for movies, as families were often eschewing going to the movies for their last moments of summer fun before the kids had to go back to school. Opening on 804 screens, Joy of Sex would open in ninth place, grossing an anemic $1.9m in its first three days. Ghostbusters, in its ninth week of release, was still in first place with $6.5m, and it would also get outgrossed by Gremlins, Indiana Jones and the Temple of Doom and The Karate Kid, all three having been released in May or June. After a second weekend where the film would lose nearly 20% of its theatres and 55% of its first week audience, Paramount would stop tracking the film. It's final reported ticket sales total would be just $3.69m. Because I am cursed with the ability to remember the most mundane things from nearly forty years ago while being unable to remember where I left a screwdriver yesterday, I still remember seeing Joy of Sex. It was on the #1 screen at the Skyview Drive-in in Santa Cruz. It was the A-title, playing a double bill with Cheech and Chong Still Smokin', which had not done very well when it had been released the previous May. My friends and I would head out to the theatre, Dick and some friends piled in his Impala, me and some friends in my AMC Pacer, with lawn chairs and frosty beverages in the trunks, ready to completely rip apart this film we heard was really bad. And rip it apart we did. I think there were maybe ten cars on our side of the drive-in, plenty of room for a bunch of drunken teenagers to be far away from everyone else and be obnoxious jerks. In 1984, we didn't have the internet. We didn't have easy access to the industry newspapers where we may have heard about all the troubles with the production. We just knew the film stunk something foul, and we had one of our most fun evenings at the movies destroying it in our own inimitable way. Not that I was going to give the movie another chance. It stunk. There's just no two ways about it, but I am now more forgiving of Martha Coolidge now that I know just how impossible a situation she was put in. Ironically, the debacle that was Joy of Sex would be part of the reason I so enjoyed Coolidge's next film, 1985's Real Genius so much, because Joy of Sex was still fresher in my mind than Valley Girl. But we'll talk more about Real Genius on our next episode. Thank you for joining us. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Joy of Sex. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

We'll be talking about the three-act structure. This classic model for narrative fiction can help you break down your writing into more manageable pieces. It can also help you consider the pacing and progression of your story. Picks of the Week: The Girl on the Train by Paula Hawkins Cuba: An American History by Ada Ferrer Mentioned in the Episode: Screenplay: The Foundations of Screenwriting by Syd Field

"Únete a FORMATO DE GUION para no dejar pasar la oportunidad de mejorar tus habilidades como guionista. En este episodio podrás descubrir los secretos del III Acto de Syd Field en la película Capitana Marvel. Aprende cómo aplicar estas técnicas en tus propios guiones para mejorar su estructura y atraer a más público. Con consejos expertos y análisis detallados,

¿Estás listo para emprender un viaje épico con el superhéroe más fuerte de todos los tiempos? ¡Prepárate para ver el increíble segundo acto de Capitana Marvel! Sácale punta al lápiz y preparate para aprender todo lo que necesitas saber para desarrollar el segundo acto de tu guion como un auténtico profesional. No olvides dejarnos tus comentarios y tus preguntas.

Kelli and Zara interview Zara's family friend, Seyi River: an award-winning screenwriter, director, composer, chef—though he doesn't agree—and much more.Add Kelli's debut DOWN THE WELL to your TBR: Bookhype - https://bookhype.com/book/show/9824bda1-0dc8-4934-a8ba-cd6a8733f3b0/down-the-well Goodreads - https://www.goodreads.com/book/show/87798019-down-the-wellPreorder Samantha's debut THE LEGIONNAIRE: https://inimitablebooksllc.com/the-legionnaire & don't forget to register your preorder at https://inimitablebooksllc.typeform.com/LegionnairePre to receive some exclusive character artwork! Or, get an EXTRA piece of art & skip registration by ordering from https://www.riverbendbookshop.com/legionnaireseyiriver.comhandtales.life should be functional (assuming 2023 is your target date)Twitter: https://twitter.com/SeyiRiverInstagram: https://www.instagram.com/seyiriver/Twilight without blue filter: https://twitter.com/twilightreborn/status/1503407995077726210 Resources recommended by Seyi for screenwriters:Read screenplays & watching films (Google them)Syd Field's book (wouldn't read it now but he did—Zara actually liked it when she read it a decade ago): https://amzn.to/3d7KgL7John August: https://johnaugust.com/Jeff Goldsmith: https://podcasts.apple.com/us/podcast/the-q-a-with-jeff-goldsmith/id426840843Bird by Bird by Ann Lamott (screenwriters should read it too): https://amzn.to/3QKSc2q-https://ko-fi.com/writeish

"Bienvenidos a nuestro curso de guion en el que exploraremos el paradigma de Syd Field, uno de los principales expertos en estructura narrativa en el mundo del cine. En esta serie de episodios, nos centraremos en la estructura de este paradigma, y utilizaremos como ejemplo la película "Capitana Marvel", para analizar cómo se desarrolla la trama y los personajes en esta etapa crucial de la historia. En este podcast, aprenderas cómo crear una introducción sólida y llamativa para tu historia, y cómo plantear los conflictos y desafíos que enfrentarán tus personajes. Si eres un escritor de guiones o simplemente un amante del cine, este podcast es para ti. ¡Empecemos con el primer acto de "Capitana Marvel"! "

Comenzamos una nueva sección "FORMATO DE GUION" que da comienzo con un curso de introducción al guion. Este es el capítulo de presentación. El curso constará de diez episodios. Espero que os guste y que os resulte útil. En el próximo capítulo, el paradigma de Syd Field, primera parte.

Rachael Biggs is an author, screenwriter, copywriter and journalist. She studied creative writing at UBC, UCLA, and with masters of the craft Syd Field and Robert McKee. In 2016 she earned a screenwriting diploma from Vancouver Film School with a focus on television.  Her memoir Yearning for Nothings and Nobodies debuted to critical acclaim and was adapted for the screen as Behind the Eight Ball. She is a frequent contributor to print and on-line publications and her short fiction appears regularly in literary magazines including Door is a Jar, Angel City Review and Charge Magazine.  She divides her time between Vancouver and Los Angeles.  And I Was Like November is available for pre-sale now, and pubs January 31, 2023. Kindlepreneur blog Words to Avoid in Writing blog post. https://kindlepreneur.com/words-to-avoid-in-writing/   Want to support the show? Go here: https://www.buymeacoffee.com/PencilsLipstick Looking for tips on writing, publishing, and storytelling? Join my writers' newsletter! https://www.subscribepage.com/katcaldwellnewsletter Want more information on my books, author swaps, short stories and what I'm reading? Sign up for my readers' newsletter.

Overview In a world where hyper-positivity, Rachael Biggs' And I Was Like November offers a glimpse of the other side, while navigating themes of isolation and longing. These are stories of what happens to the women that didn't get their happy ending—the ones who don't believe the cliches about family being everything and who know that live-laugh-love isn't the cure all. Taboo topics that embrace a gritty reality include transactional sex, romantic obsession, maternal disdain and teenaged drug dealing are linked by the need to survive in the midst of questionable sanity and deep loneliness.  Rachael Biggs is an author, screenwriter, copywriter and journalist. She studied creative writing at UBC, UCLA, and with masters of the craft Syd Field and Robert McKee. In 2016 she earned a screenwriting diploma from Vancouver Film School with a focus on television.  Her memoir Yearning for Nothings and Nobodies debuted to critical acclaim and was adapted for the screen as Behind the Eight Ball. She is a frequent contributor to print and on-line publications and her short fiction appears regularly in literary magazines including Door is a Jar, Angel City Review and Charge Magazine.  Website https://rachaelbiggs.com Her Book https://www.amazon.com/I-was-like-November-ebook/dp/B0B9L2T4Y6?crid=2IX70VAQ5X2UG&keywords=and+I+was+like+november&qid=1670419857&sprefix=and+i+was+like+novembe%2Caps%2C84&sr=8-1&linkCode=li2&tag=discoveredwordsmiths-20&linkId=de5839618229eb9b09e59216cbfddf5c&language=en_US&ref_=as_li_ss_il Favorites https://www.amazon.com/Half-Asleep-Frog-Pajamas-Novel-ebook/dp/B000FBFNY2?_encoding=UTF8&qid=1670427282&sr=8-5&linkCode=li2&tag=discoveredwordsmiths-20&linkId=31268dbcd094460a1d53036dc45663d8&language=en_US&ref_=as_li_ss_il Vancouver's Legendary Independent Bookstore | New, Used & Out-of-Print Books | Pulpfiction Books (pulpfictionbooksvancouver.com) YouTube https://youtu.be/tlM81x3TySA Transcript Rachel, welcome to the discovered Wordsmith today. How are you doing? I'm good, thank you. Thank you for having. That's great to have you. I can't wait to hear about your book, but before we do that, let's find out a little bit about you. So tell us some things about you where you live, some of the things you like to do besides writing. Rachael: Okay. I've just actually moved from Los Angeles to Vancouver Canada, whereas the, which is where I'm from originally. And what do I do besides writing? I have a puppy, a year and a half year old puppy. So I go to a lot of dog parks and dog meetups and walking of the dog. Yeah, I like to be outside. I I ski, I hike, swim, all those usual things. Nice. Stephen: So what type of puppy did. Rachael: He's a long haired dash hound. He's, oh. With his friend right now. Cause I needed him to be quiet. or it to be quiet, got it. Just got a text that he's crying for me oh God. Stephen: We were chatting just a minute before this started. This is your second book. Tell us a little bit about it and why you wanted to write this. Rachael: It's a book of short fiction and it started out I read Stephen King's book on writing. If anyone hasn't read that, I really recommend it. It's so excellent. Yes. And he, I had self-published a book, a memoir in 2013 called Yearning for Nothings and Nobody's, and it while critically acclaimed didn't get much traction, it didn't sell very well. So I was looking for ways to get published traditionally. And I happened upon that book and he talked about writing short stories and, submitting to literary magazine. So I had never heard of that before. I guess it was in my brain somewhere, but that just, made it a reality. Thank you, Stephen King. So I started writing short stories and I had written a couple previously mostly as like outlines for bigger things. Cause I do movies and novel type stuff as well. Yeah, I started writing short stories and I,

This week we have the resident expert of the Screenwriter forum on Facebook and the writer of one of the most acclaimed books on screenwriting, “That's Not The Way It Works”. He is a producer, writer of 19 produced films and a former actor, Bob Saenz is on the show. Rob & Kay talk to Bob not only about his book, but also about staving off the end of the end of democracy, Super Mario giving everyone the finger, and the unfortunate passing of legendary voice actor, Kevin Conroy. Our Weekly Resource: Bob's book, “That's Not The Way It Works” is a no-nonsense guide on screenwriting and the business of our craft, Bob's book is a memoir-style look at our beloved industry with practical advice from a working professional who's done the work, so you don't have to wonder. It is not only best-selling, but award winning and is a worthy addition to any screenwriter's library next to Syd Field, and Blake Snyder. Notes From the Episode: Zack's Original Instagram video (for our Twitter Drama Bumper) Bob's Twitter Rob's YouTube Channel How to Make a Movie for $1000 Zack's Twitter Kay's Twitter Rob's Twitter Email us(!)

Natasha is a Silicon Valley publicist and biz dev executive always worked with consumer brands and tech companies. Her work experience started at the age of 17 as the youngest tv and radio reporter in Canada at CBC news. When she moved to San Jose, California circa 1995 she became the first radio DJ to broadcast live on the Internet. My career took a change into public relations becoming a power house publicist for entertainment and technology companies; her firm Soleil PR had several employees. After a long run as a Publicist she decided to venture as a digital producer hence, came along X-Men film composer Michael Kamen to help her produce her first digital project and sell it to Sony Pictures. Next was Hollywood's celeb screenwriting book author Syd Field for a story telling software program among others. Currently, Natasha is working on the Remake start-up which is a SAAS b2b and b2c mobile platform for food brands and the tv show. --- Support this podcast: https://anchor.fm/genius-juice/support

Neste episódio mais que especialíssimo, falaremos da jornada do Herói, não de uma em específico, mas de seu modelo, de sua estrutura. Tomaremos como base a estrutura em três atos do roteirista Syd Field, corroborada com a jornada também utilizada pelo estudioso, apaixonado e escritor Joseph Campbell. Contaremos com a presença do artista gráfico, amigo e parceiro de jogatinas @persi_ilustras. Então... saia do comum, se depare com o seu primeiro ponto de inflexão, aperta start e vem com a gente. Bibliografia: https://www.coursehero.com/file/103858336/Syd-Field-Three-Act-Structurepdf/ https://en.wikipedia.org/wiki/Syd_Field https://pt.wikipedia.org/wiki/Joseph_Campbell O poder do mito - Joseph Campbell - Palas Athena; 29ª edição (6 novembro 2014) Links notícias: Processo Nintendo: https://kotaku.com/nintendo-switch-labor-complaint-nlrb-lawsuit-union-1849396722?rev=1664460193642&utm_campaign=Kotaku&utm_content=1664460294&utm_medium=SocialMarketing&utm_source=twitter https://www.videogameschronicle.com/news/playstation-is-giving-top-stars-members-priority-in-customer-support/ https://blog.playstation.com/2022/09/28/playstation-stars-launches-in-asia-today-with-additional-markets-coming-soon/ https://t.co/H81B5DhXwV Redes Sociais:

Natalia Lazarus, a woman for all seasons, is a talented, captivating, and alluring International Actor, Stage Producer, Director, and Acting Coach with over 30 years in the Entertainment Industry. She is Syd Field's “docent” and one of the few in the world authorized to teach his screenwriting technique. Natalia was privileged to have studied with Syd for 6 years. Natalia Lazarus is the Artistic Director at the helm of The Promenade Playhouse and the CEO/Founder of the prestigious and highly revered Los Angeles Performing Arts Conservatory in Santa Monica, CA which celebrated its 25th Anniversary Year in 2021. Since 1996 the LAPAC has offered numerous programs - Acting, Screenwriting, Directing, Filmmaking, and Personal Growth technique that she created and developed. In continuing its celebratory year, the LAPAC was also granted full accreditation by the National Association of Schools of Theatre (N.A.S.T.), a fete more than 5 years in the making. Lazarus, a woman with artistic, creative, and international flair, is currently exploring a new chapter in her extensive career as an author. Released on February14th, 2022, Natalia's lyrical and poignant Debut is an Award-Winning, Autobiographical Love Story - in Verse - entitled My Love Affair: Thorns & Roses published by Central Park South Publishing. Natalia's book rose to the Top 25 best-selling Poetry/Romance releases on Amazon in its first week. Delving into this new creative outlet with fervor, the book captures Natalia's authentic emotions which were rooted from a whirlwind romance. The book will be released in English & French complimenting Natalia's multi-lingual skills. (She speaks French, Spanish, Italian, and English fluently),

“It kind of grew out of Normal People,” said Lenny Abrahamson about his new series Conversations with Friends. Both stories come from Irish author Sally Rooney. “It seemed very obvious having gone through the adaptation in episodic form. We learned how best to work with Sally's material and we all felt like Conversations should be a series.” The series are listed as Normal People premiering in 2020 and Conversations with Friends premiering in 2022, but the process was a little more overlapping for the writer/director. “We were cranking up with breaking the episodes while Normal People was still not out in the world.” Normal People “…follows Marianne and Connell, from different backgrounds but the same small town in Ireland, as they weave in and out of each other's romantic lives.” Conversations with Friends is about “…two Dublin college students, Frances and Bobbi, and the strange and unexpected connection they forge with married couple, Melissa and Nick.” In this interview, the writer-director talks about making limited series instead of films, how he carried on the Normal People style, why he dislikes the Syd Field method, and what he's learned working on adaptations. Listen to my first interview with Lenny back in Episode 229. If it's your first time listening, make sure to subscribe and visit my new website for information on the YouTube channel, the blog, this podcast, and my new book ‘Ink by the Barrel' which takes advice from these 200+ interviews at the link below… Follow us on Instagram: @brockswinson If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60-seconds and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom on your iTunes Podcast app and click “Write Review"). Enjoy the show!

"Confusion is the first step toward clarity." ~~Syd Field.

Neste episódio, foi possível entender um pouco mais sobre o universo tarantinesco, com o grande escritor e cinéfolo Maicon Tenfen. Abordamos teorias, detalhes, interpretações sobre as obras de arte do grande Quentin Tarantino. Foi uma conversa descontraída, enriquecedora, agradável e com direito notas aos filmes: - Jack Brown - Amor a Queima Roupa - Pulp Fiction - Cães de Aluguel - Django - Bastardos Inglórios - Kill Bill - Kill Bill Volume 2 Não perde..... MAICON TENFEN: Em 1998 formou-se em Letras na FURB (Universidade de Blumenau), onde hoje é professor de literatura e coordenador da Editora Universitária. Concluiu o Mestrado em Literatura Brasileira (2002) e o Doutorado em Teoria Literária (2006) na UFSC (Universidade Federal de Santa Catarina). Realiza palestras sobre leitura e cidadania em escolas de ensino fundamental, médio e superior. Por mais de dez anos escreveu crônicas semanais para o Diário Catarinense (2002-2013). Também colaborou com o Jornal de Santa Catarina, assinando uma coluna diária entre 2007 e 2011. Escreveu resenhas e artigos de opinião para o Jornal do Brasil e a revista Veja. Participou de cursos de roteiro para cinema e TV com Syd Field, William Rabkin e Robert McKee. Desde 2016 coordena a equipe de roteiristas responsáveis pela série de animação Boris e Rufus, atualmente em exibição pelo canal a cabo Disney XD no Brasil e em toda a américa hispânica. A série também é exibida na TV Cultura. A partir da publicação do primeiro livro, em 1996, lançou duas dezenas de títulos entre crônicas, contos, ensaios e romances. Por duas vezes recebeu o primeiro lugar no Concurso de Contos Paulo Leminski, promovido pela Unioeste de Toledo (PR). Também foi primeiro lugar no Concurso Nacional de Contos de Araçatuba (SC). Quissama: O Império dos Capoeiras foi finalista do Prêmio Jabuti em 2015 na categoria juvenil. O Manuscrito, uma autobiografia ficcional do poeta Álvares de Azevedo, foi finalista da edição 2018 do Prêmio Leya. CANAL DE CORTES: https://www.youtube.com/c/SapiensCortes/ ------------------------------------------- Convidado: Maicon Tenfen https://www.instagram.com/maicon.tenfen_escritor/ Episódio especial sobre Quentin Tarantino Maicon é escritor e professor de grades relacionadas à literatura. Autor da série Quissama, do infantil O Filho do Capitão Trovão e de outras 20 obras. Confere ai! ------------------------------------------- O Sapiens Cast: INSTAGRAM: https://www.instagram.com/osapienscast/ Este é O SapiensCast. --- Support this podcast: https://anchor.fm/osapienscast/support

Für alle ambitionierten Filmemacher: “Jetzt aber mal Butter bei die Matjes.” Hitchcock sagte einst: “For a good movie you need three things: a good script, a good script, a good script” In dieser Folge besprechen wir die Drehbuchbibeln “Das Drehbuch” von Syd Field und “Safe the cat” von Blake Snyder. Ihr erfahrt, wie zwei fast schon analphabetische Nachwuchsfilmemacher sich begeistern konnten, für das Lesen von Fachliteratur über das filmische Storyhandwerk.

Alec Baldwin on Talking Sopranos! An Australian furniture magnate starts the world's most successful spite store! And Extreme Sisters! That's right, Tom and Julie are basking in the glow of some stellar listener clips on this week's Double Threat. Plus the big Bo Burnham special, gargling, Knicks misery, David O'Russell, that mop movie, Frank Zappa teaches grammar, the official podcast network of Jiffy Lube, Syd Field kills his entire family, Monty Python endings, Bananarama, Guy Fieri, the Rob Zombie Munsters reboot, and Tom and Julie finally get to the bottom of Producer Brett's roles and responsibilities.LISTEN TO DOUBLE THREAT AD-FREE ON FOREVER DOG PLUS:http://foreverdogpodcasts.com/plusDOUBLE THREAT MERCH:https://www.teepublic.com/stores/double-threatSEND SUBMISSIONS TO:DoubleThreatPod@gmail.comFOLLOW DOUBLE THREAT:https://twitter.com/doublethreatpodhttps://www.instagram.com/doublethreatpodDOUBLE THREAT IS A FOREVER DOG PODCAST:https://foreverdogpodcasts.com/podcasts/double-threatTheme song by Mike KrolArtwork by Michael Kupperman

Hola excursionistas, soy José Luis Arribas y éste es el súper sonido de 'Ventajas de viajar en cine', desde 'Siéntelo con oído'. Procuren todos su billete de ida, acomódense en su butaca y durante este tiempo háganme el favor de parar sus relojes. El viaje comienza. Hoy: 'El cine en tres actos'. Las historias narradas por el hombre se remontan muy atrás en el tiempo. Desde hace miles de años la humanidad narra vivencias reales o cosas imaginadas. Puede tratarse de recuerdos que desea rememorar o de sueños a los que otorga sus esperanzas. Las narraciones a veces son relatos, otras cuentos o fábulas; también pueden ser aventuras épicas, dramas costumbristas, tragedias miserables o comedias desenfrenadas. El hombre cuenta historias a sus semejantes desde que existe la posibilidad de hacerlo: desde las antiguas civilizaciones fraguando leyendas frente a oráculos, hasta trasnochadores compartiendo palabras en torno a un fuego en la madrugada; desde las poesías y canciones de los juglares hasta los anfiteatros griegos y los corrales de comedia. Las historias se han transmitido usando la voz, pintando sobre paredes y escribiendo libros. Y en el momento y terreno que nos ocupa, el cine llega como el nuevo instrumento a sumarse en la maquinaria del hombre que se ocupa de contar historias. El siguiente paso es plantearnos cómo es la estructura narrativa que utilizamos, qué patrones usamos y cómo está construida una historia. A grandes rasgos la estructura narrativa más frecuentemente utilizada en el cine es la de los tres actos. Es una configuración sencilla y la localizamos también en otros formatos no audiovisuales. Básicamente toda historia forma o posee un planteamiento, un nudo y un desenlace. Es el armazón del relato. Son los tres actos. Y nosotros lo distinguimos perfectamente, ya que tenemos muy interiorizada esta división. Sabemos cuándo nos encontramos en cada parte y esto es así porque llevamos empapándonos de historias desde que tenemos uso de razón. Visionamos películas desde pequeños. Usamos la lógica lineal del cuento, un suceso que comienza, se desarrolla y finaliza. Podemos pensar en este momento en títulos que se alejan de estas consideraciones. Por supuesto que la libertad de creación no debería seguir unas reglas o normas determinadas, pero solamente el creador que conoce bien las herramientas de su oficio, altera con acierto el orden de lo establecido para su beneficio artístico. Como en todos los ámbitos, existen las excepciones, personas con capacidades innatas, que sentadas frente a una página en blanco dejan fluir su genialidad, ante un futuro libro o guion cinematográfico, sin consideraciones sobre estructuras, porque tienen esa esencia aprendida en su código genético. El primer viaje en el que nos embarcamos hoy nos conduce a los orígenes de este conocimiento, más concretamente al siglo IV antes de Cristo, y de la mano de Aristóteles, uno de los padres de la filosofía occidental. Su obra 'Poética' constituye un tratado sobre el arte poético desde el punto de vista estético y de las diferentes formas en que se manifiesta, y de cómo deben desarrollarse cada una de ellas para que el resultado resulte bello. Este arte de la creación literaria ha mantenido su influencia hasta nuestros días, legándonos los fundamentos estructurales teóricos sobre los que se sustentan las historias, definiendo la tragedia y al resto de las artes existentes. Volviendo a los tres actos, Aristóteles los nombra con los siguientes términos: exposición, peripecia y catástrofe. Esta forma de denominación no es única y ha recibido otros nombres diferentes. Syd Field, guionista estadounidense, autor de libros sobre la creación de guiones, llama a los tres actos con otra fórmula: planteamiento, confrontación y resolución. Ahora, sentadas ciertas bases, llega el momento de adentrarnos en la parte más analítica del viaje. Imaginemos que una película, temporalmente hablando, es una línea continua cuyos extremos son el principio y el final de ese filme, desde el primero hasta el último plano. El siguiente paso consiste en dividir esa línea en tres partes bien diferenciadas, de la siguiente forma: el primer y el tercer tramo abarcan una cuarta parte, y el segundo el resto, es decir dos cuartas partes. Hemos realizado dos cortes en el segmento, marcando dos puntos más o menos con cierta exactitud. Pues bien, tenemos ante nosotros los tres actos en los que se divide una película. Cada una de las partes de la división es uno de los actos. No es una ciencia exacta y no manejamos matemáticas, pero la mayoría de obras que hemos visto, vemos y veremos, presentan esta estructura, que como hemos comprobado perdura hasta nosotros desde la antigüedad. Volviendo a la línea que delimita las partes del filme, si la película tiene una duración de unas dos horas, la primera media hora aproximadamente corresponde al primer acto. El paso al segundo acto lo realizamos a través del conocido primer punto de giro, ese primer corte que hicimos. De la misma manera, el paso del segundo al tercer acto, lo realiza el también nombrado segundo punto de giro, nuestro segundo corte. Siguiendo el mismo ejemplo de las dos horas, esta película tendría un segundo acto que dura alrededor de una hora y un tercer acto de otra media hora más o menos. ¿Cuáles son exactamente los puntos de giro de una película? ¿Qué contiene cada uno de sus actos? ¿Existen otros puntos importantes y relevantes en la narración? Nuestro tren hace una parada en este momento, a modo de presentación, siguiendo la estructura que hemos planteado, para volver a arrancar próximamente su motor, contestar a todas estas preguntas y ofrecer su propio nudo y desenlace.

Senaryo yazmak bir dağa tırmanmak gibidir. Tırmanırken tek görebildiğiniz önünüzdeki ve tam üstünüzdeki kayadır. Nerden geldiğinizi ya da nereye gittiğinizi göremezsiniz,der Syd Field. Peki, nedir senaryo yazmak? Seslendiren: Aykut TÜZEMEN Yazan: Şura ZEBUNOĞLU   Erişim Kanallarımız https://linktr.ee/MozartCulturesPodcast Bir manzarayı bütünüyle seyretmek kesinlikle keyif vericidir. Fakat gelin gözlerimizdeki hayali çizgilerle gördüğümüz her şeyi binlerce parçaya ayırdığımızı düşünelim. Oluşturduğumuz her küçük parça da aslında birer manzara değil midir? Sizlere inceleme bölümümüzde bu küçük manzaraları dinleme imkânı veriyoruz. Üstelik hayali çizgilerle falan da uğraşmanıza gerek yok, sizin için o kısmı biz hallettik bile. Arkanıza yaslanın ve ayrıntıların keyfini çıkarın. Mozartcultures; Türkiye' de tamamı gönüllülerden oluşan ve kâr amacı gütmeyen bir kuruluş olarak,sanatı ve bilimi güneşin doğup battığı tüm topraklara yayabilmek amacıyla çıktığımız bu yolda sizlere çok değerli podcast yayınları dinletmeyi amaçlıyoruz.

In this most unpredictable of industries, success often doesn’t look the way we think it will. To make it as a screenwriter, you have to be in it for the long haul. Screenwriter and professor Robin Russin talks about his path from America’s Most Wanted, through Steven Seagal and University of California, to finally directing his own features. Robin and I talk about colleagues and mentors like Syd Field, Lew Hunter, Hal Ackerman, Richard Walter, Linda Vorhees. We mention Meg Gifford's episode talking about Lew Hunter's new book. Bo Burnham's Eighth Grade, andindustr Final Draft. And Robin's work including his book, his film 2 Hearts, and his film When I Sing. As always, more info on PageCraft screenwriting workshops, feedback, and retreats is here. 

FECHA ESTELAR: 7 de febrero de 2021 En este nuevo diario de a bordo, grabado una vez más en riguroso directo en instagram y en twitter, os presento 5 libros de que deberías leer para escribir historias que enganchen, historias que funcionen. Es por tanto un podcast pensado para escritores, pero que también pueden disfrutar los lectores y donde se hablará de algunos "trucos" de escritor, como por ejemplo: -El truco de Juan Gómez Jurado en Reina Roja para generar nerviosismo en el lector. -El paradigma de los tres actos -El viaje del héroe -Los arquetipos... Todo esto, explicado en los siguientes libros: -Mientras escribo (Stephen King): https://amzn.to/2LAPK3e -El manual del guionista (Syd Field): https://amzn.to/2YUXEHB -Cómo mejorar un guión (Syd Field): https://amzn.to/37aiHL1 -El viaje del escritor (Christipher Vogler): https://amzn.to/3p0mdNK -The Newbie's Guida To Publishing (J.A. Konrath): -Malas influencias (Marc R. Soto -un servidor-): https://amzn.to/3tBSqP0 Este "Diario de a bordo", así como el anterior, ha sido grabado en riguroso directo, por lo que si quieres ver el vídeo original, puedes buscarlo en me feed de twitter (@marcrsoto) o en el de instagram (@marc.r.soto). Te invito a visitar mi página de autor en Amazon, donde encontrarás todos mis libros: https://amzn.to/3pHJkhH O directamente la página de mi último libro: MALAS INFLUENCIAS: https://amzn.to/36CUVH4 Mi twitter: https://twitter.com/marcrsoto ¡Nos vemos pronto!

So, you want to be a screenwriter? Before you have visions of seeing your words play out on the big screen, you might want to slow down a bit. Martin Kelley and Michael D Friedman offer some advice on how to take the first steps to reaching your screenwriting dreams. Featured books mentioned in the podcast: SCREENPLAY by Syd Field: https://www.amazon.com/gp/product/0385339038/ref=dbs_a_def_rwt_hsch_vapi_tpbk_p1_i0 THE SCREENWRITERS BIBLE by David Trottier: https://www.amazon.com/Screenwriters-Complete-Writing-Formatting-Selling/dp/1935247212/ref=sr_1_1?dchild=1&keywords=The+Screenwriters+Bible&qid=1600974499&s=books&sr=1-1 THE WRITERS JOURNEY by Christopher Vogler https://www.amazon.com/Writers-Journey-Mythic-Structure-3rd/dp/193290736X/ref=sr_1_3?dchild=1&keywords=The+Screenwriters+journey&qid=1600974563&s=books&sr=1-3

Enjoy fun and substantive discussions about writing.  Bona's Bite Size Nuggets recordings are released the fourth Thursday of every month. This month's topic is DIALOGUE 101 For September 25, 2020 the topic will be DIALOGUE 102. To get a head start, check out "Your Guide to Writing  Better Dialogue."  NY Book Editor Bona Hayes is an editor who hears the words and cadence of written work much like a conductor hears a symphony. She has an ear for writing and combines it with her professional background in business communications, to edit manuscripts for authors. bonahayes@gmail.com Put sparkle in your writing!  Bona Hayes Website. Bona Hayes Facebook Page   During this episode, Bona read some good examples of dialogue from her nightstand book:  JR Minard's "Coach in Cottage C". Bona is also reading Dr. J's "Chemical [sex]X 2 just one more: An Erotic Chocolate Anthology."  I interviewed Bona Hayes in a previous episode  Confessions with Editor Bona Hayes.     Diann's nightstand book is Syd Field's "Screenplay: The Foundations of Screenwriting". Diann@DiannAbroad.com DiannAbroad.com    Diann@DiannAbroad.com  Diann Schindler Author Facebook   THANK YOU FOR LISTENING!   Music: Rafael Javadov The Amelia Island Sun and interludes Cerulean Skies by Ilya Truhanov.  

This episode is #gold for anyone looking to up their screenwriting game! Taylor starts by drawing upon our tendency as young filmmakers to think more about what WE think is interesting and forget about the importance of theory. Mads goes on the highlight the difference between a character’s want vs. need, the prior being their external desire and latter being an internal desire. They follow with a discussion of the three act structure; set up, confrontation and the resolution. Mads and Taylor apply these story elements to Robert Zemeckis’ Castaway (2000), The Matrix (Lachowski, 1999) and Joker (Phillips, 2019), before calling attention to the parts in a film where these structural point usually occur. They continue by calling attention to Aaron Sorkin’s screenwriting masterclass and his key techniques that make a good story; making the stakes as high as possible, impossible probabilities vs. possible improbabilities and creating an element of confusion.Mads and Taylor also underline the importance of building trust with your audience and the benefit of adopting a viewer’s perspective in the writing process. They close with a discussion of their first feature film together, Boris & Johan, and the ways in which it veered from this stronger, theory-based form of story structure.Oh and for those of you interested, we’re going to be revamping our Patreon page very soon, so keep an eye out for that!Support the show (https://www.patreon.com/burningboat)

We welcome our first writer of scripts for TV and Film – Christy Marx. While Christy is a veritable “Jill of all Trades” in writing talent, we sat down to quiz her about how one comes into a career writing for movies, tv, and cartoons. … Continue...Episode 59 – Silver Screenwriting with Christy Marx

In this episode, Michael & Ethan discuss The Light Between Oceans, by ML Stedman. Ethan’s audio is better this time than last time, but it’s still a little fishbowl-y. Maybe it’s just his voice? We’re pretty sure next time will be better still. In this episode: Ethan is sure Syd Field exists, or did This book is not a book (again) Ethan only complains for 1/3rd of this one! Michael is a mythology tease This book has it both ways Ethan puts his foot in a door that Michael was already opening Next episode they’ll talk about The Dream of Perpetual Motion, by Dexter Palmer. Join the discussion! Go to the Contact page and put "Scotch Talk" in the Subject line. We'd love to hear from you! And submit your homework at the Michael & Ethan in a Room with Scotch page. Donate to our Patreon! BUY A NIHILIST BLANKET! Your Hosts: Michael G. Lilienthal (@mglilienthal) and Ethan Bartlett (@bjartlett) MUSIC & SFX: "Kessy Swings Endless - (ID 349)" by Lobo Loco. Used by permission. "The Grim Reaper - II Presto" by Aitua. Used under an Attribution-NonCommercial-ShareAlike License. "Thinking It Over" by Lee Rosevere. Used under an Attribution License.

Neste quarto episódio da série sobre roteiros cinematográficos Julia Maizman (@juliamaizman) conversa conosco sobre praticidade do documento que registra as sequências e atos, definitivamente, as etapas que recomendamos para o fluxo criativo como gravador de voz e fotos, escrita manual software de formatação e ritual sem romantização. Como sempre elementos de roteiro extraídos dos ensinamentos de Mckee, Altman, Doc Comparato e Syd Field. Plugue seus fones e simplifique com a gente! instagram: @juliamaizman twitter: @juliamaizman_ Yago Romero Instagram: @rpf_yago Twitter: @cinesimples Esta série é gravada por vídeo-conferencia respeitando o isolamento social e a quarentena de 2020 pelo achatamento da curva de transmissão da pandemia do Covid 19 Indicamos a quarentena para a população que conseguir se manter em casa saindo apenas para o mais necessário dos trânsitos em vias possivelmente aglomeradas ou trajetos da infecção nos centros urbanos.

All young filmmakers have the same goal. We spend every waking hour pushing toward it, every quiet moment thinking about it. How do I get my first feature film made? There is such a small percentage of people who actually make a full length film, and lets pretend for a minute that you just finished yours. You get into Sundance, it gets bought by Nextflix, and the fans give you a 90% on Rotten Tomatoes! Now what?! In this episode host Mike Pecci has a director to director conversation with I AM MOTHER director Grant Sputore about how he got his sci-fi epic made and what comes next. Grant Sputore's IG: instagram.com/grantsputore I AM MOTHER: netflix.com/watch/80227090?source=35 Story: Substance, Structure, Style and the Principles of Screenwriting by Robert McKee: amazon.com/Story-Substance-Structure-Principles-Screenwriting/dp/0413715604/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr= Save the Cat: The Last Book on Screenwriting You'll Ever Need by Blake Snyder: amazon.com/Save-Cat-Last-Screenwriting-Youll-ebook/dp/B00340ESIS/ref=reads_cwrtbar_2/143-7334865-3324009?_encoding=UTF8&pd_rd_i=B00340ESIS&pd_rd_r=1dcaa61f-7ef4-424b-9311-dab4bb1ccd98&pd_rd_w=idvfE&pd_rd_wg=im2j0&pf_rd_p=f7e50e46-03c7-4eda-9ad4-faa4a79972b4&pf_rd_r=HC84SKSZV9YMDWNVVENZ&psc=1&refRID=HC84SKSZV9YMDWNVVENZ Screenplay: The Foundations of Screenwriting by Syd Field: amazon.com/Screenplay-Foundations-Screenwriting-Syd-Field-ebook/dp/B000S1LAYG/ref=pd_sim_351_5/143-7334865-3324009?_encoding=UTF8&pd_rd_i=B000S1LAYG&pd_rd_r=3dd56656-8531-4a29-971b-0f4885afa1de&pd_rd_w=anaql&pd_rd_wg=nTNFA&pf_rd_p=9fec2710-b93d-4b3e-b3ca-e55dc1c5909a&pf_rd_r=202SV4H5EVC4124Q90W2&psc=1&refRID=202SV4H5EVC4124Q90W2 Mike Pecci's IG: instagram.com/mikepecci ILWP's IG: instagram.com/inlovewiththeprocesspod ILWP Subreddit: www.reddit.com/r/inlovewiththeprocess The Episode is Sponsored by: Puget Systems: www.pugetsystems.com/solutions/cont…th_the_process Puget Systems Consultation: https://www.pugetsystems.com/landing/Puget-Labs-Consultation-Service-101?utm_campaign=Labs%20Consulting%20Service&utm_source=hs_email&utm_medium=email&utm_content=86870814&_hsenc=p2ANqtz-_wSWwnc8PcednfbyTVEAsdMM306nDi0bOJYwiremn-vKb8nJkjTcElONO7CDX0cwMCmzCkv12_i0lWBBunGIlUMFJScg&_hsmi=86870814 Quasar Science: www.quasarscience.com/ Support our show by signing up for a 30 day free trial at www.audibletrial.com/InLoveWithTheProcess ILWP Sponsor Page: www.inlovewiththeprocess.com/sponsors

if you want a book on screenplays then this is fuckin it

Learn the tools of the storytelling trade from one of western culture's greatest story analysts. We'll examine the findings of the late screenwriting expert, Syd Field, and look at how collected writing wisdom from outside games translates to our area of expertise. Relevant Links Screenplay: The Foundations of Screenwriting Dan Harmon's slightly different take If you enjoy GameDev Breakdown Sign up for our free game dev newsletter! Subscribe to the podcast on the platform of your choice Follow us on Twitter: @GameDevPod, @CodeWritePlay, @Mechatodzilla Check show notes and articles at CodeWritePlay.com Join us on Discord! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/gamedevbreakdown/message Support this podcast: https://anchor.fm/gamedevbreakdown/support

Learn the tools of the storytelling trade from one of western culture's greatest story analysts. We'll examine the findings of the late screenwriting expert, Syd Field, and look at how collected writing wisdom from outside games translates to our area of expertise.

This week, my guest is myself! Really, it’s part of my collection of books on writing. I have put these volumes in some semblance of an order of importance in my life. I hope you enjoy this non-chat, and I hope you find some inspiration here. The humorist Steve Allen once claimed to always be reading some sort of self-help book before going to sleep. (He also claims to have been a 12-hour a night sleeper, which is remarkable for such a prolific man!) I am not so inclined, but he sparked something in me. There is no shame in always trying to improve, and reading about your craft is one way to do that. Sometimes the best advice on writing comes from reading the works of the writers you love; sometimes it comes in lesson form.

Do you love writing dialogue, or do you find it challenging...or both? I discuss why writing dialogue is my favorite part of the writing process, and explore ways in which you can hone your listening and dialogue-writing skills. Let me know what you think! Email me at marisadellefarfalle@gmail.com, or leave me a voice message via Anchor (under one minute, please). Also, I'd really appreciate it if you could take a moment to rate & review me on Apple Podcasts or Stitcher...it'll help more people find out about the show! Helpful links: “How to Write Dialogue: 6 Tips for Writing Powerful Dialogue”: https://thinkwritten.com/writing-powerful-dialogue/ “Writing Dialogue: 10 Rules for Sounding Like a Pro,” by Harvey Chapman: https://www.novel-writing-help.com/writing-dialogue.html “Top 12 Tips for Writing Dialogue,” by Ginny Wiehardt: https://www.thebalancecareers.com/top-tips-for-writing-dialogue-1277070 “3 Writing ‘Cheats’ for Making Dialogue Work Harder & Ring True,” by Ami Hendrickson: https://museinks.blogspot.com/2012/03/3-writing-cheats-for-making-dialogue.html “Hills Like White Elephants,” by Ernest Hemingway: https://docs.google.com/viewer?a=v&pid=sites&srcid=bW9oYXdrc2Nob29scy5vcmd8aG9vZ3N0cmF0ZW58Z3g6M2I0NzYwYTA2YmVlMTUyZA Screenplay,by Syd Field: https://sydfield.com/products/screenplay-the-foundations-of-screenwriting/

Joining today: author Lilibet Snellings, author of BOX GIRL: My Part-Time Job as an Art Installation (from Soft Skull Press) and the funniest person you know with MSThe first thing I remember from my initial call to Lilibet was her talent for setting the dramatic to a well-lit narrative; one where all the places and players are carefully examined, illustrated, and given vibrancy by their all-too-human quips (we also share an addiction to bulleted lists and numbered collections, handwritten notes and a continued affection for the late cinema sage, Syd Field). The second, was her immediate—and sincere—reply when I asked:“What was it like to spend part of your life on exhibit?”- JShow NotesYou can learn more about Lilibet’s work on her website or talk with her directly on Twitter as well.This piece and episode first appeared in an interview for The Huffington Post, which you can read here.For more information, and a proper view of The Standard Hotel’s Box installation, you can also read Paper Magazine’s article from last year.Like what you hear and want to show your support? Leave a review on your app of choice or subscribe to our Patreon site. The Magician, written & performed by Immersive MusicKudos to @BrothersHerman for the final edits. Here Be Tygers is a proud member of The ESO Network.Support the show (http://www.patreon.com/herebetygers)

Writer-director Aaron Harvey was drawn to film at an early age. Inspired by complex characters with unique arcs, the creator often starts with a thematic idea, then moves into character. His new film stars Luke Grimes (Yellowstone) and Frank Grillo (Captain America), but he’s also known for ‘The Neighbor’ and’ Catch .44.’ For ‘Into the Ashes,’ “Nick Brenner believed he had safely escaped his violent, criminal history. But his old crew hasn't forgotten about him or the money he stole, and when they take what Nick now values the most - his wife - he has nothing left to lose. Confronted by the town sheriff, who is also his father-in-law, Nick must decide if he will stay on his new path or indulge in his need for revenge and force his enemies to pay for what they have done.”
 In this interview, Harvey discusses paying homage to favorite films like ‘Taxi Driver,’ why he doesn’t subscribe to the Syd Field method of screenwriting, why he chose to be the writer and director for his storytelling, the pros and cons of making shorts, and his appreciation for the craft of filmmaking. If you enjoyed this interview, join thousands of viewers for the new YouTube series, Creative Principles, which dissects new films, series, and more: bit.ly/2FARJz5

Welcome to the Ink 2 Screen podcast. I am your host, Amber Bosworth. I am the creator of Ink 2 Screen. A website and resource for beginning screenwriters that want free information and inspiration to help guide their writing. Plus we have monthly writing contests. Our next Monthly Writing Madness for June has now opened for Registration. Next month’s prize will be $150. Plus an artist profile on the website, your very own website link, and an exclusive interview on this podcast.   Now enough of that. Let's get back to today’s podcast. Today is all about The 3-Act Structure; The Film Paradigm. This is a basic overview of the structure that I have collected.   I’ve provided a great printout diagram of everything I’m brining up in this podcast. It is a collection of many sources. This is just a collaboration of things I’ve read and been taught through my schooling. I don’t claim any of it but doesn’t mean I’m not going to use it to help my listeners create amazing stories. Feel free to download and print it out at your convienience at www.ink2screen.net/page8. I’ll also provide the link in the show notes below this episode. This is something I’ve had pinned up in my office since I started writing.    Alfred Hitchcock said: “To make a great film you need three things – the script, the script and the script.”   Pages are all rough estimates.   Basic Film Paradigm made famous by Syd Field and then tweaked by many other gurus. The page count and percentage is based on a film of 120 pages. Act 1(Set Up)-25%/30 pages, Act 2(Confrontation) is 50%/60pages and Act 3 (resolution) is 25%/30 pages.   This includes the ascending action going all the way up through plot point #2 which begins the resolution or Act 3. Plot point is the turning point between Act 1 and Act 2. The descending action is just encompassed through just the 3rd Act. This is the basic film paradigm. And it was Aristotle that created the basic analysis here, simply put, it means any story has a beginning middle and an end.   For the sake of keeping this podcast short and sweet, I’m going to stick to one example to interweave into these acts: The Incredibles at 115mins, close to the 120 page form.   ACT 1: The Beginning/The Set Up pages 1-30 / 25%   1-10 pages: Ordinary world. This is from the previous podcast where you introduce your character and put in your Inciting Incident or Call to action. This is where it all hits the fan.    The Incredibles: 1-12 we get to meet Mr. Incredible and what a day in his life is like. Then on pages 13-15 we get the inciting incident that the super heroes have been outlawed. This forces our hero to go into hiding.   10-30 pages: Refusal of the call. We’ve all been there when we watch the hero reject what needs to be done. Of course, we have seen a lot of movies that this goes on throughout but this should be the main/strongest that it is. Because next comes crossing the first threshold by page 30. This is the Plot Point One / Turning point one / Awakening / The Point of no return. However you want to see it, this is it.   The Incredibles: This is a great example because Mr. Incredible refuses his new life. And by page 30, Mr. Incredible has gotten back on the wagon to saving lives. He listens to the scanner and saves lives in the burning building. Here is the first plot point because then we get pushed into the next part when he is recruited by Mirage.   ACT 2: Middle/The Confrontation pages 31-90 / 50%    30-60: include test, allies, and enemies. Mid point right near the middle. keep everyone locked in.   The Incredibles: By page 60, Mr. Incredible/Bob has defeated the first robot and is about to go on the next one. This will enter the next inmost cave where the true intentions of Buddy.   60-90 Approaching inner most cave. At the end, to transition to the resolution, is the Inmost Cave(Plot Point 2).   The Incredibles: By 90-100, the whole family has joined the fight to help save Bob.     ACT 3: End/The Resolution 91-120 / 25%   91-110: Final Push/Seizing the Sword   The Incredibles: The final push. The whole family have now gotten together to save the city against Buddy.    110-120: Return with Elixir   The Incredibles: Buddy is defeated and the family has found a new acceptance of their powers and family dynamic. They have created a new “Ordinary World” and then it breaks apart again giving us the Underminer. This gives us another glimpse of how the family dynamic has improved and they are working together.    I’ve attached the script so you can do your own evaluation. Reading scripts is a great way to learn and grow. You can also download this at www.ink2screen.net/page8   Now, remember, this is just a suggested format. Find what works for you. These are only guidelines. Take from it what you will because it does work but don’t limit yourself to just these guidelines. It is your story. Tell it the way you want but do it in a way to entertain.   If you enjoyed this podcast, be sure to subscribe to it no matter where you are listening from. Also, if you really liked this podcast or hated it, leave a comment below or on our Facebook page. You can also find us under Ink 2 Screen.    If there is any topic you’d like me to talk about can contact me through the website or Facebook. And be sure to listen to next weeks episode as I interview Richard Anderson, the winner of April’s Monthly Writing Madness. It was a great interview and one that will give some great tips from someone who has won our Monthly Writing Madness.   Well, time to go. Hope to hear the furious scratch on the paper or the gentle tapping of a keyboard. Until next time.

The LFTS team discusses Shaun of the Dead (2005) and how story should come from character, the similarities between horror and comedy, and the movies that scared us as kids. Shaun of the Dead LFTS Episode: https://youtu.be/mzqDiSr4jY4 Shaun of the Dead Screenplay: https://www.dropbox.com/s/0xmqwcfxa6xqm18/ShaunOfTheDead.pdf Beyond the Screenplay Patreon: https://www.patreon.com/beyondthescreenplay Sponsor CuriosityStream: http://curiositystream.com/screenplay Book References (w/Affiliate Links): The Hidden Tools of Comedy by Steve Kaplan: https://amzn.to/2SyuNYc Bossypants by Tina Fey: https://amzn.to/2tbCmpt Screenplay by Syd Field: https://amzn.to/2WPak0n The Art of Fiction by Henry James: https://amzn.to/2BpIs9X Find us on Twitter Beyond the Screenplay: https://twitter.com/beyondthescreenplay Michael Tucker: https://twitter.com/michaeltuckerla Tricia Aurand: https://twitter.com/TriciaJeanA Brian Bitner: https://twitter.com/BrianBitner Alex Calleros: https://twitter.com/Alex_Calleros Produced by Vince Major: (https://twitter.com/VinceMajor) Edited by Eric Schneider: (https://twitter.com/ImEricSchneider) Website: http://lessonsfromthescreenplay.com For Inquiries and Booking: Vince@Plusfortyseven.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Reka Bucsi is an independent animator from Budapest, Hungary. She makes films with non-linear storytelling and an intuitive flow of fun, abstract mutations, and epic soundscapes. In her first three movies Symphonie Nr. 42, Love and Solar Walk there is this never-ending mysterious wideness that keeps the audience excited and confused at the same time. In this podcast we talk about her technics, her philosophy and what she`s up to in the future. Reka Bucsi on the web: http://rekabucsi.tumblr.com/ https://vimeo.com/rekabucsi Reka`s Distribution Company http://blog.autourdeminuit.com/distribution/love/ Reka´s University: http://www.mome.hu/en Reka made this Residencys http://animationsansfrontieres.eu/ & https://animationworkshop.via.dk/en/artist-residency/open-workshop Scriptnotes, the Podcast: http://scriptnotes.net/ Syd Field the most famous Scriptwriting Teacher https://sydfield.com/ some People of Reka`s Team: Animator and Slap Instructor https://www.nicole-stafford.com/ 3D Space Planet Artist Lars Hemmingsen http://midtjysk3dservice.dk/ Sound Designer https://vimeo.com/peterblukacs & https://www.studiokamp.com/ Reka`s Inspiration: Boris Labbe https://www.borislabbe.com/La-Chute Caleb Wood https://vimeo.com/calebwood Reka & Nicole got a job at the ImageScience New York 6 Scientists + 6 Filmmakers/ Animators http://imaginesciencefilms.org/ Reka at the Berlinale Stage http://www4.pictures.zimbio.com/gi/Bill+Murray+Reka+Bucsi+Closing+Ceremony+68th+Je-W7eXPk0Jl.jpg _______________________________________________ Podcast Intro/Outro by Kirrin Island @kirrinisland kirrinisland.bandcamp.com/ www.youtube.com/user/heifirec

IN LATE, OUT EARLY You’ve learned about how to create a strong hook to open your stories in a previous episode. Now, we will take a deeper dive into the subject. Learning how to grab people’s attention immediately is vital to  your success as a storyteller. You can get everything right after your opening, but if that opening is weak, they will never experience your story. This is particularly true in 2019; it’s the digital age, and we are used to everything on demand. Most people have a Twitter attention span. In Late, Out Early is a screenwriting technique that’s beautifully explained by master screenwriting teacher, Syd Field in several of his books. Field uses this term to describe how you create a compelling scene in a screenplay. Here’s what it means literally. You begin a scene at a tense moment in a conflict between characters. You thrust the audience into the conflict that’s already in progress (in late), let them experience it for a short while, then end the scene before the conflict is resolved (out early). Psychologically, this hooks viewers by arousing strong curiosity and not satisfying that curiosity until much later in the script. The technique opens a curiosity loop and creates cliffhangers. Ideally, you will continue to create cliffhangers throughout your story. That keeps people involved until the end. This next point should be obvious, but I’ve seen it violated often. You must always deliver the payoff to any cliffhanger by resolving the problems you introduce. If you do not, you will have cheated your audience. They will feel it and draw away from you. You will learn how James Cameron uses the in late, out early technique brilliantly in Terminator 2.  In this episode, you will also learn to ask better questions that will strengthen your storytelling power. Here is a typical bad question that people  ask. How long should my video, sales letter, email, or any marketing message be? (they are all examples of stories). Why is it a bad question? Because it does not have an answer that will empower you. It implies that there is an ideal length for your important communications with popspects, clients, and customers. The question that will serve you better is: How can I keep people engaged in any message or story that I deliver no matter how long it is? People will stop watching a boring thirty minute film, but they will remain engaged in a compelling three hour film. You will also hear about a great exercise you can do immediately to add magnetic power to all your communication. BOOKS IN THIS PODCAST Screenplay (https://www.amazon.com/Screenplay-Foundations-Screenwriting-Syd-Field/dp/0385339038/ref=sr_1_1?ie=UTF8&qid=1548210723&sr=8-1&keywords=syd+field) by Syd Field The Screenwriter’s Workbook (https://www.amazon.com/Screenwriters-Workbook-Step-Step-Instructions/dp/0385339046/ref=sr_1_fkmr0_1?ie=UTF8&qid=1548210804&sr=8-1-fkmr0&keywords=syd+field+the+sceenwriter%27s+workbook) by Syd Field (https://www.amazon.com/Four-Screenplays-Studies-American-Screenplay-ebook/dp/B002QJZ9KE/ref=sr_1_1?ie=UTF8&qid=1548210863&sr=8-1&keywords=syd+field+four+screenplays) by Syd Field

En la tercera iteración Leo y Rob analizan la construcción de personaje, comparando y utilizando ejemplos de personajes de la cultura popular. Atención: en este programa se discuten spoilers ligeros a nivel de desarrollo de personaje, específicamente de Breaking Bad. Autores citados, Robert McKee, Aaron Sorkin, Syd Field, Blake Snyder. Leo Astudillo: twitter.com/mrleoastudillo Rob Núñez: twitter.com/campoat

En la tercera iteración Leo y Rob analizan la construcción de personaje, comparando y utilizando ejemplos de personajes de la cultura popular. Atención: en este programa se discuten spoilers ligeros a nivel de desarrollo de personaje, específicamente de Breaking Bad. Autores citados, Robert McKee, Aaron Sorkin, Syd Field, Blake Snyder. Leo Astudillo: twitter.com/mrleoastudillo Rob Núñez: twitter.com/campoat

Support the podcast here: www.patrickcoffin.media/donate.   Motion pictures have been called the ultimate form of art because they incorporate all previous forms: dance, music, theater, and mime, all in one. They are powerful drivers of, and reflections of, culture. Movie lines become iconic and hence memorable: “We’re going to need a bigger boat.” Jaws “ET phone home.” E.T. the Extraterrestrial “Frankly, my dear, I don’t give a damn.” Gone with the Wind “May the force be with you.” Star Wars “You had me at hello.” Jerry McGuire As Christians, we need to watch movies critically, not just for morality reasons, but for artistic ones. Should believers support poorly made movies because they bear a Christian message? Can Christians see rated R films with potty words, sexual content, and violence? Where’s the line? This week’s guest has thought deeply about these questions and has some practical guidelines. He is Douglas Beaumont, a convert to the Faith and author of a book that’s due for a reboot, titled The Message Behind the Movie: How To Engage With a Film Without Disengaging With Your Faith. If you like movies, you’ll love this conversation in light of the gospel and the principles of effective storytelling.   In this interview you will learn: How some G rated films have bad messages and some rated R ones have good ones The difference between a Christian movie and a movie that is Christian Some tips for determining whether a story is told effectively on screen Why some heathen writers write the best “Christian scripts” Why the golden age movies still hold up How to notice when a film is selling an anti-Christian bias   Resources recommended in this episode: The Message Behind the Movie: How To Engage With a Film Without Disengaging With Your Faith by Douglas Beaumont Story: Substance, Style, and Structure, Style and the Principles of Screenwriting by Robert McKee The Writer’s Journey: Mythic Structure for Writers by Christopher Vogler Screenplay: The Foundations of Screenwriting by Syd Field   Question of the week In what way is Hollywood today’s most important missionary territory?   Tweet to Patrick HERE Follow Patrick on Facebook HERE Check out the store HERE Sign up for our Inside Scoop newsletter with the best of The Patrick Coffin Show each week. Don’t forget to Subscribe to the show in YouTube, as well as the full length podcast available in iTunes and other podcast directories, while you are there, please leave an honest review. Ratings and reviews are extremely helpful and greatly appreciated!

El artículo 101. Cómo crear la premisa de un guion se publicó primero en David Esteban Cubero. Hoy volvemos con un monográfico de elementos de guion en el que vamos a tratar un concepto muy interesante a la hora de crear un guion, la premisa. Hay algunos teóricos como Robert MacKee o Syd Field que aseguran que es mejor no empezar a escribir tu guion si no tienes clara tu premisa. Otros […] El artículo 101. Cómo crear la premisa de un guion se publicó primero en David Esteban Cubero.

Joining today: Sci-fi, horror, and wrestling fan, and also my friend of over two decades, Ken H. “Confusion,” as my screenwriting professor, Syd Field, used to say, “is the first step toward clarity.” Well that and, “the act of writing is like that of surfing: first, you have to catch the wave...” After which, he paused and let us contemplate. ”And then?” We asked. To which he paused again, then stared at us, and laughed. “I was hoping one of you could fill in the rest.” Sometimes it’s easy to be lost within the details of what happens. And it takes another voice to ask: “Why not let this scene just be a chapter?” - J (Noah’s Stark) written & performed by krackatoakrackatoa.comSupport the show (http://www.patreon.com/herebetygers)

Why do established story gurus find it necessary to prevent progress?

Guest: Aidan Prewett teaches Interactive Digital Media, Music Industry and Junior music at South Oakleigh College, Melbourne. He’s also a filmmaker with his own new feature film “A Venue For The End of The World” (https://www.youtube.com/watch?v=JccZTTlLfJQ&feature=youtu.be) likening politicians with rock-stars has received awards around the world. Watch this show on YouTube: https://youtu.be/pSSY1N4PZR0 or subscribe on iTunes: http://itunes.apple.com/au/podcast/short-films-teachers-love/id1086360297 Links to short films loved: Joe Nussbaum: George Lucas In Love | https://youtu.be/IP1ltsxNiT4 Andrew Coats & Lou Hamou-Lhadj: Borrowed Time | https://youtu.be/BXLhiIDiQ-g Cameron McCulloch: Home | https://youtu.be/WGZ-w582Ods Disclosure statement: Aidan Prewett does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this review, and has disclosed no relevant affiliations beyond his teaching position listed. Other notes from the show: Aidan makes a few references to 'VCA' which is the Victorian College of the Arts (School of Film & TV) - one of Australia's leading film schools now part of Melbourne University. Walter Mirsch on editing: http://videoandfilmmaker.com/wp/index.php/tutorials/film-editing-walter-murchs-rule-6/ Syd Field on screenwriting — “Screenplay”: Buy the book: https://www.amazon.com/Screenplay-Foundations-Screenwriting-Syd-Field/dp/0385339038 Download the summary pdf: http://www.kimhartman.se/wp-content/uploads/2014/12/Summary-of-screenplay-by-syd-field.pdf The Prelinger Archives, for movie image footage in the public domain: https://archive.org/details/prelinger The value of archive footage: http://nofilmschool.com/2015/09/7-important-tips-using-archives-recreation-documentary Aidan’s school — South Oakleigh College has it’s own YouTube channel: https://www.youtube.com/channel/UC-cYfT10ai-nqCVpe7FQS7Q ———————————————————————————————— This show is a proud member of the Education Podcast Network http://www.edupodcastnetwork.com ————————————————————————————————

INT. Estudio de radio - Día. Santiago Calori y Sebastián Rotstein hacen el primer podcast sobre guionistas, de guionistas, para guionistas… o para los que tengan el morbo suficiente para que les importen los guiones. En este episodio: libros sobre guión... ¿siniestros o interesantes? Se habla de La Poética de Aristóteles, Screenplay de Syd Field, Story: Substance, Structure, Style and the Principles of Screenwriting de Robert McKee, Save the Cat! de Blake Snyder, Three Uses of the Knife de David Mamet y El cine según Hitchcock de François Truffaut.

En la primera parte de este capítulo os detallo como componer el argumento del guión, así como los diferentes elementos a tener en cuenta para su elaboración. En la segunda parte del episodio os recomiendo algunos cortometrajes y un libro ("Manual del guionista", de Syd Field). Por último, al final del programa os explico mi experiencia amateur (corta pero intensa) y me atrevo a hablaros a grosso modo del argumento de uno de mis guiones.¡Ala, a escribir!

Screenwriter Kelly Marcel and Bret Easton Ellis discuss writing the screenplay for Fifty Shades of Grey, Syd Field, Tom Hardy and Saving Mr. Banks.

In this segment we talk about the influences on the Agile Writer Method including Syd Field and Michael Hauge. We also talk about how the Hero's Journey maps to the 8 Stages of Story.

In this segment we talk about the influences on the Agile Writer Method including Syd Field and Michael Hauge. We also talk about how the Hero's Journey maps to the 8 Stages of Story.

In honor of the great screenwriting teacher Syd Field, we replay his 2011 On the Page episode.

Perhaps the hardest thing for a writer to explain is his “process.” Yet, it’s often one of the first things he’s asked about , whether by colleagues or students. The answer usually isn’t as neatly packaged as one might expect from reading Syd Field, or taking Robert McKee’s course. And it won’t be found in any of the 10,000 suggestions offered in some magical screenwriting software either. In this installment, Terry and Tony discuss their common challenges, share their individual approaches and reveal the personal struggles involved in getting to the creative heart of a good screenplay.

Students in the University of Southern California's Master of Professional Writing program will read from their work. The theme will be "Gluttony and Temperance." The student readers will be Josh Jackson, Breene Murphy, Bryce Glen, Barrington Smith Seetachitt, and Michael Du Plessis. USC faculty member and screenwriting guru Syd Field will also read! THIS EVENT WAS RECORDED LIVE AT SKYLIGHT BOOKS, NOVEMBER 18, 2011.