We're Jen and Sam, and we're making an indie romantic comedy about a mixed couple. In this podcast we talk about everything from marketing our film, to screenwriting, to marriage in general. There are some lolz along the way.Get show notes and transcripts at: www.mysweetaffair.com/podcast
We're Jen and Sam, and we're making an indie romantic comedy about a mixed couple. In this podcast we talk about everything from marketing our film, to screenwriting, to marriage in general. There are some lolz along the way.Get show notes and transcripts at: www.mysweetaffair.com/podcast
© 2019 OwlTail All rights reserved. OwlTail only owns the podcast episode rankings. Copyright of underlying podcast content is owned by the publisher, not OwlTail. Audio is streamed directly from Jen Finelli and Samantha Mauney Aiken servers. Downloads goes directly to publisher.
Screenwriting Movies and TV is a show about resources for screenwriters. Join Steve each week as he (and the listeners) uncover tools, competitions, and anything that'll help screenwriters, write!
Rank #1: SMaT - 6/22/2012 Welcome Back!.
Screenwriting and the entertainment industry as it relates to filmmakers.
Rank #1: The New/Old Categories of HORROR!.
Adam briefly talks OZ: THE GREAT AND POWERFUL and FDR: AMERICAN BADASS! then jumps into the Horror genre. What are the categories of Horror that a screenwriter should use as a foundation in 2013? And do films such as MISERY, WARM BODIES and THE SIXTH SENSE actually function like horror movies from a screenwriting perspective?
Rank #2: How Do You Find a Reading Job? Plus, RAT RACE & IT’S A WONDERFUL LIFE.
How do you find a reader’s job if you’re outside Hollywood? Also, Adam briefly talks about RAT RACE. Plus, does the classic IT’S A WONDERFUL LIFE resemble a modern Hollywood movie?
An in-depth look and film and television from a screenwriter's perspective.
Rank #1: The Screenwriting Podcast #3: Moneyball.
Hosts Claude, Lena, and Jay discuss the "ins and outs" of "Moneyball" directed by Bennett Miller and written by Steven Zaillian and Aaron Sorkin.
Rank #2: The Screenwriting Podcast #2: Drive.
Hosts Claude, Lena, and Jay discuss the high octane thriller "Drive," written by Hossein Amini and directed by Nicolas Winding Refn.
Sound thinking: podcasts of current research
Rank #1: Nocturne.
This is a podcast about music. A podcast about Nocturne. A podcast of a Nocturne inspired by the BBC’s nightly Shipping Forecast. Produced and presented by composer, Arthur Keegan-Bole A K-B: Oh dear, I crashed the pips. In the world of radio, crashing the pips – that is, talking over the six sine tone beeps that mark the hour on BBC radio – is a serious faux pas. So, please, let me start again. Hello you are listening to Nocturne, a podcast about music, its relationship with the night. My name is Arthur Keegan-Bole and I’m a composer. The music you’re hearing is a piece I finished at the start of this year. It is called Nocturne and Nocturne is what this podcast is about. In it you will hear about the music’s materials and meaning, especially the role of radio extracts in the sound-world of the music which includes the BBC pips and, everyone’s favourite sedative, the Shipping Forecast. The piece was written and premiered in America so we will also discover how a non-U.K. audience without knowledge of these niche British sounds might understand this music. Let’s start by thinking about what a nocturne is. This is musicologist David Fay… David Fay: As you can probably tell from the words relationship with the English adjective ‘nocturnal’ a nocturne is a piece of music suggestive of the night. Although the Italian form of the word ‘notturno’ had been used frequently in the 18th Century as a name for pieces that were designed to be performed at night, it was Irishman John Field who first coined the French word ‘nocturne’ to describe a particular musical genre in a set of piano pieces published in 1815. Thereafter the Nocturne became a popular genre of composition for romantic pianist-composers most famously Frederick Chopin whose twenty-one Nocturnes remain the pinnacle of the genre. Field’s Nocturnes and many of those composed by others subsequently are lyrical in nature, with the pianist’s right hand playing a graceful, singing melody over broken chords in the left. The relationship with the night in these piano Nocturnes is usually in their evocation of a tranquil atmosphere which can be associated with the nocturnal ambience of a calm, still night… presumably in the countryside. However, despite the quietly lyrical, pianistic connotations of the word ‘Nocturne’ it has been used as a title for pieces written for other instruments and ensembles particularly from the Twentieth Century onwards. Some of these explore other aspects of the nocturnal environment – whether the natural sounds we hear at night or the world of dreams, or, perhaps, nightmares to which we succumb nightly. A K-B I hope my piece simply has the sound of a nocturne – unspecifically yet unequivocally conjuring night-time. However, we all like a story to guide us, and a narrative of some kind helps the composing process a great deal. So, let me ask you… have you ever fallen asleep to the sound of the Shipping Forecast? Between 12:40 and 1:00am a magical series of sounds are broadcast on BBC Radio 4. This is Closedown. A tune called Sailing By kicks it off, this is what is known in the trade as an ‘identifier’ so those trying to tune in can easily find the station, it is also a ‘buffer’ filling time so that the Shipping Forecast (which follows) starts exactly the scheduled time. I’ve always wondered why they use Ronald Binge’s light orchestral tune. Would it not be clearer to continually repeat the name of the station? Perhaps, but that is certainly not good radio. So, to an extent at least it’s an aesthetic choice. For a long time I struggled to sleep, from time-to-time I still do but I can always count on this bit of radio to help me drift. It is about drifting between one state and another all sorts of strange, ‘in-between’ landscapes and seascapes. This is the narrative behind the first half of this music. It is a strange lullaby, drifting between the real and the unconscious, lingering in a penumbral state. Folk singer Lisa Knapp has recently produced a brilliant radio documentary about artistic responses to the Shipping Forecast so I need not explore that aspect of this music any further. What has less attention than the Shipping Forecast is the poor old pips (those six beeps that mark the hour). A perfunctory acoustic signal… I love the pips. Have a listen… They are great aren’t they? ! I’ve always heard a latent activity sitting between the pips, a restlessness as they try to break out of their crucial, chronological confines. Can you hear it? No? What about now? A-ha! There you go… now you are getting it! Many of the British listeners to both the piece and this podcast will, hopefully, share a familiarity with the sounds I draw on in the tape part of Nocturne. A familiarity gained through experiencing the pips and the Shipping Forecast frequently over the airwaves of BBC radio. But what about those who haven’t had this pleasure? What about those who, through indifference, inaccessibility or pure radio phobia have no knowledge of the sonic signals that sculpt the dreamy narrative of Nocturne? The residents of Rochester, New York state for example, where this piece was written and received its premiere? What did the pips and the ships mean to them? Here’s David Fay again whose research into semiotics tackles the tricky tangle that is musical meaning. D.F. Meanings are generated in peoples minds as they perceive and interpret signs whilst experiencing music. Which trigger related thoughts and feelings drawn from the listener’s memory. The resulting mental web of what I call meaning-relations – the signs, thoughts and feelings that are brought into contact with one-another whilst listening – draws on the listener’s relevant previous experiences. These are integrated with the signs that are being experienced in the musical situation and a mental concept of the piece’s meaning is built up in the listener’s mind. Meanings stem from the combination of a wealth of different signs from many different media, whether music, words, sights or smells. A K-B So, whilst an American audience wouldn’t have previous experience of the Shipping Forecast upon which to draw in their construction of meaning, they would be reminded of radio in general, by the specific grain of sound and the nature of the extracts of spoken material. D.F. Moreover [oh, he’s back!] in this particular case, ideas of Britishness would be integrated into their webs of meaning as they recognise the presenter’s BBC accents. And, even though they lack the knowledge of the specific nocturnal signifiers that insomniac British listeners might bring to their understanding of the piece, the title at least would direct American listeners toward a nocturnal interpretation of the piece. A K-B Clearly, the meaning of the piece will differ between those who have previous experience of the material referenced in the tape part and those who don’t. D.F. However, a core of meanings would probably be shared between listeners either side of the pond given their shared experience of the English language, the medium of radio and also, of course, a common cultural understanding of the Western harmonic tradition that Nocturne exploits to generate it’s hazy, happy sense of tucked up tranquility. A K-B Okay. We are winding down now, sleep should soon be upon us. We’ve thought long and hard about it so let’s take a moment to just listen… for a short while at least. This is the end of this nocturne about Nocturne and Nocturnes. To hear the music in full go to arthurkeeganbole.com. My thanks goes to Tom Torrisi, the guitarist you have been hearing, David Fay, Pod Academy and to you, for listening. Good night. This is the first of a series on podcasts of New Music by Arthur Keegan-Bole, to be broadcast on Pod Academy in the New Year. Picture: Sunset off Portland by Deck Accessory. Portland is one of the places mentioned in the Shipping Forecast. If you are an insomniac or a night person, you might also like our podcast Night Walking.
Rank #2: Ecofeminism.
“Nature has been defined as a woman, and both nature and women were then defined into objectification and therefore into objects of violence. Ecofeminism is a celebration of the creativity of nature and the creativity of women,” says Dr Vandana Shiva, world renowned Indian environmentalist, activist and scientist, in this conversation with Pod Academy’s Lucy Bradley about her book, Ecofeminism (co-authored with Maria Mies, Zed Books). This podcast, which also includes the presentation by Vandana Shiva at SOAS, in October 2014, is produced and presented by Lucy Bradley. Vandana Shiva has written many books, (including Staying Alive-Women, Ecology and Development;Monocultures of the Mind; and Soil not Oil) and Lucy started by asking her how this book, EcoFeminism, came about: Vandana Shiva: Well the book has a very interesting genesis. Maria Mies had written Patriarchy and Capital Accumulation on a World Scale, I had written Staying Alive and that had done very well and it was the first time a title was connecting, the issues of the paradigm of development happening to women in the third world and what was happening to ecosystems in the third world. Zed [publishers] asked if both of us could do a book combining North and South perspectives. Of course we didn’t have the time to actually sit together so we just decided to write our chapters and share them every month. And it shows there are common patterns [being experienced in these different places] because we’d write chapters and they’d be about the similar phenomena. And one was in rich, rich, rich Germany and the other was in India – which at the time we wrote it was not part of this ‘shining’ India campaign – and the book chapters then just fell into place, not because we’d planned and said we’ll write chapters on this, but because both Maria and I do thinking engaged in activism. There’s an illusion that you have to be either an intellectual or an activist and the two don’t meet. In my view, real reflection of the world we’re in can only come from engagement in that world, not by sitting in an ivory tower and imagining you know all. When you don’t write with a vested interest, when don’t write because you are serving some master, when you write in the freedom of your mind and your spirit, with a deep connection of compassion and involvement and inclusion with every being and every person whose being trampled on you don’t get dictated [to]. Lucy Bradley: And what’s the main thesis of the book? VS: Eco feminism is really looking at the dominant world view and structures it has created which have been driven by the convergence of capitalism and patriarchy, and looking at it from the point of view of nature and women. This is for a number of reasons, first because the oppression of nature and women served the building of this paradigm; nature was defined as a woman and both were then defined into objectification and therefore into objects of violence. Ecofeminism is a celebration of the creativity of nature and the creativity of women and it is basically in a way waking us up to see the illusion that capital creates. The new edition of Ecofeminism of course is an update. [But] everything we said –whether it was the violence had just gotten worse and whatever we said about alternatives have just flourished better, and I’m sure if we were to reissue twenty years from now, I don’t’ know if we will be around, but the two trends will just have deepened. LB: You have anticipated my next question, is ecofeminism gathering momentum? VS: when we wrote ecofeminism there was a whole new generation of young women who were fed up with academic feminism which had in a way totally turned it’s back on the women’s movement. We mustn’t forget that women’s studies grew out of the womens’ movement and in the early days theorising and activism was one, and then you got into this academic strand. And what happened was at that time when young women who were engaging with the world started to get marginalized. But there’s a whole new wave now I believe because the crisis is so deep, but the beauty of this wave is when I go to universities the ecofeminism courses are half men and half women. LB: What role can men play in this vision? VS: The big difference between the early days of when I wrote Ecofeminism and today is at that point a lot of men took it as a personal affront. Today a lot of men are recognizing that we are all subject to violence, that we are now in the 1 percent oligarchy, most men too are suffering. But men are also suffering with the construction of masculinity, just as women suffer if they are treated as passive and a second sex, men suffer when they are defined into violence like Mussolini’s quote: war is to men what maternity is to women. War is not to men- most men want peace, most men want solidarity. LB: Is the violence physical or also repressing the capacities that we have as humans? VS: It is both, it is the physical violence but the repression of the potential of human beings to be beautiful individuals. LB: So your book speaks to men and children. So your book is for … VS: It’s for humanity, if you were to put it in a small way, I would say ecofeminism is the door to explore the best of our humanity and the best of our earth citizenship. It’s an invitation. LB: In your introduction to the book you say that it’s a new language; the language of ecofeminism is about freedom as opposed to equality… VS: Exactly, it’s a new language putting diversity at the centre. Because all equality that has been shaped by patriarchy and capitalism was equality wanting to be a mirror of that violent structure. So women who became liberated were Margaret Thatchers of the world, better than the men at doing the masculine domination. I think what ecofeminism allows is the flourishing of diversity with the sense of equal respect. It is pluralism which sees the patterns of unity through the diversity. It’s about what unites us as children of the Earth. We are a child, like the trees a child, the river’s a child. What we brought forward; me Staying Alive and Maria Mies with Capitalism on a World Scale and our combined work in ecofeminism is that the roots of violence against the Earth, the roots of violence against women and, I would add, the violence against every other, had the same roots. And the roots are wanting to create an empire, wanting to dominate, experiencing power as domination, and in its final expression power as extermination. Mussolini said very clearly; war is the highest expression of human energy and war is to man what maternity is to women. That essentialising is what is at the root of all violence. Women construction workers in Guraon, India Photo by Michael Cannon (Comprock) LB: Before asking you more about what you are advocating in the book, can you say a bit more about the problems that you are challenging and then we can move onto what you are advocating. VS: The problems that we are trying to bring forth and as the nature of the book – in very very spontaneous evolution shows – the first challenge really is the uprooting on millions in the name of development, displacement and the creation of homelessness, [where] what we have really is the world as a homeless society whereas oikos – which means home – is both the root of economy and ecology. So in the name of economy and taking care of the home we are creating a homelessness which is an absurd enterprise. LB: And you’ve seen this directly? VS: Oh, my god this is what I see on a daily basis. Added to it, while in the 80s and 90s the uprooting was for World Bank and IMF development projects, it then became a more structural uprooting through the rules of the economic glabalisation. And now you have another level of uprooting through the kind of impacts we see with climate change. In my region of the Himalaya 20,000 people dead last year and hundreds of thousands left homeless who haven’t yet been rehabitated Kashmir right now – a beautiful valley called Paradise on Earth devastated by flooding… the costal areas. That uprooting now in addition to development is being done through the ecological impacts of that mal development model. That’s the first big issue. The second is the intolerance of diversity, and the third is the blindness to creativity. So that’s really what our problems are that we see and look at and give another perspective. LB: So what are you advocating in the book, what is your vision? VS: So what we have is a dominant economic structure which is blind to the creativity and production in nature, and actually negates the creativity and production of women. The measurement of GDP is if you produce what you consume you don’t produce. Since most women produce sustenance consumed at the level of the household, the community or the nation, its counted as zero production. So most of the work in the world is done by women, but it’s counted as zero. Extraction and exploitation which destroys our basis of life and sustenance is counted as production and growth and is what GDP measures. So what we are talking about in Ecofeminism, as well as in our other books is that we’ve got to start recognizing nature’s economy and people’s sustenance economy. Maria uses the word subsistence. I don’t use the word subsistence because in India it gets misinterpreted to mean the poor must be kept at the level of their poverty. Maria is speaking from a rich countrysaying we don’t need to have the level of consumerism we have, but if a person is getting half the food they need I can’ t say, ‘stay at that level’. So I say sustenance which means the poor must get their full meal, and the wastage that takes place in an industrialized food system must stop because just that waste (which is half the food of the world) would ensure that no one goes hungry. So sustenance basically is producing in ways that don’t destroy the earth; that recognise the work of people, particularly women who work the hardest, and your blind economic system and your blind technologies must be corrected with the recognition of the contribution of nature and women. LB: What is your vision of progress, to you? VS: There’s a beautiful line by Rabindranath Tagore who says, “you watch a tree grow and its branches flourish and it’s roots grow deeper, do you call that growth progress?” No, you can’t. It is growing, but it’s not progress. But a train going from from A to B is progressing to destination B as moves closer. So progress is a very mechanistic word created for a machine world. It is not an ecological – you can’t ever define progress ecologically, but you can shift growth from measuring GDP to measuring wellbeing. Growth can be redefined in an ecological worldview. There is nothing like progress in a world that is alive. LB: …because it’s cyclical? VS: you don’t progress towards life you are replenishing it, rejuvenating it. Progress is a very linear concept. LB: Where can we look to for hope, is there hope? VS: There’s a lot of hope. On a daily basis I cultivate hope, not in an illusionary way but in a dedicated way of saving seed, spreading the infection among others for loving life on earth in all it’s diversity and pluralism, for building community at every level in a world where we are repeatedly told as Margaret Thatcher said there’s no society, there’s only individuals. But there is society and we have to cultivate it on a daily basis. And there’s hope for me in the fact that faster than the trends of destruction are the trends of a rediscovery of our humanity. TALK BY VANDANA SHIVA AT SCHOOL OF ORIENTAL AND AFRICAN STUDIES (soas), UNIVERSITY OF LONDON October, 2014 VS: So when Robert Montaine asked us to write a book together because our earlier books –my book Staying Alive and Maria’s book Patriarchy and Capital Accumulation on a World Scale – had been bestsellers, Roberto wanted us to do a joint book. Maria couldn’t come to India and I couldn’t be in Germany so we just said let’s write and share chapters. We didn’t first write a table of contents, the table of contents emerged as life emerges. Basically what ecofeminism talks about is through our experience, the patterns that are emerging, both of the recognition of the violent oppression and exploitation of nature, women and other cultures; as well as the alternatives that are growing through a non-violent relationship with the Earth and among people and among genders. I think at the heart of the transition to a more peaceful and non-violent world is a recognition that so much of the domination is though illusions which then create real violence. Now, capitalist patriarchy – and I really think it’s between our work that we started to name this convergence that was otherwise seen as separate. There were women’s studies focusing on patriarchy, and in that focus patriarchy only existed in the past and many theories of feminism were based on the fact that the more of the world becomes intergrated in economies the less the oppression against women, or workers or people. [But] the opposite is true: corporate globalisation is leading to the errosion of workers rights everywhere and it has definitely- as my new intro shows reflecting on the new brutalisation of violence against women in India with the highlight being the December 2012 rape in Delhi, but those violent stories are growing by the day. I have felt increasingly that we are being dominated by two major myths in our times and everything in the structure of violence is rooted in them. The first is a creation myth. Every culture has had its creation myth. In India it was about churning [?] the oceans; in the Bible it is about the 7 days of creation. Every culture has it’s own creation myth. But the creation myth of the capitalist patriarchy is that capital creates, and the word “work” has disappeared: it has become “labour”. A full independent human being works: labour is the commodified selling of labour power to capital. So now work is reduced to labour and labour is reduced to commodity. And the other is land; land is really all of the Earth’s creative force; reduced to land as a commodity, both are then made inert inputs. And it reaches the highest level with the definition of women not working- women don’t work. And I meet so many women that come up to me who are taking care of kids, they’re looking after their community and they begin with an apology saying “I don’t work”. So I say “what do you mean, “I don’t work”?”, and I make them go through their day and I say: no, you work- you just don’t work for someone else. Who pays your salary but you work to sustain life, and that’s the sustenance economy that we are trying to highlight in the book. I’ve always preferred to call that economy the sustenance economy, in Germany Maria and her colleagues evolve the language of subsistence. And I think in Germany it’s really good to talk subsistence to remind people that you don’t have to buy buy buy everyday. Subsistence there means reflecting on what you do really need. In our context [in India] subsistence has become a word to describe the level below subsistance; food too little to sustain you, not having enough water to drink. So I use the word sustenance to both talk about the rights of people who are denied food and water, which is likely women, to have an adequate amount while stopping the waste, including the waste that comes through non-sustainable economic systems of production. So while the first creation myth put creativity in capital which can’t create because it is not a real thing. Capital is merely another word for money. And when I try to go to the roots of capital and when did it start getting used, it started getting used with the rise of capitalism. So money has always been in society and it didn’t dominate; it was a means. If you bring out a piece of money from your wallet… So every banknote says ‘I promise to pay the bearer on demand’: it is a promise, a mediation, it’s a relationship [but] it’s meaningless in itself. It’s the promise that I pay the bearer: that when I pass on £20, the person who gets the £20 can command a certain amount of resources, or goods, or services through it. So it’s a mediation between real people and it’s a mediation that is an entitlement and purchasing power to real things. This redefined as capital is a construct. The original word for the roots of capital of are ‘caput’, and caput used to mean – I know it also means in slang it’s gone caput- but in Latin it means heads, the number of cattle. The number of head of cattle you could actually count, but capital now has been made this mysterious force of creation, and this mysterious source of creation takes labour and gives value. I’ve had debates with biotech industry where they say; ‘by the time you’ve finished the corn that the farmer grows will have no value. It’s the genes we own in that corn that will have value. And then the same goes for nature. Nature creates everything: the air we breathe, the water we drink, the food we grow in collaboration, and yet it’s being turned into dead matter. All of reductionist mechanistic science had only one philosophical underpinning: nature is dead matter. So what ecofemisism is is removing that illusion of capital as creation, and nature and human beings as inert and passive, and realising that capital is in fact dead and creativity lies in the work of people, creativity lies in the work that nature does. Nature, without our help, carries on. The ultimate aspect of the creation myth is what has preoccupied me for the last three decades, beginning with my attending a meeting in 1987 with corporations who had brought us agri-chemicals [who] now said we’ve got to own the seed; to own the seed we’ve got to own patents; to have patents we’ve got to do genetic engineering and to do this world wide we have to have an international law which became the Trade Related Intellectual Property Rights [TRIPS] of the World Trade Organisation. Having worked to protect diversity in the Himalaya with the Chikpo movement- but biodiversity has been my dedication and my passion- to have those companies come up to me and say now we will declare we are the creators because a patent means you have created something. A machine as an invention is put together from scratch, an automobile is put together – metals, rubber, eletrical material, engines – a plant is not put together. A seed is not a manufacture. But just like capital was defined as a creative force, a whole architecture has been built to define a gene as a creative force of an organism. A gene is moved – usually there are only two: toxin genes herbicide tolerant BT toxin- but moving a gene doesn’t create a plant; the plant creates itself. So this idea of patenting life is the ultimate creation myth. And we could, if you find intellectual property rights and Article 27 3b of the TRIPS Agreement too complicated – and it is – GMO is a summary for God Move Over if you believe in God, otherwise Creation Move Over. But with this creation myth – and the creation myth is now reaching the levels where the next step of this globalised green economy is , besides the fact of owning and patenting life, there is a serious effort at owning ecological services and functions that nature provides. If you want to go further into that we could discuss it later. But related to the creation myth is the production myth. And the production myth begins of course with that illusion of capital as the creative force of production and it them was elaborated further with another construction called the GDP. It’s a measure that is defined in a very arbitary way. It was first used during the Great Depression in the United States to somehow mobilise public resources in order to overcome the economic crisis. Then it was brought to the UK as a way to mobilise resources for the war. And the definition in national accounting systems for measuring the GDP is: if you produce what you consume you don’t produce. So [according to this logic] nature produces water and the recycles that water so of course she doesn’t produce water but when you privatise a water supply you are now producing water. I don’t likeplastic bottles, I’ve being carrying this one for two weeks now filling it with the tap water wherever I can but this one is nice because it says ‘100 per cent of our profit fund water projects in Africa”. But if you look at a Coca Cola bottle it always says produced by Coca Cola, and they are not meaning the plastic, they are meaning the water inside. All they have done is steal the water from somewhere. I was invited, and this had happened much after we wrote Ecofeminism, a village in South India called Platumada in 2002 a group of women invited me to join them in solidarity in the fight against Coca Cola. So I went because I didn’t know the village; I couldn’t understand how water and Coca Cola were connected, and I couldn’t understand how a group of women in a remote village were taking on this big giant and I really went through inquisitiveness to find out. And I arrive and I find less than a hundred women and these were tribal women and they were being led by a sixty-five year old woman called Mylama and she greeted me with a bow and arrow and that was a gift to me, and there were five hundred policemen on the other side of the road. I thought ‘these guys are going to butcher the women and no one will know’ because Coca Cola pays so much in advertising that no newspaper was covering what was going on. What I learned through that protest was: for every litre that goes into a bottle 10 litres is destroyed. And 1.5 million litres is extracted [as] a minimum – 1.5 to 3 million litres – in any Coca Cola plant whether its to just put bottled water or whether it’s to put a little phosphuric acid and we found out the Coca Cola in tropical countries uses phosphuric acid everywhere for that ‘ting’ – you know when they say you get the kick: it’s phosphuric acid that gives you the kick – and they use antifreeze that you put into cars so that the temperature can be lowered more in that heat, and you feel even colder. So nobody knew what was going on. And I called up some local politicians and said ‘you must be ashamed of yourself here are these women fighting and you are not there, and I called up a powerful regional paper and said you should be here’, and next time your newspaper must sponsor an event and cover this. Once they broke the silence then everyone else had to start covering this movement [and] by 2004 the women had shut down the Coca Cola plant. So this [is an] illusion that Coca Cola produces or creates water. And now because of these movements I think we have shut down four plants. Pepsi and Coca Cola now have advertisments that I see on paper napkins on airlines [reading] we put back more water than we take. You can’t put back more water than you take: it’s impossible, even nature doesn’t put back more water than she puts in. So there is this very false way in which we are made to think of a world growing in the hands of capital while really the world is shrinking in the hands of capital. It’s shrinking in terms of nature’s economy and her capacity because every time an ecological process or an ecosystem is disrupted, nature is poorer and nature has an economy. And everytime a community looses its resources, either directly through appropriation through the theft of seeds, the theft of water, or the theft of land grab- an issue that is now so big in Africa- and again if you see the justifications of land grab they will always say ‘the peasants and the pastoralists don’t generate value’. But they generate a lot of value if measured in nature’s economy and people’s economy. They don’t generate value as profits in a global economy controlled by multi-nationals, but that is not a value it’s a disvalue: it’s a disvalue because it’s based on the rape of nature and the distruction of communities. And we have a very large section in our book on creating a world of uprooted people. Displacement has become the norm, displacement has become the norm of economic growth. So what are the possibilities and potential that ecofeminism, which is not an ism –its merely a window to see the world differently, and that seeing the world differently has become vital because the capitalist patriarchy – based on erasing the contributions of nature, women, and people – is creating a world of fear? The fear of scarcity, the fear of the other- everything you look at in the Middle East today is the culture of fear that is grown out of destroying local cultures and local economies. Egypt[‘s protests began] with the price of bread [and] look at where it’s been taken. Syria the protests were about drought and farmers not having a crop and look where it’s been taken. And its been taken not by the people themselves but its been taken my the world, partly out of ignorance and partly out of creating the final market; the final market of capitalist patriarchy is the economy of war. There’s war taking place against the Earth and women but it’s indirect. Now it’s direct and so much of what peace activists and peace studies study is how the growth of arms trade is leading to so much violence. Now they are producing more arms than they need in war, so you might have followed the violence in St Louis: two black youth killed. Part of it is the police there looks like army now because all the surplace arms have been given to police stations and all the surplace arms are being given to schools because violence in schools is big in the United States. So now they’re thinking the way to end violence is turn every place in to a war zone. GDP is such a fictitious measure, for example the UK was doing very badly in GDP – its growth- but suddenly its growth increased by 5 per cent; £10 billion. Did you start to manufacture more things? No. Did more people get work? No. They just decided let’s count the sex and drug trafficking as economic activities. And those are huge economies and in fact the more you break down society the more those economies of crime grow. And those economies of crime are then the place where the new GDP growth starts to happen because it has no value attached to it to see whether societies are better off with a lot of drug trafficking or not. How do we move beyond this crisis created by illisions, illusions that then predate on the real world, illusions like the fictitious finance, and this city makes a big contribution to that fictitious finance; the part that’s called the City is not all of London, it’s just the place where speculation and casinos play. And 70 times more money is created through fictitious violence which is then used to bet further by grabbing land in Africa, speculating on food making food prices grow, speculating on everything. As I said the next step that they are trying to get is speculating on functions of nature- I mean they really want to own the capacity of the green leaf in the forest to absorb carbon dioxide and release oxygen. They can’t take it because it’s not takeable- it’s a process that can only happen in the tree itself. But what they can do is appropriate that function and sell it as a commodity on Wall Street. The financialisation of ecological processes is what allows it to become a tradeable commodity It doesn’t have to be that way. Ecofeminism is about helping us remember that nature creates, people create, women are a huge creating force on this planet and the wonderful aspect of it is when we co-create with nature, not only do we meet our needs, we rejuvinate nature. The fiction of capital being a creative force can only expolit and deplete nature. Co-creation with nature actually gives us more fertile soils when we do organic farming; it gives us more biodiversity when we conserve seeds; it gives us more water when we conserve water; and it’s the single biggest solution to the greenhouse gases that are being emmitted – 40 per cent of which come from an industrial agricultural model. So I think we are at this cusp where we need to redefine production and creativity and intelligence, and we need to redefine land as labour and labour as creative people and creative nature – and not have them as inputs into a linear system of exploitation processing junk and commodities – into a circular system where we produce what we need, all the food water and clothing, and in the process have an output, not an input, of creative, meaningful work for all. It should be defined not as something that goes into an economic production model, but as something that comes out of a good economy: meaningful work for all and with it a rejuvinated nature. Earth care has to become the biggest work that we engage in and a by product of Earth care is all the human needs we need. That’s the kind of opening that ecofeminism creates and the reason it both creates such inspiration as well as fear is because it goes to the real foundations of all vilence. Most other perspectives touch a bit [for instance] workers’ rights will touch on the workers’ exploitation, the environmental movement will touch on what’s happening to the environment. But ecofeminism goes to [the false assumption on the basis of which the architecture of capitalist patriarchy rests, and that architecture is then justifying all violence in the name of progress and growth and ecofeminism allows us to make a shift and celebrate our creativity and our freedom and that is the only way we will be able to make a leap beyond this predictable collapse at the ecological, political, economic, social level that we are living through. We are not talking about it in the future; it’s happening now. Photo By Michael Cannon (Comprock) (http://www.flickr.com/photos/comprock/5256267877/) [CC-BY-SA-2.0 (http://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons
Film Reverie is an indie filmmaking podcast, interviewing indie filmmakers from all around the globe. Indie film interviews, DIY Filmmaking, indie film, filmmaking, screenwriting, producer, director, editing.
Rank #1: Brad Johnson.
In this episode we talk with Brad Johnson, who you may also know from his website and 52 Script Challenge ReadWatchWrite.com. We had a great talk about writing habit, the process, and critique. Brad is a pretty smart guy and he’s somehow figured out how to read and recall the entire internet. Enjoy the show!
Rank #2: How To Make Your Film For Nothing.
This episode we talk to Tim Ritter, an Orlando based filmmaker and teacher who has made two micro budget feature films in recent years and has a lot to share about how to get your film made for next to nothing.
We believe all writers have a true human connection to their work. We highlight this connection by featuring a different screenplay and talking shop with its screenwriter each week. - Discover the human nature beneath the script - Follow clear storylines, beat breakdowns, and theme inspirations - Brainstorm possible plans for production - Bring screenwriters and film producers together - Have a great time! - Talk shop with us at ScriptShopShow.com
Rank #1: Some Years Earlier | David Bradburn.
David Bradburn talks shop about his feature-length screenplay, 'Some Years Earlier'. -Logline: "Either you happen to life, or life happens to you." Learn more at ScriptShopShow.com/37
Rank #2: Iris | Ricardo Herrera.
Ricardo Herrera talks shop about his short script, 'Iris' - Logline: "When Emma decides to change her in-home A.I. system, the relationship they once had ends in heartbreak." Learn more at ScriptShopShow.com/111
Welcome to the Curious about Screenwriting Podcast where you'll enjoy listening to fascinating film industry guests who share their insights on how you can take your screenwriting career to the next level.
Rank #1: Episode 57 - It's All About Your Loglines.
How important is your logline? Max and Felicity propose that it might be one of the most important elements in your project's overall package. It's not just a presentational piece to help sell your project, but a developmental tool that helps you confirm whether or not your concept has legs. With the help from our sponsors, The Story Farm and Table Read My Screenplay, the ISA brings you another episode of Wine Wednesday, and creative advice on how to further your screenwriting career. Remember, Felicity Wren and Max Timm always have open Q&A during every Facebook Live broadcast, so you should tune in when they broadcast their next live chat. Even though most broadcasts focus on a particular subject, every writer is welcome to ask anything they like at any time. Felicity and Max will do their best to give you a straight and honest answer. This is a podcast recording of the ISA's Facebook Live broadcast of Wine Wednesdays. Please note that some promotions offered during the live broadcast are no longer available. We can, however, assist you if you wish to find out more information regarding ISA events, contests, or consulting offers. Just reach out to email@example.com and we will be happy to help. You can reach out to Max regarding any type of query: firstname.lastname@example.org If you have particular interest in working with him on a one-on-one coaching and development basis, email him at email@example.com. His Story Farm development and coaching service is quickly becoming the best in the business! Felicity can also be reached at Felicity@networkisa.org. She, too, can work with you one-on-one, so don't hesitate to inquire. We can't wait to support you. Subjects and themes for the broadcasts change from week to week, so stay tuned on most Wednesday evenings at 7:00pm Los Angeles time. For a specific schedule and set of announcements, "Like" the ISA Facebook page and keep up to date.
Rank #2: The Craft: Agents & Managers.
I'm back! It's been far too long since I released a solo podcast, but I'm excited to bring The Craft back. I ope you enjoy these episodes as much as I enjoy recording them. My plan is to release short, quick, and easy to listen to recordings on topics that I feel all writers should know, but also based on questions I get all the time. This episode is a rundown of not only the difference between agents and manager, but whether or not you need one. It's a loaded question, but a good one to ask...so, with that, enjoy my latest episode of The Craft. If you have questions or wish to work with me one-on-one, you can email firstname.lastname@example.org and we can figure out what the best option is for you. Meanwhile, you can visit www.TheStoryFarm.org for more information. Enjoy!
Story Analysts Daniel P. Calvisi and William Robert Rich discuss screenplays and movies with detailed breakdowns of structure, using the Story Maps method. For screenwriters and movie fans alike, you can learn how the pros structure their major movies.
Rank #1: Inception.
Story Analysts Daniel Calvisi and Rob Rich discuss Christopher Nolan's Inception.
Rank #2: The Shawshank Redemption.
Story Analysts Daniel Calvisi and William Robert Rich discuss The Shawshank Redemption.
Filmmaking Stuff is the professional resource for entrepreneurial filmmakers, providing tactics on film producing, film funding, and film distribution.
Rank #1: Ep 178: Creating Your Film Business Plan.
Tom Malloy talks about the importance of a business plan when it comes to raising film finance.
Rank #2: Ep 160: How To Reach Film Industry Heavy-Hitters.
In this episode, we provide tactics on how to reach film industry heavy-hitters.
The Filmmakers Podcast is a podcast about making films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Often guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors. They also shoot the breeze about their new films, The Dare, World of Darkness, Fanged Up, & Retribution too. Follow us on Twitter @FilmmakersPod Website: thefilmmakerspodcast.com
Rank #1: Ep 48 HOW TO MAKE A MICRO BUDGET INDIE FILM, WIN AWARDS & GET A CINEMA RELEASE with the team behind ‘Guardians’.
Director Mark AC Brown and actor David Whitney talk about how they made their new quite brilliant indie film Guardians. How Mark made a film for his degree but it was a great experiment and not to be seen again. How he wrote a feature script for Nu Image but the ‘Expendables’ ruined it and how it is best to write something to make yourself for free or on a micro budget. What do have available to you ? How when making an indie film, continuity is not as important as the story. How the establishing scene of a character is so important. But don’t waste time on drone shots. Then get the most amount of permissions you can get. And if not shoot anyway Suzanne Smith – their DoP was a runner on a Brainehound (their production company) short and worked her way up. Made short film Beard with David and Mark and proved herself as a brilliant DoP and How having great all rounders like Fred Fournier and Joe Starrs as editor and 1st AD respectively is vital as is keeping your ‘team’ from your shorts/music videos and bringing them with you. With low budget you have to juggle and Workaround people schedules and how ‘Withnails’ – Richard E Grant’s marvelous book was an inspiration (and The Wah Wah Diaries) When you are supposed to be doing he scene in 4 shots but end up doing it in one but it’s one of the best moments in the film so don’t have to stick to your shot lists. Tried to plan it but played the moment when it came to it. Why post can take so long when you are asking for favours on a micro budget film How they learned from other filmmakers and how they distributed their films – Ben Cookson, Fizz and Ginger’s Two Down and James Rumsey’s Drunk on love. Mark wanted to have a cinema run so choose Our Screen to have a theatrical release. Then the release got extended as it sold out for the second night. And how they opened a festival in a double bill with recent horror film IT. https://mcdn.podbean.com/mf/web/jsku5m/Mark_AC_Brown_David_Whitney_-_Guardians.mp3 Links The Film: http://www.guardiansfilm.co.uk/ Trailer: https://www.youtube.com/watch?v=pq25LXWmsps&t=10s Twitter https://twitter.com/guardiansbhf Facebook https://www.facebook.com/guardiansfilm/ Mark AC Brown http://www.markacbrown.com/ Twitter : https://twitter.com/Brainehowndfilm David Whitney http://www.davidwhitney.org/ Twitter: https://twitter.com/DWhitney Follow us www.TheFilmmakersPodcast.com T: @filmmakerspod Giles Alderson www.directedbygiles T: @gilesalderson
Rank #2: Ep 19 MARK STRONG (Kingsman) WORKING WITH DIRECTORS, AUDITIONING FOR BOND, PLAYING BADDIES & CHOOSING ROLES.
We had a fantastic chat with acting legend Mark Strong about working with such acclaimed directors such as Danny Boyle, Guy Ritchie, Matthew Vaughn, Peter Weir and Ridley Scott, How you should behave on set and how directors should work with actors, He talks about Kingsman and Kick Ass, Why he plays baddies, His great movie deaths, Working with DiCaprio, His new film Shazam and his failed audition for a Bond film. https://www.podbean.com/media/share/pb-g4r55-8629b2 Links www.thefilmmakerspodcast.com @filmmakerspod Giles Alderson Twitter @gileasalderson www.directedbygiles.com @thedaremovie Dan Richardson Twitter @dan710ths www.facebook/danrichardson Recorded at Voice Over Soho www.voiceoversoho.co.uk
Practical tips and advice to help you sell your screenplay.
Rank #1: SYS Podcast Episode 296: Screenwriter Mark Leidner Talks About Living Far From Hollywood And His Latest Sci-Fi / Thriller, Empathy, Inc..
Read 'SYS Podcast Episode 296: Screenwriter Mark Leidner Talks About Living Far From Hollywood And His Latest Sci-Fi / Thriller, Empathy, Inc.' at http://www.SellingYourScreenplay.com. Atlanta based screenwriter, Mark Leidner, talks about his career living outside of Hollywood and how he’s been able to get some of his screenplays produced. Specifically, we talk about his new […]
Rank #2: SYS Podcast Episode 240: Legendary Filmmaker Larry Cohen Talks About His Writing Process And His Career As A Writer/Director.
Read 'SYS Podcast Episode 240: Legendary Filmmaker Larry Cohen Talks About His Writing Process And His Career As A Writer/Director' at http://www.SellingYourScreenplay.com. Legendary Filmmaker Larry Cohen (Black Caesar, It’s Alive, The Stuff, Maniac Cop, Guilty As Sin, Phone Booth) talks about his long career as a TV writer, a feature film writer, and an iconic […]
Two emerging screenwriters – Chas Fisher and Stuart Willis – try to work out what makes great screenplays work. Discovering what it takes by analysing what successful writers put on the page.
Rank #1: DZ-55: Character Motivations (Part 1).
In part 1 of this 2-part episode, Chas & Stu look at examples of good character motivation. We’ve all watched movies where we don’t believe the motivation of a character or characters. We may have even written scripts where readers don’t buy the character’s choices. And that’s often a real problem because most of these choices coincide with key structural moments — e.g. the moments where the characters decide to do something “out of character” in order to progress to the next part of the story. To help us solve the problem of how to improve our character motivations, in this episode we explore great examples of character motivation and how they have helped the audience believe a character’s decision. And so Chas and Stu dive into NOTTING HILL, TO ALL THE BOYS I’VE LOVED BEFORE, GAME NIGHT, ARRIVAL, IN THE BEDROOM, BEIRUT, BREAKING BAD, THE MATRIX, BLOCKERS, A NEW HOPE (of course) and AVENGERS: INFINITY WAR. Passing/honourable mention also to MANCHESTER BY THE SEA, THE COMMUTER, THE LOBSTER, GAME OF THRONES, IRON MAN, GUARDIANS OF THE GALAXY and DOCTOR STRANGE (as we re-visit and re-contextualise stuff we’ve analysed previously). The potential craft tools they uncover are character patterning, structural timing of the decision, debating the decision (both internally and externally), withholding the decision from the audience, and using external plot elements to either remove obstacles or push the character into making a decision that is... well... out of character. But believably so. Stay tuned for Part II where we - for once - actually do explore ome bad examples of character motivation. As always: SPOILERS ABOUND! Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube. Read the transcript on GitHub or in HTML. Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here! LINKS CRAFT TOOLS AND THE ISSUE OF SUBJECTIVITY MANCHESTER BY THE SEA written by Ken Lonergan [@ 5m 03s] Reddit Thread: https://www.reddit.com/r/Screenwriting/comments/8oew26/character_motivation_examples_of_motivations_that/ JustWatch: https://www.justwatch.com/au/movie/manchester-by-the-sea DECISION vs MOTIVATION [@ 9m 48s] CHARACTER PATTERNING THE COMMUTER screenplay by Byron Willinger, Philip de Blasi and Ryan Engle [@ 11 m 3s] JustWatch: https://www.justwatch.com/au/movie/the-commuter/movie-tickets GAME OF THRONES [@ 13m 8s] https://www.justwatch.com/au/tv-show/game-of-thrones EARLY CHARACTER DECISIONS NOTTING HILL written by Richard Curtis [@ 18m 54s] JustWatch: https://www.justwatch.com/au/movie/notting-hill TO ALL THE BOYS I’VE LOVED BEFORE written by Sofia Alvarez [23m 28s] JustWatch: https://www.justwatch.com/au/movie/to-all-the-boys-ive-loved-before LATE CHARACTER DECISIONS AVENGERS INFINITY WAR written by C Markus & S McFeely [@ 37m 24s] JustWatch: https://www.justwatch.com/au/movie/avengers-infinity-war DEBATING THE CHARACTER DECISION GAME NIGHT written by Mark Perez [@ 37m 24s] JustWatch: https://www.justwatch.com/au/movie/game-night INTERNALLY DEBATE THE CHARACTER DECISION THE LOBSTER written by Yorgos Lanthimos and Efthymis Filippou [@ 52m 44s] JustWatch: https://www.justwatch.com/au/movie/the-lobster ARRIVAL written by Eric Heisserer [@ 54m 53s] JustWatch: https://www.justwatch.com/au/movie/arrival-2016 WITHHOLDING THE DECISION FROM THE AUDIENCE IN THE BEDROOM written by Robert Festinger and Todd Field [@ 1h] JustWatch: https://www.justwatch.com/au/movie/in-the-bedroom BEIRUT written by Tony Gilroy [@ 1 h 10m 45s] JustWatch: https://www.justwatch.com/au/movie/beirut/movie-tickets PROVIDING MOTIVATION THROUGH BACKSTORY BREAKING BAD - “GRAY MATTER” written by Patty Lin and Vince Gilligan [@ 1h 10m 45s] JustWatch: https://www.justwatch.com/au/movie/beirut/movie-tickets NOTTING HILL written by Richard Curtis [@ 1h 19m 47s] JustWatch: https://www.justwatch.com/au/movie/notting-hill GAME OF THRONES - “AND NOW HIS WATCH IS ENDED” written by D Benioff & D B Weiss [1h 22m 15s] JustWatch: https://www.justwatch.com/au/tv-show/game-of-thrones WORLD BUILDING AFFECTING DECISION MAKING THE MATRIX written by Lana & Lily Wachowski [@ 1h 25m 3s] JustWatch: https://www.justwatch.com/au/movie/the-matrix REMOVING OBSTACLES/ANCHORS STAR WARS: EPISODE IV - A NEW HOPE written by George Lucas [@ 1h 29m 23s] JustWatch: https://www.justwatch.com/au/movie/star-wars-episode-iv-a-new-hope OVERCOMING CHARACTER WOUNDS IN MARVEL FIRST ACTS [@ 1h 38m 8s] GOALS, STAKES & URGENCY ScriptShadow: GSU!!! BLOCKERS written by Brian & Jim Kehoe [@ 1h 41m 43s] JustWatch: https://www.justwatch.com/au/movie/blockers WRAP UP [@ 2h 9m 14s] BACKMATTER [@ 2h 15m 20s]
Rank #2: DZ-44: Marvel - First Acts and Establishing Characters.
How can your first act effectively establish your character journey? First Acts are hard. They have to set so much in motion, especially setting up characters. To help them understand how to write effective first acts better, Stu and Chas turn their analytical gaze to a franchise that has been refining and reiterating its first act "schema" for over a decade... THE MARVEL CINEMATIC UNIVERSE. The MCU has made (to date) six separate origin films, each tasked with establishing their titular characters. So you'd think they'd have found some patterns that works for them. In this episode, we take a look at three of these: IRON MAN, GUARDIANS OF THE GALAXY, and DOCTOR STRANGE. Stu also makes numerous comparisons to THOR, and we enthuse about GUARDIANS OF THE GALAXY Vol 2. As we breakdown where these first acts succeed (and, er, not-succeed), our discussion moves through sequence structure, macguffins, supporting characters, exposition... and -- most importantly -- Character Wounds and Character Flaws. Even if you don't care for MCU films, there is plenty to learn from how they approach their first acts. SPOILERS ABOUND!! ... and stick around after the end credits, for an important announcement re: our launching of a Patreon. Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. EPISODE LINKS DRAFT ZERO - Related Episodes DZ-09: Characterising Introductions DZ-11: Clash of the MacGuffins! DZ-15: World Building Rules, Okay? IRON MAN w: Mark Fergus & Hawk Ostby and Art Marcum & Matt Holloway [@ 7m 42s] YouTube: Full Intro Scene - AC/DC YouTube: Tony wins an award Find it on JustWatch GUARDIANS OF THE GALAXY w: James Gunn and Nicole Perlman [@ 39m 08s] YouTube: A Bunch of "A" Holes YouTube: Bunch of Jackass's Standing In a Circle Find it on JustWatch DOCTOR STRANGE w: Jon Spaihts and Scott Derrickson & C. Robert Cargill [@ 1hr 18m 13s] YouTube: Ultimate Operation Scene YouTube: Heal the Body Find it on JustWatch WRAP UP [@ 1hr 47m 28s] DZ-43: Driving Sequences – Character and Plot Intensity WHAA? PATREON? [@1hr 57m 08s] /r/screenwriting Support us on Patreon Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter. Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners. Thanks to Khrob and Nick for being patrons. They're good people.
Liz Manashil and Alrik Bursell discuss independent filmmaking, everything from writing, producing and directing to working as crew. But this is not just a podcast about "making it," it's also about struggling with rejection, self-doubt and everything else that comes with pursuing a career in film. Follow along as we forge our own way through the industry and talk to guests who are also making it happen.
Rank #1: Episode 2 - First Time Filmmaker Myths.
Alrik and Timothy talk about the myths first time filmmakers often believe when starting to make their first films.
Rank #2: Episode 79 - Feature Films: Funding and Pitching.
We focus on feature films this week with several discussions including "what does a $100k feature really look like?" "How do you ask investors for money?" and "what does a good pitch sound like?"
Rather than looking at movies in terms of “two thumbs up” or “two thumbs down” Award Winning Screenwriter Jacob Krueger discusses what you can learn from them as a screenwriter. He looks at good movies, bad movies, movies we love, and movies we hate, exploring how they were built, and how you can apply those lessons to your own writing. More information and full archives at WriteYourScreenplay.com
Rank #1: The Craft of Screenwriting.
"...As a screenwriter, you need to see, hear and feel everything. And this is really the hardest part, because we have this urge to finish. And that urge to finish makes it really hard to actually see, hear and feel everything. We want to put a band aid on it. If you’ve ever had a fight with a loved one, you have probably had the same urge, “I want the fight to end.” And the desire for the fight to end doesn’t allow you to actually see, hear and feel what is actually going on. So you just keep glossing over it. And what happens is our little A.D.D. minds want us to escape, “okay over here…no, no, look over here, no, no, no look over here.” Because the other thing about seeing, hearing and feeling everything is it is scary. It is hard and it is scary..." The post The Craft of Screenwriting appeared first on Write Your Screenplay.
Rank #2: PODCAST – What Is Meditative Writing?.
What is Meditative Writing? How is it used? And how can it forever change the way you view writing? The post PODCAST – What Is Meditative Writing? appeared first on Write Your Screenplay.
Bulletproof Screenwriting™ Podcast with Alex Ferrari takes your screenwriting to the next level by showing you how to make your screenplays bulletproof by interviewing the top screenwriters, story consultants & authors in the film industry. They discuss the craft and business of screenwriting. This is the screenwriting podcast for the rest of us. No fluff. No BS. Just straight talk that will help you on your screenwriting journey. Now get to writing!
Rank #1: BPS 048: Bulletproof: Writing Scripts that Don't Get Shot Down.
Today on the show we have screenwriters David and Diamond and David Weissman. Their credits include studios movies like Family Man, Evolution, Old Dogs and When in Rome. We discuss their adventures in the screenwriting trade, working with studios and their new book Bulletproof: Writing Scripts that Don't Get Shot Down.The team of Diamond and Weissman have been writing movies and mentoring filmmakers for decades. In this practical guide, they take the aspiring writer by the hand and guide them through the logistics and tools of writing an attention-grabbing, audience-pleasing screenplay. Readers will learn the interests and needs of managers, agents, producers, executives, financiers, directors, and actors. Diamond and Weissman attribute their phenomenal success to a career-long focus on the motives and priorities of film sponsors and benefactors.Whether it’s a theatrical release or a streaming movie, a major, big-budget tent pole or an intimate, character-driven indie drama, Diamond and Weissman apply their time-tested approach. This fresh way of thinking will resonate with writers, industry professionals, and cinephiles excited to peek under the hood at what makes their favorite films tick.Bulletproof: Writing Scripts that Don't Get Shot Down is the rare screenwriting instructional penned by authors with both massive credits and decades of business experience.Enjoy my conversation with David and Diamond and David Weissman.
Rank #2: BPS 002: How to Write a Screenplay with Fight Club Screenwriter Jim Uhls.
First Rule of Jim Uhls, YOU DO NOT TALK ABOUT Jim Uhls!We I have a MAJOR treat for the tribe this week. I have no other than Jim Uhls, the master screenwriter behind David Fincher's "Fight Club", one of the greatest films in my generation, in my humble option.When Chuck Palahniuk's Fight Club was making the rounds in Hollywood, it was a tough sale to be adapted for the screen. But then Brad Pitt got involved; add David Fincher and Ed Norton, throw Jim Uhls into the mix and you've got a modern classic.Jim’s screenwriting credits include of course the modern classic “Fight Club” the feature-film "Jumper" the NBC television film "Semper Fi" and the SyFy miniseries "Spin".In this remarkable discussion, Jim Uhls breaks the first rule of Fight Club: He talks about it, working with David Fincher, why he hates outlines and why you should interview your characters. Step inside the mind of the man who figured out how to conquer Hollywood as he lays down knowledge bomb after knowledge bomb in this eye-opening interview.Towards the end of the interview, Jim gives easily the GREATEST ADVICE ON HOW TO BECOME A WORKING SCREENWRITER I EVER HEARD! This podcast is not to be missed.Enjoy my conversation with Jim Uhls.