One of the things about dialogue in these kinds of films, that has a fairytale language, is that dialogue can actually hurt the poetry of the film because it’s all about interpretation. Whereas dialogue is very logical most of the time, images and sound are very emotional — it’s finding the balance between that kind of language. When you have very little dialogue you use other things to describe your character. We’re so used to spoken word and information given because we’re used to speed of information, but once you take away the sound, everything else becomes heightened.
Pages In Courier
I should be writing
16 Recommendations For Filmmakers To Discover Best Practices For A Sustainable Creative Life
Ted Hope shares his recommendations on the best practices to utilize if you want to have a hope of a sustainable creative life as a filmmaker.
Excerpt:
1. Focus on developing Entrepreneurial Skills as well as the creative…
2. The great challenge is no longer how to get your film made or funded, but how to get people to watch it…
11. You are currently witnessing the end of feature film dominance… Time to start thinking broader and deeper.
14. To increase your rate of success, fail twice as much. Experiment…
A strong, honest, motivational talk from Ted Hope. If you have a career in film, or you want one — Read The Full Article
(via two-things-productions)
“You named a bee after me? You named a bee after me.”
Summer (Or What It Sounds Like) Vol. 4
DJ Jazzy Jeff & Fresh Prince said summer was time to sit back and unwind. Lyte Funky Ones thought it was fly when girls stopped by for the summer. Craig Finn’s perfect summer involved drinking on top of water towers. However you spend the most effervescent of seasons though, you’ll want a mix of sun-soaked indie bangers to soundtrack your summer memories. So we’ve taken The Hold Steady’s advice and built something this summer, and it’s the 4th volume of our Summer (Or What It Sounds Like) Mix. Click here to download this mix in its entirety.
01. Young Galaxy - New Summer
02. Goldroom - Fifteen (ft. Chela)
03. Foals - Bad Habit
04. Mikal Cronin - Weight
05. Carousel - Another Day
06. The Vaccines - I Always Knew
07. Small Black - No Stranger
08. Vampire Weekend - Diane Young
09. Classixx - All You’re Waiting For (ft. Nancy Wang)
10. Guards - Ready To Go
11. HAIM - Falling
12. Camera Obscura - Do It Again
13. Millionyoung - Variable
14. Shout Out Louds - 14th of July
15. Disclosure - You & Me (ft. Eliza Doolittle)
16. Free Energy - Girls Want Rock
17. Little Daylight - Overdose
18. Kisses - Funny Heartbeat
19. Phoenix - Trying To Be Cool (The Chainsmokers Remix)
20. DWNTN - Stood Me Up
21. Painted Palms - Click
22. Brothertiger - Bossa
22. The National - This Is The Last Time
22. Sally Shapiro - Starman (ft. Electric Youth)
22. Dale Earnhardt Jr. Jr. - If You Didn’t See Me (Then You Weren’t on The Dancefloor)
“Go and love some more.”
Tumblr just ate a post I spent an hour writing.
I am so done with this.
![murmurandshout:
[T]here was a moment when I was writing Upstream Color where I fell so hard for what it was becoming that I couldn’t think of anything else.
- Television Without Pity
It really started with this notion of personal identity. […] And I think I had this view that, if you could strip away all that subjectivity, strip away everything you’d learned or that you’d been taught or accumulated, that maybe underneath would be this core—that would be plurality of thought, that would be the ability to be malleable to circumstances instead of having a predefined understanding of them. Eventually [it] lead to the idea that maybe there wasn’t anything inside, that maybe we are just an accumulation of these subjective key points of experience. That’s the bit that started to make this whole thing horrific, this idea that you’re not left with anything, that you’re just a lost consciousness in the world.
[…]
[on his next film] It’s actually set all over the world, in all sorts of remote places. It’s about shipping routes and trading commodities, pirates and privateers. It’s a tragic romance. I really can’t wait. It’s going to be a good thing.
- Interview
“My ability to make another film is directly connected to whatever revenue this movie generates,” he says. “It’s not like, ‘Maybe I can buy a house someday.’ It’s more like, ‘I get to make this film exactly the way it needs to be.’ ”
- Wired
JH: But you act in both your films and you’re a handsome boy. You could probably get acting work.
SC: Oh, well…thank…well, I don’t even know if that’s true. No. No one’s ever – well, actually, that’s not true…
- Film.com
I’m not saying I’m developing a thing for Shane Carruth, I’m just saying he is an engineer and a genius who has decided to use that genius to make movies and I’m not sure how to finish this sentence so I’ll just stop typing.](http://24.media.tumblr.com/2f0c31a07b54af76e8ce50c897de4dfa/tumblr_mmvds4EnCr1qzj6lto1_500.jpg)
[T]here was a moment when I was writing Upstream Color where I fell so hard for what it was becoming that I couldn’t think of anything else.
It really started with this notion of personal identity. […] And I think I had this view that, if you could strip away all that subjectivity, strip away everything you’d learned or that you’d been taught or accumulated, that maybe underneath would be this core—that would be plurality of thought, that would be the ability to be malleable to circumstances instead of having a predefined understanding of them. Eventually [it] lead to the idea that maybe there wasn’t anything inside, that maybe we are just an accumulation of these subjective key points of experience. That’s the bit that started to make this whole thing horrific, this idea that you’re not left with anything, that you’re just a lost consciousness in the world.
[…]
[on his next film] It’s actually set all over the world, in all sorts of remote places. It’s about shipping routes and trading commodities, pirates and privateers. It’s a tragic romance. I really can’t wait. It’s going to be a good thing.
“My ability to make another film is directly connected to whatever revenue this movie generates,” he says. “It’s not like, ‘Maybe I can buy a house someday.’ It’s more like, ‘I get to make this film exactly the way it needs to be.’ ”
- Wired
JH: But you act in both your films and you’re a handsome boy. You could probably get acting work.
SC: Oh, well…thank…well, I don’t even know if that’s true. No. No one’s ever – well, actually, that’s not true…
- Film.com
I’m not saying I’m developing a thing for Shane Carruth, I’m just saying he is an engineer and a genius who has decided to use that genius to make movies and I’m not sure how to finish this sentence so I’ll just stop typing.
![writeworld:
From referenceforwriters:
all these things that I’ve done [listen]writing playlist
i. midnight city - M83 // ii. sweater weather - the neighbourhood // iii. called out in the dark - snow patrol // iv. take a walk - passion pit // v. feeling good - muse // vi. on top of the world - imagine dragons // vii. ho hey - the lumineers // viii. call it what you want - foster the people // ix. take back the city - snow patrol // x. horchata - vampire weekend // xi. lover’s carvings - bibio // xii. shadowplay - the killers // xiii. sleep alone - two door cinema club // xiv. daylight - matt & kim // xv. float on - modest mouse // xvi. all these things that i’ve done - the killers](http://25.media.tumblr.com/c9a6e63c11d3762642e40658db53131e/tumblr_mmvkapjYLE1s1buyfo2_r1_500.jpg)
From referenceforwriters:
all these things that I’ve done [listen]
writing playlisti. midnight city - M83 // ii. sweater weather - the neighbourhood // iii. called out in the dark - snow patrol // iv. take a walk - passion pit // v. feeling good - muse // vi. on top of the world - imagine dragons // vii. ho hey - the lumineers // viii. call it what you want - foster the people // ix. take back the city - snow patrol // x. horchata - vampire weekend // xi. lover’s carvings - bibio // xii. shadowplay - the killers // xiii. sleep alone - two door cinema club // xiv. daylight - matt & kim // xv. float on - modest mouse // xvi. all these things that i’ve done - the killers
Despite His Protests, Zach Braff’s Cannes Deal...
Despite His Protests, Zach Braff’s Cannes Deal Violates the Spirit of His Kickstarter Campaign
Best article yet on the whole Braff affair, a great analysis of the new developments. The sign-off is priceless.
Any film that succeeds in touching on deep themes through perfect comedy is bound to build a lasting connection with audiences. In his DVD commentary for Groundhog Day (1993) Harold Ramis recalls some of the feedback he received on the film and plenty of fun tibits from it’s production.
Bill Murray called it ‘probably the best work I’ve done’ and, 20 years after its release, Groundhog Day can still take your breath away. Its original screenwriter Danny Rubin and admirers such as director David O Russell explain its lasting appeal.
What a genius script looks like: Groundhog Day screenplay by Danny Rubin [pdf, scanned draft]. (NOTE: For educational purposes only)
How did you come up with the idea for “Groundhog Day?”
There’s so many parts to answering that question. I think the big idea, if there is a — the big think or the accidental happenstance was when I was trying to solve a story problem. If a person could live forever, if a person was immortal, how would they change over time? I was curious about whether one lifetime was enough for somebody. There are some people, those arrested development type men who can’t really outlive their — out grow their adolescence and I thought, well, maybe one lifetime isn’t enough. Maybe you need more. So, I was just thinking through if a person could live long enough, how would they change and that seemed like a cumbersome experiment because of having to deal with changing history. So, I was trying to solve the problem how you can have a person be immortal without having history change from underneath him so that the movie would not — the story of the movie would not have to deal with the French Revolution and with the future and things like thatAnd then, to solve that, I remembered an idea I had had about a year or two before that about a guy repeating the same day and I realized that having a person repeat the same day turns an eternity into a circle and that’s when all the dramatic possibilities came and the comedic possibilities and all the resonances with repetition. So, that was the idea like that. I was actually getting ready to read one of Anne Rice’s novels about vampires and I was sort of thinking about why I thought that was interesting and the most interesting thing to me was that it was a different class of people. They were just like people except some of the rules were different and the most interesting one being that they were immoral and that’s what got me thinking about immortality. There, that’s all of it. —Big Think Interview With Danny Rubin
Screenwriter Danny Rubin, also a professor of screenwriting at Harvard, graciously agreed to come to Red River Theatres for Q & A following a screening of his beloved comedy/romance Groundhog Day. Coincidentally, Rubin’s Kindle Edition e-book on the screenplay How to Write Groundhog Day was released by Amazon.com the day before this appearance.
In his book, How to Write Groundhog Day, the man who wrote the legendary movie shares the story behind the film and his secrets for aspiring screenwriters. Here, his Top 10 rules for writers.
One of the best DVD commentaries.
