Time for the 204th installment of Saturday Hot Links!
TIFF: Toronto Brings Oscar Schedule Changes, as the Strong Edge Out the Weak.
TIFF: THR Critics Rank 15 Films From Best to Worst.
TIFF: Spotlight, the Catholic Sex-Abuse Drama, Is a Worst-to-First Triumph.
TIFF: Hollywood Grapples With China’s Growing Clout at Box Office.
TIFF: Dozens of Indiewire Movie Reviews.
TIFF: Actors Outshine Their Films, Women Rule.
All-Male Late-Night ‘Vanity Fair’ Photo Highlights Sexism in Industry.
Showrunner Gender Has Major Effect on Key Employment Off Screen, Study Says.
How Did Hollywood’s Big Summer of Female-Driven Movies Measure Up?
Diverse Films Won the Box Office This Summer, and That Shouldn’t Come As a Surprise.
Hollywood Gorilla Warfare: It’s Universal vs. Legendary Over ‘Kong: Skull Island’.
King Kong and the Beginning of Movie Characters Jumping to Other Studios.
First Hit Piece of Awards Season is an Inside Job.
Brad Bird Gives an ‘Incredibles 2′ Status Update.
Pacific Rim 2 Probably Is Not Happening Anymore.
Joss Whedon Prevails in $10 Million ‘Cabin in the Woods’ Copyright Lawsuit.
Screenwriter Strife Hits Jennifer Lawrence’s ‘Joy’.
Paramount Buys Charlie Kaufman’s ‘Anomalisa’.
‘Citizen Kane’ Scripts Going to Auction in California.
‘Transformers’ Writers Room Wraps.
Bob Gale’s Guide to ‘Back to the Future’ Celebration Events Coming in October.
Attention, Screenwriters: The Baumi Script Development Award is Now Accepting Submissions.
Mad Max: Fury Road Should Qualify For the Original Screenplay Oscar.
How Jason Blum Plans to Upend Film Distribution With ‘Green Inferno,’ ‘Delirium’.
Denzel Washington Is Bringing All of August Wilson’s Plays to HBO.
An A-Z Of The Upcoming 2016 Oscar Race.
Disney to Reboot ‘Mary Poppins’ With Director Rob Marshall.
Mary Poppins Proves Disney Isn’t Satisfied with World Domination.
Village Roadshow Completes $480 Million Recapitalization.
China’s Tencent Makes Entire ‘Star Wars’ Saga Available Online.
Universal Signs Deal for Beijing Theme Park.
Here Are All the Movies Opening This Weekend: What Will You See?
Top Student Academy Awards Go to USC, AFI, Chapman and Academy of Art University.
Student Academy Awards: Meet the Winners.
42 New TV Season Picks: All the Must-See Broadcast, Cable and Streaming Shows.
Mining the Movies for the Next TV Hit.
‘Fargo’ Showrunner Noah Hawley on Season 2 and Thinking Like a Coen Brother.
Emmys 2015: Why Broadcast Comedies Dominate While Dramas Are Dead in the Water.
Which Fall Shows Are Getting Broadcast Networks’ Extra Love (and Money).
It Takes More Than Low Ratings to Kill a TV Series These Days.
2015 Fall TV Preview: Burn It All Down.
Craig Ferguson to Host Historical Talk Show on History.
David Letterman’s First Post-‘Late Show’ Gig Will Be Nat Geo Climate-Change Doc.
Emmy-Nominated Writers On How TV Is No Longer “The Idiot Box”.
‘Breaking Away’ Cast Reuniting in Las Vegas to Celebrate Cycling Film: It “Still Resonates”.
‘Scream Queens’ Star Jamie Lee Curtis Re-Creates Mom Janet Leigh’s Iconic ‘Psycho’ Shower Scene.
The 22 Greatest Mob Bosses In TV & Film.
Every Single Movie That Jimmy Carter Watched at the White House.
BBC to Launch Streaming Service in US Next Year.
Fan-Fueled Site Moviepilot Raises $16 Million, Plots Move Into Video Games.
Snapchat Inks NFL Deal to Bring Football Into Its Live Stories.
Streamy Awards 2015: Winners List.
James Franco’s Movie Column: Why ‘Goodnight Mommy’ Is a Fresh Take on the Horror Genre.
Tess Morris: As long as there is love, there will be romcoms.
Gavin Polone: How’s TV’s Golden Age Is One Big Hallucination.
Doug Richardson: Producer Pig Pile.
Scriptnotes: Episode 215.
Watch: Neo ISN’T The One in The Matrix Trilogy [video].
Watch: What Sex With The Coen Brothers Must Be Like [video].
Watch: Passion is Pitted Against the Hays Code in Hitchcock Kissing Supercut [video].
Watch: Charlie Kaufman Explains Why Making Movies ‘Sucks’ [video].
Watch: Five Alternate Movie Endings That Could Have Been [video].
Watch: 15-Minute Video Essay Breaks Down “What’s In Box?” Scene From David Fincher’s ‘Se7en’ [video].
Screenwriting Master Class tip of the week: There are many intangibles about the craft of screenwriting. Much of that derives from the fact that story itself is organic. Stories — good ones, at least — are not formulas. They are not widgets. Rather they are living, breathing entities with a heart, soul, and even will of their own. They slip and slide as we develop and write them, creating a series of challenges as we try our best to solve their mysteries.
Perhaps nowhere is this more apparent than with dialogue. When I pose the question, “How do you write dialogue” to professional screenwriters, the most common response is basically this: I don’t know.
Common advice as to how to learn to write good dialogue:
* Listen to real-life conversations to get a sense of how people talk.
* Read scripts and watch movies – or better yet listen to movies – in order to grasp the feel and flow of film characters talking.
* Simply keep writing, that the more you pound out pages and knock out original screenplays, you will develop your ear for dialogue.
All of those are reasonable points. But aren’t there principles and practices we can learn to help bring into focus a writer’s ability to craft compelling, entertaining and effective dialogue?
That was my thinking when I sat down to create the fifth class in the Core curriculum – Core V: Dialogue.
As with everything I teach about screenwriting, it starts with character. Isn’t it obvious the more you know and understand about your story’s characters, the more likely their respective voices will emerge into your consciousness?
Beyond that, it’s not just about hearing them, it’s about choosing the most impactful dialogue to support the point of each scene and drive the plot forward.
Hence the fifth Essential Screenwriting Principle: Dialogue = Purpose.
In a screenplay, there is almost zero room for extraneous dialogue, rather every line should tie into the Plotline and/or Themeline.
In Core V: Dialogue, we dig deep into this subject through 6 lectures I have written:
Lecture 1: Introduction to Dialogue
Lecture 2: Finding Your Character’s Voice – Inward Journey
Lecture 3: Finding Your Character’s Voice – Outward Expression
Lecture 4: Subtext
Lecture 5: What Is Not Said
Lecture 6: Realistic Dialogue
In addition there are several Insider Tips, analysis of several movie scripts, opportunities to workshop dialogue in some of your own original scenes, a 75-minute teleconference, and much more.
A testimonial from a writer:
“Scott is so generous with sharing his knowledge and it’s a great blessing to those of us who are just starting off/been doing it for years/need a reminder/need inspiration. I just completed the Core Dialogue course and I can honestly say he delivers back your investment threefold.” — Sabina Giado
There is no right way to write. Every writer is different. Every story is different. And you can learn everything you need to know about the craft of screenwriting by doing three things: Watch movies. Read scripts. Write pages.
However if you want to explore the subject of dialogue in an immersive fashion and from a distinct character-based perspective, I invite you to join me for this 1-week online class which begins Monday, September 28.
For more information, go here.