Scott Myers

Writing and the Creative Life: Is “unlearning” the key to creativity?

What if everything we have learned in our lives has actually diminished our creativity? That we were inherently creative as children, then over time lost much of that capability. That possibility is what I discovered when I stumbled across this blog post at Creativity at Work. In 1968, George Land

Daily Dialogue — January 21, 2016

“Obliviate.” — Harry Potter and the Deathly Hallows: Part 1 (2010), screenplay by Steve Kloves, based on the novel by J.K. Rowling Daily Dialogue theme for the week: Farewell, recommended by stetsonhayes. Today’s suggestion by Will King. Trivia: According to David Heyman, the work print of “Harry Potter and

There is no right way to write

It is perhaps the single most fundamental truth about screenwriting in particular and writing in general that I know… There is no right way to write. No single formula. No one system. No mystical process that guarantees success. Think about it: Why should there be? Stories are organic. Living, breathing,

Re-Write-O-Rama: Day 20

Re-Write-O-Rama: Day 20. January 1: Type FADE IN / The Beginning. January 31: Type FADE OUT / The End. 31 days. 1 script. Movie script. TV script. Whatever. Goal: Rewrite an existing draft. I’m doing it with a Zero Draft I knocked out in November. You’re invited

Script Analysis: “Trainwreck” — Part 3: Characters

Reading scripts. Absolutely critical to learn the craft of screenwriting. The focus of this weekly series is a deep structural and thematic analysis of each script we read. Our daily schedule: Monday: Scene-By-Scene Breakdown Tuesday: Plot Wednesday: Characters Thursday: Themes Friday: Dialogue Saturday: Takeaways Today: Characters. Characters are

Spec Script Deal: “Bury the Lead”

Elston Films acquires 2013 Black List script “Bury the Lead” written by Justin Kremer. From Variety: Kremer’s screenplay centers on a talented journalist who, in his life-long quest for a Pulitzer Prize, fabricates the truth to create a compelling murder story. When his concocted conspiracy becomes real, right

Great Scene: “Heat”

October is Great Scene month at Go Into The Story whereby we put a spotlight on notable movie scenes, then analyze and discuss them. Their structure, themes, character dynamics. Why do they work? What are their narrative elements that elevate them to greatness? Let’s face it: In a fundamental

Daily Dialogue — January 20, 2016

INT. TRAIN STATION — DAY Jesse and Céline walk side by side. A LOUDSPEAKER makes an inaudible announcement. Jesse: Yeah. No problem. Céline points at the coach. They stop. Céline: I should get on this one. Jesse: Right here? You wanna get on there? All right. Céline: Yeah. Jesse: Um. They

Re-Write-O-Rama: Day 19

Re-Write-O-Rama: Day 19. January 1: Type FADE IN / The Beginning. January 31: Type FADE OUT / The End. 31 days. 1 script. Movie script. TV script. Whatever. Goal: Rewrite an existing draft. I’m doing it with a Zero Draft I knocked out in November. You’re invited

Script Analysis: “Trainwreck” — Part 2: Plot

Reading scripts. Absolutely critical to learn the craft of screenwriting. The focus of this weekly series is a deep structural and thematic analysis of each script we read. Our daily schedule: Monday: Scene-By-Scene Breakdown Tuesday: Plot Wednesday: Characters Thursday: Themes Friday: Dialogue Saturday: Takeaways Today: Plot. In every

Interview (Written): Carlton Cuse and Ryan Condal (“Colony”)

A /film interview by Fred Topel with producer Carlton Cuse and showrunner Ryan Condal of the new USA network series “Colony”: Is there a difference between secrets the characters know and secrets you’re keeping from them? Cuse: Good question! Yes. There are two types of secrets. There are the

Screenwriting 101: Roger Simon

“Richard Dreyfuss, who had always wanted to play the Moses Wine character, said, well let’s do it together. So we got a deal at Universal, and went off to a New York hotel suite. Dreyfuss said Spielberg used to tell him the way to adapt books was to throw

Daily Dialogue — January 19, 2016

Terence Mann: Ray, there was a reason they chose me, just as there was a reason they chose you and this field. Ray Kinsella: Why? Terence Mann: I gave an interview. Ray Kinsella: What interview? What are you talking about? Terence Mann: The one about Ebbets Field. The one that

Pixar and the Craft of Storytelling

Next Monday, January 25, my popular one-week online Pixar and the Craft of Storytelling class begins. I know there are a lot of fans of Pixar out there, but even those of you who may not know that much about their films, the simple fact they have produced 15

RIP: Glenn Frey

2016 is kicking our cultural ass. David Bowie. Gone. Alan Rickman. Gone. And now Glenn Frey. Passed away. While I never met him, Frey had a house in Aspen, so when I lived there playing music from 1978–1980, he could be seen around town. I played in some clubs

Re-Write-O-Rama: Day 18

Re-Write-O-Rama: Day 18. January 1: Type FADE IN / The Beginning. January 31: Type FADE OUT / The End. 31 days. 1 script. Movie script. TV script. Whatever. Goal: Rewrite an existing draft. I’m doing it with a Zero Draft I knocked out in November. You’re invited

Script Analysis: “Trainwreck” — Part 1: Scene By Scene Breakdown

Reading scripts. Absolutely critical to learn the craft of screenwriting. The focus of this weekly series is a deep structural and thematic analysis of each script we read. Our daily schedule: Monday: Scene-By-Scene Breakdown Tuesday: Plot Wednesday: Characters Thursday: Themes Friday: Dialogue Saturday: Takeaways Today: Scene-By-Scene

Interview (Written): Adam McKay and Charles Randolph (“The Big Short”)

A WGA interview with The Big Short director and co-writer Adam McKay and co-writer Charles Randolph. This week, the pair got nominated for a Best Adapted Screenplay Oscar for the movie’s script. On the surface, McKay and Randolph are as alike as calculus and fruit punch. The

On Writing

“Remember: Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations. Plot is observed after the fact rather than before. It cannot precede action. It is the chart that remains when an action is through. That is all

Daily Dialogue — January 18, 2016

Christof: (Whispering) Truman Truman turns to the sky. Christof: You can speak. I can hear you. Truman: Who are you? Christof: I am the creator… of a television show that gives hope and joy and inspiration to millions. Truman: And who am I? Christof: You are the star. Truman: Was

Movie Analysis: “Creed”

This week, we analyzed the movie Creed, screenplay c-written by Ryan Coogler and Aaron Covington, story by Ryan Coogler, based on characters by Sylvester Stallone. IMDb plot summary: The former World Heavyweight Champion Rocky Balboa serves as a trainer and mentor to Adonis Johnson, the son of his late

Re-Write-O-Rama: Day 17

Re-Write-O-Rama: Day 17. January 1: Type FADE IN / The Beginning. January 31: Type FADE OUT / The End. 31 days. 1 script. Movie script. TV script. Whatever. Goal: Rewrite an existing draft. I’m doing it with a Zero Draft I knocked out in November. You’re invited

Screenwriting News (January 11-January 17, 2016)

Mike Binder adapting his novel “Keep Calm” for New Line Cinema. Emma Donoghue adapting her novel “Frog Music” for Monumental Pictures. Grant Pierce Myers writing Untitled Treasure Hunt Project for Warner Bros. Pictures. Paula Pell sells comedy pitch “Do Nothing Bitches” to Universal Pictures with Tina Fey and Ronda Rousey

Interview (Audio): Orson Welles

A series of interviews between Peter Bogdanovich and Orson Welles. If you’re a fan of movie history, this is a wonderful listen. “I first met Orson Welles toward the end of 1968,” says Bogdanovich in his introduction, “and not long after we began taping our conversations for a book

Interview (Video): Orson Welles

Orson Welles talks about Citizen Kane in this 1960 interview from the BBC Monitor series. Via Eyes On Cinema.