Saturday Hot Links
Back for another installment of Saturday Hot Links!
Today: The Greatest Damn Rock Song Ever — “Crossroads” by Cream
In honor of Father’s Day: Fifty greatest movie dads.
Here’s a nice Father’s Day gift: Rent out Pierce Brosnan’s Malibu mansion for $250,000 per month.
Prometheus theory roundup: What does it all mean?
Peter Weyland is back! Prometheus credits lead to new viral material.
How Prometheus killed Guillermo del Toro’s dream project.
Slate takes a survey on sleep: Do you check your iPhone in bed?
Filmmakers delve into the future at the Produced By Conference.
Produced By Conference 2012: Ten takeaways.
Peter Berg explains why he thinks Battleship has not done very well at the box office.
11 things you don’t know about American spymasters.
“Mad Men” finale: What the critics are saying.
1997 Paris Review interview with John le Carré. Interviewer: George Plimpton.
How to make a movie: 65 step checklist.
The surprisingly interesting history of margarine.
Inside the troubled World War Z movie production.
What’s the difference between ( ), [ ], { } and < >?
A message for Hollywood and Silicon Valley: Grow up!
Movie theater junk food: Is it a menace to society?
Scratch that career choice: Robbing banks has a very low economic return.
Ten wonderful short films based on short stories
The politics of competitive board gaming among friends.
Why Ferris Bueller never existed.
Seven simple rules for how to take a nap.
Universal Prez to UCLA grads: “You don’t need to be an asshole to succeed.” Hey, sounds like Max Millimeter!
Full synopsis for District 9 followup.
The first Apple computer sells for $475K!
Eight bad habits that crush your creativity and stifle your success.
“Game of Thrones” episode with George Bush’s severed head pulled from rotation.
10 myths about introverts.
“Slinky: The Movie” alert! Sony to make Tonka Trucks movie.
15 reasons Mr. Rogers was the best neighbor ever.
Bill Murray’s Ghostbusters 3 script woes.
There are two kinds of busy: Is yours the good kind?
Summer 2012 B.O. up 2% compared to 2011.
10 robots with very specific tasks.
The most beautiful outdoor theaters in the world.
Why weird experiences boost creativity.
Is “Gilligan’s Island: The Musical” headed to Broadway?
Broadway sets a box office record.
Rumor: Matt Damon, Morgan Freeman and Kevin Costner to do a Magnificent 7 remake?
Producers jockey for “Fifty Shades of Grey” movie gig.
Oh, come on! “Fifty Shades of Grey” lingerie, perfume and other products coming.
Movie theaters diversify offerings beyond films.
Why traditional media should be afraid of Twitter.
The greatest movie franchises of all time.
Six rules for a great story from Snoopy and Barnaby Conrad.
Flowchart: Connections in Stephen King stories.
Student Academy Awards honor thirteen.
Why sharing your work, setbacks and struggles breaks creative blocks.
James Cameron revisits the making of 2001: A Space Odyssey.
What makes a book publisher drool? Can you say… “series”?
Joel and Ethan Coen’s playful homage to cinema history [video].
Nine historic moments captured in cake.
Listen to samples of Hans Zimmer’s The Dark Knight Rises score.
Kenyan students recreate Game 6 of 1986 Mets-Red Sox World Series.
BRIC news: Sony Pictures Television increases financial stake in India’s MSM.
Monopoly gets a Godfather edition.
Terence Malick accidentally videotaped by TMZ [video].
Screenwriting Master Class tip of the week: With the overwhelming response to “Go Into The Story: The Quest” whereby I will select up to four writers to take a 24-week Screenwriting Master Class workshop with me as their mentor — for free — I have gotten a ton of email requesting more background on just what The Quest is. So let me take a whack at that here.
One of the reasons I was interested in starting SMC was because I envisioned a distinctive approach to screenwriting that involved both theory and practice. What I discovered in pulling together the lectures, writing exercises and assignments, and overall structure was something that was different than anything else I had ever seen. The Quest is:
Coherent: Rather than a writer being forced to pick a bit of screenwriting theory from this guru or that, this educational resource or that, the Core content comes from a specific perspective — my own — based on over 25 years experience as a screenwriter and over 10 years as an educator. Every concept presented in Core is tied together by an overall philosophy about screenwriting, writing and creativity.
Comprehensive: The content presented in Core provides writers all the knowledge they need to have to be able to write a professional quality screenplay.
Character-based: Whereas so much of the conversation about screenwriting is focused on structure [and by ‘structure’ most people mean ‘plot’], Core presents an approach that begins and ends with character. In my view, this is not only the best way for a writer to craft unique, compelling, and entertaining multidimensional characters, it’s also the most effective — and frankly logical — path to find your story’s plot.
Career: It is not just about writing a screenplay, it is about educating participants how to approach the craft as a professional, giving them necessary tools and understanding on how to survive as a Hollywood screenwriter.
There are three components to The Quest:
Core: 8 weeks of theory covering Plot, Concept, Character, Style, Dialogue, Scene, Theme, and Time.
Prep: 6 week prep-writing workshop.
Pages: 10 week page-writing workshop.
In essence The Quest is an intensive, immersive screenwriting curriculum. Its principles and practices are grounded in solid theory as well as decades working in the front lines of Hollywood as a screenwriter, and can be carried forward by participants into all their future screenwriting projects.
I originally intended The Quest to be a private workshop where a writer would work with me one-on-one, learning the Core theory, putting that theory to use cracking a story in Prep, then writing a first draft of an original feature length screenplay in Pages.
I started beta testing the workshop earlier this year with a handful of writers. It has been so successful, that’s what inspired me to come up with the “Go Into The Story: The Quest” initiative: How could I make this approach available to more writers?
Here’s the thing: The Quest is not a system. It’s not a program. It doesn’t offer any magical secrets to writing a million dollar spec script. Rather it is a way of looking at and engaging in the script-crafting process, one that respects the fact that stories are organic in nature and are not supposed to be reduced to a formula.
Since The Quest is based on principles and practices I have been using myself and teaching successfully for years, I am confident there is something there. It may not work for everyone. And I’m certainly not saying it is the way to write a screenplay. As noted many times, I don’t believe there is a right way to write.
But in the core of my being, I believe there is something going on with the way of looking at screenwriting as conveyed through The Quest… something special, something unique, perhaps even something groundbreaking.
As I originally intended, I offer The Quest workshop through SMC to writers in a one-on-one arrangement. The writer gets their own private online course site, schedule and structure to motivate them to learn, write and make progress as a screenwriter. It is not cheap, I know that. But I spend a lot of time interacting with each writer: answering questions, providing extensive feedback on their pages, teleconferences, and so forth.
Writing a screenplay involves making thousands of choices. Having a mentor with 25+ years experience can help steer the process toward a successful end point. And what you learn from those creative interactions, you can carry with you for all future projects.
Bottom line: The Quest is for writers who are serious about learning the craft of screenwriting in an immersive and comprehensive way.
For more information, you may go here.
As to “Go Into The Story: The Quest,” I am hugely interested to see how that turns out. I have been overseeing screenwriting workshops for over a decade and know my abilities. To be honest, I have an instinct for this. I am confident the writers who participate in “The Quest” will seriously raise the level of their writing abilities and hopefully come out with a great script which can go to market.
So there you have it: More background on “The Quest.” I continue to work through the loglines [now up to about 2,300 of the approximately 4,000 entries]. There are a number of solid candidates for the workshop. Emails go out to those who make the first cut: Monday, June 25.
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