The Jewish Journal has a fascinating article about screenwriter David Seidler, who escaped from Nazi’s, was almost torpedoed on his way to America, and grew up escaping into writing as a refuge from his own speech impediment, then later drew from these experiences to write the screenplay for The King’s Speech. It is worth a read.
When screenwriter Amir Ahanchian sued a production company for ripping off 12 of his skits for a direct to DVD National Lampoon movie, a federal judge threw out his law suit and awarded almost $250,000 in costs against him because his attorney filed papers three days late. Fortunately, the federal appellate court gave the trial judge a dose of reality and reversed the opinion – after the poor screenwriter endured a year on appeal. Justice?
If you like literary criticism (and we at TW do), you will love The Atlantic’s column on adapting post-modern literature to film. They make it all so…intelligent.
Huffington Post blogger and author Deanni Fei gives this earnest discussion of Jersey Shore as great storytelling and recommends it for all writers. From its clear character development, its honest depiction of gender and ethnicity, its use of tension in every moment, to its tightness and efficiency. According to Fei, the story has everything that makes great writing. Wow. Maybe even Jwoww. I had no idea.
Jordan Merchner, creator of the book for the video game Prince of Persia posted his screenplay for the movie of the same name here. He is not one of the credited screenwriters on the movie (those credits belong to Boaz Yakin and Doug Miro & Carlo Bernard). Instead, he has “screen story” credit. If you want to unravel the frightening mysteries of WGA credit determination, you can do that here.
Dan Akroyd is writing a new sequel for Ghostbusters and expects the original actors to play their respective roles. Akroyd says that Bill Murray will have the “comic role of a lifetime”. Maybe the Ghostbusters turn into ghosts in this one, and it leads to all kinds of funny/serious complications, but it all resolves in the end, and they have grown as people. Or maybe it’s something else completely.
As part of its evil plot to get quality news stories from unpaid writers, CNN is dispensing advice on how to tell stories. Much of it is surprisingly applicable to screenwriting. What does that tell us about “news”?