FUHGEDDABOUDIT: Coming Home and Black Mass


First, a word from our sponsors: I am now offering a new service: so much emphasis has been given lately to the importance of the opening of your screenplay, I now offer coverage for the first twenty pages at the cost of $20.00.  For those who don’t want to have full coverage on their screenplay at this time, but want to know how well their script is working with the opening pages, this is perfect for you.  I’ll help you not lose the reader on page one. 
 
Ever wonder what a reader for a contest or agency thinks when he reads your screenplay? Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r
 
and check out my Script Consultation Services: http://ow.ly/HPxKE
 
Warning: SPOILERS
In 1942, Ronald Colman played a character so shell shocked by the trenches of World War I that he walked out of the hospital where he was recovering, having no idea who he was.
He was taken in by a singer in a vaudeville house (Greer Garson), fell in love and the two married. Then years later, he suddenly, out of nowhere, remembered who he really was, but totally forget that his wife existed. He discovers he’s the scion of a wealthy family and eventually runs for political office, not knowing that his secretary is actually his wife.
This movie is Random Harvest and is perhaps the most romantic and delirious use of amnesia in film. But amnesia has always been a useful tool of storytelling, whether romantic (here and in Law of Desire) or in thrillers (Mr. Budwing and Mirage) or comedy (The Hangover and 50 First Dates).
coming homeComing Home, written by Jingzhi Zou and directed by Yimou Zhang, falls into the more melodramatic end of the spectrum like Random Harvest. It’s unabashedly sentimental and relishes in a sort of 1930’s studio romanticism tone and style, though the grittiness makes it more Warner Brothers than MGM. Continue reading

BOYS WILL BE BOYS: Goodnight Mommy and Cop Car


First, a word from our sponsors: I am now offering a new service: so much emphasis has been given lately to the importance of the opening of your screenplay, I now offer coverage for the first twenty pages at the cost of $20.00.  For those who don’t want to have full coverage on their screenplay at this time, but want to know how well their script is working with the opening pages, this is perfect for you.  I’ll help you not lose the reader on page one. 
 
Ever wonder what a reader for a contest or agency thinks when he reads your screenplay? Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r
 
and check out my Script Consultation Services: http://ow.ly/HPxKE
 
Warning: SPOILERS
cop car 1Kids. Can’t live with them. Can’t kill them…or can you? Well, in two new movies with young boys as central characters, infanticide might not be such a bad idea because if you don’t, they might get you first.
Cop Car is a nice, tight little thriller about two pre-teens who are wandering across some wide open spaces common in their part of the country. They seem to have run away for some reason which is never explained (there’s a lot that is never explained in the movie, which is fine, since such explanations are often irrelevant as it is and would only get in the way).
They come upon an abandoned cop car, the sheriff nowhere in sight, find keys in it and, hey, boys being boys, they go joy riding…unaware that there is a body in the trunk.
Okay, I’m sorry, but this is a pretty neat set up for a couple of hours in the theater and the movie does an excellent job of fulfilling all expectations. It’s one of those films that doesn’t really do anything, but in the end, whatever it doesn’t do, it certainly does it rather well. Continue reading

HEY! WE ALL HAD TO START SOMEWHERE an interview with screenwriter/director/producer and author of Rails & Ties, Micky Levy


micky picThis is the third post in a series of interviews with writers who have had their first films, web series, television assignment, etc. make it to the big or small or computer screen. It is an effort to find out what their journey was to their initial success.
 
Let me know what you think. Any feedback or suggestions for the sort of information you might like to know will be appreciated.
 
First, a word from our sponsors. Ever wonder what a reader for a contest or agency thinks when he reads your screenplay? Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r
 
Next up: Screenwriter/director/producer and author of Rails & Tails Micky Levy
rails and ties oneRails & Ties (Warner Bros), directed by Alison Eastwood and starring Kevin Bacon was Micky’s first produced screenplay. She had completed several book adaptations, notably Donald Kraybill’s Amish Grace, for which she received a Humanitas Prize nomination. Recently, Micky directed Page’s Great and Grand Escape, a short she wrote that premiered at the Foyle Film Festival. Continue reading