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
In the U.S., much has been made of the lack of women’s roles in film, especially as they reach, in movie terms, the unmagical age of 40. There are many reasons for this, but the main one, I suggest, is that American filmmakers (directors, writers, producers) seem to have absolutely no interest in creating movies with women as central characters.
Though I’m not saying this isn’t a problem everywhere, it does seem to be far worse in the U.S. In other countries, especially of the European variety, for whatever reason (perhaps a topic for another time), actresses of all ages, but especially older ones, don’t seem to have that serious of a problem in this area.
In fact, it is not unusual for directors overseas to constantly use the same actress over and over again, often creating roles and movies as vehicles for them. Claude Chabrol loved, while Michael Haneke loves, using Isabel Huppert. André Téchiné seems to worship the ground that Catherine Deneuve walks on. Francois Ozon has a thing for Charlotte Rampling. And who can forget Lars Von Trier’s constant use of Charlotte Gainsborough.
And from Germany we have writer/director Christian Petzold who has little trouble finding interesting and effective roles for his latest muse: Nina Hoss (quickly becoming one of the world’s more impressive actors). Together they have made several films, from the existential Yella; the unofficial remake of The Postman Always Rings Twice, Jerichow; the cold war thriller, Barbara; and now the Holocaust drama, Phoenix. Continue reading →
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
Ricky Ricardo: Lucy’s actin’ crazy. Fred Mertz: Crazy for Lucy, or crazy for ordinary people?
I Love Lucy
First, I must begin by being absolutely clear so that everyone knows where I stand. Lucy, the new sci-fi thriller written and directed by French filmmaker (and some people use that term loosely in this context) Luc Besson is a terrible film.
I mean, c’mon. You know it. I know it. We all know it’s terrible. It’s silly, nonsensical, preposterous, absurd, often makes no sense and is not remotely believable, even for an unrealistic fantasy sci-fi thriller.
Which is also, in m any ways, a redundant way to state it because, well, gees, I mean, c’mon, it’s a Besson film, for Christ’s sake.
But with that being said, it may very well be a…dare I say it…I dare…great terrible movie. Continue reading →