Mon, 29 January 2024
“Personally, I think writing is bleeding. It's blood magic. It's very hard to do,” says writer/director Jade Halley Bartlett of the new Southern gothic romance, Miller’s Girl. Bartlett started her career as an actress, but it was an unexpected journey that led her to Los Angeles and magically landed her in the world of studio screenwriting. After spending a year at Marvel Studios, writing a draft of Dr. Strange in the Multiverse of Madness – only to be replaced on the job – Jade’s first feature film is now in theaters. In the podcast, Bartlett talks about dealing with rejection, getting hired to rewrite scripts and making the shift to directing. But at the end of the day, she says writing is really about overcoming your fear to get your big ideas onto the page – even if the first draft sucks. “You’ve got to give up the perfectionism. It is not going to come out perfect. I think a lot of writers are editing in our head while we're doing it as opposed to just like letting it flow out. I would say let yourself write the 170-page draft. There's going be so much magic that will come from it,” says Jade. To hear more, listen to the podcast.
Direct download: Write_On_-_Millers_Girl_Jade_Halley_Bartlett_mixdown.mp3
Category:screenwriting -- posted at: 8:09pm PDT |
Wed, 17 January 2024
“I think that approaching the grand things through the smallest entryways possible is the best way to go about taking on these massive issues… So yes, this movie is about race and racism and art and who's allowed to make certain kinds of art - these are really big, unwieldy issues. But the reason that I think people can relate to them –and it doesn't feel so top heavy or clumsy – is because you see it through a character that was deeply personal to me,” says Cord Jefferson, writer/director of American Fiction. Based on the book Erasure by Percival Everett, American Fiction is a powerful and often poignantly funny exploration of race in literature, film, family and the marketplace. It toes the line between being relatable and absurd. “I wanted to make a movie that felt satirical but never farcical. I wanted the movie to feel like life and life is neither one thing or another, it’s neither comedy nor tragedy,” says Jefferson who made the decision to use humor in the film but he never let the comedy get too broad. Jefferson also talks about his journey from journalist – an editor at Gawker – to writing for TV shows like The Watchmenand Succession. “If you can write an interesting article, you can probably write a novel. If you can write a novel, you can write a screenplay. I think that it's the same basic idea, which is you need to keep somebody interested in what you're saying from the beginning to the end and what is the best way to keep somebody interested in what you're saying for this long?” says Jefferson. Take a listen to the podcast for a deep dive into the screenplay for American Fiction.
Direct download: Write_On_-_American_Fiction_Cord_Jefferson_mixdown.mp3
Category:screenwriting -- posted at: 5:05pm PDT |
Thu, 11 January 2024
“The lesson we keep learning is that the thing that breaks you [into Hollywood] is your weirdest idea. The thing that only you can write… All of our friends who have done that – it's been a fulcrum in their career,” says Phil Lord, co-writer of Spider-Man: Across the Spiderverse. On today’s episode, I chat with Phil Lord, Christopher Miller and Dave Callaham about taking the Spider-Man franchise into the modern era, making it fresh, heartfelt and multicultural. While Lord and Miller both won Oscars for 2018’s Spider-Man: Into the Spiderverse, they brought Callaham on board to help finish the sequel and collaborate on the third installment, Beyond the Spiderverse. What surprised me most about my Zoom chat with the trio was how down to earth they seemed, how open and honest they were about struggling to make Across the Spiderverse work for everyone, including their discerning animators in India. Lord, Miller and Callaham also talk about taking a risk with the first act of Across the Spiderverse, turning their villain Spot into a multidimensional character and why creating a “multiverse” of Spider People was important to them. Callaham also shared this turning point in his career: “I had not gone to film school so everything I learned about screenwriting was from Syd Field and from coffee table books and there were all these rules about how you have to write and how a structure has to be. And how you have to handle things on the page. Ten years in, I got really bored. I felt like I wasn't being honest about the way I was writing material… So I wrote this fairly idiotic, ridiculous script but I wrote it in a style that sounded like the way that I talk, it was conversational and it was fun. I had little of asides to the reader which I know sounds really awful, but it seemed to work at the time and that opened my career up pretty substantially… That happened because I was being more honest with myself as a writer and I was not trying to write like other people anymore. It worked and I never looked back,” he says. Listen to hear more about the writing process for Spider-Man: Across the Spiderverse.
Direct download: Write_On_-_Spider-Man_Across_the_Spiderverse_mixdown.mp3
Category:screenwriting -- posted at: 12:24pm PDT |
Sat, 6 January 2024
“When we were starting [to write screenplays], we were told, ‘Write your story, write your story, write your story.’ But our story is not that interesting. So, I would say, don't write your story necessarily, write the story that you fall in love with and find the human connection between you and the characters that you are depicting,” says Dumb Money co-writer Rebecca Angelo. On today’s episode, I talk with writing partners Lauren Schuker Blum and Rebecca Angelo about their recent film Dumb Money, that tells the true story of the Game Stop stock roller coaster ride led by real-life populist hero, Keith Gill, aka Roaring Kitty, played by Paul Dano. Lauren and Rebecca talk about writing the screenplay super quickly because there were at least nine other competing projects in development at the time. It seems everyone in Hollywood wanted to tell this feel-good story that has a happy ending for the common man. They also tell me about using the structure from sports movies to craft the screenplay, how they employ “radical empathy” will their characters and the importance of adding comedic elements when telling complicated stories. “You know, we could have made a choice to have this movie be a heavy drama. But it felt like we were able to land some bigger ideas when people are laughing before or after even during those moments,” says Lauren Schuker Blum. For a deeper dive into their writing process, take a listen to the podcast. |