Congratulations! You’ve finished your first draft. Now, the real work can begin.
Perhaps your script needs a faster pace, a new twist, or another character. Or, maybe you think it’s absolutely perfect. But the studio doesn’t. The producer has notes - lots and lots of notes. The director thinks it should be a different genre altogether. The lead actor won’t say the lines as written. You’ve just lost your location. And because of the budget, you have to cut 25 pages. Welcome to rewriting in film and television.
Some days you’re in Heaven. Some days Hell. Some days you’re rich beyond your wildest dreams, others you’re penniless and contemplating bank robbery. Welcome to the roller-coaster existence of a full-time screenwriter. Our panelists share tips on pitching - gamesmanship with suits - the dilemma of ‘Hurry Up and Wait’ - insights on Writer’s Block - the usefulness of negative comments - and survival strategies before your next Oscar nomination.
This workshop will be about the actual writing of your script. Genres to avoid. The bifurcation of the marketplace. What they are and aren't buying, and why. How to hold the reader's attention, and keep that person unable to put your script down.
And many, many other big and small tricks to keep you from having to read all those mind-numbing screenwriting books.
Horror films have always been a staple of cinema, but horror keeps evolving. The tongue-in- cheek horror comedies of the 80’s have given way to grisly gore-fests and more Zombie films than anyone thought possible. Demented filmmakers must unearth new strategies to bring their undead sagas to life in the New Millenium. Screenwriter Miguel Tejada-Flores discusses his own films - “Fright Night II” - “Screamers” - “Beyond Re-Animator” - and an in-depth discussion of “Frankenstein’s Army”, of which Fangoria said: “all a viewer can do is hang on and wonder what berserk turn the action is going to take next.”
Horror films have always been a staple of cinema, but horror keeps evolving. The tongue-in- cheek horror comedies of the 80’s have given way to grisly gore-fests and more Zombie films than anyone thought possible. Demented filmmakers must unearth new strategies to bring their undead sagas to life in the New Millenium. Screenwriter Miguel Tejada-Flores discusses his own films - “Fright Night II” - “Screamers” - “Beyond Re-Animator” - and an in-depth discussion of “Frankenstein’s Army”, of which Fangoria said: “all a viewer can do is hang on and wonder what berserk turn the action is going to take next.”
Let's say you've gotten yourself to L.A. and scored a meeting or two. Or that you've even managed to have something optioned. Now what?
It is generally unwise to project your real personality and sterling character -- kind, trustworthy, generous and agreeable -- in these meetings. There is a fine line you must walk between confidence and arrogance, adding a dollop of scintillating wit to make harried executives look forward to the next time "that entertaining, live wire," -- you-- walks into their office.
This workshop will share tricks to help you attain this state. (I actually used to pop half a Xanax before my meetings with Spielberg so I wouldn't be visibly gasping with awe.) Hopefully you won't have to self medicate, but there are a variety of stances that will probably serve you better than ingenuousness.
This workshop focuses on the unique experiences and challenges women screenwriters face. This event is open to anyone.
The nonprofit Willamette Writers is proud to offer this panel discussion featuring the winner of its 2016 FiLMLaB Contest, Shaun Radecki. The FiLMLaB Contest offers aspiring screenwriters the opportunity to elevate their craft through experiential learning with local film professionals who help them bring their seven page script to the screen.
Why is character development a myth? Screenwriter Randall Jahnson (The Doors, The Mask of Zorro) answers that question and reveals his strategies for creating vivid, dimensional characters for Film & Television.
