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August John: Scriptnotes

Scriptnotes

This book is the first dedicated edited collection that explores the virtualization of screen-making processes from pre-production to post-production, while attuning to the aesthetic, ideological and performative contexts upended by these integrated technologies.

What is Real?

The Screens of Virtual Production

Crafting Short Screenplays That Connect, Sixth Edition, stands alone among screenwriting books by emphasizing that human connection, though often overlooked, is as essential to writing effective screenplays as conflict. This ground-breaking book remains an absolute must-have resource for students of screenwriting.

Crafting Short Screenplays That Connect, Sixth Edition, stands alone among screenwriting books by emphasizing that human connection, though often overlooked, is as essential to writing effective screenplays as conflict. This ground-breaking book remains an absolute must-have resource for students of screenwriting.

Crafting Short Screenplays That Connect

The creator of Deadwood and NYPD Blue reflects on a tumultuous life, which has been driven by a nearly insatiable creative energy and a matching penchant for self-destruction.

'Illuminating . . . there is never a dull moment' - The Times 'Marvellous . . . full of riches' - New Statesman David Milch is the critically acclaimed writer of the iconic TV series Deadwood and NYPD Blue. As he descends into a dementia from which there's no return, Life's Work is his account of his increasingly strange present and his often painful past. Betting on race horses and stealing booze at eight years old, mentored by Robert Penn Warren and excoriated by Richard Yates at twenty-one, Milch never did anything by half. He got into Yale Law School only to be expelled for shooting out streetlights. He paused his studies at the Iowa Writers' Workshop to manufacture acid. He created some of the most lauded television series of all time, started a family and pursued sobriety, only to lose his fortune betting on the horses – just as his successful but drug-addicted father had taught him. Like Milch's best screenwriting, Life's Work explores how chance encounters, self-deception and luck shape the people we become, and wrestles with what it means to have felt and caused pain, even and especially to those we love, and how you then keep living. A compelling masterclass on Milch's unique creative process, this is a distinctive, revelatory memoir from one of the great American writers, and quite possibly his final dispatch to us all. _____ 'Funny, discursive, literate, druggy, self-absorbed . . . You finish feeling you've really met someone' - The New York Times 'A searing, brutally honest memoir' - The Independent

A Memoir of Storytelling and Self-Destruction

Life's Work

The French Dispatch brings to life a collection of stories from the final issue of a fictional American magazine published in a twentieth-century French city.

The French Dispatch

"Seasoned screenwriters love to tell young screenwriters, "Work on your craft, and the attention and work will come." This is false. TV writing is a walled-off industry that embraces those with a pre-existing network and keeps away those without one. There is little information for the aspiring screenwriter about how to break in, meet people, and start rising up. Even those who study TV/Radio/Film are taught to simply "get a production assistant job," but there is so much more to it than that. Breaking into TV Writing contains all the crucial information left out of most screenwriting books. When looking for helpful guidance and resources, aspiring TV screenwriters are often left with few helpful answers and far too many unanswered questions: What should your first script look like, and when should you show it to your boss? Which assistant jobs are worth your time? How do you break into the elusive TV writers' room? What kind of money can you expect to make in the various roles in which you might find yourself? Anton Schettini provides a rare insider's glimpse of the modern-day network and streaming TV writers' room. Here, you will find practical advice, career-path strategies, and first-hand accounts for how to establish your network, grow within it, and acquire the necessary tools to become a TV writer. The industry would love to tell you to put your head down, work hard, write a lot, and pay your dues; Schettini will show you why that hackneyed mantra is misleading, and how you can put yourself into the best position to break through all the barriers and see your work on the TV screen"--

The old screenwriting motto is, “Work on your script, and the jobs will come.” This is false.A great script is only as good as the effort you put into your career, but there is little information for the aspiring screenwriter about how to break in. Even those who study TV or film in college are taught to simply “get a production assistant job.” But then what? And how do you get that job to begin with?Breaking into TV Writing contains all the crucial information left out of most screenwriting books, like:<ul><li> How to get your first job in TV</li><li>What TV writing samples you need</li><li>How to break into the elusive TV writers’ room</li><li>How a writers’ room creates an episode of TV</li><li>Which assistant jobs are worth your time (and which you should avoid at all costs)</li></ul>Anton Schettini provides a rare insider’s glimpse of the modern-day network and streaming TV writers’ room. Here, you will find practical advice, career-path strategies, and first-hand accounts for how to establish your network, grow within it, and acquire the necessary tools to become a TV writer. The industry would love to tell you to put your head down, work hard, write a lot, and pay your dues; Schettini will show you why that hackneyed mantra is misleading, and how you can put yourself in the best position to break through the barriers and see your work on the TV screen.

How to Get Your First Job, Build Your Network, and Claw Your Way Into the Writers' Room

Breaking into TV Writing

While there are many guides to screenwriting, none of them tackle the specific difficulties of writing the tricky mid-section of the screenplay. The Heart of Your Script reveals the six key elements that are crucial for ensuring an emotionally satisfying and dramatically engaging center to any script. Using a broad range of concise case studies, including contemporary films such as Aftersun (2022), The Whale (2022), Shoplifters (2018), Talk to Me (2022), Barbie (2023) and Oppenheimer (2023), canonical texts such as Back to the Future (1985), Seven Samurai (1954) and There Will Be Blood (2007) and cult classics like Swiss Army Man, (2016), Jennifer's Body (2009) and Heathers (1988), Ted Wilkes and Phil Hughes provide helpful tips and tricks to assist writers in finding out what is at the heart of the story they want to tell and how to ensure that it is coming through in their stories. Refusing any single method for structuring this central portion, Wilkes and Hughes offer a character-centred study, which allows aspiring screenwriters to map their dramatic journey from the inside out.

The Insider’s Guide to Writing the Difficult Middle Section of a Screenplay

The Heart of Your Script

This book explores the challenges faced by documentary filmmakers in creating films and series for global audiences in response to increasing demands. The research utilizes in-depth interviews with members of the industry to reveal recurring themes and argue for greater support and deeper understanding of creative practices and processes.

This book explores the challenges faced by documentary filmmakers in creating films and series for global audiences in response to increasing demands. The research utilizes in-depth interviews with members of the industry to reveal recurring themes and argue for greater support and deeper understanding of creative practices and processes.

Docu-mania

Crafting Contemporary Documentaries and Docuseries for Global Screens

Focusing on an integral aspect of screenplays, this book takes students and writers at all levels through the process of understanding and writing better scenes. It interrogates the functions of a scene and how writers can then apply this knowledge to their own film and television scripts.

Focusing on an integral aspect of screenplays, this book takes students and writers at all levels through the process of understanding and writing better scenes. It interrogates the functions of a scene and how writers can then apply this knowledge to their own film and television scripts. Author Simon van der Borgh familiarises the screenwriter with the fundamental aspects of a scene, looking at what a scene is, the characters involved, the action depicted, dialogue, setting, and style. Featuring original scenes which show the practice of scene-writing and the application of ideas and approaches alongside in-depth analysis and critique, the book explores the process and approach to scene-writing and how to learn and improve methods of telling dynamic, engaging and moving stories of diverse types and formats on screen. With a strong focus on practice-based advice, the book includes exercises at every step to enable writers to build on and extend their knowledge and skills with confidence and clarity chapter by chapter. Exploring the film and TV scene with its different types, forms, and functions, it is the ideal book for aspiring screenwriters and students of screenwriting and filmmaking at all levels, as well as directors, producers and actors looking to better understand the contextual and sub-textual motivations intended by the writer.

Scene-writing for Film and TV

This book shows you how professional screenwriters actually write scripts. This reference manual explores all aspects of the form, from essential format requirements to the expressive, literary qualities of screenplay language. Organized in three parts, this book systematically reveals the full essence of the screenwriter's craft.

Mastering Screenplay Form and Style

Behind Sunset

The Insider’s Guide to Notes, Script Editing and Development

We Have Some Notes…

Scriptnotes

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Bibliografische Angaben

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