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Things I’ve Learned as a Moviemaker
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| Maggie Gyllenhaal in Secretary |
About adapting material for the big screen
Don't be delicate and don't be precious with the original story. Infuse yourself into the work; take it, own it and make it yours. Never worry what the writer of the original story will think or you will be blocked.
About getting notes on your screenplay
Just keep your mouth shut, write down everything, nod your head and don't get into big arguments. Take and pursue the notes-and if you disagree with the notes, do the rewrite your own way in a convincing enough way that you'll never get the note again.
About research
Research your ass off. Read books like a maniac on every subject that the screenplay touches. This will help spark story and character ideas. Write down each note on a different index card. Then be willing to throw out 95 percent of the research, or else you will have a stilted script. Trust that the research has seeped into your subconscious writing mind and will inform the work. This is the same when taking notes as an actor. When acting a note, you don't usually "think" the note while acting, you just think about it before you start acting and then allow it to get into your skin.
About turning in a script
"Never show an idiot an unfinished work." And assume that everybody is an idiot. Never, ever presume that anybody is capable of seeing the potential of your work. Only hand in what you are very, very proud of. When it says first draft, hand in the seventh draft.
About best friends
Have a best friend who loves every single thing you write. Who will always tell you you're brilliant. Who will be your muse. Who you can bounce ideas off.
About rewriting
If you can't rewrite, then you can't write. A lot of people can come up with ideas. A lot of people can write first drafts. But not that many people can rewrite. The real writers are those people who sit through draft after draft and love to rewrite.
About loneliness
If you don't love being alone, don't be a writer.
About cutting
Do not be prissy about cutting the shit out of your script. After writing the first draft, let it sit for a couple of weeks. Then read it and cut out every single thing that doesn't work. Sometimes that is an alarming amount. But do it. Cutting is the best and most important thing to know how to do. "Throw out your babies."
About the phone
As a writer, you should never answer your phone. You should screen all your calls. And you should treat your time with respect. It is yours and the writing's-nobody else's.
About clich?s
Don't be afraid of clich?s. Clich?s are clich?s because they work. If you spend all your time trying to be original, you will work yourself into a mental cage.
About writing in bed
Writing is self-indulgent and it should be. Make yourself as comfortable as possible. Just because you're writing does not mean you have to be at a desk. I often write in bed because it is a way to trick myself into thinking I'm not actually working.
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Kodak at Cannes
Since 1987 Kodak has been the official partner of the Cannes Film Festival, sponsoring the Camera d’Or prize that is awarded yearly to the best feature film by a first-time director. The tradition continues in 2008 when, for the fifth consecutive year, the festival will also hand out the Kodak Discovery Prize for Best Short Film.
“Cannes draws a huge number of filmmakers from all over the world every year, which gives Kodak a great opportunity to host our customers and show them how committed we are to the industry and to motion picture innovation,” says Kim Snyder, Kodak’s president and general manager of the Entertainment Imaging Division.
Posted 05.8.08 | News/Commentary | No comments yet...
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