And now, let’s see who I can piss off this time.
Nick Hornby does not just balance the two main characters, but all the supporting ones as well.
I suspect that the children’s book this is based on is probably a charmer, and I can see why kids would love it.
Even with the Bush and Iraq documentaries, I still try to end on an upbeat note.
Not one of the Mistress’s finest, but amusing.
Understanding Screenwriting #33: Amreeka, My One and Only, Ghost Town, Yoo-Hoo Mrs. Goldberg, & More
While the West Bank material is new and fresh, the American material is flat and obvious.
As screenwriters, here is why you should do your research.
Funny People is unfocused and very repetitive, both overall and in individual scenes
The Hurt Locker is generally very natural, with only a couple of scenes where you hear the clicking of the writer’s computer keyboard.
Departures is a lovely, moving, funny, and hugely satisfying film.
Wait a minute, isn’t success supposed to have a thousand fathers?
Up has been driving me nuts.
Understanding Screenwriting #26: Ghosts of Girlfriends Past, Angels & Demons, In Plain Sight, & More
Sometimes it’s the writers.
Three screenwriters, four counting the original TV writer, but you can’t tell.
This series finale episode will probably not go down in TV history as one of the great series finales.
Yes, it has “sunshine” in the title. Yes, it has Alan Arkin as a crusty grandpa. Yes, it has a light colored van.
Boy and girl meet cute, argue, have problems, get together in the end.
Understanding Screenwriting #19: Teaching the Young, Minsky’s, Captain Blood, In Old Chicago, & More
Captain Blood is the film that made Errol Flynn a star after his appearing in smaller parts in a few Warners pictures.