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Screenwriting is rewriting : the art and craft of professional revision
\"If there is one skill that separates the professional screenwriter from the amateur, it is his or her ability to rewrite successfully. But rewriting can be confusing and difficult even for the most battle-hardened screenwriter. From the screenwriter of Top Gun, Dick Tracy and The Secret of My Success comes a comprehensive guide that explores the art and craft of rewriting. Jack Epps, Jr. guides the writer to identify the weaknesses in his screenplay by using the pass method to solve individual story or character problems one at a time, rather than the common model of trying to fix everything in one giant rewrite, by taking the writer on a journey from First Draft to Final Polish.With Screenwriting is Rewriting, Epps gives practical tips on organizing notes, creating a game plan, and then executing a series of precision focused passes that address the major story, character and plot issues. He includes sample notes, game plans and beat sheets from the his own work on films such as Sister Act, Tootsie and Top Gun. Also included are exclusive interviews about rewriting with screenwriting masters Robert Towne (Chinatown), Frank Pierson (Dog Day Afternoon), and Susannah Grant (Erin Brockovich), and a companion website containing an instructor's guide for a 10 week term or 16 week semester\"-- Provided by publisher.
Book
2024 Oscar nominations: Surprises and snubs
Directors like Greta Gerwig and Celine Song aren't in contention for a 2024 Oscar, while Christopher Nolan’s “Oppenheimer“ earned 13 nominations on Jan. 23.
Streaming Video
Relating entertainment features in screenplays to movie performance: an empirical investigation
The performance of entertainment products depends on their ability to transport the audience into the narrative. Deriving entertainment features (imagery and display of emotions) from screenplays, we empirically test the theory-inspired conceptual framework. The proposed framework details the nonlinear effects of imagery and display of emotions and their synergistic effects on box office performance. We correct for the sample selection bias using a sample of unproduced and produced screenplays as well as for the endogeneity due to the omitted variable bias. The results show that the increase in the relative number of characters and dialogs, decrease in scene pace, and increases in emotionality and positivity improve the box office return on investment (ROI) at a decreasing rate. A 1% desired change in entertainment features corresponds to a 1.97% increase in ROI, which is equivalent to a $1.24 million increase in revenue (assuming an average budget). Overall, this study enables film studios to identify and craft screenplays that have the potential to perform well in the box office.
Journal Article
3555 Neurology resident and fellow teaching cases can be delivered in an interactive format with artificial intelligence
Background/ObjectivesEducational cases and case reports may be published in a variety of formats. These lexical differences could influence the effectiveness of large language models (LLMs) in the conversion of such cases into an interactive format. This research aimed to assess whether LLMs, a type of artificial intelligence (AI), could effectively transform existing Neurology Resident & Fellow Section Case-based Articles (RFS-CBA) into interactive digital content.MethodsUsing an LLM, researchers converted three RFS-CBA articles into narrative ‘screenplays’ using Anthropic’s Claude 3.5 Sonnet. These screenplays were then implemented on an online platform powered by GPT-4 to create interactive experiences. Two neurology fellows tested the system by engaging with the cases through questions and answers, gathering patient histories, physical examination data, and test results to develop diagnoses and treatment strategies. A neurologist subsequently reviewed all question-answer exchanges.ResultsThe system provided appropriate responses in 206 out of 210 instances (98.1%). In 26 of 210 responses, the LLM generated additional information beyond the original content, all of which was considered medically sound and contextually appropriate. The four observed errors consisted of missing investigation results during the ‘screenplay’ creation phase, a type of mistake that can be easily fixed through manual review.ConclusionConverting RFS-CBA into an interactive question-and-answer format using LLMs is viable. Additional research is needed to evaluate the educational impact of this teaching approach.
Journal Article
Antoni Słonimski jako scenarzysta flmowy
The authors examine all projects in which Słonimski was involved, from the prewar period to the 1960s. The result of their academic investigation, based on archival materials, journalistic texts, and literary works, as well as the memories of people active in the Polish flm industry, is an analysis of Słonimski's two complete screenplays, primarily the comedy To były czasy/ Miasto milionerów [Tose Were the Times/City of Millionaires], and a reconstruction of three of his unfnished screenplay attempts, especially for Andrzej Wajda's Przedwiośnie [Te Coming Spring]. Dokumenty dostępne w jego archiwum przecho-wywanym w Bibliotece Narodowej pozwalają przyjąć, że jego przygoda z flmem była dużo poważniejsza, niż zwykło się sądzić, i niewiele brakowało, a o Słonim-skim pisano by dziś nie tylko jako o poecie, dramaturgu czy felietoniście, ale rów-nież jako o scenarzyście, zwłaszcza że udana realizacja jednego flmu mogłaby pociągnąć za sobą kolejne. Na szczęście materiały z jego archiwum okazują się nader wymowne i wykorzy-stując je, da się w toku flmoznawczego śledztwa zrekonstruować niektóre jego pomysły. Mamy tu wprawdzie do czynienia z niebyłą historią polskiego kina, ale ten nurt badań flmoznawczych nie musi - wbrew pozorom - ograniczać się do pustych spekulacji na temat niezrealizowanych flmów ani do projektowania alternatywnego porządku historii. Ale przedwojenni flmowcy podejmowali współpracę nawet ze swymi ideowymi przeciwnikami. Słonimski miał odegrać rolę mediatora, ale scenariusz ostatecznie nie powstał. W 1959 r. Słonimski przyznał, że po wojnie wrócił do pisania komedii (nie wiemy jednak, czy scenicznych, czy flmowych), ale dość szybko ten gatunek za-rzucił.
Journal Article
The Eloquent Screen
A lifetime of cinematic writing culminates in this breathtaking statement on film's unique ability to move us
Cinema is commonly hailed as \"the universal language,\" but how does it communicate so effortlessly across cultural and linguistic borders? InThe Eloquent Screen, influential film critic Gilberto Perez makes a capstone statement on the powerful ways in which film acts on our minds and senses.
Drawing on a lifetime's worth of viewing and re-viewing, Perez invokes a dizzying array of masters past and present-including Chaplin, Ford, Kiarostami, Eisenstein, Malick, Mizoguchi, Haneke, Hitchcock, and Godard-to explore the transaction between filmmaker and audience. He begins by explaining how film fits into the rhetorical tradition of persuasion and argumentation. Next, Perez explores how film embodies the central tropes of rhetoric--metaphor, metonymy, allegory, and synecdoche--and concludes with a thrilling account of cinema's spectacular capacity to create relationships of identification with its audiences.
Although there have been several attempts to develop a poetics of film, there has been no sustained attempt to set forth a rhetoric of film-one that bridges aesthetics and audience. Grasping that challenge,The Eloquent Screen shows how cinema, as the consummate contemporary art form, establishes a thoroughly modern rhetoric in which different points of view are brought into clear focus.
eBook
Reflections on Sarah Maldoror's Sambizanga: An Interview with Annouchka de Andrade
This interview with Annouchka de Andrade, daughter of the director Sarah Maldoror, was conducted via e-mail between October 2024 and January 2025 (with edits made by both in June 2025). The interviewer, Gust Burns, attempts to gain historical insights into the background, production, and recent restoration of Maldoror's film Sambizanga , as well as inviting de Andrade to provide her own opinions and perspectives on the film and its fifty-years-and-running life. The interview may serve as a starting place for critical-historical research and analyses of both the reediting of the film by Maldoror herself and its restoration by de Andrade and her team.
Journal Article
A Tale of Two Prints
When Bernard Shaw adapted his 1912 play Pygmalion for the British film version in 1938, his screenplay was not always faithfully represented in the resulting adaptation. What has gone largely unremarked, however, is that there were two quite different prints of the 1938 film: one for British cinema audiences and a truncated and censored version for the American market. While Shaw saw, and publicly approved of, the British print, in all likelihood he was unaware that the widely seen American print, which ironically earned him an Academy Award for his screenplay, was a much inferior version of the film. This essay examines the changes foisted on Shaw's screenplay during the process of its translation to film and then compares the British print with its American counterpart, underlining the considerable differences between the two versions.
Journal Article
