Screenwriting

Natalie Portman focused attention on this year’s BAFTAs where once again there are no women shortlisted for directing
“It’s the only time in the industry I feel I really betrayed myself.”
You spend months writing your book, fork out a small fortune for an epic cover, write an awesome blurb, host a launch event... and you'll earn bugger all for your hard work.
Nearly three years since the release of his debut motion picture "Dear White People," filmmaker Justin Simien wants his new
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Star Wars surpasses genre and transcends viewing age. It is not a children's film. It's an adult film that happens to be suitable for children. As a result, it doesn't patronise children, nor does it attempt to second-guess what kids will find interesting and entertaining.
We have a flourishing independent film scene. Micro-budget projects being built from the ground up, mostly through crowdfunding. And we have the huge superhero movies, but the in-betweens, the films that people really care about, have vanished.
I am pressing on with my lonely foray into character comedy and writing what I hope might some day be the pilot of a sitcom - helped by Micheal Jacob, my writing mentor who has, so far never backed away from me in a social situation (although there's still time).
As feverish NaNoWriMo writers across the globe step back from their overheated keyboards - some with 50,000 words in the bag and others with rather less - how do they keep writing come December when there's no deadline to hit?
Now in their fifth year, the International Screenwriters' Lectures, hosted jointly by BAFTA and the BFI, have cemented their worldwide reputation as the most prestigious forum for celebrating the peculiar genius of screenwriting.
Much has been made of how the two girls in the Zoffany painting inspired my writing of Belle. As important to me was the invisible third person in the painting, the man who put them there in terms of such equality: Lord Chief Justice Lord Mansfield. From the outset I went in search of the historical Lord Mansfield and I found him between two judgements....
Awards Season is a divisive time in the film industry. At a time of celebration and congratulation on the outstanding achievements by leading filmmakers, there will always be discussion of those whose work has been overlooked, controversy over voting strategies, and debates of whether it all means anything at all anyway.
It's that time of year again - Oscars time, that is. READ MORE: Leonardo's Time Is Surely Here - But We've Said That A Few
What is so darned difficult about writing a strong female character like Buffy and, incidentally, having her relate to other strong female characters in the show - Willow, Cordelia, Anya, Jenny Calendar, Lilah, Darla etc. There have been characters of such resilience in film and TV before.
Back in the early 90s, I was a person who wanted to make movies. People who wanted to make movies tended to go and work in video stores whilst waiting for that elusive big break to come. Not one to buck the trend, I worked in Blockbuster.
Everybody in LA is excited about their next project. It's a passion project. Lots of great people are interested in getting involved and some stars are attached, dependent on another draft.
When I came up with the idea for the BAFTA/BFI Screenwriters' Lecture Series, it was partly an attempt to explain the screenwriter's art and partly an attempt to explore the screenwriter's complex relationship to a completed movie. When their work is done, screenwriters tend to vanish, literally and figuratively.
I've been writing screenplays for horror movies and splashing around in the shallow end of the film industry for a decade now. Horror has become my comfort zone, albeit with a hefty splash of comedy to help the dark stuff go down. It wasn't always that way...
One day I'll wake up on a fine summer's morning with a movie title so irresistibly ridiculous that it'll make Sharknado look like Hamlet. And you'll roll your eyes when you see it showing at the cinema and ask yourself "Who writes this sh*t?" And you'll hear me whisper "I do".
If there is one defining quality that unites the world’s most iconic filmmakers – those who can boast both critical acclaim