The Devil’s Guide To Hollywood, Joe Eszterhas
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Joe Eszterhas

The Devil’s Guide To Hollywood

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Саша
Сашаalıntı yaptı4 yıl önce
Watching the movie in the back of a Hollywood theater, the real Bukowski yelled, “If that were me, I would have stopped typing long ago.”
Somebody in the audience told him to shut up.
“Hey,” Bukowski said. “I’m the guy they made the movie about. I can say anything I want to say!”
Somebody yelled, “Oh yeah? Then shut the fuck up!”
Bukowski yelled, “Oh yeah? Fuck you!”
Cops were called. They handcuffed Charlie Bukowski and dragged him out of his own movie and locked him in jail.
Simon Dunlop
Simon Dunlopalıntı yaptı4 yıl önce
the sixty-sixth Academy Awards, a screenwriter hired an airplane that towed a banner behind it proclaimi
Ieremia  Fon Shultsen
Ieremia Fon Shultsenalıntı yaptı3 yıl önce
G
et up every hour or so and walk around for five or ten minutes. Otherwise, you’ll ruin your back, your prostate, and possibly your relationship with your wife and kids. Say hi to them, give them a hug, drink some water, and go back to work.
Саша
Сашаalıntı yaptı4 yıl önce
I tell them what Madonna says: “Money makes you beautiful.”
And I tell them that I’ve made a lot of money but that I’ll never be beautiful.
Саша
Сашаalıntı yaptı4 yıl önce
hen he got back to London after the Lawrence of Arabia shoot, screenwriter Robert Bolt told the London Sunday Times that the shoot had been “a continuous clash of egomaniacal monsters wasting more energy than dinosaurs and pouring rivers of money into the sand.”
Саша
Сашаalıntı yaptı4 yıl önce
W
hen he got back to London after the Lawrence of Arabia shoot, screenwriter Robert Bolt told the London Sunday Times that the shoot had been “a continuous clash of egomaniacal monsters wasting more energy than dinosaurs and pouring rivers of money into the sand.”
Саша
Сашаalıntı yaptı4 yıl önce
I pass them on to you because my creative life has been dedicated to the belief that we screenwriters are not “schmucks with Underwoods” (as Jack Warner once called us)
Илья Гущин
Илья Гущинalıntı yaptı4 yıl önce
Roman said, “Say the fucking words. Your salary is your motivation.”
Илья Гущин
Илья Гущинalıntı yaptı4 yıl önce
“I don’t want accidents, I want disasters. I don’t want dirt, I want filth. I don’t want a storm, I want a hurricane. I don’t want fear, I want panic. I don’t want suspense, I want terror. I don’t want humor, I want hysteria.”
Илья Гущин
Илья Гущинalıntı yaptı4 yıl önce
Make lots of copies of your script
Илья Гущин
Илья Гущинalıntı yaptı4 yıl önce
It’s okay to repeat yourself in a script.
A
n old studio rule: Never use anything once that you can use twice.
Илья Гущин
Илья Гущинalıntı yaptı4 yıl önce
You can subvert your future director with beats and adverbs.
W
hen you write a scene, control how the scene is paced by indicating “beats”—screen moments. If you indicate in the script when a character is to deliver a line of dialogue (after two beats, say) and then the actor is exposed to your description in the script, he will be influenced by your vision (no matter what the director tells him).
Илья Гущин
Илья Гущинalıntı yaptı4 yıl önce
Tone is everything.
T
he tone of your script is even more important than the structure of it. It is the key to your script’s success. If your tone is off, the movie will not work.
No matter how good the structure is and no matter how sharp the dialogue, your script is hostage to its tone.
Илья Гущин
Илья Гущинalıntı yaptı4 yıl önce
In Betrayed, Debra falls in love with Tom even as she knows that he is a neo-Nazi murderer. When she kills him, she blasts away a part of her own heart. In Jagged Edge, Glenn falls in love with Jeff, saves him through her own skills and strength gained in prison, and then discovers that he is a murderer and that he’s been using her all along. And in Music Box, we see the deadliest conflict of the heart: A woman who adores her immigrant father winds up protecting her son from being poisoned by her father’s cruelty and racism.
Илья Гущин
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The most hard-hitting of all conflicts is when the heart is in conflict
Илья Гущин
Илья Гущинalıntı yaptı4 yıl önce
Take your time revealing your main character.
M
ystery goes a long way—don’t tell me everything I need to know about him/her in the first ten minutes unless you’re writing some real simpleminded television script.
Илья Гущин
Илья Гущинalıntı yaptı4 yıl önce
This has always worked for me: Let’s say I’m on page fifty-seven when I’m blocked. I go back to page one and retype the whole thing.
Through the process of retyping all the scenes, I have always found where I went wrong—and why, feeling that I went wrong, I shut down.
I have found that actual scene or sequence and, by rewriting it as I retype it, I have unblocked myself.
I know it’s a terrific pain in the ass to go back to page one and retype the whole damn thing, but it’s always worth it.
Илья Гущин
Илья Гущинalıntı yaptı4 yıl önce
What is it that makes your character tick?
You can’t, of course, put it that simply when you are asked this question—What is the core of the character—by the producer, director, studio execs, and actors.
Be prepared to make up a whole bunch of fancy-sounding Freudian, Jungian, Shakespearean, Homeric bullshit about what makes your character tick.
Илья Гущин
Илья Гущинalıntı yaptı4 yıl önce
Begin with your characters, not the plot.
Илья Гущин
Илья Гущинalıntı yaptı4 yıl önce
Structure your individual scenes the way you structure your script.
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