Electric scooter folds down into a block you can put under your arm

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The main problem with last-mile transportation options like scooters and bikes is, they’re still really cumbersome to lug around even if they fold down.

Manufacturers are certainly pushing those boundaries. The Cubike is a crowdfunded foldable electric kickscooter that collapses into really small package.

I mean, really small.

It folds into a small package.

It folds into a small package.

Image: cubike

Made by a Shanghai-based spinoff of an industrial electronics firm, the Cubike is a 6.8kg (15 lbs) scooter that is capable of going at 30 km/h (18 mph).

Best of all, the bike folds down into a compact size roughly about an A4 sheet of paper in width. That means it can go into small lockers or get carried around without getting in the way. Read more…

More about China, Scooters, Electric Scooter, Kickscooters, and Cubike
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A scientific deep dive into the Marvel movies’ most hilarious trope: the shirtless scene

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Whether it’s Iron Man fiddling with his arc reactor or Star-Lord getting hosed down, you can almost always count on the hero of any given Marvel movie to lose his shirt — it’s practically a trope.

At this point —17 films and nine years into the Marvel Cinematic Universe — the “shirtless superhero” scene is up there with Stan Lee cameos, post-credits scenes, and 30something blond men named Chris in terms of reliable franchise staples. 

Such serious commitment on Marvel’s part, then, would seem to warrant some serious analysis on our part. And we do mean “serious.” This isn’t just an excuse for bald-faced objectification — goodness, no.  Read more…

More about Movies, Marvel, Captain America, Marvel Cinematic Universe, and Thor Ragnarok
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Sony’s New Projector Turns Anything into a Touch Screen

The future is now.

Sony first unveiled its prototype for the Xperia Touch Projector back in February at the Mobile World Conference, and even then the concept was groundbreaking. Essentially, the Xperia Touch is a projector that you hook up to your Android phone, but unlike any other projector before, you can actually then use any surface the image is projected on as if it is a touchscreen.

Equipped with Android Nougat, the Xperia Touch can do just about anything an Android tablet can do. Whatever apps, videos or games you’d use on your phone can now be used on virtually any surface within your reach. And while Sony seems to mainly be marketing the device as a “family hub”, or a tool for meetings, the implications for what this technology could bring further down the line are vast.

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Go Into The Story Interview (Part 3): Jack Epps

My talk with the co-writer of Top Gun, Legal Eagles, The Secret of My Success.

In 2016 as part of the DePaul University School of Cinematic Arts Visiting Artists Series, I had the pleasure and honor of moderating a Q&A panel with two screenwriting giants: Jack Epps, Jr. and Steven E. de Souza. I followed up with both to do a GITS interview. This week: Jack Epps.

Jack Epps, Jr. is an award winning writer and filmmaker who first became involved in making films while an undergraduate at Michigan State University. Inspired by a student film festival, Epps made his first film the following semester and has been making movies ever since. His student film The Pigs vs the Freaks, was purchased by NBC and made into a Movie of the Week, re-titled Off Sides. Epps produced and worked as second unit director on the film.

Upon arriving in California, Epps wrote an episode of Hawaii Five-O and Kojak. While continuing to pursue his writing, Epps also worked as a cinematographer and an assistant cameraman on various local productions. Epps had the good fortune to work for a period of time as a second unit cameraman and assistant cameraman for Orson Welles on Mr. Welles’ last film, The Other Side of the Wind.

Epps united with his screenwriting professor from Michigan State University, Jim Cash, and began writing screenplays together. After writing seven unproduced screenplays, their first produced screenplay was Top Gun which went on to become the #1 world wide box office hit in 1986. Within eleven months, the writing team of Cash & Epps had three produced screenplays in the theaters: Top Gun, Legal Eagles, and The Secret of My Success. As a screenwriter, Mr. Epps co-authored over 25 screenplays and eight produced motion pictures including Dick Tracy, Turner & Hooch, and Anaconda. Epps also did extensive revisions on Sister Act and Die Hard III.

While Epps is primarily known for co-authoring big actions movies, Epps equally enjoyed writing romantic charm and chase comedies inspired by the films of Hitchcock, Wilder and Sturges. Films like The Secret of My Success, Legal Eagles, Turner & Hooch, Viva Rock Vegas, and Sister Act are examples of the comedy of Cash & Epps. Recently, Epps wrote the video game Top Gun for the Sony PlayStation network. Epps has also written video games for THQ.

Epps had the pleasure to write for some of the most successful actors in the motion picture industry including Robert Redford, Tom Cruise, Tom Hanks, Warren Beatty, Michael J. Fox, Debra Winger, Al Pacino, Anthony Edwards, Bruce Willis, Meg Ryan, and John Voight. He also worked with such motion picture giants as Ivan Reitman, Jerry Breckheimer, Joel Silver, Herb Ross, Tony Scott and Dick Donner.

Epps was recently honored as the recipient of the first Victoria and Jack Oakie Endowed Chair in Comedy at the School of Cinematic Arts. Epps was the fall 2008 commencement speaker at the Michigan State University graduation ceremonies and was awarded an honorary doctorate by Michigan State University. In addition, Epps is recipient of the Michigan State University Spartans in Hollywood Lifetime Achievement Award. In addition, the team of Cash & Epps was recently honored by the American Film Institute as one of the Top 100 Greatest Quotes in American Cinema for their line: “I feel the need… the need for speed.”

Epps is a thirty five year member of the Writer’s Guild of America, and a member of the Academy of Motion Picture Arts and Sciences.

Today in Part 3, Jack and I discuss to other movies he worked on: Legal Eagles and The Secret of My Success:

Scott: You can tell the whole character-centric vibe that you and Jim brought to it just from hearing how you’re talking about it because the way that you focus on the characters, you think about Top Gun as a sports movie, these are these supreme athletes, the “no man is an island” as a theme, it gives the characters an arc, so you can see how somebody like Tom Cruise would attach himself to that project.

Jack: It’s the only movie I ever cast. I said to Jim when we wrote it, “Look, here’s this young actor by the name of Tom Cruise. He’s great. We should write this movie for Tom.” We wrote it with him in mind. When I gave the script to Jerry Bruckheimer, I said, “Think Tom Cruise.”

The producers loved it. Simpson called and said, “I will kill to get this movie made.” They agreed that Cruise was the guy, and so their brilliance was actually landing Tom. He initially didn’t want to do the movie and it took a while to get him to agree to do it.

The kicker was when we handed in the draft to the studio, they turned it down. They said, “There’s too many planes in the sky. Nobody wants to see all those planes.” They put it on the shelf. It did not get green‑lit. We were crushed. This was our seventh unproduced screenplay and it was dead. Fortunately, those executives left the studio and Frank Mancuso came in as head of Production. He looked in the cupboards and they were bare. Mancuso asked Simpson/Bruckheimer, “Guys, what have you got? We need to make a movie.” They handed him Top Gun and said they wanted to make it. Mancuso said, “Fine. Go ahead. Make it.”

Scott: That’s another little wonderful Hollywood trivia, man.

Jack: We did everything we possibly could to write a hit movie and then nothing. When the movie was initially put on the shelf, our agent put us in touch with the hottest director in town, which was Ivan Reitman, because he had just finished Ghostbusters. We were desperate to get a movie made, so it was like, “All right. Ivan makes movies, so whatever we’re going to do with Ivan, he’s going to make it.”

Scott: That’s Legal Eagles.

Jack: That’s Legal Eagles.

Scott: “A New York District attorney works and flirts with his adversary and her kooky artist client who’s on trial for a murder she didn’t commit.” You move from Tom Cruise to Robert Redford, and Debra Winger and Daryl Hannah, and working with Ivan Reitman, so that’s how you got involved in that. What do you remember from working on that project?

Jack: Ivan’s a wonderful guy. I really loved working with Ivan. Originally, he brought us on because he wanted to take the characters of Dustin Hoffman and Bill Murray from Tootsie, and create a movie around them. So our first draft was a story between the two guys, with Bill Murray being sort of a wacko ambulance chasing attorney and Hoffman being a very uptight neurotic district attorney.

We got half way through the script and Ivan decides, “We’ve got to get the script to Bill and Dustin.” We didn’t want to send out an unfinished first draft. Not the way we liked to work, but Ivan is in charge. Bill looks at the script and he goes, “I hate attorneys. I’ll never play one.” Dustin Hoffman gets pulled away by Warren Beatty to make Ishtar, and suddenly we have no movie. Then Ivan calls and said, “What about if we do this as a romantic comedy for Robert Redford? Could we do that?” I said, “Yeah, we can do that.”

Scott: At this point are you thinking maybe you’re cursed? Like you’re never going to get a movie made?

Jack: Pretty much. It’s that hard to get a movie made. Much harder than everyone thinks. As the saying goes, it’s amazing movies get made at all. But Ivan is a very determined individual, and of course having Ghostbusters, they would have greenlit the phone book for Ivan. He wanted to do something a little different than the improv stuff, and so he was interested in working with someone like Redford.

Scott: You had two movies come out in 1986. That must have been some heady times for you.

Jack: It absolutely was. We were working in obscurity, seven unproduced screenplays and suddenly we have two films released in one year. Our first film produced is Top Gun and it becomes the number one box office in the world.

Scott: That leads to one of my favorite ones that you did, The Secret of My Success, which I just though was a wonderful movie starring Michael J. Fox. I guess it was pretty much at the height of his stardom of the TV show and Back to the Future, directed by Herbert Ross. Such a fun film. Could you maybe talk a bit about your involvement with The Secret of My Success”?

Jack: It was very exciting to be able to write for Michael J. Fox. It was interesting, sometimes things fall your way. Usually, they don’t, so because we had been working on Dick Tracy, we were very well known at Universal, and knew the Head of Production, Frank Price, who I think was one of the best executives of all time.

Frank had a project called “Family Affair.” They had a script they didn’t especially like, but they were going into production in eight weeks come hell or high water. Michael J. Fox had a hiatus from his TV show, Family Ties. They had to start on a certain day in June and finish on a certain day in August. They were going to shoot whatever script they had.

Early, I had pitched Frank Price an idea about a young kid trying to be his first jobs but they didn’t pick it up. Then Frank thought, “We can take that idea and marry it with The Secret of My Success.” Being that I love Billy Wilder, I wanted to my sort of homage to Some Like it Hot, and have a character who’s playing dual identities.

We came on board and basically wrote a script in six weeks. It was reboot from beginning to end. The director was Herb Ross. Herb was fabulous. Every director is a little different. Herbert basically came from Broadway, and so he was very friendly and respectful of the script.

Because they had this short window, I think the film has the truest Cash and Epps dialogue and captures our tone and comedy. Right director, right actor, right script.

Scott: It’s such an interesting comment that you make, the Billy Wilder connection, because once you said that he’s my favorite writer-director. Great run, Some Like It Hot and The Apartment, but it has that sensibility. It’s kind of edgy, The Secret of My Success, and it’s got that conceit like Some Like It Hot, the dual role thing, so that’s very interesting that you made that comparison to Billy Wilder.

Jack: I hope young writers today know who Billy Wilder is and if they don’t, they should watch all of his work. For Jim and me, he was our go‑to person. We always asked: “What would Billy Wilder do?” Wilder had such an amazing career from drama to comedy. He could do anything and do it brilliantly, and move you in the process through character and wonderful stories. At the center of all his work was a character the audience could emotionally identify with.

With Secret of My Success, we had a director who could pull it off. There’s a farce scene at the end — a French farce where everyone’s changing bedrooms in this house. Very hard to write. Harder to direct. I was so pleased when I saw it in a premiere that Herbert just nailed this thing and made it work. You’ve got to have the right director to pull off something like that. It came together very well.

Scott: I’m so glad you mentioned that scene because I was going to mention it too. It’s like a classic farce. The director has a stage background and a play is like a classic farce, the whole thing. Everybody’s going from one room to the next. That’s great to hear.

Jack: It really was one of those things where it just happened, fell into our laps. We executed very quickly. We had clarity all the way though the writing and we were hitting on all cylinders. And we were writing for Michael J. Fox. What else can you say? We both really liked writing for specific actors. Really helped with the voice.

Here is the farce sequence in The Secret of My Success Jack and I discussed:

Tomorrow in Part 4, Jack talks about two other movies he worked on as a writer: Turner & Hooch, Dick Tracy.

For Part 1, go here.

Part 2, here.

For Jack’s book “Screenwriting is Rewriting: The Art and Craft of Professional Revision,” go here.


Go Into The Story Interview (Part 3): Jack Epps was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

Go Into The Story Interview (Part 2): Jack Epps

My talk with the co-writer of Top Gun, Legal Eagles, The Secret of My Success.

In 2016 as part of the DePaul University School of Cinematic Arts Visiting Artists Series, I had the pleasure and honor of moderating a Q&A panel with two screenwriting giants: Jack Epps, Jr. and Steven E. de Souza. I followed up with both to do a GITS interview. This week: Jack Epps.

Jack Epps, Jr. is an award winning writer and filmmaker who first became involved in making films while an undergraduate at Michigan State University. Inspired by a student film festival, Epps made his first film the following semester and has been making movies ever since. His student film The Pigs vs the Freaks, was purchased by NBC and made into a Movie of the Week, re-titled Off Sides. Epps produced and worked as second unit director on the film.

Upon arriving in California, Epps wrote an episode of Hawaii Five-O and Kojak. While continuing to pursue his writing, Epps also worked as a cinematographer and an assistant cameraman on various local productions. Epps had the good fortune to work for a period of time as a second unit cameraman and assistant cameraman for Orson Welles on Mr. Welles’ last film, The Other Side of the Wind.

Epps united with his screenwriting professor from Michigan State University, Jim Cash, and began writing screenplays together. After writing seven unproduced screenplays, their first produced screenplay was Top Gun which went on to become the #1 world wide box office hit in 1986. Within eleven months, the writing team of Cash & Epps had three produced screenplays in the theaters: Top Gun, Legal Eagles, and The Secret of My Success. As a screenwriter, Mr. Epps co-authored over 25 screenplays and eight produced motion pictures including Dick Tracy, Turner & Hooch, and Anaconda. Epps also did extensive revisions on Sister Act and Die Hard III.

While Epps is primarily known for co-authoring big actions movies, Epps equally enjoyed writing romantic charm and chase comedies inspired by the films of Hitchcock, Wilder and Sturges. Films like The Secret of My Success, Legal Eagles, Turner & Hooch, Viva Rock Vegas, and Sister Act are examples of the comedy of Cash & Epps. Recently, Epps wrote the video game Top Gun for the Sony PlayStation network. Epps has also written video games for THQ.

Epps had the pleasure to write for some of the most successful actors in the motion picture industry including Robert Redford, Tom Cruise, Tom Hanks, Warren Beatty, Michael J. Fox, Debra Winger, Al Pacino, Anthony Edwards, Bruce Willis, Meg Ryan, and John Voight. He also worked with such motion picture giants as Ivan Reitman, Jerry Breckheimer, Joel Silver, Herb Ross, Tony Scott and Dick Donner.

Epps was recently honored as the recipient of the first Victoria and Jack Oakie Endowed Chair in Comedy at the School of Cinematic Arts. Epps was the fall 2008 commencement speaker at the Michigan State University graduation ceremonies and was awarded an honorary doctorate by Michigan State University. In addition, Epps is recipient of the Michigan State University Spartans in Hollywood Lifetime Achievement Award. In addition, the team of Cash & Epps was recently honored by the American Film Institute as one of the Top 100 Greatest Quotes in American Cinema for their line: “I feel the need… the need for speed.”

Epps is a thirty five year member of the Writer’s Guild of America, and a member of the Academy of Motion Picture Arts and Sciences.

Today in Part 2, Jack talks about working on Top Gun and how that movie became such a phenomenon.

Scott: That segues right into this famous Cash and Epps relationship. When I broke in, you guys were on a roll. How could you describe how that worked? Because he’s teaching at Michigan State, you’re living in Hollywood. How did you make it work back then? I think it was much different pre‑Internet, but how did that happen?

Jack: Jim and I invented the Internet.

[laughter]

Scott: It wasn’t Al Gore?

Jack: No, that was us. After taking Jim’s class at Michigan State, we stayed in touch. He would read my scripts and I would read his novels. Jim was a real wordsmith and it was always a pleasure to read his writing. I went out to California and when Jim heard I had written a Hawaii Five-O, he suggested we write together.

After Andy and I parted ways, Jim and I stated talking long distance, but nothing really happened. The distance seemed formidable. I went back to Michigan to pick up my motorcycle and drive it back to California. I drove up from Detroit to East Lansing to visit with Jim. We pitched eight ideas at the MSU Union Grill but none of them stuck. While I riding across the country on my motorcycle, one of Jim’s ideas clicked and when I got to California I called him and said let’s give it a try.

At the very beginning, we didn’t know how to work together. We had no money for long distance phone calls which were really expensive because of the AT&T monopoly. We sent cassette tapes and pages through the mails. At the same time, we both had to pay bills. I was doing a lot of crew work to pay my bills. Because I had made a lot of short movies, I was very good with cameras. I was cameraman and an assistant cameraman In fact, I was assistant cameraman for Orson Welles on his movie The Other Side of the Wind. So my crew work took me to interesting places. Jim was still in East Lansing, Michigan working as a writer/producer at a local PBS TV station.

It took us about two and a half years and five drafts, to finally figure out how this relationship worked. I like to say we had a “words and music” relationship. I wrote the music and Jim wrote the lyrics. We’d talk the script through over the phone so we agreed on what it was about. At first, we sent pages to each other through the mails and talked by phone. We broke down our responsibilities so we would do hand offs and then come together when each of us completed our work. We’d go away and work on our own and then come back together. Invariably, we would have the same solution time and time again. I think the key to our collaboration is that we had the same taste and the same instincts. We also did different functions so we didn’t compete with each other as a team. There was Cash, Epps, and Cash & Epps.

It wasn’t until much later, after Top Gun, that computers came in and we could link up our computers and work on the same page at the same time. That was a miracle and save a whole bunch of time.

Scott: What about those times when, say, you may have disagreed like on a particular story point? How did you go about resolving that?

Jack: We’d just hang up the phone.

[laughter]

Scott: Whoever hung up first wins.

Jack: I’ve worked with partners in the room, and one of the tough things about that is, it’s a lot of face time with somebody. The fact that Jim lived in East Lansing, and I lived in Santa Monica, meant that we didn’t have to have social lives together. On the weekends, we didn’t have to get together. It really allowed us to get away from each other and then come together to do the work. Usually, we’d come back and have the same solution to a story or character problem.

We agreed more than disagreed, and ultimately on a partnership, it became about passion. If one of us was so passionate about an idea and said, “No, I think this is the way it should be done,” we’d do it. We’d try it, and the worst was it didn’t work. Once we made a decision, it was “our” decision. If it didn’t work, we’d share it. We didn’t mind taking chances and running some things out, seeing how the story worked. We weren’t in a hurry. Let’s get it right. Best idea wins. We really learned quickly to bury the ego.

For instance, I wanted to do Top Gun. Jim had a fear of flying, so he really didn’t see it. His initial instinct was, “I don’t get the movie.” I had my private pilot’s license — I’m a pilot — I got the movie. I had the passion. He said, “All right, let’s do it.” Then on Turner and Hooch, Jim had three dogs, “Oh, I want to do a dog movie. I love dogs.” I’m going, “I don’t really want to do a dog movie,” but he was passionate, so I said, “All right. Let’s do it.” But once we committed, 100 percent in. We both owned it success or failure. No recriminations.

Scott: Let’s talk about this. I want to focus on five movies that you had in a string of five years. It was a great run. As I say, I broke into the business in1987, so I was able to watch this firsthand unfolding. Of course, Top Gun, which has become a cultural phenomenon, you really hit the floor running with that in 1986.

I think it’s like three‑quarters of a billion dollars in box office revenue if you figure the adjusted gross for today. The movie stars Tom Cruise, Val Kilmer, Kelly McGillis, director Tony Scott. I know you have an aviation background, so how did you intersect with that project?

Jack: I had a breakfast meeting with Jeffrey Katzenberg. At the time, we were working on Dick Tracy. Tracy was a co‑production between Universal and Paramount, so I got to know Katzenberg at Paramount, and Jeffrey liked the work that we had done on Tracy.

So we had one of those 8:00 AM breakfast meetings. He had 10 ideas that he threw out, and Top Gun looked interesting because I had my pilot’s license. We had six unproduced screen plays up to that point, and I sort of figured that if the movie didn’t get made, I get a Navy jet ride out of it. Very hard to get up in a Navy fighter jet. But we didn’t say yes immediately. I was very concerned about whether this would get made. We had six unproduced screenplays and needed to get a movie produced.

So we set come conditions. One of the concerns was that we felt that if we couldn’t get the Navy’s planes, if we couldn’t get the Navy’s cooperation, then the movie would never get made. The movie to be shot at 28,000 feet or it wouldn’t work. The producers, Don Simpson and Jerry Bruckheimer, agreed. So, we went to the Pentagon, we met the Assistant Secretary of the Navy, talked to admirals, pitched them this heroic movie about these pilots, and they said, “OK. Great. We’ll give you all the gear you want.” That was nice.

Then I was concerned about the movie, The Right Stuff, coming out. I had read the book and the Chuck Yeager story had a lot of the same fighter pilot elements. The producers got me the script and I read it, and said, “OK, this is a very different movie.”

At this time we had a lot of work, and were turning down offers virtually every week, so we said, “OK, we’ll write you this movie, but we’re not going to pitch it to you. We’re not going to show you pages. You’ve got to trust us and let us go and just figure out this movie.” We all agreed the movie was about “the best of the best,” “the highest level of competition” and it would end in a real fight. Those were the only working orders, and because we had said “no” so many times, they said, “OK, we’ll agree to it.” Then I went and did a ton of research. I went on the base and flew on navy jets several times.

That’s when the breakthrough happened. The pilots love to take you upside down or flip you around, and pull eight Gs, and do all sorts of crazy stuff. I mean, they were taking me for my first ride and they kept saying, “Oh, we’re not supposed to be doing this but…” and then they go do something crazy.

I was so exhausted when I got off from the G forces, all the upside‑down, and the physical exhaustion of it all. I immediately called Jim and said, “This is not what we thought this was. We’re not some guy sitting in a cockpit. This is a sport, and these guys are the world’s greatest athletes, and this is what this movie is about.”

That became our metaphor. So for me, Top Gun is a sports movie. It’s about these amazing athletes trying to figure out who’s the best athlete. It’s really a team movie. That’s sort of how we found the heart of that movie.

Scott: I don’t think I’ve ever heard that particular take on it, but it makes perfect sense. It is a sports movie, isn’t it?

Jack: It is. I was a goaltender at Michigan State. I was a walk on and made the freshman team and beat out the scholarship kid from Canada for the position. As a goal tender, you have to be the starter. There’s only one guy on the ice. Sitting on the bench is not an option.

[laughter]

Jack: Jim was a quarterback in high school, so he was that guy. To be a starter you have to be the last man standing. The script was really personal for us. We understood the psychology of it. That’s also why there was a lot of locker room scenes because as an athlete, things happen in the locker room. You put your game face on, and you get ready to play, or you have the consequences of a bad game.

Scott: Did you have any idea, when you were writing this, that it was going to become the phenomenon that it did?

Jack: No. Absolutely not. It was just a movie. No one was paying a lot of attention. That’s why Don and Jerry said, “Yeah, go off and write this thing.” No one really cared about it. It was another movie in development. When was the last time anyone had a hit aviation movie?

I think the best thing we did was not pitch the movie. If we had pitched the movie, it would have been an entirely different movie. I would have pitched a plot like saving the admiral or some mission driven plot. Instead, it really was about this extraordinary world and these amazing pilots, and all that came out of the research. It’s really about this man’s journey. “No man is an island” was our theme. But because we were left alone to discover the movie, we became absorbed with the pilots and found the story between them and not the action.

The Top Gun pilots were some of those most amazing, charismatic, crazy people I’d ever met in my life. And the stories they told were just remarkable. One of the other keys in doing the research was that when they talked about losing somebody, somebody they had lost on cruise, or who has been shot down over Vietnam, their countenance completely changed. They became silent. You could feel it still hurt and how deeply it affected them. I realized that my goal as a writer was to capture the emotion these guys felt and put that up on the screen. If I could get the audience to feel the sense of loss that these pilots felt, I would have achieved something.

Not only did I want to have Maverick’s heart broken, but I wanted to break the audience’s heart broken so they had a stake in it emotionally, too. Then when Maverick loses his confidence, and is overwhelmed by his guilt for Goose’s death, the audience feels it, too. We also broken one of the cardinal rules of motion pictures which is don’t kill off the most popular character in a movie.

Tomorrow in Part 3, Jack shares some stories about two other movies he wrote as part of Cash & Epps: Legal Eagles and The Secret of My Success.

For Part 1, go here.

For Jack’s book “Screenwriting is Rewriting: The Art and Craft of Professional Revision,” go here.


Go Into The Story Interview (Part 2): Jack Epps was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

‘Castle Rock’ Trailer: J.J. Abrams Dives into the World of Stephen King for Hulu

Castle Rock Trailer

“You have no idea what’s happening here, do you?”

At the tail end of New York Comic-Con this weekend, Hulu has unveiled the first Castle Rock trailer that actually features footage from the series executive produced by J.J. Abrams and set in the fictional location that has been the setting of many Stephen King stories over the decades. It doesn’t really tell us what the series will be about just yet, but it does tease plenty of Stephen King characters and Easter eggs that will be present.

Watch the Castle Rock Trailer

It’s wholly appropriate that there’s only a single line of dialogue saying, “You have no idea what’s happening here, do you?” because there’s no indication whatsoever about how various Stephen King stories will be linked together other than by the titular Main locale itself.

Instead, we get a series of mysterious images, including a funeral procession, a lethal injection, a sinking vehicle with a stikcer that says Shawshank Department of Corrections, a dog that looks exactly like Cujo, anther dog digging up a body, a piano that’s fallen through the floor of a rundown house, and more. Did you notice anything else alluding to a Stephen King story?

The new trailer teases the ensemble cast at the center of the series, with a large focus on Andre Holland (Moonlight) as attorney Henry Deaver, wandering around the various locations in the Maine town. Plus, there’s Scott Glenn as retired Sheriff Alan Pangborn, a recurring character in Stephen King’s books, and the only one who was mentioned by name during the New York Comic-Con panel (according to Deadline). But surely there will be plenty of other familiar characters making appearances.

In addition, previous stars of Stephen King adaptations are involved in the series, though they are playing completely different characters than they’ve played before, which weren’t part of any Stephen King stories before. There’s Melanie Lynskey (from the miniseries Rose Red) as Molly Strand, a real estate agent who has sold some spooky houses in Castle Rock; Sissy Spacek (star of the original Carrie) as Henry Deaver’s mother Ruth; and Bill Skarsgård (Pennywise from the recent adaptation of It) as a death row inmate who happens to be a client of Henry Deaver.

Other cast members who we get brief glimpses of include Evil Dead remake star Jane Levy as Jackie, a morbid, death-obsessed girl who’s appointed herself the historian of Castle Rock and Lost star Terry O’Quinn as Dale Lacy, who is said to be a pillar in the community.

Castle Rock was created by Sam Shaw and Dustin Thomason, who will serve as executive producers along with Abrams, Ben Stephenson and Liz Glotzer in collaboration with Bad Robot Productions and in association with Warner Bros. Television.

A psychological-horror series set in the Stephen King multiverse, Castle Rock combines the mythological scale and intimate character storytelling of King’s best-loved works, weaving an epic saga of darkness and light, played out on a few square miles of Maine woodland. The fictional Maine town of Castle Rock has figured prominently in King’s literary career: Cujo, The Dark Half, IT and Needful Things, as well as novella The Body and numerous short stories such as Rita Hayworth and The Shawshank Redemption are either set there or contain references to Castle Rock. Castle Rock is an original suspense/thriller — a first-of-its-kind reimagining that explores the themes and worlds uniting the entire King canon, while brushing up against some of his most iconic and beloved stories.

Castle Rock will arrive on Hulu sometime in 2018.

The post ‘Castle Rock’ Trailer: J.J. Abrams Dives into the World of Stephen King for Hulu appeared first on /Film.


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‘Borg/McEnroe’: Transforming the Great Tennis Rivalry into a ‘Psychological Thriller’

TIFF kicked off yesterday and the talent behind Borg/McEnroe sat down to discuss how the film is about far more than just a game.

Danish filmmaker Janus Metz, who made his feature debut with the acclaimed 2010 doc Armadillo, is making his first foray into fictional films, though this one is based on a real-life, world-famous rivalry that changed the sports world in the 1980s. Borg/McEnroe chronicles how in the early 1980s, tennis was changed forever by the rivalry between Björn Borg and brash American upstart John McEnroe, who became infamous for his temper (and acted as an indirect inspiration to filmmaker Wes Anderson.)

But the director said that his film, scripted by Ronnie Sandahl (Underdog) was not just the story of a sports rivalry. According to Metz, “it doesn’t make sense to make a sports movie…unless you have a story,” and while the tennis “had to sell” on screen, as a director he approached the film as a “psychological thriller,” albeit one that was played out (at least in part) before millions of people, in this case at Wimbledon in 1980.

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No Film School

How to Turn Smoke into Thick, Spooky Fog for Your Film Shoot

Shooting a horror film and need fog that sticks to the floor? Here’s how to make it.

Adding smoke, haze, or atmosphere can give your scenes a lot of much-needed depth when you add lighting, but if you want to turn that stuff into thick, scary movie-style fog for a spooky scene, it’s not going to happen all by itself. Luckily, Jay P. Morgan of The Slanted Lens has a simple and inexpensive solution for those wanted to create low-lying fog, and all you’ll need is some ice and a cooler.

The trick to getting smoke that is pillowy, thick, and stays close to the ground is keeping it cool.

Though this is a simple DIY solution, it does take a little elbow grease. Morgan cuts a couple of holes on either side of the cooler and screws dryer vents onto each one. This not only makes it easier to attach stuff to the holes, but it makes it look 1000 times better.

After that, place a small block of wood in each corner of the cooler and then set a metal grate right on top. This will allow you to put your dry ice on top, let the fog from the dry ice fall to the bottom of the cooler, and then exit through the pre-cut hole.

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No Film School

Deep Focus: Go Into The Movies Project

Film school on the cheap!

In order to work as a screenwriter in Hollywood, you have to immerse yourself in the world of movies. Based on suggestions from the GITS community, here is a ‘poor’ person’s version of film school, a list of resources in five subject areas you can use to do precisely that.

Subject Area I: Movies

Subject Area II: Scripts and Screenwriting

Subject Area III: Film Analysis and Criticism

Subject Area IV: Filmmakers

Subject Area V: The Evolution of Filmmaking

Deep Focus In Brief syllabus: 25 movies, 25 screenplays, 5 books [For those with limited time or looking for a good starting point]


Deep Focus: Go Into The Movies Project was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

Watch: Tips for Breaking into Cinematography from ‘American Horror Story’ DP Michael Goi

Emmy-nominated DP Michael Goi says persistence is key.

Michael Goi, ASC has an impressive slate of TV credits to his name, including popular hits like Glee, The Mentalist, and American Horror Story. His track record is in part what led to his service as President of the American Society of Cinematographers from 2009-2012. But the success didn’t come overnight.

In an ASC Masterclass series, Goi reveals his humble beginnings and what he did to move up. The main key, more than talent and creativity? Persistence.

“When you move to Los Angeles, you’re starting over again at the bottom.”

When he first moved to LA, he recalls, “For six months, I lived on the two hot dogs for 99 cents at the A&P…but I refused to leave and I refused to give up.” And this was after he already had 300 commercials and six features under his DP belt. “When you move to Los Angeles, you’re starting over again at the bottom,” he said.

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