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

Learn the True Story Behind ‘Serpico’ in Trailer for ‘Frank Serpico’ Doc

Frank Serpico Doc Trailer

“They’re afraid to be honest, and that’s a bad system.” IFC Films has debuted a trailer for hte documentary titled Frank Serpico, telling the true story of the NYPD whistleblower Frank Serpico. Back in 1973, Sidney Lumet directed Al Pacino in the feature film Serpico, telling a fictionalized version of his story of how he called out rampant corruption in the NYPD force, only to have his comrades turn against him. This new documentary goes back and lets Serpico tell his story in his own words: from his Italian-American roots in Brooklyn to his disillusionment with the NYPD and beyond. Featuring interviews with Serpico’s associates and admirers, including John Turturro, as well as music by Jack White. His story seems just as relevant today as it was when it first happened. You might want to check this out, looks like a compelling doc to see. ›››

Continue reading Learn the True Story Behind ‘Serpico’ in Trailer for ‘Frank Serpico’ Doc


FirstShowing.net

Friday, September 29 Filming Locations for American Crime Story: Versace, Gotham, Bull, & more!

Here’s a look at various filming locations for September 29:  Filming in California TV Series: Wisdom of the Crowd Stars: Jeremy Piven Location: 1360 E 6th St, Los Angeles (5:00 PM – 3:00 AM) TV Series: NCIS: LA Stars: LL Cool J Location: Paramount Studios, Los Angeles  Filming in Illinois TV Series: American Crime Story: Versace Stars: Penelope Cruz Location: 2200 N Fremont, Chicago TV Series: Chicago PD Stars: Jason Beghe Location: <1700 S Stewart in Chicago Filming in New York‏ TV Series: The Affair  Stars: Joshua Jackson Location: Lobster Roll in Amagansett Movie: Untitled Woody Allen Project Stars: Selena Gomez Location: Kaufman Astoria Studio in Queens  Credit: @XMelDNY TV Series: Maniac Stars: Emma Stone Location: Silvercup Studios, Long Island City Movie: The Irishman Stars: Robert De Niro Location: S Middle Neck Rd and Northern Blvd, Great Neck TV Series: Bull Stars: Michael Weatherly Location: W 41st St and 7th Ave, NYC Credit: @yoursmichelle_ TV Series: Gotham Stars: Ben McKenzie Location: 96th St and Madison Ave, NYC Credit: @TechnaDeschanel TV Series: Instinct Stars: Alan Cumming Location: Broadway Stages, Brooklyn TV Series: Law and Order: SVU Stars: Mariska Hargitay Location: Tallman Mountain State Park TV Series: Happy Stars: Chris Meloni Location: Whitestone Expy and..

The post Friday, September 29 Filming Locations for American Crime Story: Versace, Gotham, Bull, & more! appeared first on On Location Vacations.


On Location Vacations

Eva Green in International Trailer for Polanski’s ‘Based on a True Story’

Based on a True Story Trailer

“You’re in danger carrying this trust…” An official international trailer from France has debuted for the latest Roman Polanski drama titled Based on a True Story, which first premiered at the Cannes Film Festival this year. Most of the reviews were mixed to negative, despite two great performances, the story is redundant and bland and the film never amounts to much. Based on a True Story is about a famous writer, played by Emmanuelle Seigner, going through a tough time who hires a ghost writer to help her with her work. However, it turns out “L”, played by Eva Green, is more of an obsessive admirer who actually has an ulterior motive. The full cast includes Vincent Perez, Damien Bonnard, Dominique Pinon, Noémie Lvovsky, and Camille Chamoux. This is worth watching just for Eva Green, but that’s about all I can say. ›››

Continue reading Eva Green in International Trailer for Polanski’s ‘Based on a True Story’


FirstShowing.net

First Trailer for Brett Morgen’s Doc ‘Jane’ Tells the Story of Jane Goodall

Jane Doc Trailer

“The more I learned, the more I realized how like us they were.” National Geographic has unveiled the first official trailer for the documentary titled Jane, telling the story of famous animal lover and animal rights activist Jane Goodall. Made by the same filmmaker behind the doc Cobain: Montage of Heck, Jane features a “trove of unseen footage” from Goodall’s life, including recently discovered 16mm footage of her first adventures into the world of chimpanzees in 1962. The film also features a triumphant score by the legendary Phillip Glass, which is kind of wonderful and makes this even more epic. It’s really lovely to see all the old footage of a very young Goodall, this looks like an rousing look back at this extraordinary woman. ›››

Continue reading First Trailer for Brett Morgen’s Doc ‘Jane’ Tells the Story of Jane Goodall


FirstShowing.net

Zero Draft Thirty 2017 September Challenge: Story Prep (Part 9) —Get Your Head On Straight

A series to help prepare writers for next month’s writing challenge.

Do you have a story you want to write? A feature length movie screenplay? An original TV pilot? A web series pilot? A novel? Short story? An epic length limerick?

The Zero Draft Thirty 2017 September Challenge is for you!

AND IT STARTS TOMORROW!!!

September 1: You type FADE IN / “Once upon a time…”
September 30: You type FADE OUT / “…They all lived happily ever after.”

It’s free! It’s fun! It’s Fade In to Fade Out!

For everything you need to know to join, click here.

To help prepare writers for the #ZD30SCRIPT Challenge, the last two weeks, I’ve been running a series on Story Prep.

Today in Part 9: Get Your Head On Straight

Here’s the deal. No first draft of any written project — novel, short story, play, feature length screenplay, TV pilot script, poem — is EVER going to be perfect. It is ALWAYS going to need to be rewritten.

This is the key to getting your head on straight about writing anything, but especially something you’re going to write in 30 days.

The perfectionist in you may recoil at the very idea of writing something which is imperfect. But as this famous screenwriting guru notes below:

It’s a FACT! What we do in the Zero Draft Thirty Challenge is EMBRACE that fact. So if our first draft is going to be imperfect… indeed, writing a draft in thirty days, there’s a very good chance it’s going to suck…

Then lean into that mofo and call it a ZERO DRAFT!

What you write in the next month is not even expected to be a first draft, rather it’s a pre-first draft.

A vomit draft. A muscle draft. A Zero Draft!

The point of the #ZD30SCRIPT challenge is to put down words and p0und out pages. No judgment. No negativity. No perfectionism.

30 days of removing the weight of expectations with one single goal:

GET THE DAMN THING DONE!

Fade In. Fade Out.

So THAT is what I mean by getting your head on straight for this Challenge. Spend a month punting perfectionism and replace it with productivity. Word after word… page after page…

Just. Write.

The Zero Draft Thirty 2017 September Challenge officially begins tonight at Midnight Eastern Daylight Time (U.S.). I’ll note that on Twitter with our official hashtag: #ZD30SCRIPT.

Tomorrow I will post the first of 30 daily Zero Draft Thirty Challenge posts here on the blog during the month of September.

Also at Midnight (EDT) Friday, September 1, many of the good folks at the Zero Draft Thirty Facebook group will be taking turns hosting our monthly 24 Hour Writing Scamper-A-Thon. To learn more, go here.

Part 1: “What if…”
Part 2: Gender-Bending
Part 3: Genre-Bending
Part 4: Think International
Part 5: Franchise
Part 6: Character Development
Part 7: Index Cards

Have you got your story concept waxed and ready to rock and roll in the Zero Draft Thirty 2017 September Challenge? Come back here every day in September to share the experience with a slew of other writers.

Zero Draft Thirty Challenge: Punt Perfectionism, Pump-Up Productivity.

Twitter: #ZD30SCRIPT.

Facebook: Zero Draft Thirty.

Onward!


Zero Draft Thirty 2017 September Challenge: Story Prep (Part 9) —Get Your Head On Straight 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

Zero Draft Thirty 2017 September Challenge: Story Prep (Part 8) — Script Diary

A series to help prepare writers for next month’s writing challenge.

Do you have a story you want to write? A feature length movie screenplay? An original TV pilot? A web series pilot? A novel? Short story? An epic length limerick?

The Zero Draft Thirty 2017 September Challenge is for you!

September 1: You type FADE IN / “Once upon a time…”
September 30: You type FADE OUT / “…They all lived happily ever after.”

It’s free! It’s fun! It’s Fade In to Fade Out!

For everything you need to know to join, click here.

To help prepare writers for the #ZD30SCRIPT Challenge, this week and next, I’ll be running a series on Story Prep.

Today in Part 8: Script Diary.

The last thing I do before I type FADE IN is create yet a Word file, which I call Script Diary.

I come to the diary to start every writing session. I visit it when I get stuck. I return to it when I hit on a story revelation. Day after day, I use my script diary to chronicle the writing of the story.

At the start of a writing session, I note the date and time in the script diary, then get my fingers and brain loosened up by typing up my thoughts about the scene I am about to tackle. I’ll remind myself what type of scene it is, which characters are participating in it, what each of their agendas is, who is playing what story function for that scene, how the scene relates to the overall plot, what the central point of the scene is, and so on. As I’m doing that, normally lines of dialogue pop to mind and I’ll put those down — so in essence I’m pre-drafting the scene, and can take that sketch to my script file and use it to write the actual scene.

I also use the script diary to track my emotional connection to the story. For instance, I may be worried about whether the scene I’m about to write will work or not. I may be concerned that one of the characters doesn’t feel quite right. If I’m stuck, I use the diary as a place to express my fears about the story; in fact, if I’m really stuck, I’ll ‘ask’ the characters, right there in my diary, to talk to me, show me what they want or need.

Now you may think I’m crazy — talking to my characters, asking them for help! But ever since I’ve started using a script diary, my experience of my story’s characters has become that much more… real, I suppose is the best way to describe it.

Whenever I am stuck, I start writing in my script diary, and invariably I become aware of my characters. Suddenly, one of them will turn and halfway glance at me or motion, and I’ll ‘follow’ them.

What I am saying is that my characters lead me deeper into my story. They show me the way. And the script diary is a crucial part of that experience because, I think, I am opening myself up to my characters, creating a ‘dialogue’ with them on those diary pages.

And there’s something else that’s very cool about a script diary: when you’re done with the project, you’ve got this journal of the entire writing process. You can go back to see and feel the actual moments where you found a breakthrough, where you busted through a story block, where your characters spoke to you.

Like everything else in this succession of posts, a script diary may not work for you. However, I encourage you to try it at least once. I think you’ll be pleasantly surprised.

My embrace of the importance of story prep led me to create — to my knowledge — the first online workshop of its type — Prep: From Concept to Outline. During the academic year, I offer it as a private one-on-one workshop. If interested, email me.

Which brings us back to the Zero Draft Thirty 2017 September Challenge.

Part 1: “What if…”
Part 2: Gender-Bending
Part 3: Genre-Bending
Part 4: Think International
Part 5: Franchise
Part 6: Character Development
Part 7: Index Cards

Have you got your story concept waxed and ready to rock and roll in the Zero Draft Thirty 2017 September Challenge? Come back here every day in September to share the experience with a slew of other writers.

Zero Draft Thirty Challenge: Pound Perfectionism, Pump-Up Productivity.

Twitter: #ZD30SCRIPT.

Facebook: Zero Draft Thirty.

Onward!

And don’t forget to join the Zero Draft Thirty Facebook Group.


Zero Draft Thirty 2017 September Challenge: Story Prep (Part 8) — Script Diary 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

Eggs & Bacon: Django Unchained, LOTR, Jurassic World, Watchmen, Iron Man & Toy Story

Some little details you may have missed in your favorite films. In Django Unchained, a man asks Django what is his name is and how it is spelled. “The D is silent”, the man responds “I know”. This man is Franco Nero, the original Django from the original 1966 film. All 3 Peter Jackson cameo […]

The post Eggs & Bacon: Django Unchained, LOTR, Jurassic World, Watchmen, Iron Man & Toy Story appeared first on FilmmakerIQ.com.

FilmmakerIQ.com

Reader Question: How can I tell if a story idea is better suited as a feature or TV?

Even with the blurring of lines between the two, there still are differences.

NOTE: I originally posted this in December 2011. Even though TV syndication is still a considerable ‘thing’, with the emergence of streaming services such as Netflix, Amazon, Hulu, and others, the movie-television landscape has changed and continues to evolve.

For example, what used to be called ‘mini-series’ and now often referred to as ‘limited series’ have made a comeback. In effect, they are long movies with an extended Beginning, Middle, and End. This opens up a whole other way to think about a story concept and universe per the question addressed below.

Still for reasons I go into in this post, there are some significant markers which should indicate to a writer whether they should write a feature spec script or an original TV pilot spec. Read on and your comments welcome!

A tweet from @beemarty:

Help! Seen any resources to help decide whether a story idea is better suited to episodic or feature? 🙂

A quick answer is to compare two numbers: 2 and 88. Two is the outside edge of how many hours long a typical movie is. Eighty eight is the number of episodes a TV series needs to hit to go into syndication.

Is the story you want to tell something that fits best into a two-hour time-frame? Or is it a story universe you can imagine mining for episode ideas over and over and over… and over and over and over… and over and over and over again?

Now this doesn’t mean that if you doubt your story idea has the legs to sustain itself for 88 episodes it should be a movie. A story concept has to work on its own to be a movie, it can’t just be a ‘not a TV series’ idea.

Likewise if you feel like you have too much story for a two-hour time frame, that doesn’t necessarily mean what you have is the basis for a TV series. A story concept has to work on its own to be a TV series, it can’t just be a ‘not a movie’ idea.

Perhaps what you can do is sit with the idea and try to envision as a movie, then as a TV series. Think about the movie trailer, the poster, envision opening weekend and you’re in the theater. Then conjure up in your mind a commercial for the TV series. What would the opening credit sequence look like? This should give you some clarity.

Another thing to consider: Protagonist metamorphosis. In a movie, the Protagonist typically goes through significant transformation, compressed in that special way only movies can do, taking the character from this psyche state at the beginning of the story to a very different psyche state at the end. In contrast, some TV Protagonists never change. And if they do, it’s a slow conversion process that occurs bit by bit, episode after episode.

Then what of your story universe, the specifics of the Protagonist’s work and life affairs? If, for example, you are considering a procedural TV series like “Law & Order,” does your story have something that supports the narrative device of solving a crime?

How about pitching the idea to some friends, then ask them, “Does this feel like a movie or a TV series?”

Bottom line: It comes down to what you feel in your gut. If you go through at least some of the questions and exercises above, my guess is your gut will tell you what your story is: TV or movie.

GITS readers, please weigh in on the subject in Comments. Have you had a story you had difficulty deciding between TV and movie? How did you sort it out?

Comment Archive


Reader Question: How can I tell if a story idea is better suited as a feature or TV? 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

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