Warner Bros. Pictures‘ Blade Runner 2049 is now playing in theaters and we’ve created this spot for you to tell us and your fellow moviegoers what you thought about the Denis Villeneuve-directed film, starring Ryan Gosling, Harrison Ford, Ana de Armas, Sylvia Hoeks, Robin Wright, Mackenzie Davis, Carla Juri, Lennie James, with Dave Bautista, Edward James Olmos and Jared Leto.
You can read our Blade Runner 2049 review here. Let us know what you thought by posting your Blade Runner 2049 reviews in the comments below! You can view all our previous Blade Runner 2049 coverage by clicking here.
Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former blade runner who has been missing for 30 years.
Featuring a screenplay by Hampton Fancher and Michael Green, Blade Runner 2049 is based on characters from Philip K. Dick’s novel “Do Androids Dream of Electric Sheep?” The film produced by Andrew A. Kosove, Broderick Johnson, Bud Yorkin, and Cynthia Yorkin, and executive produced by Ridley Scott, Tim Gamble, Frank Giustra, Yale Badick, Val Hill, and Bill Carraro.
Reader question from @farrtom via my recent #scriptchat appearance :
Should the antagonist think he’s the protagonist of his own story, or does that make him too relatable?
I provided a brief snippet of a response in the #scriptchat conversation, but there is an important point here worth delving into more thoroughly.
@farrtom: Yes, by all means, the Nemesis / Antagonist should think they are the Protagonist of their story. You know why? Because they are the Protagonist of their own story! Indeed, every character is their own Protagonist. They experience the story universe through their specific senses, their own perspective, and as a result develop their own world view.
So at the very least, you would be wise to spend time when developing your Nemesis character(s) to spend time with them seeing the story universe through their eyes. Sit with them. Talk with them. Experience how they relate to the other characters, what each represents to the Nemesis. The same questions you ask a Protagonist, e.g., What do you want, What do you need, What are you most afraid of, etc, ask of your Nemesis.
What is the value of these exercises? If you immerse yourself in the life of your Nemesis, you are much more likely to craft a multidimensional character, one a script reader may find compelling. And a more complex Nemesis who we can relate to and understand, even if we don’t sympathize with them, becomes a more interesting, engaging one, a more effective character in the context of the narrative, and an appealing figure for actors to want to play.
As to the second part of your question — does that make him too relatable — I suppose there is a risk a writer may so demystify a Nemesis, the character loses some of their power over our imagination. It’s one thing to be dealing with a mysterious Bad Guy/Gal, it’s another if the character has qualities which remind us of our pipsqueak brother. Then again, maybe not.
If your Bad Guy/Gal is worthy of being a Nemesis, they won’t be much like your pipsqueak brother at all. The more likely challenge in your work is to make the Nemesis more relatable. Why? Because when a script reader can find something within the Nemesis they can relate to, that shrinks the emotional and psychological distance between the reader and the Nemesis. That character is no longer an IT, rather they become a YOU.
I call this humanizing your Nemesis. It reminds me of that line from a writer I saw somewhere: “Even bad guys have mothers.”
So yes to doing character work with your Nemesis in which you look at the story universe through their eyes as a Protagonist.
And yes to digging into the Nemesis character’s inner life to find dynamics with which script readers and eventually moviegoers can relate.
That path will lead you beyond one-dimensional Bad Guys/Gals… into a world of complex, compelling Antagonist figures.
Trying to nail down your shooting schedule? Here are some things to consider so that your plans don’t have a negative effect on your production.
Set life is absolute pandemonium on its own, but add some poor planning and confusion into the mix and you’ve got a real nightmare on your hands. To have a clear and concise plan for every day of production, filmmakers create shooting schedules—but if you’ve never really made one before it’s difficult to know how to draw one up so that it saves you time, money, and frustration down the road. In this video, StudioBinder lists five tips that will help you organize your shoots to make your production cheaper, more dynamic, and easier for your cast and crew to manage.
There are a lot of things to consider when putting your shooting schedule together, but the five mentioned in the video will really get you thinking about what a well-planned schedule looks like.
Long-time followers of my blog are familiar with this screenwriting mantra. In fact Annika Wood was kind enough to send me a coffee cup with these very words inscribed on it. I have it on my office desk as a personal reminder.
Reminder of what?
How important these activities are for those committed to learning the craft of screenwriting.
Over time I have added two more to the list: Think concepts. Live life.
This week, a series on all five.
Today: Think concepts.
If you write a spec script based upon the first story idea that comes into your mind, that script will likely suck. Even if it’s decent, it probably won’t sell.
Why? Because almost assuredly, it is not a strong story concept.
It is impossible to overemphasize the importance of a story idea to the eventual success of a spec script.
A good story concept enables producers and studio execs to ‘see’ the movie.
A good story concept provides ammo for marketing departments to advertise the film.
A good story concept emboldens managers and agents to sell the crap out of your script.
I believe a script’s concept can represents about half of the value of a screenplay to a potential buyer. That’s right, half.
Are you thinking of story ideas every day? Do you have a master list of story ideas that is… growing? Is one part of your brain on auto-pilot, always sifting through the daily data that comes your way in search of possible story ideas?
Nobel Prize-winning scientist Linus Pauling said this: “The best way to have a good idea is to have lots of ideas.”
We, as writers, should be generating “lots of ideas.”
How to do that? Perhaps the single biggest key is two simple words: What if?
Consider anecdotes from three screenwriters:
Bob Gale: “The inspiration for coming up with the story [Back to the Future] is that I was visiting my parents in the summer of 1980, from St. Louis Missouri, and I found my father’s high-school yearbook in the basement. I’m thumbing through it and I find out that my father was the president of his graduating class, which I was completely unaware of. So there’s a picture of my dad, 18-years-old… The question came up in my head, ‘gee, what if I had gone to school with my dad, would I have been friends with him?’ That was where the light bulb went off.”
James Hart: “The secret, the great key to writing Hook, came from my son. When he was six, he asked the question, ‘What if Peter Pan grew up?’ I had been trying to find a new way into the famous ‘boy who wouldn’t grow up’ tale, and our son gave me the key.”
Marc Norman: “The Shakespeare in Lovescreenplay was written by Marc Norman and playwright Tom Stoppard, although the original idea was rooted in a third creative mind — one of Norman’s son’s, Zachary. It was in 1989, while studying Elizabethan drama at Boston University, that the younger Norman phoned his father with a sudden brainstorm of a movie concept — the young William Shakespeare in the Elizabethan theater. The elder Norman agreed it was a terrific idea, but he hadn’t a clue what to do with it. Two years later, with bits of time stolen from other projects, the notion had formed — what if Shakespeare had writer’s block while writing his timeless classic, ‘Romeo and Juliet’”?
What if I had gone to school with my dad? What if Peter Pan grew up? What if Shakespeare had writers block?
Want to jump start your ability to think concepts? Make the words “what if” an essential part of your brainstorming vocabulary.
Having spent some considerable time writing on filmmaking history, I often come across the “Who was the first” question. Although chronology in history is, of course, important – a blind obsession over who was first without understanding context reduces history into nothing more than a series of trivial factoids – and that does little to […]
Guardians of the Galaxy Vol. 2 Reviews – What Did You Think?!
Walt Disney Pictures and Marvel Studios‘ Guardians of the Galaxy Vol. 2 is now playing in theaters worldwide and we’ve created this spot for you to tell us and your fellow moviegoers what you thought about the James Gunn-directed sequel, starring Chris Pratt as Star-Lord, Zoe Saldana as Gamora, Dave Bautista as Drax, Vin Diesel as the voice of Groot, Bradley Cooper as the voice of Rocket, Michael Rooker as Yondu, Karen Gillan as Nebula, Sean Gunn as Kraglin, Pom Klementieff as Mantis, Elizabeth Debicki as Ayesha, Chris Sullivan as Taserface, and Kurt Russell as Ego the Living Planet.
You can read our two Guardians of the Galaxy Vol. 2 reviews hereand here. Let us know what you thought by posting your Guardians of the Galaxy Vol. 2reviews in the comments below! You can view all our previous Guardians of the Galaxy Vol. 2 coverage by clicking here.
Set to the backdrop of Awesome Mixtape #2, the Guardians of the Galaxy sequel continues the team’s adventures as they traverse the outer reaches of the cosmos. The Guardians must fight to keep their newfound family together as they unravel the mysteries of Peter Quill’s true parentage. Old foes become new allies and fan-favorite characters from the classic comics will come to our heroes’ aid as the Marvel cinematic universe continues to expand.
Directed and written by James Gunn, Guardians of the Galaxy Vol. 2 is produced by Marvel Studios’ president, Kevin Feige, with Louis D’Esposito, Victoria Alonso, Jonathan Schwartz, Nik Korda and Stan Lee serving as executive producers.
How festival favorite ‘Signature Move’ bridges the gap between cultures with comedy, love, and wrestling.
Signature Move, directed by Jennifer Reeder, and co-written and starring Fawzia Mirza in the lead role, follows Zaynab, a Pakistani Muslim immigration lawyer living in Chicago who discovers a new romance with a Mexican-American woman and, coincidentally, a new passion for lucha-style wrestling. The film balances comedy and drama to explore how these women navigate their cultures, families, and emotions while finding commonalities in the most unexpected places—like the wrestling ring at an underground luchadora event.
No Film School spoke with both Reeder and Mirza during SXSW shortly after their film’s premiere at the festival, learning what it takes to make a very American film about Pakistani and Mexican cultures, managing dialogue in three different languages, how to trust a collaborator with your personal vision, and more. The film is currently making festival rounds, including as the opening night film of the 65th Columbus International Film + Video Festival later this month.
Marvel’s Iron Fist Season 1 is officially available worldwide on Netflix and if you’ve finished binge-watching, or even just watched a few episodes, we’ve created a spot for you to tell us and your fellow watchers what you think about the series. You can use the comments below to write your Iron Fist reviews!
The Netflix original series Marvel’s Iron Fist is the fourth of the epic live-action adventure series (Marvel’s Daredevil, Marvel’s Jessica Jones and Marvel’s Luke Cage which are now streaming, all leading up to the teaming of the main characters in Marvel’s The Defenders) to premiere only on Netflix. A fifth series, Marvel’s The Punisher, has also started filming and stars Jon Bernthal.
In Marvel’s Iron Fist, billionaire Danny Rand (Finn Jones) returns to New York City after being missing for years, trying to reconnect with his past and his family legacy. He fights against the criminal element corrupting New York City with his kung-fu mastery and ability to summon the awesome power of the fiery Iron Fist.
The Marvel’s Iron Fist cast also includes David Wenham (300, The Lord of the Rings) as Harold Meachum, Jessica Stroup (90210, Ted) as Joy Meachum, and Tom Pelphrey (Banshee, As the World Turns) as Ward Meachum. Marvel’s Jessica Jones star Carrie-Anne Moss (The Matrix, The Bye Bye Man) reprises her role of lawyer Jeri Hogarth alongside Netflix’s connector between the shows, Rosario Dawson as Claire Temple.
We met the team behind Vimeo’s latest filmmaker-friendly platform at SXSW.
We’ve been intrigued about Vimeo 360 since the announcement of its launch earlier this month, especially because of its promise to enable accessibility and monetization of 360° projects at the high quality that we’ve come to expect from the company.
At a special preview event at SXSW, we got the chance to check out some of the new films available on the platform, and to meet two of the people responsible for its development and launch. Sara Poorsattar, Director of Product Management, and Derick Rhodes, Director of Creator Programs, revealed some of the thinking behind Vimeo 360, and how the entire company got behind the product to ensure that all of Vimeo’s existing features are integrated into it.
See the insights that Poorsattar and Rhodes shared below: