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Creative Screenwriting Vol. 14, No. 3 (May/June 2007)

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PEOPLE & NEWS

The Buzz
Scrivener software.

Anatomy of a Spec Sale
David Gilcreast turned his love of monster movies into CryptozooLogists! and a nice sale.

Lost Scenes
Star Trek II:
The Wrath of Khan
Streamlining dialogue and concepts helped this Star Trek film go where none had gone before.

Breaking In
Tom Dibble, James Simpson

People
Movieguide Awards, Joe Casey

Why I Write: Hal Hartley
The writer-director of Fay Grim on finding truth in the smoke of the world.

Book Review
Jeff Kitchen’s Writing a Great Movie.

 

COMING SOON

Mr. Brooks
The writers behind Stand By Me turn Kevin Costner into a killer while finding a directing/producing vehicle in their tale of the darkness of the human soul.
BY ARI EISNER

Ocean’s Thirteen
Brian Koppelman and David Levien’s knowledge of con artists allowed them to reunite Danny
Ocean’s gang for one last job.
BY DANNY MUNSO

Hostel: Part II
Writer-director Eli Roth is back in the torturer’s seat, bringing new victims and murderers to his Slovakian death palace. Let the fun begin.
BY JEREMY SMITH

Paris, Je T’Aime
Alfonso Cuarón, Oliver Schmitz, Richard LaGravenese, and seventeen other filmmakers create an anthology set in the City of Light.
BY BEN ROCK

Fantastic Four: Rise of the Silver Surfer
The Simpsons‘ Don Payne writes  the sequel he’s waited his whole life to see.
BY PETER CLINES

Transformers
Mission: Impossible III‘s Roberto Orci and Alex Kurtzman morph an ’80s cartoon into a summer blockbuster.
BY PETER CLINES

Live Free or Die Hard
Mark Bomback wrote thirty drafts of John McClane’s latest adventure, and might have given up if not for his ten-year-old self.
BY JUDD BLOCH

Shrek the Third
The gassy green giant’s latest outing has him approaching fatherhood, finding a new king, and being pitted  against two other “threequels” this summer.
BY PETER CLINES


COLUMNS

The Business of Screenwriting
Here’s to You, Roger Ebert
Discovering a new career path on a trip to Telluride.
BY RON SUPPA

Writer Beware!
Psyched Out?
Here’s what one writer did when he found a video game that shared concepts, and even a title, with his script.
BY SEAN KENNELLY

Agent’s Hot Sheet
The Big Squeeze
The ever-shrinking marketplace can be challenging, sure, but sometimes, one scribe’s misfortune is another’s payday.
BY JIM CIRILE

Our Craft
Subtext in Dialogue
What I really mean is how to avoid boring, on-the-nose dialogue.
BY KARL IGLESIAS

You’ve Got to Produce
The Secret Is Out
The Secret mayor may not work, but its underpinnings can guide you to becoming a more successful entrepreneurial screenwriter.
BY CATHERINE CLINCH

The Final Scene
Knocked Up
BY JUDD APATOW

 

FEATURES

Seeing the World in Shades of Gray: Michael Goldenberg on Harry Potter and the Order of the Phoenix
Playwright-turned-screenwriter Michael Goldenberg discusses his intuitive approach to screenplays, connecting with his protagonist, and why he’s glad he didn’t get hired to write the first film.
BY PETER N. CHUMO II

Dead Men Tell No Tales: Ted Elliott and Terry Rossio on Pirates of the Caribbean: At World’s End
The writers of one of the most popular film franchises in history bring Jack Sparrow back from the dead, redefine their own story boundaries, and salute Sergio Leone.
BY SEAN KENNELLY

Using His Powers for Good: Tim Kring Makes Heroes of Us All
The creator of Crossing Jordan came up with his smash new series by granting average people superpowers, and then empowering his writers.
BY JASON DAVIS

How Brad Bird and Mark Andrews Reshaped a Rat’s Tale in Ratatouille
How The Incredibles‘ writer-director Brad Bird and his head of story Mark Andrews turned a rat with culinary dreams into this summer’s Pixar feast.
BY DAVID MICHAEL WHARTON

A Night to Remember: Getting Knocked Up with Judd Apatow
40-Year-Old Virgin‘s writer-director on his first solo script in ten years, why situations are great antagonists, and how faking it can win you an Emmy.
BY JEFF GOLDSMITH

Nicholas Meyer and the Dramatist’s Truth
The erudite, Oscar-nominated writer-director on saving Star Trek, starting a nuclear war, and adapting Philip Roth. Plus, a little Fatal Attraction.
BY JASON DAVIS

Weight .6 lbs
Dimensions 11 × 8.5 × .25 in

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