{"id":839,"date":"2023-09-04T16:11:37","date_gmt":"2023-09-05T00:11:37","guid":{"rendered":"https:\/\/www.thejasondavis.com\/?post_type=product&p=839"},"modified":"2024-03-09T14:02:37","modified_gmt":"2024-03-09T22:02:37","slug":"creative-screenwriting-vol-14-no-1-january-february-2007","status":"publish","type":"product","link":"https:\/\/www.thejasondavis.com\/product\/creative-screenwriting-vol-14-no-1-january-february-2007\/","title":{"rendered":"Creative Screenwriting Vol. 14, No. 1 (January\/February 2007)"},"content":{"rendered":"
PEOPLE & NEWS<\/strong><\/p>\n The Buzz<\/strong> Anatomy of a Spec Sale<\/strong> Production Co. Spotlight<\/strong><\/p>\n Lost Scenes: Election<\/em><\/strong> Breaking In<\/strong> People<\/strong> Why I Write<\/strong> Book Review<\/strong> COMING SOON…<\/strong><\/p>\n Freedom Writers<\/strong><\/em> Miss Potter<\/em><\/strong> Seraphim Falls The Curse of the Golden Flower<\/strong><\/em> Breach Catch and Release COLUMNS<\/strong><\/p>\n The Business of Screenwriting Agent’s Hot Sheet<\/strong> Our Craft You’ve Got to Produce<\/strong> The Final Scene FEATURES<\/strong><\/p>\n Bringing the Dream to Life: Bill Condon Takes Dreamgirls<\/em> from Broadway to Hollywood<\/strong> Scrubbing Up: Bill Lawrence’s “Noble Failure” Re-Invents Sitcoms<\/strong> Blood from a Stone: Charles Leavitt Explores the Price of Vanity in Blood Diamond<\/em><\/strong> Road Trippin’: Michael Arndt’s Path to Little Miss Sunshine<\/em><\/strong> The Devil in Mr. Eszterhas<\/strong> PEOPLE & NEWS The Buzz Film school in a box: Hard Scrambled hits DVD; Slamdance Screenplay contest Anatomy of a Spec Sale Muskrat Love gives Martin Sweeney warm spec fuzzies and a Six-figure payday. Production Co. Spotlight Lost Scenes: Election Alexander Payne and Jim Taylor show that in adapting the type-A world of Tracy Flick… Read More »Creative Screenwriting Vol. 14, No. 1 (January\/February 2007)<\/span><\/a><\/p>\n","protected":false},"featured_media":829,"comment_status":"open","ping_status":"closed","template":"","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"off","neve_meta_content_width":100,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","jetpack_post_was_ever_published":false,"jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"product_cat":[78],"product_tag":[],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.thejasondavis.com\/wp-json\/wp\/v2\/product\/839"}],"collection":[{"href":"https:\/\/www.thejasondavis.com\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/www.thejasondavis.com\/wp-json\/wp\/v2\/types\/product"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thejasondavis.com\/wp-json\/wp\/v2\/comments?post=839"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thejasondavis.com\/wp-json\/wp\/v2\/media\/829"}],"wp:attachment":[{"href":"https:\/\/www.thejasondavis.com\/wp-json\/wp\/v2\/media?parent=839"}],"wp:term":[{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/www.thejasondavis.com\/wp-json\/wp\/v2\/product_cat?post=839"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/www.thejasondavis.com\/wp-json\/wp\/v2\/product_tag?post=839"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nFilm school in a box: Hard Scrambled<\/em> hits DVD; Slamdance Screenplay contest<\/p>\n
\nMuskrat Love<\/em> gives Martin Sweeney warm spec fuzzies and a Six-figure payday.<\/p>\n
\nAlexander Payne and Jim Taylor show that in adapting the type-A world of Tracy Flick to the big screen, it’s good not to know too much about your next (class) presidential candidate.<\/p>\n
\nCathryn Humphris, Marcelo Mitnik<\/p>\n
\nYoung Storytellers Program, Norman England<\/p>\n
\nPan’s Labyrinth<\/em>‘s Guillermo del Toro tells you why keeping a little black book can help your muse, and reveals the music of writing.<\/p>\n
\nThe Power of Film<\/em><\/p>\n
\nWhen Richard LaGravenese read Erin Gruwell’s story of using journaling to reach her at-risk students he knew he not only had to write her story, he had to direct it, too.
\nBY TOM MATIHEWS<\/p>\n
\nThe reason that Peter Rabbit’s creator stopped writing was the reason that Tony Award-winning director James Maltby, Jr. wanted to write her life story.
\nBY JAMES NAPOLI<\/p>\n
\n<\/strong><\/em>David Von Ancken co-wrote a Western about two men consumed by tragedy and revenge, then turned down $1,000,000 to make it his way.
\nBY PETER CLINES<\/p>\n
\nZhang Yimou transports a ’30s stageplay into the tenth-century Tang Dynasty for a story of Shakespearean proportions.
\nBY JEFF GOLDSMITH<\/p>\n
\n<\/strong><\/em>How two un produced writers and the writer-director of Shattered Glass<\/em> followed the facts and a simple emotional journey to write the true story of the biggest security breach in US history.
\nBY NANCY HENDRICKSON<\/p>\n
\n<\/em><\/strong>Susannah Grant pens her directorial debut to investigate how the worst thing that could happen to someone might be their salvation.
\nBY PETER CLINES<\/p>\n
\n<\/strong>Even Insomniacs Can Dream<\/em>
\nIn a market filled with sequels, remakes and adaptations, what’s a spec writer to do?
\nBY RON SUPPA<\/p>\n
\nOh, the Horror!<\/em>
\nHow to get a piece of the bloody good action in the still-robust horror genre.
\nBY JIM CIRILE<\/p>\n
\n<\/strong>What’s at Stake?<\/em>
\nHow to use Maslow’s Hierarchy of Needs to enrich your scenes.
\nBY KARL IGLESIAS<\/p>\n
\nHollywood South<\/em>
\nL.A. ain’t the only town in the game. Just ask Florida.
\nBY CATHERINE CLINCH<\/p>\n
\n<\/strong>Dreamgirls<\/em>
\nBY BILL CONDON<\/p>\n
\nTwenty-five years ago, the brilliance of Michael Bennett’s Dreamgirls<\/em> stunned critics and theatergoers alike. Now, Bill Condon, who was in that opening-night audience, brings a lifelong dream to fruition.
\nBY JEREMY SMITH<\/p>\n
\nAfter getting fired from a half-dozen TV writing gigs, the future creator of NBC’s Scrubs<\/em> co-created Spin City<\/em> before flying solo on his new Single-camera comedy. Here Bill Lawrence talks about creating Scrubs<\/em>, how shooting in a creepy hospital is a good thing, and why TV is Shangri-La for writers.
\nBY JASON DAVIS<\/p>\n
\nCharles Leavitt tells how he turned an adventure story into a gripping drama of one man’s quest to save his family, how to balance the story and the soapbox, and why he’ll never look at jewelry ads the same way again.
\nBY DAVID MICHAEL WHARTON<\/p>\n
\nHow Michael Arndt quit his job, wrote seven scripts in a year, saw a Japanese anime movie, and ended up writing this summer’s $80-milliongrossing indie comedy hit.
\nBY JEFF GOLDSMITH<\/p>\n
\nJoe Eszterhas was big, brash and rich, a screenwriting rock star in an era when the parties were long and the paychecks were fat. Now that he’s older, wiser, and living in self-imposed Hollywood exile, Eszterhas is telling stories from the trenches and issuing a call-to-arms for all screenwriters.
\nBY STEVE RYFLE<\/p>\n","protected":false},"excerpt":{"rendered":"