{"id":860,"date":"2023-09-07T12:29:52","date_gmt":"2023-09-07T20:29:52","guid":{"rendered":"https:\/\/www.thejasondavis.com\/?post_type=product&p=860"},"modified":"2023-09-14T12:51:35","modified_gmt":"2023-09-14T20:51:35","slug":"creative-screenwriting-vol-15-no-6-november-december-2008","status":"publish","type":"product","link":"https:\/\/www.thejasondavis.com\/product\/creative-screenwriting-vol-15-no-6-november-december-2008\/","title":{"rendered":"Creative Screenwriting Vol. 15, No. 6 (November\/December 2008)"},"content":{"rendered":"
Features<\/strong><\/p>\n The Limelight and the Wilderness<\/strong> A Life in Reverse: Eric Roth on the curious work of adapting Benjamin Button<\/em><\/strong> A Writer’s Guide to the Expanding World of Basic Cable<\/strong> Defiance<\/strong> <\/p>\n PEOPLE & NEWS<\/strong><\/p>\n The Buzz<\/strong> Breaking In<\/strong> Operation Checkmate:<\/em> Jessica Postigo lands the assignment for a real-life thriller about the Colombian hostage rescue.<\/p>\n People<\/strong> Anatomy of a Spec Sale<\/strong> Why I Write<\/strong> Legal Brief<\/strong> Lost Scenes: The Day the Earth Stood Still<\/em><\/strong> Gift Guide<\/strong> Product Review<\/strong> The Pulse smarten offers a savvier way to take notes.<\/p>\n Last Words<\/strong> <\/p>\n COLUMNS<\/strong><\/p>\n Agent’s Hot Sheet Our Craft<\/strong> The XX Factor Guest Column <\/p>\n NOW PLAYING<\/strong><\/p>\n Milk Doubt<\/strong><\/em> The Wrestler Seven Pounds<\/em><\/strong> Australia<\/strong><\/em> The Day the Earth Stood Still Marley & Me Role Models<\/em><\/strong> Synecdoche, New York<\/strong><\/em> The Soloist<\/em><\/strong> My final feature article was an interview with Eli Roth, who adapted The Curious Case of Benjamin Button.<\/em><\/p>\n","protected":false},"featured_media":875,"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\/860"}],"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=860"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thejasondavis.com\/wp-json\/wp\/v2\/media\/875"}],"wp:attachment":[{"href":"https:\/\/www.thejasondavis.com\/wp-json\/wp\/v2\/media?parent=860"}],"wp:term":[{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/www.thejasondavis.com\/wp-json\/wp\/v2\/product_cat?post=860"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/www.thejasondavis.com\/wp-json\/wp\/v2\/product_tag?post=860"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nFrost\/Nixon<\/em> writer Peter Morgan explores the psychology of ambition while adapting his hit stage play about the notorious\u00a01977 TV interviews between the British chat show host and the disgraced leader of the free world.
\nBY AMY DAWES<\/p>\n
\nThe screenwriter draws a full-blooded epic from F. Scott\u00a0Fitzgerald’s pithy short story and discovers that a life lived backward isn’t radically different.
\nBY JASON DAVIS<\/p>\n
\nHow to get up to speed on the new market for television writers in the once-barren, now-burgeoning basic cable universe.
\nBY SHELLEY GABERT<\/p>\n
\nCo-writer\/director Edward Zwick teams up with childhood friend Clayton Frohman to illuminate a lost piece of World War II history as they chronicle the Bielski brothers’ fiercely violent acts of heroism and, of course, defiance.
\nBY JEFF GOLDSMITH<\/p>\n
\nLongtime literary agent Nancy Nigrosh laments the industry’s revolving-door approach to writing feature films.<\/p>\n
\nHow Ryan Condal dodged a bean counter’s life and wrote his way into his super-hero dreams<\/p>\n
\nChris Thornton drew inspiration from his own challenges to write Sympathy for Delicious<\/em>, a drama about a wheelchair-bound DJ that starts shooting this December.<\/p>\n
\nScience Fair<\/em> won a blue ribbon from Disney for Creative Screenwriting<\/em> fan John Sullivan.<\/p>\n
\nThe in-your face energy of India that Simon Beaufoy discovered during his research for Slumdog Millionaire<\/em> unleashed the melodramatic writer within him.<\/p>\n
\nIn this new column, L.A. entertainment attorney Chad Fitzgerald explains when you’ll need a lawyer and why.<\/p>\n
\nEdmund H. North slowly realized that in order to move forward while writing the original film, he had to wave goodbye to the last remnants of the short story.<\/p>\n
\nSome holiday seasons you get what you need, especially when gift-givers get clued in with this helpful guide to what s out there for writers<\/p>\n
\nStoryist for Mac gets inside writers’ heads.<\/p>\n
\nOpposition stalks openly gay San Francisco supervisor Harvey Milk in Milk<\/em>, by Dustin Lance Black.<\/p>\n
\n<\/strong>End of the World as We Know It<\/strong>
\n<\/em>As Wall Street burns, can\u00a0Hollywood survive?
\nBY JIM CIRILE<\/p>\n
\nIt’s All About Relationships<\/em><\/strong>
\nWhat does your hero want from others, and what do they want from him?
\nBY KARL IGLESIAS<\/p>\n
\n<\/strong>The Vampire Slayer
\n<\/strong><\/em>Melissa Rosenberg flexes her own powers to adapt cult favorite Twilight<\/em> for the screen.
\nBY AMY DAWES<\/p>\n
\n<\/strong>D.I.Y. Diary, Part 2
\n<\/strong><\/em>Ian Gurvitz moves into production during his high-risk half-million-dollar adventure into directing and producing with his screenplay L.A. Blues<\/em>.
\nBY IAN GURVITZ<\/p>\n
\n<\/strong><\/em>Almost 30 ears after Harvey Milk’s murder, screenwriter Dustin Lance Black brings the story of San Francisco’s first gay elected official to the big screen.
\nBY PETER DEBRUGE<\/p>\n
\nJohn Patrick Shanley powers through doubts of his own to write and direct a powerhouse screen version of his Pulitzer-winning play.
\nBY AMY DAWES<\/p>\n
\n<\/em><\/strong>Screenwriter Robert Siegel, former editor-in-chief of The Onion<\/em>, writes the role of a lifetime for Mickey Rourke.
\nBY PETER CLINES<\/p>\n
\nA chance encounter with a former rocket scientist propels sitcom writer Grant Nieporte into the feature film circuit.
\nBY SEAN KENNELLY<\/p>\n
\nCo-writers Stuart Beattie and Richard Flanagan teamed with Baz Luhrmann to dramatize the greatest and darkest moments in Australia’s history.
\nBY PETER CLINES<\/p>\n
\n<\/strong><\/em>David Scarpa’s take on a classic went through many stages.
\nBY PETER CLINES<\/p>\n
\n<\/strong><\/em>Scott Frank steps outside his comfort zone to adapt a popular book that may be more about a marriage than a mutt.
\nBY DANNY MUNSO<\/p>\n
\nFor the first time, Paul Rudd, David Wain and Ken Marino bring their unique brand of comedic writing to a studio movie
\nBY DANNY MUNSO<\/p>\n
\nOscar-winner Charlie Kaufman makes his writing-directing debut by doing what he does best\u2014defying mainstream expectations.
\nBY JEFF GOLDSMITH<\/p>\n
\nSusannah Grant adapts the true-life tale of a gifted but mentally disturbed musician.
\nBY SEAN KENNELLY<\/p>\n","protected":false},"excerpt":{"rendered":"