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26
Jun

Finding your voice vs. finding what your work is trying to say

Some of the responses I’ve received to my piece “Finding Your Authentic Voice” have exhibited a touch of anguish because several people clearly feel they should have a voice but didn’t know what it was or how to find it, or they feel have a voice but no one will listen to it.

As one person pointed out, the word “vocation” comes from the same root as “voice,” and it refers to something that has the status of the sacred – a higher calling. Read more »

25
Jun

Finding Aaron Sorkin’s (and your own) Voice

My recent post, “Finding Your Authentic Voice” received more responses than anything I’ve written in months. Now, there’s a great montage of clips from Aaron Sorkin’s many major films and tv series that deals very much with the question, “What is one’s “voice”? (See: http://bit.ly/LMryRF )

The montage focuses amusingly on how many lines, expressions, questions, etc. Sorkin uses over and over his different works. Read more »

18
Jun

The GOYA Principle

Speaking to a recent UCLA graduate this past week led me to realize the importance of the GOYA Principle, not just for filmmakers, but for everyone who aspires to accomplish something in life.                 Read more »

5
Jun

On the set of HITCHCOCK

Took my UCLA class to watch Sacha Gervasi, a former UCLA screenwriting student, direct Anthony Hopkins and Helen Mirren in the final scenes of his film, HITCHCOCK, which will probably be out before the end of the year. Great to see him develop the subtle nuances of the story as the takes progressed through the evening. It’s going to be an interesting film.

A few days later, I did an interview about Sacha, the Hitchcock film and his next one on Hervé Villechaiz. (Link to that article at the bottom)

I repeatedly make the point in Letters to Young Filmmakers  and in my classes that, on average, it takes about nine years to get a studio film made – even for major directors and producers.

When I first got to know Sacha while he was a student, Read more »

3
Jun

The Three Act Structure: a Creative Straightjacket

There are those who claim that a film must have a three-act structure, and they often claim that Aristotle gave this “rule” to us. In fact, there were no acts as we define the term today in Greek drama, and Aristotle did not talk about acts at all because the plays he analyzed were all presented in a single continuous performance. Read more »