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	<title>Filmmaker Magazine &#187; Screenwriting</title>
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	<link>http://filmmakermagazine.com</link>
	<description>The Official Blog of Filmmaker Magazine</description>
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		<title>Sundance Institute Selects 2013 Directors and Screenwriters Lab Projects</title>
		<link>http://filmmakermagazine.com/70382-sundance-institute-selects-2013-directors-and-screenwriters-lab-projects/</link>
		<comments>http://filmmakermagazine.com/70382-sundance-institute-selects-2013-directors-and-screenwriters-lab-projects/#comments</comments>
		<pubDate>Thu, 09 May 2013 21:11:44 +0000</pubDate>
		<dc:creator>Billy Brennan</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Bart Layton]]></category>
		<category><![CDATA[directors lab]]></category>
		<category><![CDATA[Eric Mendelsohn]]></category>
		<category><![CDATA[K'naan]]></category>
		<category><![CDATA[Meredith Danluck]]></category>
		<category><![CDATA[Ray Tintori]]></category>
		<category><![CDATA[screenwriters lab]]></category>
		<category><![CDATA[Sundance Institute]]></category>
		<category><![CDATA[Vendela Vida]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70382</guid>
		<description><![CDATA[Sundance Institute announced the 13 projects selected for its annual June Directors and Screenwriters Labs, taking place at the Sundance Resort in Utah from May 27 through June 27. Under the leadership of Michelle Satter, Founding Director of the Institute’s Feature Film Program, and the artistic direction of Gyula Gazdag, the Fellows selected for this year&#8217;s program include emerging filmmakers and projects from the United States, Europe, Mexico, Peru and Somalia. Projects supported through the Directors and Screenwriters Labs receive continued, customized, year-round support from the Feature Film Program, which can include the following resources: ongoing creative and strategic advice, &#8230;]]></description>
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		<title>The Independent Screenwriter: Larry Gross</title>
		<link>http://filmmakermagazine.com/60240-the-independent-screenwriter-larry-gross/</link>
		<comments>http://filmmakermagazine.com/60240-the-independent-screenwriter-larry-gross/#comments</comments>
		<pubDate>Wed, 08 May 2013 13:00:53 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Screenwriters]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[john curran]]></category>
		<category><![CDATA[Larry Gross]]></category>
		<category><![CDATA[Terrence Malick]]></category>
		<category><![CDATA[Walter Hill]]></category>
		<category><![CDATA[wayne wang]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=60240</guid>
		<description><![CDATA[&#8220;The independent screenwriter&#8221; — is the term a tautology or oxymoron? While the word &#8220;independent&#8221; is often applied to directors and sometimes producers, it&#8217;s rarely seen appended to the job title of screenwriter. Is that because so many independent directors write their own scripts? Because screenwriters-for-hire are inevitably drawn to the world of Hollywood? Or, perhaps, because the term means little when applied to the craft of screenwriting? After all, while a director is reliant on others to provide financing and labor, a writer can always sit down with pen, paper or word processor. In this new, occasional column, we &#8230;]]></description>
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		<slash:comments>7</slash:comments>
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		<title>Exclusive Script Extracts and Storyboards from Carlos Reygadas&#8217; Post Tenebras Lux</title>
		<link>http://filmmakermagazine.com/66982-exclusive-script-extracts-and-storyboards-from-carlos-reygadas-post-tenebras-lux/</link>
		<comments>http://filmmakermagazine.com/66982-exclusive-script-extracts-and-storyboards-from-carlos-reygadas-post-tenebras-lux/#comments</comments>
		<pubDate>Wed, 01 May 2013 14:30:05 +0000</pubDate>
		<dc:creator>Filmmaker Staff</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Carlos Reygadas]]></category>
		<category><![CDATA[Post Tenebras Lux]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66982</guid>
		<description><![CDATA[Courtesy of writer/director Carlos Reygadas, below are the script and storyboards from two sequences from Post Tenebras Lux, which opens at Film Forum today. The first sequence is the sauna scene, in which the film&#8217;s two central characters, played by Adolfo Jiménez Castro and Nathalia Acevedo, visit a swingers sauna in France, and the second is the closing sequence of the film. &#160; 10. Cave. Camera hand held and on tripod. To be determined whether real steam or fake smoke. Juan, Esther and extras. (French). 1. Series of fixed shots of naked people in a steam bath with red light. &#8230;]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Second Annual NYU Purple List Announced</title>
		<link>http://filmmakermagazine.com/66946-second-annual-nyu-purple-list-announced/</link>
		<comments>http://filmmakermagazine.com/66946-second-annual-nyu-purple-list-announced/#comments</comments>
		<pubDate>Thu, 14 Mar 2013 13:00:01 +0000</pubDate>
		<dc:creator>Nick Dawson</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Desiree Akhavan]]></category>
		<category><![CDATA[James Franco]]></category>
		<category><![CDATA[NYU Film School]]></category>
		<category><![CDATA[Purple List]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66946</guid>
		<description><![CDATA[Last year, in order to spotlight the talents emerging from NYU&#8217;s graduate film program, students Ash Bhalla and Shandor Garrison created the Purple List, the university&#8217;s answer to the Blacklist. The notable success of the 2012 Purple List was Shaka King&#8217;s stoner comedy Newlyweeds, which premiered this January at Sundance and was picked up for distribution by Phase 4 Films. The 2013 list was announced this morning, and was chosen by a panel of judges including Sundance Labs’ Rachel Chanoff, IFP’s Amy Dotson, actor Peter Dinklage, filmmaker Karyn Kusama and cinematographer Andrij Parekh. The scripts honored by the 2013 Purple &#8230;]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Second-Time Director: Jane Weinstock and The Moment</title>
		<link>http://filmmakermagazine.com/65660-second-time-director-jane-weinstock-and-the-moment/</link>
		<comments>http://filmmakermagazine.com/65660-second-time-director-jane-weinstock-and-the-moment/#comments</comments>
		<pubDate>Tue, 26 Feb 2013 14:00:38 +0000</pubDate>
		<dc:creator>Kishori Rajan</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Jane Weinstock]]></category>
		<category><![CDATA[jennifer jason leigh]]></category>
		<category><![CDATA[Mary Jane Skalski]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65660</guid>
		<description><![CDATA[“Complexity” is a word that Jane Weinstock likes to use when describing her ideal movie, and it’s certainly an attribute that could be applied to her own work. “I crave it as an audience member. I think people are contradictory, and I like that kind of psychological realism,” she says. The same word is an apt description for her own pathway into the director’s chair, especially for her most recent film, The Moment. It was a fulfilling journey for the filmmaker, but one she also calls “a really long struggle.” Weinstock has had a varied career, having gotten her start &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Five Questions with Celeste &amp; Jesse Forever Writer/Actress Rashida Jones</title>
		<link>http://filmmakermagazine.com/64513-five-questions-with-celeste-jesse-forever-writeractress-rashida-jones/</link>
		<comments>http://filmmakermagazine.com/64513-five-questions-with-celeste-jesse-forever-writeractress-rashida-jones/#comments</comments>
		<pubDate>Fri, 01 Feb 2013 16:01:48 +0000</pubDate>
		<dc:creator>Adam Cook</dc:creator>
				<category><![CDATA[Actors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Screenwriters]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[celeste and jesse forever]]></category>
		<category><![CDATA[Parks and Recreation]]></category>
		<category><![CDATA[Rashida Jones]]></category>
		<category><![CDATA[Will McCormack]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=64513</guid>
		<description><![CDATA[You’re most likely to know Rashida Jones as part of the great cast of the award-winning TV series Parks and Recreation (though she says she’s often recognized for her small role in Freaks &#38; Geeks), but Jones is more than just a talented performer. She’s a dynamic and versatile artist alternating between acting and writing (not just for the screen either!), and in the case of last year’s Celeste &#38; Jesse Forever, both. Her first screenwriting credit has acquired a lot of notice, and we were able to pick her brain a little in the midst of her success, which &#8230;]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Daniel Schechter, Supporting Characters</title>
		<link>http://filmmakermagazine.com/63848-daniel-schechter-supporting-characters/</link>
		<comments>http://filmmakermagazine.com/63848-daniel-schechter-supporting-characters/#comments</comments>
		<pubDate>Wed, 23 Jan 2013 19:37:08 +0000</pubDate>
		<dc:creator>Brandon Harris</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Financing]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Alex Karpovsky]]></category>
		<category><![CDATA[Daniel Schechter]]></category>
		<category><![CDATA[Jackie Brown]]></category>
		<category><![CDATA[Supporting Characters]]></category>
		<category><![CDATA[Tribeca Film Festival]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=63848</guid>
		<description><![CDATA[A genuine meditation on male friendship, the absurdities of indie moviedom and many different kinds of loyalty, Daniel Schechter’s Supporting Characters, a surprise hit at last year&#8217;s Tribeca Film Festival, sneaks up on you, its seeming limitations becoming its strengths over the course of its easy-going 87 minutes. Despite being shot in a fashion that recalls a comedy you might find on FX, Supporting Characters maintains an old-fashioned, craftsman-like quality about it; it’s written with feeling and humor that rings with truth, offering us characters whose lives are as complicated and full of ambiguity as our own. Alex Karpovsky and newcomer Tarik Lowe have &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Five Questions with Let My People Go! Director Mikael Buch</title>
		<link>http://filmmakermagazine.com/62427-five-questions-with-let-my-people-go-director-mikael-buch/</link>
		<comments>http://filmmakermagazine.com/62427-five-questions-with-let-my-people-go-director-mikael-buch/#comments</comments>
		<pubDate>Fri, 11 Jan 2013 16:34:15 +0000</pubDate>
		<dc:creator>Jim Allen</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Director Interviews]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Screenwriters]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Carmen Maura]]></category>
		<category><![CDATA[christophe honore]]></category>
		<category><![CDATA[dans paris]]></category>
		<category><![CDATA[Let My People Go!]]></category>
		<category><![CDATA[Mikael Buch]]></category>
		<category><![CDATA[Nicolas Maury]]></category>
		<category><![CDATA[Pedro Almodovar]]></category>
		<category><![CDATA[Women on the Verge of a Nervous Breakdown]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=62427</guid>
		<description><![CDATA[&#8220;On a set I feel like the strongest person in the world,&#8221; says Mikael Buch, quickly adding, &#8220;In real life, things are far more complicated!&#8221; Buch&#8217;s new film, Let My People Go!, is his first full-length feature. But in directing and co-writing this frisky combination of sexual farce, romantic comedy, and family drama revolving around a young, gay, Jewish Frenchman named Ruben (Nicolas Maury) and his international misadventures, Buch had some stalwart support, including co-writer Christophe Honoré and actor Carmen Maura (of Women on the Verge of a Nervous Breakdown fame). &#8220;All these people gave me the confidence I needed,&#8221; says &#8230;]]></description>
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		<title>Going on a Date with the Audience</title>
		<link>http://filmmakermagazine.com/61351-going-on-a-date-with-the-audience/</link>
		<comments>http://filmmakermagazine.com/61351-going-on-a-date-with-the-audience/#comments</comments>
		<pubDate>Thu, 27 Dec 2012 17:31:21 +0000</pubDate>
		<dc:creator>Zachary Wigon</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=61351</guid>
		<description><![CDATA[Something that constantly wins me over is when a movie doesn’t try too hard to thrust its narrative and/or message in my face. We all have seen films that announce, “Here is what the film means! Here is what matters to our protagonist!” in bold-faced, 48-point-type that gauchely screeches across the screen. An example we can all relate to is Paul Haggis’ Crash, which informs us, just in case we didn’t know, that a) RACISM IS BAD; b) some people who seem to be racists aren’t totally terrible; and c) some people who don’t seem to be racist may actually &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Five Questions with The Bad Intentions Director Rosario Garcia-Montero</title>
		<link>http://filmmakermagazine.com/60860-five-questions-with-the-bad-intentions-director-rosario-garcia-monteros/</link>
		<comments>http://filmmakermagazine.com/60860-five-questions-with-the-bad-intentions-director-rosario-garcia-monteros/#comments</comments>
		<pubDate>Mon, 17 Dec 2012 21:24:37 +0000</pubDate>
		<dc:creator>Esther Yi</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Academy Awards]]></category>
		<category><![CDATA[actors]]></category>
		<category><![CDATA[Rosario Garcia-Monteros]]></category>
		<category><![CDATA[The Bad Intentions]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=60860</guid>
		<description><![CDATA[Cayetana de los Heros, the eight-year-old protagonist of The Bad Intentions, is precociously preoccupied with death. She idolizes her nation’s independence heroes, imagining the many exotic ways in which they have been executed for their valor. “Massacre, massacre,” she whispers into the ears of her sleeping cousin. Beautifully shot in steely gray and blue hues that look cold to the touch, The Bad Intentions moves away from the conventional pastel-hued whimsy often used to depict childhood. Death — the fear and the fact of it — quietly pervades the entire film. Cayetana’s divorced parents mean well but have too many &#8230;]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Sundance Institute Announces Selections for the Feature Film Program 2013 Screenwriters Lab</title>
		<link>http://filmmakermagazine.com/60859-sundance-institute-announces-selections-for-the-feature-film-program-2013-screenwriters-lab/</link>
		<comments>http://filmmakermagazine.com/60859-sundance-institute-announces-selections-for-the-feature-film-program-2013-screenwriters-lab/#comments</comments>
		<pubDate>Mon, 17 Dec 2012 21:14:07 +0000</pubDate>
		<dc:creator>Filmmaker Staff</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Sundance]]></category>
		<category><![CDATA[Sundance Feature Film Program]]></category>
		<category><![CDATA[Sundance Institute]]></category>
		<category><![CDATA[sundance institute screenwriters lab]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=60859</guid>
		<description><![CDATA[Sundance Institute has selected 12 projects for its 2013 January Screenwriters Lab, an immersive, five-day (January 11-16) writers’ workshop at the Sundance Resort in Utah. Participating independent screenwriters will have the opportunity to work intensely on their feature film scripts with the support of established writers including Marcos Bernstein, D.V. DeVincentis, Michael Goldenberg and Erin Cressida Wilson. The 2013 Lab is dedicated to the memory of Frank Pierson (1925-2012), a founding creative advisor of the Feature Film Program. Keri Putnam, Executive Director of Sundance Institute, said, “Across all Sundance Institute Labs, which include offerings for various forms of artistic expression, &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>The Truth in Ambiguity</title>
		<link>http://filmmakermagazine.com/60227-the-truth-in-ambiguity/</link>
		<comments>http://filmmakermagazine.com/60227-the-truth-in-ambiguity/#comments</comments>
		<pubDate>Wed, 05 Dec 2012 15:00:05 +0000</pubDate>
		<dc:creator>Zachary Wigon</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Martha Marcy May Marlene]]></category>
		<category><![CDATA[Oslo August 31]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=60227</guid>
		<description><![CDATA[Editor&#8217;s Note: This essay on ambiguous film endings contains spoilers for the film Oslo, August 31. Joachim Trier’s latest feature, the formally inventive and genuinely moving Oslo, August 31, really had me in its grip by the end. The film, which is about one day in the life of a recovering heroin addict, finishes with the protagonist returning to his childhood home, which is empty. Earlier in the film, we’ve seen him buy a whole bunch of heroin, and a relapse – or worse – may be imminent. In the opening of the film, the addict, Anders, attempts to kill &#8230;]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Turning a Book into a Movie: An Author&#8217;s Perspective</title>
		<link>http://filmmakermagazine.com/58787-turning-a-book-into-a-movie-an-authors-perspective/</link>
		<comments>http://filmmakermagazine.com/58787-turning-a-book-into-a-movie-an-authors-perspective/#comments</comments>
		<pubDate>Fri, 23 Nov 2012 18:04:47 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[screenwriting]]></category>
		<category><![CDATA[script]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=58787</guid>
		<description><![CDATA[At a recent panel at the Boston Book Festival, five authors debated the pros and cons of having your book adapted to the big screen. Moderated by Boston Globe film critic Wesley Morris, the event featured Nick Flynn (Another Bullshit Night in Suck City/Being Flynn), Daniel Handler (A Series of Unfortunate Events), Buzz Bissinger (Friday Night Lights), Rachel Cohn (Nick &#38; Norah&#8217;s Infinite Playlist), and Andre Dubus III (The House of Sand and Fog). The conversation ranged over a variety of topics and it was clear that there was a wide range of experiences, from the ‘Pollyanna’ experience of Rachel &#8230;]]></description>
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		<slash:comments>1</slash:comments>
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		<title>When Should You Give Up, a Postscript</title>
		<link>http://filmmakermagazine.com/53041-when-should-you-give-up-a-postscript/</link>
		<comments>http://filmmakermagazine.com/53041-when-should-you-give-up-a-postscript/#comments</comments>
		<pubDate>Fri, 05 Oct 2012 14:35:58 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[development]]></category>
		<category><![CDATA[Edan Lepucki]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=53041</guid>
		<description><![CDATA[Remember &#8220;When Should You Give Up?&#8221; It was one of our most commented upon posts here at Filmmaker, an extended conversation about the practicalities as well as psychological ramifications of quitting. Quitting a specific project, that is, not filmmaking in general. The post was inspired by a post by author Edan Lepucki over at the Millions titled &#8220;Shutting the Drawer: What Happens When a Book Doesn&#8217;t Sell?&#8221; Lepucki wrote about how, when the novel she had been working on for so long didn&#8217;t sell, she simply packed it in and started working on another. No flogging it for years, exploring &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>From the Filing Cabinet Drawer to the Silver Screen</title>
		<link>http://filmmakermagazine.com/51157-from-the-filing-cabinet-drawer-to-the-silver-screen/</link>
		<comments>http://filmmakermagazine.com/51157-from-the-filing-cabinet-drawer-to-the-silver-screen/#comments</comments>
		<pubDate>Mon, 17 Sep 2012 17:31:02 +0000</pubDate>
		<dc:creator>Jeff Kaplan and Ian Springer</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Anna Chlumsky]]></category>
		<category><![CDATA[Bert and Arnie’s Guide to Friendship]]></category>
		<category><![CDATA[Ian Springer]]></category>
		<category><![CDATA[Jeff Kaplan]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=51157</guid>
		<description><![CDATA[“You’re young, you haven’t done anything, and no one wants to work with you,” our first agent said to us after we graduated film school. He was absolutely right. We were trying to write what we thought were mainstream Hollywood comedies but to our shock, it was hard to get the second screenplay we’d ever written to the biggest comedy stars on the planet. That’s when we decided to write something smaller for two local New York comedians who we thought were hilarious and, more importantly, we thought we could get. Six months later, we had a screenplay about two &#8230;]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Don Winslow on Savages</title>
		<link>http://filmmakermagazine.com/47837-don-winslow-on-savages/</link>
		<comments>http://filmmakermagazine.com/47837-don-winslow-on-savages/#comments</comments>
		<pubDate>Thu, 05 Jul 2012 16:43:46 +0000</pubDate>
		<dc:creator>Billy Brennan</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Screenwriters]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Aaron Johnson]]></category>
		<category><![CDATA[Blake Lively]]></category>
		<category><![CDATA[Don Winslow]]></category>
		<category><![CDATA[Oliver Stone]]></category>
		<category><![CDATA[Savages]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=47837</guid>
		<description><![CDATA[“Fuck you.”  With those opening words of Savages, author Don Winslow delivered a kick to the teeth of the literary world. The jarring and unorthodox novel — about a trio of beach bum lovers-turned-drug kingpins and with a writing style that ranges from poetry to screenplay — became a New York Times Bestseller and a shot in the arm to Winslow&#8217;s already successful career. The author had penned more than ten novels prior to Savages, including the Neal Carey series, while moonlighting as a private investigator during grad school and the meticulous DEA/drug cartel fueled intrigue of The Power of the Dog, &#8230;]]></description>
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		<slash:comments>4</slash:comments>
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		<title> Prometheus  Screenwriter Jon Spaihts</title>
		<link>http://filmmakermagazine.com/46440-prometheus-screenwriter-jon-spaihts/</link>
		<comments>http://filmmakermagazine.com/46440-prometheus-screenwriter-jon-spaihts/#comments</comments>
		<pubDate>Mon, 04 Jun 2012 13:00:51 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Screenwriters]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Alien]]></category>
		<category><![CDATA[interview]]></category>
		<category><![CDATA[Jon Spaihts]]></category>
		<category><![CDATA[Prometheus]]></category>
		<category><![CDATA[Ridley Scott]]></category>
		<category><![CDATA[science fiction]]></category>
		<category><![CDATA[screenwriting]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=46440</guid>
		<description><![CDATA[Telling the origin story of the creature that terrified us in Alien over three decades ago, Ridley Scott&#8217;s Prometheus is one of this summer&#8217;s most hotly anticipated films. But somewhat surprisingly, the origins of the screenplay came as much from a screenwriter&#8217;s general meeting as the story material developed for that original movie. At a meeting in the offices of Scott&#8217;s production company, Scott Free, screenwriter Jon Spaihts was asked to riff on the possibilities of a film that would revisit the Alien universe. What resulted is Prometheus, with a script credited to Spaihts and Damon Lindelof. Below I ask &#8230;]]></description>
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		<slash:comments>7</slash:comments>
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		<title>Joachim Trier Offers Advice from Oslo, August 31st</title>
		<link>http://filmmakermagazine.com/46171-joachim-trier-offers-advice-from-oslo-august-31/</link>
		<comments>http://filmmakermagazine.com/46171-joachim-trier-offers-advice-from-oslo-august-31/#comments</comments>
		<pubDate>Sat, 26 May 2012 22:10:55 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaker Videos]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Joachim Trier]]></category>
		<category><![CDATA[Oslo August 31]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=46171</guid>
		<description><![CDATA[If you&#8217;ve come anywhere near the blog or print magazine recently, you&#8217;ll know that Filmmaker — myself, and much of our staff — are in love with Joachim Trier&#8217;s feature, Oslo, August 31st, which opened this weekend from Strand Releasing. I sat down with Trier last month for a short chat, posted below. We talk about the movie&#8217;s inspirations, the Louis Malle film based on the same book, adaptation, and then Trier gives some very solid and inspiring advice to young directors. Also, read my interview with Trier from the Winter, 2012 issue.]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Amazon Studios Revises Terms for Writers</title>
		<link>http://filmmakermagazine.com/44170-amazon-studios-revises-terms-for-writers/</link>
		<comments>http://filmmakermagazine.com/44170-amazon-studios-revises-terms-for-writers/#comments</comments>
		<pubDate>Sat, 14 Apr 2012 15:38:01 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Amazon Studios]]></category>
		<category><![CDATA[Auditorz of Amazon]]></category>
		<category><![CDATA[Craig Mazin]]></category>
		<category><![CDATA[crowdsourcing]]></category>
		<category><![CDATA[development]]></category>
		<category><![CDATA[john august]]></category>
		<category><![CDATA[Roy Price]]></category>
		<category><![CDATA[screenplay]]></category>
		<category><![CDATA[screenwriting]]></category>
		<category><![CDATA[The Bitter Script Reader]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=44170</guid>
		<description><![CDATA[About 18 months ago I blogged about the new Amazon Studios venture, in which screenwriters submit their projects to the internet commerce giant for crowdsourced development and possible production. There was a lot of initial interest in Amazon Studios when it was announced, but I, like many other observers, found the terms shockingly poor for writers. I asked, why would you give &#8220;a company with a $74 billion market cap an 18-month free option on your original project?&#8221; Especially when, according to Amazon Studio&#8217;s original terms, there were scenarios in which that original work could have been exploited with you &#8230;]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Columbia U. Launches Screenplay Revision Workshop</title>
		<link>http://filmmakermagazine.com/42884-columbia-u-launches-screenplay-revision-workshop/</link>
		<comments>http://filmmakermagazine.com/42884-columbia-u-launches-screenplay-revision-workshop/#comments</comments>
		<pubDate>Sat, 17 Mar 2012 19:04:00 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Columbia University]]></category>
		<category><![CDATA[Ira Deutchman]]></category>
		<category><![CDATA[Jessie Keyt]]></category>
		<category><![CDATA[screenwriting]]></category>

		<guid isPermaLink="false">http://www.filmmakermagazine.com/news/?p=42884</guid>
		<description><![CDATA[Becoming a good writer is not just about writing well — it&#8217;s about rewriting well. I know plenty of promising writers who positively fail at that essential skill. They are unable to move beyond their first drafts, to process feedback, and to shape their own raw material into production-worthy scripts. This summer a resource for the self-aware among this set is being offered by Columbia University. Columbia&#8217;s Film School chair Ira Deutchman recently announced the Screenplay Revision Workshop, which is open to all. From Ira&#8217;s blog at Tribeca: In all my years in the film business and my travels around &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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