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cover of episode IFH 773: How to Master Screenwriting in Hollywood with Mick Hurbis-Cherrier

IFH 773: How to Master Screenwriting in Hollywood with Mick Hurbis-Cherrier

2024/10/22
logo of podcast Indie Film Hustle® - A Filmmaking Podcast

Indie Film Hustle® - A Filmmaking Podcast

AI Deep Dive AI Insights AI Chapters Transcript
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A
Alex Ferrari
M
Mick Hurbis-Cherrier
Topics
Alex Ferrari:当前好莱坞电影创作环境面临诸多挑战,优秀剧本难以获得机会,卖剧本比以往更加困难。团队合作至关重要,因为这能使制作公司更有安全感,降低风险。 Mick Hurbis-Cherrier:好莱坞的运作模式是基于恐惧,制作公司的工作是说不,因为他们害怕项目失败而丢掉工作。即使对方看起来很积极,也不一定意味着项目成功,好莱坞人士拒绝项目的方式很艺术化,让你难以察觉。独立电影的商业模式不如90年代那样稳健,因为当时的录像带和DVD市场提供了盈利途径,而现在竞争激烈。除非你是知名编剧,否则很难获得剧情片创作委托,但在电视领域,原创想法仍然有市场。年轻的电影制作人或编剧应该全球化思考,因为国际合作制作提供了更多机会。好莱坞并非唯一成功之地,全球电影市场比以往更加广阔。 Mick Hurbis-Cherrier:年轻编剧最大的错误是缺乏耐心,急于创作伟大的作品,而忽略了打磨技艺的重要性。许多电影制作人和编剧进入这个行业的原因是错误的,他们追求名利和自我满足,而不是对电影的热爱。年轻编剧在剧本中过度使用场景描写,导致叙事平淡乏味。剧本既是制作蓝图,也需要提供电影般的阅读体验,并体现电影的基调和类型。编剧需要阅读大量作品,才能提升语言表达能力和视觉化表达能力。年轻编剧往往试图控制剧本的方方面面,这忽略了电影创作的合作性。年轻编剧的剧本不能有错误,因为这会影响读者对他们能力的信任。年轻编剧不应该与已成名的编剧进行比较,而应该找到自己的声音和创作道路。

Deep Dive

Key Insights

Why is it harder for independent filmmakers to make money with their films now compared to the past?

The old distribution model is broken due to predatory film distributors and huckster film aggregators. Additionally, the rise of streaming platforms and increased competition have made it more challenging to get films picked up and distributed.

What is the role of a team in selling a screenplay in Hollywood?

A strong team with a track record can make producers feel more comfortable and safe, increasing the chances of a screenplay being greenlit. Producers are often more willing to invest in projects when they trust the team behind it.

Why is there a difference in the approach to selling original ideas in television versus features?

In television, original ideas are highly sought after because streaming platforms need fresh content to survive. Features, especially at the studio level, are often based on existing IP due to the risk-averse nature of the industry.

Why should young screenwriters not compare themselves to established screenwriters?

Established screenwriters have a track record, which allows them more creative freedom. Young writers need to build their credibility and find their unique voice rather than trying to emulate the success of others, as each path is unique and dependent on timing and context.

What is one of the biggest mistakes young screenwriters make when writing dialogue?

Young screenwriters often try to tell the story through dialogue because they don't trust that actions and visuals can convey the necessary information. This results in redundant dialogue that kills the movie's momentum and fails to reveal character depth.

Why is it important for screenwriters to understand the collaborative nature of filmmaking?

Film is a collaborative art form, and screenwriters should focus on telling their story effectively without trying to control every detail. Trusting other artists, such as directors and cinematographers, to bring their vision to life is crucial for success.

How can screenwriters handle exposition effectively in their scripts?

Exposition should be used sparingly and integrated into scenes of action, tension, or comedy. Writers should ask themselves if the exposition is necessary and whether it can be peppered throughout the script or conveyed through gestures and looks.

What advice would you give to a screenwriter wanting to break into the business today?

Write a lot, find ways to get your work made even in small formats, be flexible with the form, and keep knocking on doors. Form a peer group in film school or through collaborations to build professional relationships. Maintain tenacity and passion for your work.

Chapters
Many young screenwriters make the mistake of lacking patience in developing their craft and harboring unrealistic expectations of immediate success. They often fall prey to ego and may try to emulate established screenwriters instead of finding their unique voice. Another common issue is overuse of descriptive language, turning the screenplay into a novel rather than a visual script.
  • Lack of patience in developing craft
  • Unrealistic expectations of immediate success
  • Emulating established screenwriters instead of finding unique voice
  • Overuse of descriptive language

Shownotes Transcript

Today on the show we have author, filmmaker and screenwriter Mick Hurbis-Cherrier.Mick  is an independent filmmaker and screenwriter. His works have been broadcast and shown around the country and have garnered prizes at many festivals including the Black Maria Film & Video Festival, Ann Arbor Film Festival, Athens Film & Video Festival and the Cin(e) Poems National Film Festival.His work has also been featured at the Robert Flaherty Seminar, the American Film Institute’s National Video Showcase and at the Museum of Modern Art in New York City. His screenplays have also won prizes including the Arthur Miller Award for dramatic writing, the Lawrence Kasdan award for screenwriting and he was twice an award winner in the University Film & Video Association national screenwriting competition.Among his film projects are: River of Things, an alternative film in four parts based on four poems by Pablo Neruda and Fear Fall, a short narrative satire about paranoia and the squeezing of the American middle class, which he wrote, directed and produced.His recent commissioned feature screenwriting projects include Give Me Five, which he co-wrote (with Ron Bass) for La Petite Reine Productions,* Mesopotamia 2020* for Picturesque films and Empire of Dirt for director Steve Ramser. He also penned Better That Way, the official English language stage adaptation of the film* Une Liaison Pornographique* (U.S. release title An Affair of Love).He is currently completing a gangster genre screenplay set in New Orleans entitled Force of Nature, also for Picturesque films.In 2011 Hurbis-Cherrier published the 2nd edition of his comprehensive narrative film production textbook Voice & Vision: A Creative Approach to Narrative Filmmaking). with Focal Press (originally published in 2007). In 2013 he published Directing: Film Techniques and Aesthetics 5th ed. (Focal Press) co-authored with Michael Rabiger.Both of these books are among the core film production textbooks in film programs throughout this country and internationally. Hurbis-Cherrier is currently working on the book, Practical Film Analysis and Inspired Filmmaking for the British Film Institute (BFI Publishing, Palgrave/MacMillan) which is scheduled for publication in early 2015.Enjoy my conversation with Mick Hurbis-Cherrier.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support).