Tag: film

03 Managed Chaos from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

With the full recording of “How The Chaos Of Collaboration in the Writers Room Created Golden Age Television”

03 Manage Chaos from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

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When the folks hosting the conference announced their theme as “Screen Narratives: Chaos and Order” the word ‘chaos’ immediately brought to mind writers rooms. I offered a quick history of writers rooms (the presentations are only 20 minutes long) and then quoted several current showrunners on how they compose their rooms and how they run them.

Transcript

So that’s kind of my philosophy. I really don’t like the auteur theory and neither do a lot of other writers. This particular quote comes to us from the gentleman who gave us, in America, Breaking Bad, Vince Gilligan. So I want to talk about writer’s rooms and his is considered one of the most organized so perhaps the less chaotic but still what happens in the room has its own form of chaos. So I think it’s really interesting that he is willing to defend the idea that writers are more important than directors. He’s certainly got an Emmy to prove he’s an important writer but I appreciate very much what he had to say. The room is about making people as comfortable as possible and this can be a difficult task but it’s the task of the executive producer or the showrunner to make sure that the people in the room are open to sharing as many of their interesting ideas as possible right? So chaos but managed chaos. You have to allow for much conversation but you’re the one managing what’s being said so you don’t run off on a tangent and of course Vince was brilliant at that.

For more information on the Screenwriting Research Network, visit

Screenwriting Research Network Conference, Porto, Portugal, All Sessions

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Related posts:

  1. 01 Introduction from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]
  2. 02 Words Matter. Writers Matter. Women Writers Matter from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]
  3. How The Chaos Of Collaboration in the Writers Room Created Golden Age Television, Dr. Rosanne Welch [Video] (22 Minutes)
  4. Presenting my talk “How the chaos of collaboration in the writer’s room created the golden age of television” at the Screenwriting Research Conference in Porto, Portugal
  5. 06 Inside The Writers Room from There And Back Again: Writing and Developing for American TV [Video] (43 seconds)

A Woman Wrote That – 18 in a series – The Nightmare Before Christmas (1993), Writer: Caroline Thompson

This new “A Woman Wrote That” post is an echo of the Writers Guild campaign of a few years ago (“A Writer Wrote That”) where they noted famous movie quotes and credited the screenwriter rather than the director.  The difference here being that we will be posting lines from films written by female screenwriters.  Feel free to share! — Rosanne

A Woman Wrote That - 18 in a series - The Nightmare Before Christmas (1993), Writer: Caroline Thompson

MAYOR

Jack, please, I’m only an elected official here. I can’t make decisions by myself.

Related posts:

  1. A Woman Wrote That – 11 in a series – Sleepless in Seattle (1993)
  2. A Woman Wrote That – 5 in a series – Sense and Sensibility by Emma Thompson (1995)
  3. A Woman Wrote That – 17 in a series – Father of the Bride (1991), Writer: Nancy Meyers
  4. A Woman Wrote That – 16 in a series – Gilmore Girls, Wr: Amy Sherman-Palladino
  5. A Woman Wrote That – 10 in a series – When Harry Met Sally (1989) by Nora Ephron

Where’s Her Movie? Abolitionist, Sojourner Truth – 11 in a series

“Where’s HER Movie” posts will highlight interesting and accomplished women from a variety of professional backgrounds who deserve to have movies written about them as much as all the male scientists, authors, performers, and geniuses have had written about them across the over 100 years of film.  This is our attempt to help write these women back into mainstream history.  — Rosanne

Where's Her Movie? Abolitionist, Sojourner Truth - 11 in a series

Sojourner Truth (/soʊˈdʒɜːrnər truːθ/; born Isabella “Belle” Baumfree; c. 1797 – November 26, 1883) was an American abolitionist and women’s rights activist. Truth was born into slavery in Swartekill, New York, but escaped with her infant daughter to freedom in 1826. After going to court to recover her son in 1828, she became the first black woman to win such a case against a white man.

She gave herself the name Sojourner Truth in 1843 after she became convinced that God had called her to leave the city and go into the countryside “testifying the hope that was in her”.[1] Her best-known speech was delivered extemporaneously, in 1851, at the Ohio Women’s Rights Convention in Akron, Ohio. The speech became widely known during the Civil War by the title “Ain’t I a Woman?“, a variation of the original speech re-written by someone else using a stereotypical Southern dialect, whereas Sojourner Truth was from New York and grew up speaking Dutch as her first language. During the Civil War, Truth helped recruit black troops for the Union Army; after the war, she tried unsuccessfully to secure land grants from the federal government for formerly enslaved people (summarized as the promise of “forty acres and a mule” — Wikipedia

Related posts:

  1. Where’s Her Movie? Civil Rights Activist, Rose Matsui Ochi – 6 in a series
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  3. Where’s Her Movie? Computer Scientist, Margaret Hamilton – 9 in a series
  4. Where’s Her Movie? Painter, Artemisia Gentileschi – 3 in a series
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From The Journal Of Screenwriting V4 Issue 2: Writing With Light: The screenplay and photography by Kathryn Millard

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne

Writing With Light: The screenplay and photography by Kathryn Millard

This article considers alternative processes for recording the screen idea, specifically, processes that draw on photography and images in the writing process. It discusses screen works inspired by the photographs of Samuel Bollendorff (Journey to the End of Coal, 2009), Arthur Felig Weegee (The Naked City, 2002) and August Sanders (Do Right and Fear No-one, 1975), and proposes that ‘writing with light’ is an appropriate metaphor for screenplays that are inherently unstable and always in transition.

From The Journal Of Screenwriting V4 Issue 2: Writing With Light: The screenplay and photography by Kathryn Millard

Journal of Screenwriting Cover

The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice. 

Get your copy and subscription to the Journal of Screenwriting Today!


* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

Related posts:

  1. From The Journal Of Screenwriting V1 Issue 1: After the typewriter: the screenplay in a digital era by Kathryn Millard
  2. From The Journal Of Screenwriting V2 Issue 2: Re-writing Paul Laverty’s screenplay – The Wind that Shakes the Barley (2006) by Jill Nelmes
  3. From The Journal Of Screenwriting V2 Issue 1: Competitive writing: BBC Public Service television light entertainment and comedy in the 1970s and 1980s by Heather Sutherland
  4. From The Journal Of Screenwriting V1 Issue 2: First of all, the screenplay problem has to be solved: the public debate on screenwriting in 1930s Finland by Raija Talvio
  5. From The Journal Of Screenwriting V2 Issue 1: The aesthetic independence of the screenplay by M.-R Koivumki

The Civil War On Film – 21 in a series – Friendly Persuasion involves the much rarer Northern experience

The Civil War On Film - 21 in a series - Friendly Persuasion involves the much rarer Northern experience

While many Civil War films cover the Southern perspective, Friendly Persuasion involves the much rarer Northern experience, this one of a devout Indiana Quaker female minister whose family tries valiantly to uphold their pacifist values in the face of Confederate attack.

Movies profiled in this book:

Related posts:

  1. The Civil War On Film – 20 in a series – …Americans’ ideas about who qualified as heroes of the Civil War.
  2. The Civil War On Film – 5 in a series – “In our Civil War we didn’t fight outsiders…”
  3. The Civil War On Film – 6 in a series – “…the so-called Irrepressible Conflict.”
  4. The Civil War On Film – 12 in a series – Reformer Jane Addams condemned the film as ahistorical and prejudiced…
  5. The Civil War On Film – 15 in a series – “…a Civilization gone with the wind.”

02 Words Matter. Writers Matter. Women Writers Matter from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

With the full recording of “How The Chaos Of Collaboration in the Writers Room Created Golden Age Television”

02 Words Matter. Writers Matter. Women Writers Matter from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

Subscribe to Rosanne’s Channel and receive notice of each new video!

 

 

When the folks hosting the conference announced their theme as “Screen Narratives: Chaos and Order” the word ‘chaos’ immediately brought to mind writers rooms. I offered a quick history of writers rooms (the presentations are only 20 minutes long) and then quoted several current showrunners on how they compose their rooms and how they run them.

Transcript

This is my teaching philosophy. Words Matter. Writers Matter. Women Writers Matter, and that’s something I try to focus on as much as possible. There’s a lot of women who never get mentioned and that bothers me but that’s a different lecture so — I did that last year this year. We’re talking about why writers are important and how the writers room works. As far as I’m concerned we have to remember that writer precedes director so I want more of our students to know the names of the writers of their favorite films not always just the directors because when you talk about a film you don’t say “Do you remember that beautiful camera angle in scene seven?” You say “My name is Inigo Montoya. You killed my father. Prepare to die” and that is something the writer did so I think we have to remember that the dialogue is what makes movies special and the characters.

For more information on the Screenwriting Research Network, visit

Screenwriting Research Network Conference, Porto, Portugal, All Sessions

Ready to present my talk yesterday at the Screenwriting Research Conference here in Porto, Portugal via Instagram

Follow me on Instagram


* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

Podcast: Play in new window | Download

Subscribe: RSS

Related posts:

  1. 01 Introduction from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]
  2. How The Chaos Of Collaboration in the Writers Room Created Golden Age Television, Dr. Rosanne Welch [Video] (22 Minutes)
  3. Presenting my talk “How the chaos of collaboration in the writer’s room created the golden age of television” at the Screenwriting Research Conference in Porto, Portugal
  4. 04 Writers Matter. Women Writers Matter from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 5 seconds)
  5. 06 Inside The Writers Room from There And Back Again: Writing and Developing for American TV [Video] (43 seconds)

A Woman Wrote That – 17 in a series – Father of the Bride (1991), Writer: Nancy Meyers

This new “A Woman Wrote That” post is an echo of the Writers Guild campaign of a few years ago (“A Writer Wrote That”) where they noted famous movie quotes and credited the screenwriter rather than the director.  The difference here being that we will be posting lines from films written by female screenwriters.  Feel free to share! — Rosanne

A Woman Wrote That - 17 in a series - Father of the Bride (1991), Writer: Nancy Meyers

GEORGE

“The good news, however, is that this overreacting… tends to get proportionately less by generation. So, your kids could be normal.”

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  2. A Woman Wrote That – 8 in a series – Something’s Gotta Give by Nancy Meyers (2003)
  3. A Woman Wrote That – 4 in a series – Thelma and Louise by Callie Khouri (1991)
  4. A Woman Wrote That – 11 in a series – Sleepless in Seattle (1993)
  5. A Woman Wrote That – 16 in a series – Gilmore Girls, Wr: Amy Sherman-Palladino

Where’s Her Movie? Singer, La Lupe – 10 in a series

“Where’s HER Movie” posts will highlight interesting and accomplished women from a variety of professional backgrounds who deserve to have movies written about them as much as all the male scientists, authors, performers, and geniuses have had written about them across the over 100 years of film.  This is our attempt to help write these women back into mainstream history.  — Rosanne

Where's Her Movie? Singer, La Lupe - 10 in a series

Lupe Victoria Yolí Raymond (23 December 1936 – 29 February 1992),[1][2] better known as La Lupe, was a Cuban singer of boleros, guarachas and Latin soul, known for her energetic, sometimes controversial performances. Following the release of her first album in 1961, La Lupe moved from Havana to New York and signed with Tico Records, which marked the beginning of a prolific and successful career in the 1960s and 1970s. She retired in the 1980s due to religious reason — Wikipedia

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  2. Where’s Her Movie? Physician/Author, Dr. Rebecca Lee Crumpler – 7 in a series
  3. Where’s Her Movie? Labor Activist, Anna LoPizzo – 8 in a series
  4. Where’s Her Movie? Civil Rights Activist, Elizabeth Peratrovich – 5 in a series
  5. Where’s Her Movie? Painter, Artemisia Gentileschi – 3 in a series

From The Journal Of Screenwriting V4 Issue 1: The unseen collaborator: Breaking down art to create modern narratives by Marie Regan

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne

The unseen collaborator: Breaking down art to create modern narratives by Marie Regan

This article proposes a new way of looking at the screenwriting process and at the pedagogical instruction of screenwriting. It proposes an alternative to the industrial model of screenwriting – one that allows for the possibility of creating film scripts that might lie on the borders of narrative. Starting with a research process, this method uses the deconstruction of an art source to develop the writer’s point of view in hopes of creating modern works of unusual complexity and resonance. Citing examples from Bach, Munch and Melville, and films by Francois Girard, Peter Watkins and Claire Denis, the article suggests a method for screenwriters using the limit of an original artwork’s form to generate a unique narrative structure, and building on that structure by bringing the writer’s own contemporary perspective to the content concerns. It contends that this process works to renew the writer’s connection to form and, by working with an artwork the writer admires, pushes the writer into deeper engagement with her own point of view.

From The Journal Of Screenwriting V4 Issue 1: The unseen collaborator: Breaking down art to create modern narratives by Marie Regan

Journal of Screenwriting Cover

The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice. 

Get your copy and subscription to the Journal of Screenwriting Today!


* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

Related posts:

  1. From The Journal Of Screenwriting V1 Issue 2: From three acts to three screens: the significance of the role of writing in a new media film project by Jeremy Bubb
  2. From The Journal Of Screenwriting V1 Issue 2: Zen and the art of film narrative: towards a transcendental realism in film by Erik Knudsen
  3. From The Journal Of Screenwriting V2 Issue 1: The aesthetic independence of the screenplay by M.-R Koivumki
  4. From The Journal Of Screenwriting V10 Issue 1: More therapy with Dr Melfi (the character who guides viewer engagement with Tony Soprano): Relationship arcs in serial antihero narratives by Fernando Canet
  5. From The Journal Of Screenwriting V3 Issue 1: ‘To see a script’: Jean-Luc Godard’s re-envisioning of screenwriting in Passion (1982) and Scénario du film Passion (1982) by Jill Murphy

The Civil War On Film – 20 in a series – …Americans’ ideas about who qualified as heroes of the Civil War.

The Civil War On Film - 20 in a series - ...Americans’ ideas about who qualified as heroes of the Civil War. 

As the twenty-first century began to mature, so too did Americans’ ideas about who qualified as heroes of the Civil War. While conflicts over taking down statues of old Confederate generals roiled southern cities, artists around the country started making art that glorified the anti-Confederates, and films were no different. This climate bred Free State of Jones, the story of a Confederate army deserter who organizes his own interracial militia of formerly enslaved people and lower-income farmers, all dedicated to ending the war, though for differing reasons.

Movies profiled in this book:

Related posts:

  1. The Civil War On Film – 19 in a series – …so many white Americans have wished to live in a world in which African Americans are not angry over past and present injustices…
  2. The Civil War On Film – 5 in a series – “In our Civil War we didn’t fight outsiders…”
  3. The Civil War On Film – 16 in a series – As a producer interested in maximizing his profits, Selznick worked hard to head off any possible protest.
  4. The Civil War On Film – 17 in a series – Often these maids were related to their mistresses, as in the case of Sally Hemmings…
  5. The Civil War On Film – 4 in a series – “…the entire slave economy stood as a shining moment of magnolias and gentility.”