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Screenwriting, more than any other writing form, is bound to be collaborative. So here is a space for writers, screenwriters, movies lovers. A place for anyone with a strong drive and a creative soul. Feel free to contribute, suggest, comment. Let’s connect, share and grow together.
It’s been a while since mankind made to herself the gift of writing. We’ve been practising for a few thousand years now, and the land of stories has been explored, dramaturgy masters set a bunch of guidelines, and millions of men and women dedicated their souls and lives to this fascinating experience.
Then cinema came in and brought a mind blowing revolution to the art of writing. Deep to the core of what our brains are able to conceive and structure, modern screenplays represent the rare flowers of an art that is both entering complexity and challenging our perspectives.
I deeply believe that team writing is not only the only modern approach, but even more important, the more valuable working frame that will lead us to a whole new sense of what stories really are, and how to enlighten the creative, cognitive, mental and relational processes that give birth to them.
If movies are to connect more closely to the audience, we writers must enter a new era. Now is the time of opening new doors, pass new frontiers, make the process of writing a lively process of sharing. Because we all know that stories are a gate to mysteries and secrets that none of us can fully apprehend alone. Let’s invent new methods, regenerate storytelling and come up with stories for tomorrow. This is the purpose of this space.
Everyone insists on how important a pitch is. But as for myself, I think every writer needs four different and necessary pitches.
First is the install pitch, the initial appeal of a conflicting contrast, a fresh situation around someone in relation with three essential entities : us, his world, and a vital necessity.
In a movie, the revelation of the backstory can be mind blowing or a miserable burden in the telling : how much, when, what for, from whose point of view, at what progressing rythm (Chinatown) or unique intensity (Runaway Jury, Psycho) is the ultimate identity and vision of the writer.
To some extent, the mastery of backstory is the central crossroad of the craft, the right path to any story, and the most personal artistic signature of the writer.
Let’s be clear : while the message of stories and even our intention as writers are most of the time noble and sincere, the « craft » is mainly about trickery, cheat, duplicity.
And it’s fun !
There, in L.A., an enthousiast team led by Karen Gilmore and Joshua Dos Santos, passionate about movies and screenwriting, and runninng this delicious website Reel Artsy, dedicated to « quirky, awkward, offbeat indie films. »
Twitter and the passion for movies were the key to connect.
It could be easy to blame it on education, as it is commonly admitted. Blame it on parents, on culture, on social traditions. On individual limits or psychological flaws. On shyness and personal weakness.
Thruth, it seems to me, is that it relates to so much deeper layers of the human and animals minds.
La vie est une perpétuelle recherche d’équilibre.
Sans cesse centrer la balance de notre vie. Notre vie intérieure, la moins équilibrée, la plus partiale par sa nature essentiellement subjective, notre vie extérieure telle que les autres, dans leur infinité de critères la perçoivent. Et ce magnifique espace de frottement entre les deux, l’espace de nos relations à tout autre être vivant, à chaque instant de nos vies sociales.
If you are an artist, chances are you are a perfectionnist, an obsessed soul always in search of gold. Well, I am. So let’s celebrate together a simple truth : we’ll never get a hundred per cent satisfied. Nothing we’ll ever write will meet all of our expectations.
Some might, a few lines and pages may pass the cut, and even bear the test of time. But so few indeed. So let’s open our eyes once for all on this.