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“Teaching” means rules, structures or maps of paths which others took before you and drew. However when you have to teach a creative way all this is not enough. In fact, sometimes, all this might be a problem. If your students are creative people, they are going to feel those maps like a prison; if they are not, they might think those rules are a solution, a magic key and, what’s worse, the only way to do a script.
As screenwriters we qualify on the evolution ladder to be somewhere between coconuts obsessed chimps and cold blooded high tech engineers. More or less we all work using the best of each approach which makes us high tech chimps or coconuts obsessed engineers. In my wildest dreams, I envision what one may call, well, a step forward.
The craft of screenwriting seems to be an infinite subject for books, posts, seminars. Advices everywhere, gurus at the corner of each lost dog on a parking lot. And indeed, some sort of science is finally slowly emerging of all this. What I’d like to highlight here is the most significant aspect of movies : their dream quality.
Once again I’ m going to tackle the task of teaching scriptwriting. It is incredible how teaching scriptwriting can teach you about the subject. I love cinema, no matter from which point of view, and one the most fascinating things about it is the fact that you never finish learning about it.
I don’t do guest posts that often but Marc Omeyer is a stand-up guy and I don’t run into a whole hell of a lot of stand-up guys these days. So I’ve spent the last couple of weeks wondering what to write about… Didn’t want to do the same old, same old and recently, I’ve been doing so much THINKING about concepts that I wondered when was the last time anyone’s ever discussed the THINKING part about writing?
The screenwriting litterature is abundant in saying all screnwriters should hone their craft by reading and writing.
And this of course, every single day of a somehow strange life. Write every day for sure. Read every day : fiction books, newspaper, scripts, good and bad, more books from classicals to contemporary, read all formats, train your reading muscles.
But the biggest skill of all, and this one I never see underlined in these books, is to read what you write.
It’s been a long time since I wanted to post a note about this. I wanted it to be perfect, full of meaning and precise. But as you know, perfection means never, in a writer’s language. As a great master once stated « There is …