Point & Click

A bit of a backlog of a collection, attributions for which I can’t remember, sorry – though a pretty good bet would be the sidebar, but.

    • There are such things as happy endings for screenwriters in Hollywood – just ask Robert Mark Kamen.
    • Thanks, I suspect, to Nick Grant of Onfilm, I have discovered The A.V. Club‘s excellent The New Cult Canon series, in particular this article about the commentary between The Limey’s writer Lem Dobbs and director Steven Soderbergh.
    • Another Kiwi screenwriting blog! Lyse Beck gives us Birds With Nuts. There’s a nice thread about Watchmen here.

And speaking of the Minutemen, after all my buildup, The Goddess and I went to see Watchmen a week or so ago. She enjoyed it; I hankered for some interpretation rather than faithful replication. Thanks to Mr Slevin I’ve read people who can say what I’m thinking much better than I could here, here and here. (And no one’s mentioned it’s been two whole decades since Tim Burton gave us Michael Keaton as Batman – didn’t that kickstart the mainstreaming of comic-book adaptations?)


Pro Bono or Bust

A while back, Danny Stack posted about working pro bono. It was, of course, an excellent piece – a case for being careful, weighing up the risk, and going in with your eyes open.

I’m with the New Zealand Writers Guild – “no writer should work for nothing”, particularly if you’re already a professional writer.

The following came to mind when I read Mr Stack’s post: casting director Di Rowan – who introduced the world to Anna Paquin and Keisha Castle-Hughes – said in an interview with Onfilm:

“[People] say to me, “Could you just cast this one part? And you’re not going to charge me, are you?” That puts me in a terrible position. I feel like saying, “Hang on a minute, I’ve got a builder here at the moment, I’ll just ask him if he’ll do this day for free and if he says yes, I’ll do your day for free as well.”

Hell, yeah.