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 build–up, 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?)
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.”