I did my degree in linguistic philosophy and even I struggle with Delueze… LOL

And, I’ve always found a sock full of wet sand is the right comeback to anyone who drops “optical sound” into the conversation. LOL

But, where I am completely with you is in your description of contemporary american cinema in comparison with classic american cinema.

In fact, you only have to go back thirty-five years to see that there were more risks taken, more innovation and more interesting films made.

This is the reason I love being a European screenwriter/producer at the moment… sure we don’t have the big production budgets, but the scene here does still revolve around the idea that films can be good, innovative and interesting.

What’s really weird is that when a US maverick does turn out a great movie… like for instance Julie Delphy’s “Two days in Paris” I’m more likely to see it in Europe than you guys are in the States.

But, top marks to you for dropping Delueze into the conversation… has given me the biggest laugh of the last month… easily.

:)

The Philadelphia Story is a good example. For those who don’t have time, I HIGHLY RECOMMEND Cinema 1 and Cinema 2.

Every filmmaker should read those. It justified my use of dreams as both back story and visual content to reveal personality or feelings about a subject.

It’s too much to put in a post but read it, keep it next to your bed. It reviews some of the greatest films and philosophizes their meanings.

Plus, it will give you something to talk about when smeone says “optical-sound” or dramaturgy.

I love cinema.

I thought this interview re STOP LOSS worthwhile watching for new screenwriters – great points about research and I think, also, the gusto of pursuing your vision. At the very least I admire her drive:

http://www.abc.net.au/atthemovies/txt/s2316182.htm

If a screenwriter isn’t just as comfortable discussing: Some Like it Hot; Breakfast At Tiffany’s; “Seven Year Itch”; “Easy Rider”; “The Odd Couple”; La Dolce Vita; or, Last Tango in Paris they probably shouldn’t be writing screenplays.

And that’s the baby screenwriter list… if you want to get semi-serious you need to tag on: “Ikiru”; “Hidden Fortress”; “Wings of Desire”; “400 Blows”; “The Battleship Potempkin”; “Wild Strawberries”; “Poor Cow”; and, “Don’t Look Back”

Actually, they’re all pretty light weight as well… and I’ll say up front “Yes, I know the Hidden Fortress choice is a very, very mean film to put on that list.”

Speaking of Juno, I’ve heard few positives about the screenplay here.

Mark, I accept your point about citing movies few may have seen however, I regularly go and grab a movie mentioned to me in discussions. Extending our viewing repertoire can be really helpful but yes, for an immediate discussion it can be problematic. I am with Clive on this though in the sense that if Star Wars becomes the singular reference point, that can confine consideration of other choices and ways of doing.

Maybe we need to have a film club (like a book club) and pose a film a month ahead and then discuss its structure. ;-)

I don’t think a midpoint necessarily needs to be a hard act break. It can be an image or an exchange within a scene or larger sequence. Since there’s really no such thing as a “midpoint” per se (other than the precise middle of a script of film), I think a midpoint is whatever it means to you. And that might change (probably should change) from screenplay to screenplay.