Word: scripting
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...engaging plot for a foundation on which to construct a dazzling series of cityscapes, underground lairs, and fight scenes. This time around, however, the Wachowski brothers produce the film and leave the writing to rookie Matthew Sand and J. Michael Straczynski, who wrote the script for last year’s decidedly middling Clint Eastwood offering, “Changeling.” While McTeigue successfully creates a fantastical set of fight scenes, spouting and squelching in their admittedly gratuitous gore, Sand and Straczynski doom the movie to failure with a storyline so one-dimensional that one wishes it were...
...retrospect, it's surprising how long it took the sound of hundreds of thousands of teenage girls hysterically keening to reach Hollywood. The first glimpse that director Catherine Hardwicke had of Twilight came at Sundance in 2007, where the founders of the newly independent Summit Entertainment showed her a script. It had been worked over so thoroughly at Paramount that it was practically unrecognizable. "It had Bella as a track star," Hardwicke remembers. "Then there were FBI agents - the vampires would migrate south into Mexico every year, and FBI agents in Utah were tracking them. They ended...
...Hardwicke saw something there, and she wanted in. She read the Twilight books. Then she threw the Paramount script away and called Rosenberg, who worked with Summit before, and they started over. She also began the hunt for her leading couple...
...invited to experience the end of the world as we know it on the silver screen every year. This year is no exception—the highly touted apocalyptic vision “2012,” hitting theaters soon, puts a Mesoamerican twist on the conventional doomsday script. Yet though “2012” promises little in the way of a groundbreaking storyline, it promises nevertheless to be a box office hit—for, like all disaster movies, it portrays some of our culture’s most pressing philosophical concerns through its apocalyptic visions flashing...
Even less of a coherent universe was provided in Crimp’s original script. There is no plot, no intended them, no designated setting or designated speakers—just lines of dialogue with dashes to signal a change of voice, or ellipses to suggest a pause. Without dictated sexes or any guidelines for gathering an “appropriately” composed cast, though, long narrative passages (indicated as belonging to a single speaker in the script) can be manipulated and divided at the director’s discretion, just as all non-lingual elements must be. It?...