In this imagined conversation with myself. There is rains going on. I am in a white box with myself’s projection on the wall at the other end of the room. My projection is basically a reflection of myself but with (special effects) water dropping on my body. The projection is me in 2022 at […]
At C ARTS, a dynamic slate of female solo artists explore complex themes in the search for hope and joy at this year’s Edinburgh Fringe. Returning live this year to the Fringe, C ARTS has curated a wide-ranging collection of award-winning work, including a diverse slate of female solo performers, many making their Fringe debuts. A […]
Nominations for the 2022 Emmy Awards were announced on 12th July, recognising an abundance of exceptional new programming and talent, returning favourites and veteran performers, and a broad spectrum of innovative storytelling across multiple platforms. The live virtual ceremony was hosted by JB Smoove (Curb Your Enthusiasm) and Melissa Fumero (Brooklyn Nine-Nine) along with Television […]
Die Hard is one of the best and most popular action thriller films. Die Hard started a craze of setting action films of hostages locked in contained locations by some really bad guys. Set in a Los Angeles skyscraper, Die Hard was later copied by films set in a train, ship and aeroplane, as just three examples. These copycat films were of varying quality but one misstep they (and even Die Hard sequels) often made was to not fully grasp another important part of the first Die Hard premise that made that film so dramatic.
The key reason most scripts/films fail is that they were not properly conceived. That is, when the central conflict of the film’s story was being created not enough thought was put into to finding the best dramatic ideas in it. However, by asking the right dramatic questions, writers, producers and directors can create central conflicts that are strong enough to be developed into first-rate stories. Following are ideas showing how to develop a strong central conflict for a drama.
Michael Connolly is one of the best mystery-crime writers today, many would say the best. His novels are best sellers and have been adapted for film and television. His series Bosch currently plays on SBS in Australia and on Amazon Prime in the U.S.
I’ve been in the business of telling stories for the past 17 years, and in my capacity as a TV Director and Story Producer for documentaries and reality shows, it’s been my job to unearth and craft compelling stories through scripting and interviews with characters and contestants.
Every show is different and each one requires you to deal with your characters and storytelling in its own unique way. But what I’ve found revealing are the insights that I’ve picked up along the way, and the realisation that they also apply to life.
Most of us working in the music industry work with people who are overly competitive and they are often viewed in a negative light. We all desire a workplace where everyone works as a team, gets along and where the environment is productive and enjoyable. Co-workers who are overly competitive can create a hostile and negative work environment.
My mother once got Aaron Spelling to agree to look at my reel just by calling him over and over and asking real nice. True story. Did he watch it? What did he think? I’ll never know. But I learned one thing. Be ready with a kick-ass reel if someone DOES ask for it. And be up to date on how to present it.
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