Celluloid Blonde

the other sometimes suspect musings of max adams
:::the new screenwriter's survival guide:::

Max Adams’ “Pitching A Script” | Launch Flix

Max Adams’ “Pitching A Script”


Max Adams Teaches Pitching your Screenplay

I attended The Hollywood Filmmaking and Screenings Meetup at the Neon Venus Art Theater on Melrose last night. Max Adams presented “Pitching a movie script.” Max is the author of The Screenwriter’s Survival Guide and has worked with Hollywood Pictures, Touchstone Pictures, Universal, Tri-Star and Columbia Pictures. Her produced works include Excess Baggage [credited] and The Ladykillers [uncredited].

Max gave a standing room only group of about 70 people a refresher on the basics with a few great tips. She says establishing genre is the most important thing you can do when you start your meeting. You need to give the suits “permission” to laugh. Then establish a verbal 3 paragraph essay – this is what I am going to tell you, then tell them your story and conclude with, this is what I just told you. Also tell them who is the protagonist.

Max also shared some good advice for a new independent film maker – shoot the money scene first – even if it isn’t convenient, so that you can pacify the executive producers immediately. Otherwise, if you show them basic early footage, they’ll wonder what you are doing with their money —

[click the above orange link to continue reading]




*max is a faculty member of :::gotham writers’ workshop::: and :::the university of utah::: and is the founder of :::the academy of film writing:::





BACK TO WORK | MAX CLASSES

Upcoming 2011 —


Online Master Classes in Screenwriting

Taught by yours truly Max Adams:

January:
The Art of the Pitch, 01.11.11 [*full]
Visual Writing, 01.11.11

March:
Character Writing, 03.15.11
High Concept Writing, 03.15.11

May:
Non-Static Writing, 05.17.11
Structural Writing, 05.17.11

July:
Character Writing, 07.19.11
Visual Writing, 07.19.11

September:
High Concept Writing, 09.13.11
The Art of the Pitch, 09.13.11

November:
Structural Writing, 11.15.11
Non-Static Writing, 11.15.11

•For more info on upcoming classes, visit :::afw courses:::
•For registration info contact Max via :::afw contact:::


•As of January 2011 AFW online courses are accepted accredited University of Utah courses. For info on course credit, contact Paula Lee in the Film & Media Arts Department via paula.lee @ utah.edu

ON VISUAL WRITING


Readers are entirely dependent on you. There is no movie unless you put it on the page. So, you have, absolutely have, to give readers a visual.

This does not mean a map of the furniture layout in the protagonist’s room. This means an impression of the location.

Is the furniture out of Salvation Army or out of a French showroom? Does this location scream cash? Or last dime? What does the location tell you?

The three most important elements of location are, space, light, texture.

Consider these two examples:


INT. KITCHEN - DAY

The kitchen is ugly, small, cramped beyond thought, one small bare bulb overhead tries to illuminate the dirty linoleum floor and old Formica table without any help from windows.


INT. KITCHEN - DAY

The kitchen is huge, spacious, whoever lives here has more money than God. More than modern refrigerators with glass doors going on forever line the wall, frosty interiors illuminated by harsh artificial light….


Those are examples from yours truly just making up two very different kitchen locations on the fly. Notice how different the locations are using just three elements: Space. Light. Texture.



•Excerpted from the lecture series “On Visual Writing” by Max Adams
Academy of Film Writing | Visual Writing



Open Seats in Online Master Classes

I have one seat open in the 5150 workshop, two seats left in the January pitch class, and seven seats still open in the visual writing class.

*irony, everyone wants to know how to sell, no one is worried enough about how to write, hmm


:::class info:::

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