Tag Archive for: professional screenwriters

The A-Team: please don’t call them if you’re in trouble

Because this A-Team does not help people in trouble.  They’re only out for revenge.

This A-Team did not serve time in the same military unit and then escape from a prison camp, thus bonding them together for life. In fact…

The B-team.

This A-Team doesn’t make any sense, whatsoever.

And it just got pitied like a fool by The Karate Kid, which made DOUBLE its gross in their mutual opening weekend.

At this time last year, “The Hangover” and “Up” were going gangbusters at the box-office — both ORIGINAL scripts.

But, wait, The Karate Kid is also a remake of a piece of campy 80s material. So why did it fare so much better?

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VIDEO Interview with Graham Yost… Justified, The Pacific, Band of Brothers, Speed, Broken Arrow

I sometimes cover openings in Hollywood.  I caught up with Graham Yost at the premiere of his TV drama series Justified which airs on the Fox’s FX Network and stars Timothy Olyphant and is based on original characters by Elmore Leonard.

Graham Yost is the series creator/Executive Producer of Justified and a veteran writer/director in film and television with an impressive list of credits that includes Band of Brothers, Boomtown, Raines and The Pacific and the feature films Speed, Broken Arrow and Mission to Mars. He won an Emmy for his work on the mini-series From the Earth to the Moon.

Related: Interview with Elmore Leonard and Graham Yost, creators of “Justified”

M. Night Shyamalan: Method To The Madness

M. Night ShyamalanOriginally published in Script Magazine Online in 2005 in a slightly shorter form here.

Below is the full article…

M. Night Shyamalan is the modern master of the high-concept thriller. He is also a mad scientist.  A tinkerer.

With each new film, he’s gone back into his lab and concocted some new experiment in suspense storytelling.  This is a screenwriter who has mastered traditional narrative and gotten bored with it, so he’s decided to consistently take chances with the form.  From his sub-basement sanctum sanctorum, amidst the smoking beakers and jarred brains and that lightning-rod thingee, adjacent to the plasma screen playing non-stop Hitchcock films, he straps standard three-act structure down onto a slab of unforgiving granite and goes to work.  With The Village he shocks his most bold experiment into life.

Shyamalan has always enjoyed playing the puppetmaster of our emotions.  Don’t kid yourself — he may be fascinated with the retooling of narrative structure, but ultimately, he’s experimenting on us, the audience.  Like Hitchcock before him, Shyamalan is the Great Manipulator.  Manipulation is not a bad word to M. Night; rather, it’s his raison d’etre.  He loves it, gets off on playing us like a marionette.  And considering his four straight commercial successes (The Sixth Sense, Unbreakable, Signs, The Village), it’s safe to say we keep coming back for more.

We want him in that lab.  We need him in that lab.

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