I hammered you in the comments for your Sundance episode. So it gives me great pleasure to compliment you on an awesome episode with an awesome guest. She was interesting, the questions were on point, and her perspective is of value to budding screenwriters and the information useful and worth noting. I am probably a bit biased as she gave off strong "don't bore us, get to the chorus" vibes in her suggestions, which I appreciate.
I got a lot from this conversation, thank you. Fantastic insights. I sift through so much unhelpful content and its gems like this that makes all that time worth it. Appreciate you both
Anything worth watching has a thesis, a question that must be answered, whether it's a feature or series. Most series pose the question, some can answer (e.g. True Detective) others don't bother (e.g Lost) -- mainly because they can't . The difference between a feature and a series is that a series needs an "engine".
That was a fantastic and inspiring deep dive into her understanding of screenwriting. I'll have to listen to this periodically to keep her fine points in the forefront of my mind as I work on my own screenwriting. I like the part where she said that the logline is a portal. That will always stick with me now whenever I write a logline.
Great video Dean. I've been enjoying your content but this video kicks things up a notch. Well done for getting Joslyn onboard as she has some great notes and as someone who is writing a feature right now, it helps to see this kind of content. Keep it up man!
I'm really glad I sat through this. It was a fine interview, but personally I'm familiar with what Joslyn was saying. Except her idea about what makes a series! That is a fantastic insight. Thank you.
This was great to watch. Interesting, entertaining and educational. It was funny when Joslyn complained about people being too on the nose in scripts, while putting her finger on her own nose.
The transitions insight was something I’ve always seen and liked when it’s done well, so to hear it being used as a tool with intention is amazing! Film truly is its own medium with unique features to it. And it’s cool to see what I can use for my writing and see how others implement in their work.
In the last short I wrote for my blog, after a description I put ‘you know the look’ and I didn’t even know writers were speaking to the reader. I wrote that in instinctively for a hypothetical director to interpret it to direct the actor. Great info especially for someone like me trying to learn and get better
This is a great insight. I wrote my second screenplay "A Little Trouble in Hollywood" and was shopping it around Hollywood 3years back only to see the release of "Fall Guy" an almost carbon copy of my script. I was gutted. You have to let go of your good ideas for great ones. Amazing interview.
Loved this! She made me want to submit to Slamdance! If all the other readers care half as much as she does, it must be an excellent resource for quality feedback.
I thought this was a Sara Dietschy video when I first saw the thumbnail… Did a double take when Dean popped up. 😂 Great convo though; excited to hear that this will be a series!
Joslyn Jensen brings an insane amount of knowledge, experience, and passion to bear in this conversation. I found myself taking notes! Thanks for uploading this!
yea. CELEBRATIONS are huuuuuuuge. the dopamine system definitely needs to be trained to reward accomplishments. great point. ooooo... and "court transcript"! that's gold!
I really liked that! I hope you do a regular conversation series with her. I think the thing she kept harping on - how there should be subtext in films, how she liked that script where a couple were having sex and then you discover later that they are married to different people - that Possum logline ------ all those things required the audience to connect two dots the writer set up, but which they did not join for the reader. But when the audience makes that connection themselves, they get a little jolt of dopamine. I bet she likes puzzles too.
Great point about trailer spoilers. Personally I believe nothing from the second half of the flick should be in the trailer, UNLESS it’s a misrepresentation. Love letting the audience go “I know wat happens here” and then “wait what?”
Prelap - she gave the wrong way round. A pre lap means inserting dialogue from the next scene at the end of the current scene so that we flow into the FOLLOWING seamlessly
I do have a question. When she mentioned transitions like match cuts, I was always under the impression that transitions like that are directorial/editorial domain and are often looked down upon if done in scripts for that reason. Did she mean to like plant a match cut idea/imply a match cut, or to actually have “match cut” in the script?
I caught that too. I think you're on the right track with thinking it was more implied than laid out. I believe you're correct about that being an editorial decision.
Good to hear this, though while I agree that a script should be well-paced and the scenes have good transitions, to me a match cut or some such transitional device, like an insert or an establishing shot is the purview of the director, just like shot other choices. Anyway, it’s of secondary importance to pacing and story as a whole.
Definitely cool to hear from the perspective of someone who has read 1000s of scripts, but it would be nice to also consider the heavy production side of things a bit more. From the perspective of a cinematographer, formatting matters a great deal. Page ratios, unnecessary camera language, etc. are hugely impactful when we shoot movies. Ultimately, it’s dependent on the director, but I can’t tell you how many times a poorly formatted script has damaged production…
I think that the screenplay format is imperfect. And it never will be perfect because there is no one standard reader or standard purpose for the screenplay across the industry. I rarely played around doing exceptions or breaking the rules. I generally stuck with the basics. But it is not a perfect format in part because people wanted more editorial from me and they didn't get it... Now, I'm writing for a director that I know really well - and he wants more information in there -- and it won't go through any industry readings. So, now I'm writing it with some narration.
@southlondon86 Not sure what you're asking. He acted in Predator and wrote one. But The Last Boy Scout, Lethal Weapon, etc in description he talks to the reader
Well thanks a fucking lot for pointing that out. Like like like like like FUCKING LIKE!!!!! I wouldn’t have noticed it until you fucking had to say some shit!!!!!
Honestly, her comments are pretty useless unless she's studied a ton of Oscar winning scripts. That she has a background in story, editing, etc. That's what matters. Too young, (being honest,) to know much about what makes a great story. She doesn't talk about examples of great films. And, as always, with readers, it's all subjective. She herself points out that it's all subjective. The thing is, you are the writer. Write what you're passionate about anyway since you never know what a reader wants. If they want a script that makes them happy, they can pay for it. 😅
People be like: oh she read 1000 scripts, Ill watch the video and learn what shes learnt....no, you mor(o)n, the actual learning comes from the reading itself, so stop the video and start reading yourself....
It does help Dean that she is an actor who already has representation by the way, with an agent thus allowing them to easily get into screenwriting. Now actors have a massive advantage over screenwriters who do not have representation.
I would say her hard work, networking, disciplined writing, actually completing projects, talent, intellectual curiosity and "putting herself out there" (e.g. reader for contests, for hire coverage, etc.) has a lot more to do with her success than whether or not she has représentation for selling her scripts or getting work helping with other people's scripts. If she has représentation it's probably because of all those other things I mentioned. That said, an actor's agent isn't likely to be of much use when it comes to selling scripts. Even amongst actors, agents often specialize (TV, theatrical, stage, commercial).
If like, it's sort of like, you know, like, like, like, right, you know, right sort of like it is, and if those two nice people are sort of like the intellectuals of the trade who, rightfully, criticize the sort of like awful quality of like screenplay submissions, then, sort of, you know, like, definitely, like, like, I like sort of like kind of am not sort of like surprised or something that like I mean Hollywood churns out, like, kind of, I think like all these, like 1000s of hours of kind of shallow, like bird brain like bullshit all the time. What maybe NOT so much an annoying sort of like complete like waste of like time listening to you guys it like might be if you COULD speak. Like, right, kind of?
Good info but it's little annoying that she loves reading Billy Wilder but hates when writers use camera work, given that Billy Wilder always used camera direction in his screenplays. Sure, he directed his scripts but so could some of us.
Writing coming from a hive of people who are not the same page is how you destroy good scripts and turn them in 'The Rings of Power' or some other shite like that. Singular voices with a singular vision retains the creativity and doesn't dilute the story with DEI crap.
You have to wonder with this generation of ‘script readers’ would they understand the complexity of say a script like Network , One flew Over The Cuckoos Nest, Midnight Exoress ? Or have their brains been so white washed by life inexperiences with so much ‘JUNK’ that they can’t decipher the difference between a potential masterpiece & just another Barbie or Marvel hashtag. ✒️🎬🎥✒️
It's hard to write a masterpiece like One Flew Over The Cuckoo's Nest, it isn't hard to know you're reading a masterpiece like One Flew... Your examples, except Midnight Express, are brilliant films but they aren't complex plots. They are full of subtext and explore themes that may or may not resonate with a reader, but I wouldn't be so dismissive of the younger generation that you can't find readers who can pick up on those themes and whatever question(s) those films are trying to answer.
@darkknightwithanidea1845 You say life inexperiences, yet most songs you grew up listening to and loving were written by guys in their early 20's. Stephen King wrote Carrie, Salem's Lot, The Shining, Children of the Corn and several others all before 30. I needn't mention Shakespeare. I'm almost 40 now, but can attest that the emotional impact individual pieces of art had on me was much more powerful when I was younger. There's no correlation between age and talent; or taste. Bonus fact, Ken Kesey was 25 when he started writing Cuckoo's Nest (27 when it got published).
One of the best screenwriting interviews! I’ve written 30+ scripts, won awards and had two features made that were internationally distributed. Still so much to learn and reenforce. Love what she said about subtext, as that’s one of the biggest falls in badly made movies and TV. We speak in subtext constantly - every time we speak nicely to a boss we hate, every time our wife says I’M FINE!!! - and she’s not actually fine, every time we speak in one way, while hiding another emotion behind it. And Joslyn’s gorgeous. Thanks for the eye candy.
I despise the push for diversity in scripts. If it’s an all black cast, great (that’s not diversity) if it’s an all white cast or female cast or Asian or whatever, the gender, ethnicity, and whatever else should fit the story. What a horrible thing to do to creativity and other genders and races, shoehorn them in, cuz it’s trendy to do. Then they make you feel bad if you don’t. Reverse racism is still racism. No wonder most movies suck nowadays. No matter who it is, they shouldn’t be included as almost an afterthought, add them because they fit the story. The writers strike got them no jobs and scorn from the public. Well deserved. Pandering is disgraceful. Make this character black, cuz we don’t have enough diversity, this character no one cares about, I don’t think writers and those pushing this are doing the good thing they think they’re doing.
@@hiplessboy lol I used to be further led than I am now, I started listening to both sides of the news and was horrified to see how much the left no media is lying. It all started there. If you don’t look outside the bubble, you’ll never be able to think anything different from them.
I always thought a "pre-lap" was the other way around: audio from the *next* scene enters before the end of the previous scene. She's describing some sort of carry-over thing, and i don't remember ever knowing what that would be called..... Post-lap? Oh, well-Reddit doesn't have the answer, so it must not exist..... I always wonder how well readers do with their own material. Like, what's the qualification for becoming the arbiter/gatekeeper? I'm sure i'm just bitter after my one paid reader gave me 'notes' that were... bad. Answers to the few questions he had were clearly presented in the script; some comments represented that he didn't understand the simplest, most obvious elements or intentions; it was obvious that the reader brought strong personal biases and dismissed elements that are common in some of my favorite (and also widely-acclaimed) films.
Thanks. It's good to know what readers are looking for. I mean, aside from the race and gender of the author. Obviously those are the most important things.
A movie's potential merit should not be decided like this. It's a VERY flawed process that is responsible for thousands of boring movies and kills cinema.
*Modern mainstream* movies *sukk* because: 1) hammy dialogue 2) crude and tackyness (foul language / Gore and violence) 3) wooden characters (with actors that would fit in perfectly at IKEA/ a furniture store) Where's the subtlety? Where's the finesse? *Thankfully* - cause of *Internet* and _smartphones_ - *anyone* can tell and *anyone can make a story* and share. Stay happy everyone:)
"Content is the most important thing" This is the issue with most people these days. They care about content as opposed to form. Film is not a medium for storytelling. "I don't care about stories. I never did. Every story is the same. We have no new stories. We're just repeating the same ones. I really don't think, when you do a movie that you have to think about the story. The film isn't the story. It's mostly picture, sound, a lot of emotions. The stories are just covering something." - Bella Tar
@@thereccher8746 Delightful, isn't it? -- I mean, this micro-second, I indulge in "Maybe he's got a point..." Then ok, nah... Earth's still round-ish. Ah, semant... I mean, syntax!
“Write it like it could be produced over and over.” Brilliant advice!
Yeah so interesting!
like.. be vague? not too detailed?
I’m interested in screenwriting having never attempted it seriously, I learned more from this video than I have in 7 years.
I hammered you in the comments for your Sundance episode. So it gives me great pleasure to compliment you on an awesome episode with an awesome guest. She was interesting, the questions were on point, and her perspective is of value to budding screenwriters and the information useful and worth noting.
I am probably a bit biased as she gave off strong "don't bore us, get to the chorus" vibes in her suggestions, which I appreciate.
Glad you found it informative
I got a lot from this conversation, thank you. Fantastic insights. I sift through so much unhelpful content and its gems like this that makes all that time worth it. Appreciate you both
Anything worth watching has a thesis, a question that must be answered, whether it's a feature or series. Most series pose the question, some can answer (e.g. True Detective) others don't bother (e.g Lost) -- mainly because they can't . The difference between a feature and a series is that a series needs an "engine".
Thank you very much for sharing, Dean and Joslyn! Great conversation!
That was a fantastic and inspiring deep dive into her understanding of screenwriting. I'll have to listen to this periodically to keep her fine points in the forefront of my mind as I work on my own screenwriting. I like the part where she said that the logline is a portal. That will always stick with me now whenever I write a logline.
I really apprciate you guys for taking out the time to create this. Thank you!
Thanks for watching!
Great video Dean. I've been enjoying your content but this video kicks things up a notch. Well done for getting Joslyn onboard as she has some great notes and as someone who is writing a feature right now, it helps to see this kind of content. Keep it up man!
Glad you enjoyed it!
I'm really glad I sat through this. It was a fine interview, but personally I'm familiar with what Joslyn was saying. Except her idea about what makes a series! That is a fantastic insight. Thank you.
This was great to watch. Interesting, entertaining and educational.
It was funny when Joslyn complained about people being too on the nose in scripts, while putting her finger on her own nose.
Great convo! She’s super knowledgeable and passionate about the craft
Thanks for watching!
34:09 is gold in understanding the true purpose of formatting. Thanks for this…
The transitions insight was something I’ve always seen and liked when it’s done well, so to hear it being used as a tool with intention is amazing! Film truly is its own medium with unique features to it. And it’s cool to see what I can use for my writing and see how others implement in their work.
amazing! Joslyn hits on so many gems in this video
Great discussion, insights, tech. Thanks for doing this!!
In the last short I wrote for my blog, after a description I put ‘you know the look’ and I didn’t even know writers were speaking to the reader. I wrote that in instinctively for a hypothetical director to interpret it to direct the actor. Great info especially for someone like me trying to learn and get better
I liked this very much. Thank you to the both of you!
Really helpful conversation! Thanks so much.
Glad you enjoyed it!
This is a great insight. I wrote my second screenplay "A Little Trouble in Hollywood" and was shopping it around Hollywood 3years back only to see the release of "Fall Guy" an almost carbon copy of my script. I was gutted. You have to let go of your good ideas for great ones. Amazing interview.
That is crazy!!! Was there any direct dialogue stolen or transition imagery?
Loved this! She made me want to submit to Slamdance! If all the other readers care half as much as she does, it must be an excellent resource for quality feedback.
I thought this was a Sara Dietschy video when I first saw the thumbnail… Did a double take when Dean popped up. 😂
Great convo though; excited to hear that this will be a series!
Haha
Joslyn Jensen brings an insane amount of knowledge, experience, and passion to bear in this conversation. I found myself taking notes! Thanks for uploading this!
I didn't realize my setups were cliched before this video! Thanks so much, I learned a lot from this video
yea. CELEBRATIONS are huuuuuuuge. the dopamine system definitely needs to be trained to reward accomplishments. great point.
ooooo... and "court transcript"! that's gold!
Her reward idea is so good.
Pavlov likes this comment.
What a fantastic conversation. I love how personal it is, and how it doesn't try to be 'ideal'.
That was great. Very informative and as a screen writer quite refreshing to hear! Look forward to your next video!
Glad you enjoyed it!
I really liked that! I hope you do a regular conversation series with her.
I think the thing she kept harping on - how there should be subtext in films, how she liked that script where a couple were having sex and then you discover later that they are married to different people - that Possum logline ------ all those things required the audience to connect two dots the writer set up, but which they did not join for the reader. But when the audience makes that connection themselves, they get a little jolt of dopamine.
I bet she likes puzzles too.
Brilliant. So much great info to implement. Thank you for sharing.
Thanks for this! That was an excellent conversation and she gave lots of food for thought.
Super cool discussion! But also where can I find Joslyn’s glasses?!
What a usefull video ^^ Thank you !
the audio was 100% a non-issue. great video
This is great content; she seems very genuine rather than trying to sell you on something.
Great point about trailer spoilers. Personally I believe nothing from the second half of the flick should be in the trailer, UNLESS it’s a misrepresentation. Love letting the audience go “I know wat happens here” and then “wait what?”
Keep up what you are doing, it's great and helpful in a practical way
Thanks for watching!
i giggled when u said the better audio starts now
Get ready!
This is really great. Fantastic interview and super insightful wisdom from her.
High value video. The guest was awesome. Ty.
Neat! We need more of these. Cheers !!!
Glad you enjoyed it!
This is chock-full of great information, thanks! For anyone interested, the film "Remains Of The Day" is a masterclass on subtext.
She should have her own podcast.
I agree!
Prelap - she gave the wrong way round. A pre lap means inserting dialogue from the next scene at the end of the current scene so that we flow into the FOLLOWING seamlessly
Oh ok
Great interview!
Please have Joslyn back to live up to her word that she could talk about pitching for another hour. We would listen!
We'll do another one!
@@deanpeter2on I'll make it an appointment watch!
I wish this was twice as long as it is lol (you should do one with Frank too)
Great talk. Congrats you two 😍
She is brilliant and mature. I ve known less mature novel readers..
I do have a question. When she mentioned transitions like match cuts, I was always under the impression that transitions like that are directorial/editorial domain and are often looked down upon if done in scripts for that reason. Did she mean to like plant a match cut idea/imply a match cut, or to actually have “match cut” in the script?
I caught that too. I think you're on the right track with thinking it was more implied than laid out. I believe you're correct about that being an editorial decision.
As far as series go, Sopranos did have an answer at the end. It was so satisfying that Tony Soprano did have an end.
They talk about "Prelab"? Is that how it is spelled? What does the word mean, in general?
Great video!
for future use, I'd use Adobe's Free Audio Cleanup tool to remove the echo and make everything sound fantastic!
This was great, man. Thanks
Thanks for watching
Thank you..
Good to hear this, though while I agree that a script should be well-paced and the scenes have good transitions, to me a match cut or some such transitional device, like an insert or an establishing shot is the purview of the director, just like shot other choices. Anyway, it’s of secondary importance to pacing and story as a whole.
Thanks for this! Wonderful content.
Thanks for watching!
the mics weren't working?
Definitely cool to hear from the perspective of someone who has read 1000s of scripts, but it would be nice to also consider the heavy production side of things a bit more. From the perspective of a cinematographer, formatting matters a great deal. Page ratios, unnecessary camera language, etc. are hugely impactful when we shoot movies. Ultimately, it’s dependent on the director, but I can’t tell you how many times a poorly formatted script has damaged production…
Totally, more people need to keep that in mind.
I think that the screenplay format is imperfect. And it never will be perfect because there is no one standard reader or standard purpose for the screenplay across the industry. I rarely played around doing exceptions or breaking the rules. I generally stuck with the basics. But it is not a perfect format in part because people wanted more editorial from me and they didn't get it... Now, I'm writing for a director that I know really well - and he wants more information in there -- and it won't go through any industry readings. So, now I'm writing it with some narration.
The bad thing about this conversation is that it ends. Even though the caracters are not exactly likable. lol. Thank you!
Yay yeah. ❤
Shane Black, imo started the whole talking to the reader. All his scripts did it.
Predator?
@southlondon86 Not sure what you're asking. He acted in Predator and wrote one. But The Last Boy Scout, Lethal Weapon, etc in description he talks to the reader
_“Screnwriting with Joslyn Jensen“_ ??
Attention to detail is key in any writing, including screenwriting.
6:26 nothing is equal to sneaky ninja cat!
🥷
Could you please reign in the use of 'like'. Thank you.
No shit. I wanted to finish the video but, like, the "likes", like totally, like, drove me, like, crazy.
Why do you think young screenwriters are drawn to writing about parents dying and/or overcoming a parents death?
I don't know but I made a whole feature about it!
Because my Dad died.
the best prelap was jon snow from baby to king
These two said the word "like" so often I felt as if I was at some high schooler's chill session. I just couldn't get through it.
Sorry you're not chill enough.
I have a terrible time with “like” also
Well thanks a fucking lot for pointing that out. Like like like like like FUCKING LIKE!!!!! I wouldn’t have noticed it until you fucking had to say some shit!!!!!
Seriously that’s the thing you’re complaining about a video with those amazing insights?
Honestly, her comments are pretty useless unless she's studied a ton of Oscar winning scripts. That she has a background in story, editing, etc. That's what matters. Too young, (being honest,) to know much about what makes a great story. She doesn't talk about examples of great films. And, as always, with readers, it's all subjective. She herself points out that it's all subjective. The thing is, you are the writer. Write what you're passionate about anyway since you never know what a reader wants. If they want a script that makes them happy, they can pay for it. 😅
Great Stuff dude thanks for this]!
People be like: oh she read 1000 scripts, Ill watch the video and learn what shes learnt....no, you mor(o)n, the actual learning comes from the reading itself, so stop the video and start reading yourself....
Thank you for fixing the audio lol
Sounds like these scripts have to please a wide variety of people to win.
Hi, Dean! I can fix your audio!
There is a way to clean up the audio..worth using some ai tools for!
I did as much as I could, audio is not my forte clearly!
@@deanpeter2on ah fair enough! :)
It does help Dean that she is an actor who already has representation by the way, with an agent thus allowing them to easily get into screenwriting. Now actors have a massive advantage over screenwriters who do not have representation.
I don't know if she does have representation!
I would say her hard work, networking, disciplined writing, actually completing projects, talent, intellectual curiosity and "putting herself out there" (e.g. reader for contests, for hire coverage, etc.) has a lot more to do with her success than whether or not she has représentation for selling her scripts or getting work helping with other people's scripts. If she has représentation it's probably because of all those other things I mentioned.
That said, an actor's agent isn't likely to be of much use when it comes to selling scripts. Even amongst actors, agents often specialize (TV, theatrical, stage, commercial).
@@patrickmurray9359 Representation helps whether
you agree or disagree its fact, especially in the UK!
You should take a look at her credits. She hasn't acted in anything remotely well known or critically lauded.
@@Filmmaker809 you don't get representation just because you ask for it is my point.
If like, it's sort of like, you know, like, like, like, right, you know, right sort of like it is, and if those two nice people are sort of like the intellectuals of the trade who, rightfully, criticize the sort of like awful quality of like screenplay submissions, then, sort of, you know, like, definitely, like, like, I like sort of like kind of am not sort of like surprised or something that like I mean Hollywood churns out, like, kind of, I think like all these, like 1000s of hours of kind of shallow, like bird brain like bullshit all the time. What maybe NOT so much an annoying sort of like complete like waste of like time listening to you guys it like might be if you COULD speak. Like, right, kind of?
Good info but it's little annoying that she loves reading Billy Wilder but hates when writers use camera work, given that Billy Wilder always used camera direction in his screenplays. Sure, he directed his scripts but so could some of us.
I think it's different when a writer is also going to direct the script.
Writing coming from a hive of people who are not the same page is how you destroy good scripts and turn them in 'The Rings of Power' or some other shite like that. Singular voices with a singular vision retains the creativity and doesn't dilute the story with DEI crap.
Cool
For sure
@@deanpeter2on I plan on creating horror movie to get ahead of this year’s halloween
@@ryanhowell4492 that's a good idea!
@@deanpeter2on that's not going to be easy
Maybe screenplays are obsolete.
What do you propose instead?
You have to wonder with this generation of ‘script readers’ would they understand the complexity of say a script like Network , One flew Over The Cuckoos Nest, Midnight Exoress ? Or have their brains been so white washed by life inexperiences with so much ‘JUNK’ that they can’t decipher the difference between a potential masterpiece & just another Barbie or Marvel hashtag. ✒️🎬🎥✒️
Some might argue that Barbie IS in fact a masterpiece.
It's hard to write a masterpiece like One Flew Over The Cuckoo's Nest, it isn't hard to know you're reading a masterpiece like One Flew... Your examples, except Midnight Express, are brilliant films but they aren't complex plots. They are full of subtext and explore themes that may or may not resonate with a reader, but I wouldn't be so dismissive of the younger generation that you can't find readers who can pick up on those themes and whatever question(s) those films are trying to answer.
@darkknightwithanidea1845 You say life inexperiences, yet most songs you grew up listening to and loving were written by guys in their early 20's. Stephen King wrote Carrie, Salem's Lot, The Shining, Children of the Corn and several others all before 30. I needn't mention Shakespeare. I'm almost 40 now, but can attest that the emotional impact individual pieces of art had on me was much more powerful when I was younger. There's no correlation between age and talent; or taste. Bonus fact, Ken Kesey was 25 when he started writing Cuckoo's Nest (27 when it got published).
@@deanpeter2on Yep. I myself enjoyed it on at least three different levels.
One of the best screenwriting interviews! I’ve written 30+ scripts, won awards and had two features made that were internationally distributed.
Still so much to learn and reenforce. Love what she said about subtext, as that’s one of the biggest falls in badly made movies and TV.
We speak in subtext constantly - every time we speak nicely to a boss we hate, every time our wife says I’M FINE!!! - and she’s not actually fine, every time we speak in one way, while hiding another emotion behind it.
And Joslyn’s gorgeous. Thanks for the eye candy.
I was vibing with this comment up until the last 2 sentences. What the fuck bro.
I despise the push for diversity in scripts. If it’s an all black cast, great (that’s not diversity) if it’s an all white cast or female cast or Asian or whatever, the gender, ethnicity, and whatever else should fit the story. What a horrible thing to do to creativity and other genders and races, shoehorn them in, cuz it’s trendy to do. Then they make you feel bad if you don’t. Reverse racism is still racism. No wonder most movies suck nowadays. No matter who it is, they shouldn’t be included as almost an afterthought, add them because they fit the story. The writers strike got them no jobs and scorn from the public. Well deserved. Pandering is disgraceful. Make this character black, cuz we don’t have enough diversity, this character no one cares about, I don’t think writers and those pushing this are doing the good thing they think they’re doing.
That's not how it works but okay!
It feels so good to be able to blame something!
@@hiplessboy lol I used to be further led than I am now, I started listening to both sides of the news and was horrified to see how much the left no media is lying. It all started there. If you don’t look outside the bubble, you’ll never be able to think anything different from them.
Diversity is such a stupid way to determine a winner. Its a contest. Its a meritocracy by definition
I always thought a "pre-lap" was the other way around: audio from the *next* scene enters before the end of the previous scene. She's describing some sort of carry-over thing, and i don't remember ever knowing what that would be called..... Post-lap? Oh, well-Reddit doesn't have the answer, so it must not exist.....
I always wonder how well readers do with their own material. Like, what's the qualification for becoming the arbiter/gatekeeper? I'm sure i'm just bitter after my one paid reader gave me 'notes' that were... bad. Answers to the few questions he had were clearly presented in the script; some comments represented that he didn't understand the simplest, most obvious elements or intentions; it was obvious that the reader brought strong personal biases and dismissed elements that are common in some of my favorite (and also widely-acclaimed) films.
Great interview marred by bad sound for half of it. Always monitor your recording.
Yep
what is that tattoo?
Not sure!
"When it really comes down to it, we pick a script written by a non-white person" Very cool.
thanks. i can stop watching right now
Shes so beautiful wow.
*throws cold water on you*
@@BaconManProd I need it and its hopefully hers
2024... poor sound ...
We actually shot this in 1998.
Thanks. It's good to know what readers are looking for. I mean, aside from the race and gender of the author. Obviously those are the most important things.
screnwriting
100%
A movie's potential merit should not be decided like this.
It's a VERY flawed process that is responsible for thousands of boring movies and kills cinema.
Like tasting oranges to decide the best apple.
*Modern mainstream* movies *sukk* because:
1) hammy dialogue
2) crude and tackyness (foul language / Gore and violence)
3) wooden characters (with actors that would fit in perfectly at IKEA/ a furniture store)
Where's the subtlety?
Where's the finesse?
*Thankfully* - cause of *Internet* and _smartphones_ - *anyone* can tell and *anyone can make a story* and share.
Stay happy everyone:)
What’s a modern movie you like?
Speaking of bad writing: the word is "because", not "cause".
@@HarryBuddhaPalm what's with the *semantics* ,?
Everyone gets the gist of what I have written. ... And it's The Truth. Thank you
Are those lavs even on?
Not at the beginning smdh 😔
It's fine. I'm 15 mins in & engrossed in the conversation. The sound is not distracting at all. Mistakes happen.
@@HollyHargreaves agreed
I see you try a similar setup as Matt D'Avella for the interview. ;)
What setup does he use?
@@deanpeter2on ruclips.net/video/qdSMbUi6Ct8/видео.htmlsi=xHVpFfKtRLMxdkyb
You look like the long lost brother of seth rogan
Thank you.
It’s hard to listen to you when you say “like” so much.
sorry about that.
Can you say the word “like” a few THOUSAND more times????!!!! C’mon!!!
I can listen no longer.
best just to leave
@@hiplessboyI did
"Content is the most important thing" This is the issue with most people these days. They care about content as opposed to form. Film is not a medium for storytelling.
"I don't care about stories. I never did. Every story is the same. We have no new stories. We're just repeating the same ones. I really don't think, when you do a movie that you have to think about the story. The film isn't the story. It's mostly picture, sound, a lot of emotions. The stories are just covering something." - Bella Tar
"Film is not a medium for storytelling" is a bold take!
You know it's amazing. Literally every word of that was wrong. I mean nothing you said was correct.
@@thereccher8746 Delightful, isn't it? -- I mean, this micro-second, I indulge in "Maybe he's got a point..." Then ok, nah... Earth's still round-ish. Ah, semant... I mean, syntax!
jesus that was dumb