Category: Screenwriter - NovelPro Junkie

Interview with Independent Spirit Awards nominee Noah Hutton, director & writer of 'Lapsis'

4/15/2021

You can stream "Lapsis" today!!

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The director and screenwriter of Lapsis, Noah Hutton, was nominated for the 2021 Independent Spirit Awards.

(Synopsis from Website): In a parallel present, delivery man Ray Tincelli is struggling to support himself and his ailing younger brother. After a series of two-bit hustles and unsuccessful swindles, Ray takes a job in a strange new realm of the gig economy: trekking deep into the forest, pulling cable over miles of terrain to connect large, metal cubes that link together the new quantum trading market. As he gets pulled deeper into the zone, he encounters growing hostility and the threat of robot cablers, and must choose to either help his fellow workers or to get rich and get out.

Bio from Website:
Noah Hutton wrote, directed, scored, and edited Lapsis, which premiered in the narrative feature competition at SXSW 2020. He also recently premiered In Silico at DOC NYC 2020, a ten-year documentary begun in 2009 and supported by Sandbox Films and the Alfred P. Sloan Foundation about a ten-year project to simulate the human brain on supercomputers. Previously he directed the documentary features Deep Time (SXSW 2015) and Crude Independence (SXSW 2009)..

Interview with Ashley Avis, filmmaker and screenwriter of Black Beauty(2020)

12/18/2020

Find your way home and stream Black Beauty now on Disney+

Storyline from Imdb:
A wild horse and a teenage girl forge an unbreakable bond which keeps them connected for a lifetime. Based on Anne Sewll's classic novel, the 2020's film adaptation stars Kate Winslet as Black Beauty, Mackenzie Foy as Jo Green, and Iain Glen as John Manly. This interview is the continuation of the previous Novelpro Junkie's interview(Click HERE to view it) with the director and screenwriter, Ashley Avis. So, take this time to know more about her experience making this marvelous film.

1.     In one word, how would you sum up your experience with making Black Beauty?

Devotion.

2.     How does it feel to finally release Black Beauty on Disney+ for the world to see?

It feels surreal to have a story that carries with it so much meaning, a film both myself and our team worked so hard on for several years around the clock, now debuting to the world. The movie was produced by Constantin Film, and was one of the first acquisitions by Disney+ -- so to have one of the greatest studios in history recognize what we crafted is incredibly special. I'm deeply honored, and very excited, for the Disney+ audience to experience Black Beauty.  The movie is for everyone -- it is for children, and families, it is for couples, and those who love animals. Disney is the most idyllic partner I could have ever imagined for this story.

3.     What is your favorite scene from the movie to shoot?

The beach scene. The reason our modernized version of Black Beauty exists is because I had a serendipitous meeting with a wonderful producer named Jeremy Bolt several years ago. We sat in his office, had tea, and spoke about the movies that inspired us to become filmmakers. I mentioned The Black Stallion (1979), and how much I loved the scene on the beach with Alec and The Black -- it's about five minutes, just set to score -- and shows that enigmatic relationship between a horse and a human. The mysterious connectivity between them. That was the moment Jermey first said to me, "my partner and I have wanted to remake Black Beauty for about ten years. If you have a take, let me know."

I knew the story incredibly well, and had a take right in the room. Jermey told me they wanted to modernize the story, and make Beauty female. So I raced home and put together a forty page long pitch. From there, things went very quickly for our industry, it was one of those projects that was exactly right.

And so, as I wrote the screenplay, I very much wanted to have a scene on the beach between Beauty and Jo. A moment where they gallop like not even the wind can catch them, and experience that pure, true connectivity. It was very technically challenging to shoot all of the beach scenes you see in the movie in just one day.

While filming in South Africa, we arrived at a stunning beach called Silverstroom at about three a.m., and began before sunrise. Our dedicated horse team (lead by Horsemaster Elbrus Ourtaev, and Liberty Trainer Cody Rawson-Harris) were there even earlier. I very much wanted to capture the very particular dusky blue purple of morning for the opening of the movie, when Beauty is galloping alone, before the light crests. Later, we had the sunset shots to capture where Jo and Beauty ride together. For the quality of that magic hour light our wonderful cinematographer David Procter and I were hoping for, we had an incredibly short window of time to film that scene. It became a technical and logistical challenge to get all of the coverage we needed -- both closeups and wides of Jo with our tracking vehicles (showing the emotion, as well as the partnership between girl and horse) as well as very dramatic sweeping wide drone shots. We had limited runs that we could do with the horses, and about forty minutes to do it all.
Fortunately, there were two beaches at Silverstroom -- about twenty minutes apart from one another. A public beach, and a private beach.

As a filmmaker, I love problem solving and coming up with creative solutions, especially when things feel impossible but you know that somehow, you have to figure out how to do it, because the film or the moment warrants it! I didn't want to have to pick or choose, or limit our coverage. And so, this became the plan. On the public beach, we had Mackenzie Foy and our stunt horse, a tried and true gelding called Indiana for that coverage. Mackenzie also did her own stunt, and we had only one chance to do it. She is such a brave, wonderful person, extremely kind and empathetic, and she absolutely nailed it. The nervousness as her fingertips come off the reins, and then the pure joy that washes over her face is all so beautifully real. We jumped for joy when we got that shot.

Meanwhile, on the public beach, we were simultaneously filming our drone coverage -- the big wide shots with a Jo stunt double (Cheyenne de Beer) and Spirit, one of the other main Black Beautys. We didn't know until the end of the day if the drone team had gotten the footage we needed, because there was no cell phone coverage between the two beaches. Big Bird, the outstanding drone company out of Cape Town, got those shots and more. We were thrilled.
I love working with actors, and this story is so personal to me -- so it was very special to see Mackenzie fearlessly do that stunt and truly experience that moment riding Black Beauty down a sweeping, ethereal beach. As a viewer, I think you feel like you're right there with her.

4.     Did you make a cameo in this film? If not, why didn’t you?

I did not! My preference is behind the camera! I did lend my voice to one ADR line, though, given the current state of the world made having a traditional loop group impossible. I lent my voice to one off camera line: "We're done, Miss Green," in the scene where Jo is departing Birtwick for Earlshall.

5.     What was the most memorable moment on set?

There were so many. One of the most memorable scenes, for me, was when Iain Glen bonds with a horse we depicted as a mustang in the round pen. That sweet paint horse, Archie, had never done "join up" before. I really wanted to capture real horse whispering in the movie, but our schedule was so incredibly tight at six weeks (we ended up milking out a number of pre-shoot days, and other bits of extra time, thanks to our producers being very supportive of me constantly coming into their offices saying... "we have a hair and makeup test day scheduled... but we could also film something for a few hours...").

And use the time we did. It was on our hair and makeup test day that Iain Glen got into the round pen with Archie. We had a small crew, we were testing gear, and it was before we had begun principal photography. We filmed a 'test' with Iain in the round pen for two hours, doing liberty work with Archie. As he was reciting his dialogue, Archie joined up with him. Cody Rawson-Harris, our wonderful liberty trainer, was behind a tree and he began to cry -- it was just so profoundly special. It was an unbelievable moment as both a lover of horses, and a filmmaker, to be able to capture that authentically on camera -- and that is in the film. I felt very supported by our producers, led by the wonderful Jeremy Bolt, to help me realize moments like that.

Another moment I love is the scene where Jo names Beauty. It was another pivotal scene, which we had so little time to film, because I wanted that moment to be at that spectacular time of day where the light is low and gently filtering through the trees, bathing everything in gentle light. Magic hour. Mackenzie had by that time bonded with Jenny (the horse who played Beauty in that scene), and they had a real relationship. I know it was partially because they had become bonded, that we were able to film something like that so quickly -- Jenny truly loved Mackenzie.
Our whole team was unbelievable to be able to work at the pace we did throughout the shoot, but not sacrifice excellence or quality. I've joked with our cinematographer David Proctor about our camera team acting like a ballet -- our camera operator Damien Pawle and steadicam operator Dale Rodkin were incredible, moving around each other. Curving around Beauty's face and emotional eyes, capturing those stunning two shots we wanted as Jo's hand touches Beauty's star as she names her. All while being respectful and conscious that we had a horse in the scene, who was paying attention to both Mackenzie and our liberty trainer at the same time.

Dale did a twenty seven minute steadicam take that day. I've never had a steadicam operator keep the camera up that long (and we shot on the Alexa XT, that is a heavy camera body, plus lenses!). That just speaks to the passion that was the overall makeup of our team.

Then, there was all of the wild horse footage in the movie -- part of which was a completely separate shoot. I really wanted to root Black Beauty authentically as a wild horse, which meant capturing real footage of mustangs in the Western United States. My husband and producing partner Edward Winters and I ended up raising some money on our own for a documentary, and filmed about two weeks of spectacular wild horse footage in Utah, Wyoming, and Nevada several weeks before departing for South Africa. Months later during the editing of the film, I was able to cut the footage of the real Onaqui herd (filmed in Utah), into the scenes with Beauty as she is growing up (filmed in South Africa), to look like part of her family. It was like a little gift that the footage from two different parts of the world cut so seamlessly.

Lastly, I have to mention is the New York City scenes in winter. Those were almost cut, or changed, in the movie given major logistical challenges. We were filming South Africa during the height of summer, which doubled very well for Wyoming and New York State -- but trying to recreate Central Park in Cape Town was challenging! Much less a snowbound winter wonderland! I felt so strongly about showing the seasons of Beauty's life. It is another credit to Jermey Bolt for being so collaborative and problem solving with me, along with David Proctor's truly brilliant technical excellence -- to figure out how we could capture the coverage of those scenes I had in my head.

We ended up filming Beauty, the actors, and carriages on a massive blue screen stage. Our production design team led by Darryl Hammer measured real Central Park benches and lights to re-create them in Cape Town as authentic elements. We then shot plates (backgrounds, essentially) of the real Central Park in New York City, and our amazing VFX team headed by VFX Supervisor Marc Bloc of Black Ginger melded them together. It took months of very delicate work. The environment was supplemented by falling snow, extra trees, and other elements to literally put Beauty and Jo into Central Park. I'm very proud of the problem solving our team did to make that happen.

6.     Could you give us an interesting fact about lead star Mackenzie Foy?

Mackenzie is one of the kindest people I've ever met, and she has fallen in love with the world of horses off screen, too. Mackenzie has just joined the nonprofit organization I recently launched -- The Wild Beauty Foundation -- as a Legacy Ambassador. She now owns her own horse, and we are hoping to cast a new spotlight on key issues wild and domestic horses are facing today. Our primary goal is to reach children, those voices of tomorrow.  www.wildbeautyfoundation.org

7. Despite Kate Winslet voicing Black Beauty, were you able to meet with her? If so, what was your experience like with the Oscar-winning actress?

I have admired Kate for a very long time, and it was surreal when she responded to the screenplay -- and said yes to lending her voice to Black Beauty. Given the state of the world, I didn't get to fly to London as planned to work with her in person. However, I just feel so fortunate that we were able to complete filming the movie before everything shut down.

We worked remotely -- with Kate at her home, a team at a studio in London, and myself, our producers, and sound team headed by Ben Wilkins in Los Angeles. Kate recorded all the lines from a barn on her property (the signal was better in there -- quite apropos, right?). She had such great humor about it, and despite the occasional technical challenges, it went really beautifully. I edited the film, so I cut in all of Kate's voiceover myself. I spent at least 100 hours going through all of that dialogue at all hours of the night, finding the ebb and flow, and nestling the words gently within Guillaume Roussel's phenomenal score.

8. If you direct or write another film adaptation of any novel/novella/short story (besides mine, of course) which one would you like to do?

I am actually developing an adaptation of a novel now, which is very different from Black Beauty (I can't share the title quite yet) -- but it is a psychological / fantasy piece that delves into the nuances of questioning our realities. I'm also excited to look into other fantasy or fairytale stories for adaptation. It would be a dream to one day adapt or direct The Dragonriders of Pern by Anne McCaffery. Those books were a huge part of my childhood.

9. (Fill in the blank question): the year 2020 has been ___________________ .

A time to remain steadfast; recognizing the great challenges among us, while never forgetting the beautiful opportunities.

10.  What did you watch/read during the lockdown due to COVID-19?

I read a number of screenplays and books, but for the most part I was editing Black Beauty at all hours of the day from a temporary editing bay I had set up in my living room!

11. Last question, what type of snack (or food) do you plan to get while watching the premiere of Black Beauty on Disney+?

Thankfully I got to watch the debut of Black Beauty with my family, my mother, father, brother, and my husband Ed. My mom made a platter of all sorts of cheeses and crackers, we had wine together, it was just wonderful to share that moment with them.

When the score began to rise... the pounding of Beauty's hooves, the sound of breathing as she runs... I keep coming back to the world 'surreal.' So much love, work, and passion went into this film. I'm very excited to share Anna Sewell's timeless messages to the world, because this all started with her. Everything in the movie was done with incredibly specific intent, and I sincerely hope she would be proud.

  Check out this YouTube clip of Black Beauty and watch the entire movie on Disney+

Interview with Dirk Blackman, screenwriter of Deep Blue Sea 3

9/14/2020

Deep Blue Sea 3 is available to stream!!

Watch it now on Vudu, iTune, Google Play, FandagoNOW, or Amazon.

Interview with Patrick Vollrath, director and screenwriter of 7500

8/10/2020

Check out the movie on Amazon Prime: 7500

Interview with Marcus Flemmings, director and screenwriter of Palindrome

6/30/2020

Marcus Flemming is a director, producer, screenwriter, and author. He has also been a fashion photographer. He has made such films as The Conversations and Six Rounds. His latest is Palindrome and he is sharing with his experience writing the feature. So, take this time to get to know him and how Palindrome came to be.

1. First off, what are your thoughts about the coronavirus pandemic, and how are you dealing with it?

Firstly, yes it's a great tragedy and I would hoped that as a race of humans we would have joined together to combat it. But the opposite, in fact, has happened. Which is worrying!

For me, it's fine so far- however, i do miss going to the cinema!

2. What inspired you to write Palindrome?

Palindorome is born out of a project that fell apart last year. A very different kind of film- a samurai film. Once that fell apart I was left a little lost and, acutally quite relevant to now, isolated. I began to doubt myself as a writer and director. This film has many elements of all the thoughts in my head at the time.

3. What challenges did you face while writing Palindrome?

There actually wasn't any challenges once I began. I wrote it in 2 weeks and then tidied it up over the course of a month or so with my wonderful script editor, Sarah Smith-Gordon.

I also have to thank Asha Modha, who during my mini depression, was very helpful in giving me advice and direction to help me see the light of a new project.

4. What is your writing habit in general? Do you write in the daytime or at night?

Once I start a project, whether it's writing or fixing a tap, I am absolutely obsessive. Maniacal, even. So I write at day and night. But one thing I am always keen to NOT do is write for the sake of finishing something. That can become a slog and off-putting for me as a writer and i'm sure also for the reader. As much as possible I keep it organic.

Withni that spell of 2- 6 weeks when i'm writing a project I inhabit ALL the characters in my head and they all have conversations with each other.

5. What was the most surprising thing about your experience making Palindrome?

Well this is my 2nd feature as a solo director. I was actually surprised how easy it was this time. I feel i'm at a point in my life where I've probably seen 80% of commonly known films made and I'm able to dissect them so vividly now. When I was younger I would be bamboozled and in awe about how some shots were done or scenes were constructed/acted.

Right now, though, I feel as if I'm in the zone. Its all very natural when it comes to directing. There is, for me, a right way and a wrong way.

Of course, because it's art, that's very subjective.

But for me if I follow the principles of the greatest films I've seen by the greatest filmmakers through the ages- who all in principle. follow the same path- Fellini, Bergman, Coppola, etc- then that is the RIGHT way.

Again, this is subjective. But I'd argue with anyone all day who would say that they are BAD filmmakers. I would argue they are the greatest (along with many others).

6. Did you make a cameo on Palindrome?

I do indeed make a cameo - how did you know? It's a blink and you'll miss it cameo. Well actually it's a little more than a blink and you'll miss it moment. But I shan't say where it is.

I also scored a scene in the film called Nurse Jeanette's song.

My brother Timothy, who is a musician, was kind enough to clean up my raw work.

7. Have you ever considered adapting your book Sexy Utopia into a feature film?

Actually this was done by screenwriter, Shaun Davis, back in 2009 and it was close to being a Channel 4 series and then also a movie. But it was around the time of the financial crash so the project fell apart. However, I still do have this script and about another 10, unproduced. Plus a book that I released online called Happiness (the secret to) - which I am attempting to turn into 8 animation episodes.

8. If a self-published author is seeking a screenwriter or director, how would one get you or any expert to read his or her story to see if it would make a compelling movie?

This is the age old question really. It's the chicken or the egg scenario.

I don't currently have an agent. And the last time I sent out a script to a studio to read I was probably 17 years old. I got rejection letters from Warner Brothers and Universal. It's a question I don't have a definitive answer to. Obviously I've chosen to take the independent route. I would advise this. But then again I would also advise the other more conventional route. We all have our own paths. My advice is; if you want to go down the traditional route. Get an agent as they can get your script to the right people. However, sometimes getting an agent is as hard as getting studios to read it.

9. Could you give us an interesting fun fact about working with Tabata Cerezo, Sarah Swain, Hester Ruoff or/and any cast members?

Well the set was jovial everyday, despite us dealing with some pretty heavy subjects and working massively with time constraints - but I prefer a fun set. There was one day when we were shooting at an underground bar in Central London - on the other floors there was businesses. The scene we had in mind had to be populated by smoke. So we pop on the smoke machine and set off all the alarms in the whole building.

It had be evacuated.

The owner of the bar was furious and told us that we could no longer film there.That was a CRUSHING moment!
However, after 10 mins I gave him a call and tried to appeal to his heartstrings.
He changed his mind - but that would have been a disaster - in the end, the scene came out awesomely.
The worst thing is: this is a scene in the film where Sarah Swain and Hester Ruoff have to extremely emotional and both were in their respective method acting zones.

Thankfully all worked out and gave two chilling incredible performances.

10. Which of your short films you made in the past would you like to see turned into a feature film? And why?

Hahah! Great question - answer is: none of them! When I look back on some of my short films, I am both overwhelmed and embarrassed - I am overwhelmed by how we got them made. I made most of them with my soul mate in film, Haider Zafar, and they are actually pretty good.
I am proud of them.
But we are now on another level altogether from then.
We've grown.
Especially haider, who for me, is the best DOP in the UK. If his name was John Smith, he'd be at the Oscars every year. He'll still get that level.
So to answer your question again, none of them! I am also very much of the thinking that, once you're done with a project you move on and don't tread over it again.

11. What is your favorite movie as a child and what is your favorite movie now?

This is my specialist subject, so I have two definitive list.

One is my favourite films, I'll name 6 of them,

1. Wizard of Oz
2. Fight Club
3. La Haine
4. Kill Bill
5. Memento/ Inception
6. Old Boy

And then my list of what is actually the best films ever made - which doesn't necessarily mean they are my favourite. They are just, objectively (in my opinion - haha) the best films ever made:

1. Schindler's List
2. The Godfather Part 2
3. Citizen Kane
4. 2001: A Space Odyssey
5. Godfather Part 1
6. Pulp Fiction

I could go on, but shan't!

12. Did you watch 73rd BAFTA Awards/ 92nd Oscars Awards? If so, what was your favorite and least favorite moment?

I think I'll be obvious and say Bong- Joon- Ho's win! Very very cool at the OSCARs but for him to then salute the living legend that is Martin Scorsese was a stunning moment!

Parasite was a good little film! I still prefer Memories of a Murder, which is a masterpiece. But Parasite was the right film, at the right time and so refreshing. As I feel the industry is in a bit of a rut at the moment.

BAFTA's - maybe Margot Robbie's speech on behalf of Brad Pitt.

Least Favourite moments - I didn't really watch them fully to have a least favourite moment.

But I'm not a big fan of the BAFTA or the British Film Industry on a whole, so maybe I'll say the whole ceremony.

13. If you could switch bodies with a certain celebrity, who would it be and why?

Pahah, another great question - I am not sure actually. Wouldn't mind being Denzel Washington or Sam Jackson for a day or two and having their memories of working on the incredible projects they have.

But, conversely, I'd love to be Meryl Streep or Diane Keaton - both are incredibly prominent actors from the 70's who worked on some of the most seminal films of that most impressive era of film.

14. What is your favorite book of all time?

So, a confession, I hate reading books! which is so strange for a writer and especially someone who has written two books. But as a kid I loved The Lion, The Witch and the Wardrobe. And the sequels. And as an adult I am huge fan of Chuck Palahnuik - so I've read Fight Club & Survivor. For my formative years, his work crucial to me. Almost all of my scripts as a teenager had elements of Fight Club in them. Thankfully, I've found my own voice since then.

15. Between Six Rounds and The Conversations, which one would you choose to write a sequel or prequel?

I think this links back to what I said earlier about once a project is done, you don't got back to to it. So I actually wouldn't want to explore a sequel for these. However, in line with answering the question, The Conversations definitely. I can see something coming from that. It's left very open ended and I really enjoy the two lead characters - Al and Ellie. I think a spin off with just Ellie would be great to conquer and her adventures.

16. Last question, what is the one thing that anyone should do/eat/try if one is visiting London, England?

Head over to Camden and also Camden Market - here you'll find every sub-section, ethnicity, accent, culture, economical element of the UK.

Thank you Marcus Flemmings for answering the questions. I hope you get the chance to check out Palindrome when it comes out. Thank you for reading this interview and visiting Novelpro Junkie. Take care and I hope you stop by here again.

Interview with Simon Lewis, screenwriter of Four kids and It

6/23/2020

Before being a screenwriter--and a novelist--Mr. Simon Lewis was a guidebook researcher in India and China. His first book titled Go is a travel thriller, which was written in a village in the Himalayas. His second book titled Bad Traffic is a crime thriller, which was nominated for French SNCF prize for crime fiction and the LA Times Book of the Year Award. As a screenwriter, he has written The Anomaly, Tiger House, and Jet Trash (based his novel Go) . Now, he has adapted a beloved children book and he is here to express his writing experience on the feature film. So, take this time to get to know him and to see why you should check out Four Kids and It. It will be available on DVD and streaming services on June 30th.

1.     First off, what are your thoughts about the coronavirus pandemic, and how are you dealing with it?

I have some context: I lived through the SARS panic in Beijing, and that was actually scarier as the disease was more lethal. I am lucky in that I have a script job right now, I don't have to change my life that much.

2.     What drew you to adapt Jacqueline Wilson’s novel “Four Children and It”?

I really enjoyed the mix of whimsical fantasy and gritty reality. It seemed to offer an opportunity to write a fairy tale for modern times.

3.     What research did you do while writing Four kids and It?

I just read the book a few times.

4.     Was there anything you find particularly challenging while writing Four kids and It?

It's challenging trying to write for kids and adults at the same time. Films aimed at kids have to be super smart now, as parents have to be engaged as well.

5.     What is your favorite line from Four Kids and It?

When Smash tugs the Psammead out of the sand Ros says 'Shall I hit it?' And the creature responds, 'No, hit her!' It's the first time the creature speaks, and it's a great ??!!! moment.

6.     How do you make the translation from novelist to screenwriter?

Good question. I'd say they are 75 percent the same as both formats are all about story and character. But novels have the luxury of choosing to go into character's thoughts and interior lives. The novels I write tend to be quite screenwritery, in that they are mostly action and dialogue. Basically, screenplays are lean and terse, novels are talky and effusive.

7.     Were you ever on set for the making of Four kids and It? If so, could you tell me what scene you were present at?

I went to the set for a day, and watched them shoot a scene in the cottage. Sets are boring, they just do the same thing over and over again. I only went as it was a free trip to Ireland. I spent the rest of the time wandering around Dublin.

8.     Were you able to meet any of the cast members (Paula Patton, Russell Brand, Michael Caine, Matthew Goode, etc.)? If so, could you express your experience with that person/s?

No. I don't involve myself with any of the hard craft of getting the thing on screen and I don't socialise with film people. I've met very few actors in my life.

9.      How has studying art influence the way you write? Or has it?

I like to try and think in visual terms, which I guess comes from my art background- for example, what object could I use to symbolise that conflict? How can I create an image that would express this character's goals or dilemmas? What will look cool? Where can I stage this scene that will have maximum effect? And so on. Films are all about the visuals. I would love to write a movie with no dialogue one day.

10.  What book (or movie) had the most influence in your life?

For book, I think I would say Money by Martin Amis or For Whom the Bell Tolls by Hemingway. For film I would say Reservoir Dogs or Dawn of the Dead - these aren't my favourites now, they are just great works I came across in my formative years that inspired me.

11. What is your writing habit when you write your novels?

Tote a laptop around, spend a few hours in a coffee shop, walk for an hour, then more coffee, then repeat all day, every day. What I really like to do is go to eastern Europe, and stay somewhere for a week or two and do the same.

12. Which of your novels would you like to see made into a feature film and why?

Bad Traffic, about a Chinese cop who comes to the UK to find his missing daughter. People are trying to make it now, so there is hope.

13. If a self-published author is seeking a screenwriter, how would one get you or any experience screenwriter to read his or her story to see if it would make a compelling movie?

Screenwriters have stories of their own, they won't bother reading it. Send it to producers and directors as they are always looking for compelling stories.

14. which novel/novella/short story have you read that you would like to see a film adaptation (besides yours, of course)?

I want to see more films made from 2000AD comic characters. That's such a deep well of amazing stories, as good as Marvel, I don't know why it hasn't been plumbed.

15. What do you love most about the town you live in?

I live in Brixton and I love all the variety and contrasts of the area.

16. What was the last movie you watched in the theaters before the coronavirus pandemic ?

Four Kids and It. Sky did a screening. I was happy I could take my daughter to see it.

17.  What TV show have you binge-watched during this pandemic? Or you currently writing as well?

Better Call Saul

18.  Last question, what makes you laugh no matter what?

Monty Python sketches. As a guidebook writer, I used to do lots of very long bus and train trips, and I would keep myself amused by running through sketches in my head. Some hours in and I'd be giggling quietly. My fellow travellers probably thought I was mad.

Greatly appreciate Mr. Simon Lewis for his time to answer those questions. I hope you find the time to watch Four Kids and It when it releases on DVD and all streaming services on  Tuesday, June 30th. You can pre-order it right now. It's a great family movie to watch with your children. Thank you for stopping by her to read this intriguing interview. Inform or share this interview with someone you know as well. Take care of yourself and have a great day.

Interview with Will Eisenberg and Aaron Eisenberg, screenwriters of Into the Dark: Good Boy

6/10/2020

Hulu's In the Dark is a Blumhouse production and a horror movie anthology series that is par with Black Mirror or Twilight Zone. Streaming on Friday, June 12th will be an episode titled Good Boy. It stars Judy Greer, Steven Guttenberg, Elise Neal, Ellen Wong, Maria Conchita Alonso, McKinley Freeman, Chico the Dog.

Good Boy is about a woman with anxiety problems named Maggi. She got a little dog to help with her condition. Soon, she realizes that her dog was acting more than just a therapy dog. The dog soon turned from being overly protective of Maggi to being vicious to certain people that associated with her.

The screenwriters of this barking-good thriller are the brother duo Mr. Will Eisenberg and Mr. Aaron Eisenberg. So, take this time to get to know a bit about them and get an insight on their writing experience on Into the Dark: Good Boy.

1.       First off, could you express your thoughts on the current events specifically the George Floyd Protests?

WILL: We are outraged by the murders of George Floyd, Breonna Taylor, and so many other black Americans at the hands of police—and that’s not to mention the countless families torn apart and traumatized by our racist criminal justice system whose names we do not know. But we’re inspired, and cautiously optimistic, to see the diversity of these protests the past few weeks. It really feels like people are waking up and finally ready to confront the ugly realities of our country.

AARON: George Floyd’s murder was clearly an inflection point for our country. I’m just sorry it took another unnecessary and inhumane death to get here. We’re seeing more and more people stepping off the sidelines and calling out/ demanding an end to systemic racism—and that’s great. They’re marching, donating, reading, and listening. And positive change is already happening. Here in LA, the police budget has already been slashed by $100-150M. In my opinion, it isn’t nearly enough, but I’m glad we’re getting somewhere. Black lives matter. Any debate about that is racist nonsense.

2.       Do you have a pet now or when you were little? If so, what is his/her name?

WILL: We had a miniature Schnauzer named Chance growing up. He loved our family, but barked at everyone else. My friends hated him. Today, my wife and I have two dogs! One is a mischievous Bichon Poodle mix named Scout, who loves to steal snacks. The other is a rescue dog, and a terrier mix, named Arlo. He's the inspiration for, I'd say, half of our movie-dog's character traits. Like hiding in cramped, dark places; having bad separation anxiety; being creepily obsessed with his owner (me).

AARON: My girlfriend and I have two rescues as well! Franny and Monty. But Francine (a terrier/ poodle mix) is actually my emotional support dog, and, in addition to being the inspiration for Reuben (the name of the dog in the movie), she’s been a miracle for me, personally. I adopted her almost six years ago after suffering a pretty bad anxious meltdown. The argument my psychiatrist gave me for getting an ESA is almost verbatim the argument Steve Guttenberg gives Judy in the movie. He was like “You can even pet them if you’re feeling particularly anxious,” and I was just sitting there thinking “I know how dogs work!”

3.       List three adjectives to describe Into The Dark: Good Boy?

WILL: Fun. Weird. Bloody.

AARON: Judy. Greer’s. Revenge.

4.       Could you express how you came to write the script of Into The Dark: Good Boy?

AARON: We love “be careful what you wish for” stories and are huge fans of the 1986 Little Shop of Horrors. The two of us were talking one night about my emotional support dog and started thinking about how fun it would be if a small, scruffy mutt could literally make its owner’s anxieties “disappear.” We didn’t want to go into B-Movie territory, so the thought was to make every element of Maggie’s character and her life very real, with the exception of this one factor—the murder dog. But we also didn’t want to make Cujo (another film we love), where the beast is predictably enormous and violent. That’s how we landed on a dog like mine: seemingly unassuming… until you cross its mom. Setting the movie around LA let us play with how big dog culture has gotten out here, where people literally baby their pets, dress them differently every day, take them to salons, book them therapy/ psychic appointments, etc. Satirizing that world was a lot of fun!

5.       What was your writing habit when you wrote the script?

AARON: Will and I actually rented a cabin around Big Bear, brought our dogs with us, and started scripting off of our outline. We’ll do little, four day writers retreats from time to time; it’s a nice departure from the coffee shops we usually work out of. Anyway, we were there after ski season so it was eerily quiet. A cabin in the woods in a ghost town is a pretty great spot to draft a horror movie.

By the time we left, we had a really solid start. About 70 pages. A couple days later we had a very rough first pass. We followed that up with a thorough polish and sent it to our manager and Judy, crossing our fingers that she’d respond to it!

WILL: The script went through many iterations after that, but the first draft was a solid start, and structurally pretty sound.

6.       Do you ever get writer's block when writing in general? What do you do to get back on track?

WILL: We're pretty disciplined and try to work a full day every day, regardless of how we're feeling. It's a job, and we try to treat it like one. Sometimes just pushing through the slow days leads to something great, and sure, sometimes it doesn't. But unless you're writing, you won't find out. I will say, one nice thing about having a writing partner is that if one of us is stuck on something, we can always swap scenes with the other one for some fresh eyes.

AARON: It’s also nice to have multiple projects in rotation. If we’re feeling stumped for a day on project A, it helps to put it away and see if you can make some headway on project B. I’ve always been a proponent of “sleeping on it,” but even figuratively I’ve found that if I’m working on something else, my lizard brain is still trying to solve problems with the thing I’m actually stuck on.

7.       What were the challenges (literary, research, etc.) in writing Into The Dark: Good Boy?

WILL: This was one of the most fun things we've ever written, and the process was overall very smooth. As comedy writers, who happen to be horror fans and dog owners, we just blended all of our interests together, and the tone kind of revealed itself to us as we went on. Plus, writing it with Judy Greer in mind certainly helped, as it gave us a great baseline for her character, Maggie's, voice.

I think the hardest thing was probably revising it to meet the demands of the modest budget and short production schedule. Characters and locations were slashed and scenes were combined, yet we didn't want the world to feel too small, and we didn't want the pace to feel too rushed. It was a balancing act.

8.       Could you express your experience working with Tyler Macintyre, the director of Into The Dark: Good Boy?

WILL: We were so excited when Tyler came on board, and we knew that with him at the helm, this movie would be every bit as fun as we hoped. But it wasn't until we first sat down together to discuss the script that we realized what a great collaborator he was. He asked the right questions, and it became clear that the three of us all basically wanted to make the same movie. He was also generous enough to keep us involved through production-- as any last minute rewrites came up-- and even through post, for notes and feedback. So often, writers are cut out of the process once their films are greenlit, and it felt really nice to be treated with that respect. We're all just trying to help, y'know?

9.       What is your favorite line from any movie?

WILL: "Plastics."

AARON: “Everybody dance!” – Waiting For Guffman

10.     Which of your short films you made in the past would you like to see turned into a feature film? And why?

WILL: Honestly? None! In the past when we've made shorts, they were intended for that length and format. I think they'd be boring if they were any longer.

11.     What was the best advice you have ever received about writing?

WILL: When we started writing professionally, we had a few projects with Nickelodeon, and our mentors there were these writers, Will McRobb and Chris Viscardi. They created Pete And Pete, and were just amazing teachers with decades of writing wisdom. They told us that we should be able to black out all the character names in our scripts and still know who's talking, from their voice alone. That stuck with me.

AARON: Oh yeah, that’s a good one. I actually forget who told us this, but “don’t be precious.” Will and I spent our first few years fighting with each other over every little change. “Should this line have a period or an exclamation mark?” Things like that. We’d argue in the way that only siblings can—but it just slowed us down immensely. Start bigger picture and move fast. Then go back and rework, rework, rework, tighten, tighten, tighten. And if an idea you were psyched about falls out, don’t sweat it. A new idea will replace it and eventually you’ll forget what you lost in the first place.

12.     What was the major breakthrough that propel your writing career?

WILL: Write what we want to write. Not what we "know," not what we think we should write, not what somebody else thinks we should write (we've been down that road before.) write what we want to write.

AARON: Realizing that your signature style is not something you work to find at the outset, but rather something emerges when you look back on the scripts you’ve written. We started off trying to make sure that our projects ticked off certain boxes so that people could easily identify what it is we do, and that got really frustrating. Now we’ve written for kids and families, and people our age and older, animation and live action, but regardless of the story, everything has our DNA built into it.

13.     If you could adapt the screenplay (or direct) any article/short story/novella/ novel, which one would you like to do?

WILL: This is a really tough question. We're looking at optioning a couple of articles right now, but I don't want to mention them specifically yet... Can I pass? Aaron?

AARON: Yes, Will. Permission to pass granted! I’ll say this: I’ve always wanted to make a movie out of The Phantom Tollbooth.

14.     What was it like to see Judy Greer, Steve Guttenberg, Elise Neal, Ellen Wong and/or any other cast members speaking the words you wrote on Into The Dark: Good Boy? Did you get the chance to meet any of them?

WILL: It was incredible. Like I said, we were lucky enough to be on set every day, so we got to spend a lot of time with all of them. The shoot was only 16 days for a 94 page script, so there wasn't much wiggle room to get more than a few takes. Thank God we had the cast that we did, because they really brought it. And specifically, I need to give Judy so much credit, because there were a few days in there where it was just her and Chico (the dog) filming, like, eleven scenes with eleven costume changes in one location, back to back to back. She is a legend, and deserves all the starring roles!

AARON: Yes to everything Will said! I’d only add that the actor I was most nervous to meet was Chico! We didn’t know what the dog would look like until we saw a photo of him at the table read. He looked so perfect for Reuben and was such a funny gentleman on set.

15.     What advice do you wish someone had given to you when you were younger about the industry?

WILL: The breakthrough I mentioned earlier is pretty much the main thing I had to figure out on my own, which I wish somebody had told me. Write what you want to write.

AARON: Listen to all the opinions you want, but don’t take everyone’s advice. The person who has the strongest understanding of what you’re trying to do is you—so instead of contorting yourself to try to appease everyone, find the notes that really amplify your vision and see those through.

16.     If someone made a movie of your life would it be a drama, a comedy, a romantic-comedy, action film, or science-fiction?

WILL: Either a rom-com or a buddy comedy, depending on the central relationship. But in either case, I've already got a note... we need to make the protagonist more "likable."

AARON: Comedy, comedy, comedy! And I agree, definitely make the protagonist in Will’s movie more likable.

17.     Last question, what do you miss most about childhood?

WILL: Back then, bread was at the bottom of the food pyramid.

AARON: Making our first movies together in our basement. And being a totally obnoxious theater kid!

Huge thanks to the Eisenberg brothers for accepting and answering my interview questions. I hope you guys enjoy reading the interview as well. Into the Dark: Good Boy is not to be miss.You should definitely check it out on Hulu when it releases on Friday, June 12th. Thank you for visiting Novelpro Junkie and I hope you keep reading its contents and checking out the interviews. Take care! Be safe and healthy everybody.

Photo of the brothers: Will Eisenberg and Aaron Eisenberg (screenwriters of Into the Dark: Good Boy)

Interview with Ronan Blaney, screenwriter of A Good Woman Is Hard to Find

5/22/2020

Before becoming a screenwriter, Ronan Blaney worked as a part time teacher at Brownlow Integrated College in Northern Ireland. As a screenwriter, he (along with his work partners) won the BAFTA awards (British Academy Film Awards) for Best Short film with Boogaloo and Graham. He was also nominated for the Oscar for the same short film. Now, his latest film that he wrote is titled A Good Woman is Hard to Find. Get to know this award-winning screenwriter and his experience writing the film.

1. First off, what are your thoughts about the coronavirus pandemic, and how are you dealing with it?

It’s a wake up call, isn’t it? We’re looking down the barrel unless we wise up to what we’re doing to the planet and each other. The only way to regard it is as a warning of worse to come. If we go back to the way we were before it struck, we’re screwed all ends up. And we’ll deserve it. The optimist in me likes to think that it will fundamentally re-order society. The virus has proved, quite literally, that we cannot survive without strong public services, the very services that have been denigrated and pummelled for the last thirty or forty years. Is this a 1945 moment? I hope so.

2.     In one word how would you sum up A Good Woman is Hard to Find?

Brilliant.

3.     How did you get the idea for A Good Woman is Hard to Find?

It was a reaction to austerity. I remember watching Cameron and Clegg when that coalition was formed and they were giving a speech together, all chummy chummy, these two very shiny-faced Oxford-educated, privileged white men who had never known a day’s want in their lives and there they were telling us that we were all in this together. These were people, and their acolytes, who didn’t have the first idea about how most people lived their lives. I wanted to write about some of those lives. I tried to imagine the most vulnerable person imaginable and came up with Sarah, the heroine of Good Woman. But the film couldn’t be a political tract. Instead I just tried to imagine how I could screw up this woman’s life even more.

4.     What was the most difficult thing about writing the screenplay?

Originally, it was the character of Tito, the drug-dealer who busts into Sarah’s life and is the catalyst for the story. I just couldn’t make him come alive. He was just a thug. There was nothing attractive whatsoever about him. He needed lots of work. I sort of hit on the idea that he should say oddly intelligent things which hinted at the kind of person he might have been if he had been born into a particular milieu, if he’d had a proper education. That way, he became much more interesting. He echoed the theme of the story – waste. How all the people in the story could have been something different and much better people in a society which hadn’t brutalised them.

5.     How was your overall experience working with the director, Abner Pastoll?

Great. We hit it off right from the start, Abner, myself, and Abner’s production partner, Junyoung Jang.

6.     What is your writing habit in general?

I usually work late at night. It’s the only time I know I won’t be interrupted.

7.     What are your thoughts on Sarah Bolger, Edward hogg, Andrew Simpson, or any of the cast members playing the roles that you wrote?

Did you ever meet them on set? I didn’t to go the set. I find film sets very boring. Re the casting, I thought it was excellent. Sarah has been getting a lot of well-deserved plaudits, but I thought Edward and Andrew also brought something interesting and unexpected to their roles.

8.     Did you make a cameo in this film?

If not, why didn’t you? No interest in that.

9. Congratulations on winning the 68th British Academy Film Awards for Best Live Action Short Film (Boogaloo and Graham), could you express the emotions you went through or what you were thinking while giving your speech at the podium?

Oddly, I was very calm about the whole thing. Honestly, and I mean honestly, I didn’t even think of what I might say on the podium. It seemed to go down all right.

10. You, along with Michael Lennox, were nominated for Academy Award for Best Live Action Short film (Boogaloo and Graham) at the 87th Oscar?

How did it feel to be at the ceremony? Which celebrity/celebrities did you see or meet? It’s a very long ceremony. I spent most time at the bar. I met Clint Eastwood and got a photograph taken with him then sent the photograph to my mates with the caption, ‘Anybody know who this old guy is? He keeps following me around’.

11. Could you express any interesting fun fact that occurred during the Oscar ceremony?

Did you go to any of the after-parties? If so, which one? It’s all a blur. I can say that after the Baftas everyone got taken for a great meal in Grosvenor House (I think) while at the Oscars the food at the Governor’s Ball consisted of a baked potato in some foil wrapping. Land of the Free where nothing’s free.

12. Have you considered adapting any short story/novella/novel for a feature film? If so, which one?

No.

13.   If a self-published author is seeking a screenwriter, how would one get you or any experience screenwriter to read his or her story to see if it would make a compelling movie?

The best route for that author would be to write screenplay themselves.

14. What TV show have you binge-watched lately?

‘Better Call Saul’

15. Last question, what is your favorite meal at your favorite restaurant?

To the horrified consternation of my wife and children, my favourite food is turkey-neck soup. Unfortunately, nowhere serves it. Instead, I have to make do with my mother making it once a year on Christmas Eve, where I’m the only who eats it.

Many thanks to Ronan Blaney for this interview. I hope you all will go check out A Good Woman Is Hard to Find. It is now available on VOD. Choose your preference: Vudu, FandangoNow, iTune, Google Play and Amazon. Watch it with your friends or family if you will. Thanks for stopping by once again to read a superb interview. I hope you keep coming back. Tell or share this interview with someone that might be interested in it. Take care of yourself and each other.

Interview with Dirk Blackman, screenwriter of Into the Dark: Delivered

5/6/2020

Hulu's In the Dark is a Blumhouse production and a horror movie anthology series that is par with Black Mirror or Twilight Zone. Streaming on Friday, May 8th will be an episode titled Delivered. It stars Tina Majorino, Micah Parker,Natalie Paul, and Michael Cassidy.

Delivered is about a pregnant woman whose life was turned upside down when she realizes someone she just met has sinister plans due to her pregnancy. The screenwriter of this terrifying thriller is Mr. Dirk Blackman. So, take this time to get to know a bit about him and get an insight on his writing experience on Into the Dark: Delivered.

1. What are your thoughts about Coronavirus pandemic and how it is affecting the movie industry?

Not to be a Pollyanna, but I think for anyone looking, it’s shined a light on a fundamental truth: everyone’s essential. I hope we remember that the next time someone’s bagging our groceries a bit slowly.

As for the business... I’m going with the model that a vaccine or successful treatment is found. In that case, it solidifies the landscape streaming already created. But I honestly believe people will leave their houses for tentpoles, horror and x number of prestige films, etc. The theatrical experience will always be attractive… as long as we feel safe gathering together.

2. List three adjectives to describe In The Dark: Delivered?

(I hope:) Tense. Wry. Grotesque.

3.  Could you express how you came to write the script of In The Dark: Delivered?

The premise sounds like it’s one of those ‘ripped from the headlines’ stories, but it wasn’t. If you write thrillers, or horror, you spend a lot of time thinking about boxes and the monsters that haunt them. You also think about how to write ‘produceable’ movies, or movies you can make ‘for a price.’ i.e. inexpensively. So one day my brain said ‘pregnant woman in a house.’ There’s my main character and the box. The monster simply presented herself. What better villain than one whose motives you can understand? All that said, I could have read about a woman a dozen years ago kidnapped for her baby and it simply percolated up at that moment. Ideas lurk.

4.  What was your writing habit when you wrote the script?

My usual: (index) card it, outline the hell out of it then write in spurts at odd hours of the day or night. Usually night. I’m not disciplined in the sense of ‘I’m going to write the script now, from 3pm to 6pm.” But I – and I suspect most other writers – literally work every waking moment. If I’m not specifically working on cards, or the outline or the script, I’m gnawing at the edges of another script, another idea. Thinking about blocking, design, dialogue hits, whatever. Writing is an obsession.

5.  Do you ever get writer's block when writing in general? What do you do to get back on track?’

I rarely block when I’m actually writing the script because I usually outline well, meaning I know what the scene is meant do. If I do block, it’s when I hit a patch where I failed to outline properly. In other words, when I was too lazy to do what was necessary.

I get blocked during the outline all the time, but the solution to that is almost always to attack the story from a different angle, e.g. fleshing out a character’s bio, their arc, blocking an action scene, working on a subplot, etc. That usually leads me back to where I need to be. And if that doesn’t work, I back away and return to it with fresh eyes.

6.  What were the challenges (literary, research, etc) in writing Into The Dark: Delivered?

Outside of the normal challenges of writing anything, there really were only two: I’ve never been pregnant and I’m not a woman. Perfect author of a movie about a pregnant woman. However, I am a husband and father of two daughters, so I am not utterly without knowledge.

I tried to write the characters as people first, with an easily understood and profound desire: to have a child. Then I tried to subvert that a little, by making the pregnant woman unsure if she really wanted a child, while the one who isn’t pregnant is out of her mind. That’s all still understandable on a basic human level. After that, I gave the script to a few women to read for their input to make sure that the characters sounded like women and not just a man’s idea of a woman. I’m not one of those people who believe you have to belong to the group about which you write, but you do have an obligation to try to make the voices ring true.

7.  Could you express your experience working with Emma Tammi, the director of Into The Dark: Delivered?

I’d never worked with Emma before but I was excited to do so after watching her movie “The Wind”. It was obvious from our first conversation we were on the same page, because she immediately saw that I was going for a strain of black humor underneath the tension. We had a big job to do: take a 112 page feature and pull 30 pages out to fit the Into the Dark model. But she just waded in and got it done. She’s a great collaborator: always professional, always motivated to make the best movie possible, always moving forward.

8.  Were you ever on set for the making of In The Dark: Delivered?

If so, could you tell me what scene you were present at that was very memorable to you?

I visited a couple of times and got to watch Tina drag a body, which was fun. I also watched Natalie in a scene where she asserts herself by secretly naming her baby, which is both a revolt and a maternal land grab. (Yeah, that’s a bit cryptic, but spoilers, you know)

9.  Could you give a fun fact about Natalie Paul, Michael Cassidy, Micah Parker and/or any other cast members that are speaking the words you wrote on Into The Dark: Delivered ?

Unfortunately, no. I hadn’t had the pleasure of meeting them before. But I do think the performances are pretty amazing.

10. Should we expect a cameo of you on Into The Dark: Delivered?

Alas, no.

11. What was the best advice you have ever received about writing?

Two things, one for writing, one for the business. For writing, it was a question from a teacher: ”What is the central idea?” That is, what is the main character’s arc? That’s your guiding light. If you don’t understand it, you’re lost. For the business: “The limousine won’t just pull up to your front door.” No one is going to hand it to you. I used to think it was enough to be good. It’s not. Connections, legwork… it’s crucial to get yourself out in the world and be ready when the moment comes.

12. What was the major breakthrough that propel your writing career?

I guess there were two. Selling my first script, a sci-fi actioner based on Dante’s Inferno, to Paramount. That got me an agent, into the WGA, and an article in a movie mag. Put me on the map. And getting “Outlander” made. Even though the Weinsteins buried it because they couldn’t afford the P&A at the time, it opened a lot of doors. Landed three writing gigs while we were posting it.

13. What would it take for you personally to be interested in adapting a self-published story into a screenplay?

I don’t really know that world, but like everything, it would have to be a tremendously engaging story or idea. And since the exposure to the original story is more limited – meaning the IP has less value (and the buyers LOVE IPs) - I think I’d lean toward a true story so that I’d have something unique – life rights for instance – to use in a pitch.

14. Do you have beta-readers to read the draft of your scripts?

Absolutely. My wife, who is the best critic, and my mother, who is the worst. (She loves everything I write. “My son, the genius!”) And, I’ve built a network of other writers of varying ages and tastes, as well as my manager and agent. I’ve found the optimal use of those eyes is to hand them the very best draft I’m capable of writing at that moment. I don’t want them making comments on things I know are wrong. I want them finding things I don’t see.

15. What is one thing you missed doing (or anything in general) when you were an undergraduate at Columbia University? Did you visit the campus pre-conronavirus period?

We were in the city last fall for business and visited the campus. It remains one of my favorite places on earth and I am very glad we took the trip then rather than putting it off.

I had a great time at Columbia and going to school in Manhattan was an extraordinary experience. Walked up and down NY, went to four movies a day, clubbed, haunted Times Square before the tourists got there, fenced, rode the subway at 4am, ate at great restaurants, ate at dives. I don’t know if there’s anything specific I should have done that I didn’t do. I was having a great time. But I do know I should have done more of everything. But it’s funny you ask the question. I’m working on a spec pilot set in NY about all the things I wish I’d done more of.

16. If you could direct a film-adaptation of any article/short story/novella/ novel which one would you like to do?

A few years back my partner and I got hired to rewrite the most recent Conan movie. I’m a massive Robert E Howard fan, so this was a dream assignment. Despite getting paid, we didn’t end up doing the rewrite (cue long, drunken horror story), but we did write a sequel that never got shot due to the box office of the first one. But it left me with a fantasy of directing a Conan movie that was really true to the source material.

17. Did you watch the 92nd Academy Awards (Oscars)? If so, could you express your general thoughts on it?

Overall it was a pretty good year, though I doubt we’ll be revisiting many of these films as time goes on. I think I was most satisfied to see Joachin Phoenix win for The Joker and Taiki Waititi for Jojo Rabbit, which was so fresh. I think there were a bunch of career awards, which I don’t love, and only one or two awards where I scratched my head. (Where was the love for Avengers Endgame?) Once more, I found myself not missing the host.

18. Last question, what’s your favorite TV show or movie (besides In the Dark anthology series, of course)?

Too difficult. I’ll go with TV, because they’re not making my favorite movies anymore. The Morning Show. Breaking Bad. The Good Fight. Mary Tyler Moore Show. (yup) Watchmen. GOT. Killing Eve. Chernobyl. The Wire. Buffy. Wait… maybe it’s Buffy. It might just be Buffy. Buffy. It’s Buffy.

I want to express my appreciation for Mr. Dirk Blackman for taking his time to answer my questions. I hope you enjoy this interview and don't forget to come back to Novelpro Junkie for more. Again, Into the Dark: Delivered will be released at Hulu on Friday, May 8th.

Interview with Amy Talkington, screenwriter of Valley Girl (2020 film)

5/4/2020

IMdb synopsis of Valley Girl(2020 film):

Set to a new wave '80s soundtrack, a pair of young lovers from different backgrounds defy their parents and friends to stay together. A musical adaptation of the 1983 film.

Valley Girl is loosely based on Romeo and Juliet.

Amy Talkington, born in Dallas, Texas, is a writer and director She has written numerous screenplays for multiple hollywood studios. She has also been featured on CNN, MSNBC, BBC, MTV, Sundance Channel, etc. For television, Amy wrote the finale of Hulu's Little Fire Everywhere, which stars Reese Witherspoon and Kerry Washington. She also wrote for Disney Channel's Avalon High and Brave New Girl. She won a 2010 WGA award for Avalon High.

Her directorial debut was "The Night of the White Pants" which premiered at the tribeca film festival. Her short films has been selected for various festivals including sundance and has won top prizes as well. Her latest film, Valley Girl, will be release digitally on Friday, May 8th. So, listen to the interview as you get to know her a bit more and her experience writing the nostalgic Valley Girl.

1.       In one word how would you sum up Valley Girl?

2.       What drew you to write a remake to 1983’s Valley Girl?

3.       Was it already decided that the film would be a musical before you wrote the first draft?

4.           Did you do any research while writing Valley Girl?

5. What is one thing you miss about the ‘80s and what is one thing that you do not miss about the ‘80s?

6.       You do not see a lot of movie musical as often as in the past, why do you think that is?

7.       What challenges did you face while writing Valley Girl?

8.       What is your favorite scene or musical moment from the movie?

9.       What was your experience like working with Rachel Lee Goldenberg, the director of Valley Girl?

10. Did you make a cameo in this film? If not, why didn’t you?

11. Were you ever on set? If so, could you tell me your memorable moment?

12. Were you able to conversate with Chloe, Peyton, Alicia Silverstone, Judy Greer, Logan Paul or any of the cast members? If so, could you give one, interesting fact about them?

13.     You have written a young adult novel before are you planning to write another one?

14.     You wrote the 8th episode of Little Fire Everywhere, could you talk about your experience working on that project?

15. Were you able to discuss with Kerry Washington or Reese Witherspoon about their characters?

16.     Did you watch 92nd Oscars Award, what did you liked and what did not like about the event?

17. If a self-published author is seeking a screenwriter or director , how would one get you to read his or her story to see if it would make a compelling movie?

18. Have you considered adapting any short story/novella/novel for a feature film? If so, which one?

19.     As a screenwriter and director, has there been any subject matter that you decided not to tackle on?

20.     Last question, with theatres shut down and streaming services surging due to the current lockdown, do you think the movie industry would experience a lasting change of a sort or things would go back to the way it was?

I greatly appreciate Amy Talkington for accepting my phone interview. I hope that everyone will watch Valley Girl especially during these trying times. The movie will lift your spirits and take back to a time when social media wasn't a distraction or rather social media didn't rule the world or our lives. So, check it out on May 8th with your loved ones and have a blast from the past!