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William Martell
Faculty
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Biography
IN HIS OWN WORDS: I just handed in the first draft for the studio 3D remake of a 1980s horror film, and I've written 19 films that were carelessly slapped onto celluloid: 3 for HBO, 2 for Showtime, 2 for USA Net, and a whole bunch of CineMax Originals (which is what happens when an HBO movie goes really, really wrong). I've been on some film festival juries, including twice for Raindance in London (once with Mike Figgis and Saffron Burrows, once with Lennie James and Edgar Wright - back to "jury duty" in October of 2009).
Roger Ebert discussed my work with Gene Siskel on his 1997 "If We Picked The Winners" Oscar show. I'm quoted a few times in Bordwell's great book "The Way Hollywood Tells It". My USA Net flick HARD EVIDENCE was released on video the same day as the Julia Roberts' film Something To Talk About and out-rented it in the USA. In 2007 I had two films released on DVD on the same day and both made the top 10 rentals.
You can find more about William at www.scriptsecrets.net.
Screenwriting Symposium Events
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Mentor Lab
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BILL MARTELL'S WRITING SCREENPLAYS THAT SELL LAB
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A working professional screenwriter will take you step-by-step through your script, showing you technique-based methods to improve your dialogue, actions, characters and concepts in order to create the kind of screenplay that Hollywood actually buys... and makes. Focusing on conflict and drama and popular genres from thriller to romantic comedies, we will look at the elements that differentiate a "pass" from a sale.
DAY 1: Advanced Basics.
We will really dig in to concept and structure and theme - three things that may seem basic, but are often the main problems with a script that does not sell. A movie is a shared dream - what dream are you offering the audience? Why your pacing sucks. How to make Act 2 the *easiest* one to write. What is the point of your story, and why will it haunt the studio reader days later? What makes your script memorable and exciting?
DAY 2: When People Explode.
Moving pictures are about people with problems... that we can see. Removing a character's "nos". Movie star roles. Techniques to improve characters, make sure each character has a voice, and create an emotional bond between the viewer/reader and the character. Why your antagonist is more important than your protagonist. Dialogue and actions that expose character. Those big dramatic moments.
DAY 3: Can You Feel That?
Transferring emotions from the page to the reader/audience. Genre Juice and how to milk it. Audience participation and EMOTION pictures. Why your last 10 pages are just as important as your first 10. How to "bullet proof" your script. Why word choice is critical. How to create a page turner script... then get someone to actually read it.
Warning: Bill is like Dr. Phil and believes in tough love.
Screenwriters in the lab should submit:
1) A logline for their script (25-75 words).
2) The first ten pages of their script - so that we can tear it apart in class.
NOTE: This Lab is limited to 20 writers.
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Panel Description:
Our Mentors convene for a lively discussion on the pros and cons, ins and outs, and ups and downs of showbiz as it relates to screenwriters. SCSFe Staff and Faculty member Darren Foster will moderate. The panel will discuss their POV about the art and craft of screenwriting and will take questions from the audience.
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Seminar
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HIGH CONCEPT HOLLYWOOD
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Seminar Description:
How to find and develop ideas that Hollywood is looking for and you are passionate about. A great script with a dull idea is a dull script. Learn tools like Magnification, Flipping, Substitution, Cousins, Word Association, why High Concept is *Your* Concept, finding your personal themes in high concept ideas.
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