Written by Steve Martin (story) and Jeffrey Nachmanoff (screenplay) this slow moving, almost two hour movie, takes us on a ride from a terrorist’s view of making and delivering suicide bombs. With a twist of course and that’s given away by the title.

I can’t help but wonder if they’d kept the twist a secret until late in the film, whether we’d have been on the edge of our seats rather than just expecting it.

Of course, Don Cheadle, who also has an hand in the production of this movie, is just dazzling. Whatever role he touches, he adds so much. You don’t notice he’s acting, which proves his high qualities. He set high standards in both Crash and Hotel Rawanda, he just continues along those lines.

You can’t help but notice that as a black guy, he stands out amongst the Arab terroists, but who’s counting.

They take locations in the Yemen, London, Toronto, Washington, Los Angeles, France and other places to add to the movie’s budget.

The pace of the movie is only slightly racked up towards the end, just as you’d expect. Surely it was just a matter of time before the Arabs found out that their friend was their enemy?

It’s just a shame we knew the ending before the film started. Film makings should take us on a journey where at least some of the ending is held in a twist or a surprise, not exactly as we had anticipated.

The journey, however, was compelling watching. Don Cheadle didn’t need the supporting cast except to take him from scene to scene.

The crew wasn’t noticed; so that means they did a good job in filming, editing and sound. If there was any music, I can’t remember it at all.

In a recent article we looked at what the top earning screenplay writers achieve for top script sales, including some which don’t get made into movies. Now we can see whether you’d be better off moving your writing skills in to the world of novels.

Forbes magazine has just unveiled its top list of novel writers and their pay scale information.

The top ten novelists on their list of the best-paid authors pulled in a combined $563 million between June 1, 2007, and June 1, 2008, thanks to large advances, imposing sales and movie adaptations. About JK Rowling “Over on the big screen, her Potter franchise has already generated $4.5bn at the worldwide box office – and she still has three more flicks to come” so perhaps it’s best to write novels and have them turned into movies – if you can get the writing gig after your novel has been optioned to a producer or studio.

The Top 10 Best-Paid Authors for the year:

1st JK Rowling – £300m
2nd James Patterson – $50m
3rd Stephen King – $45m
4th Tom Clancy – $35m
5th Danielle Steel – $30m
=6th John Grisham – $25m
=6th Dean Koontz – $25m
8th Ken Follett – $20m
9th Janet Evanovich – $17m
10th Nicholas Sparks – $16m

Many screenplay writers have thought about turning their screenplay into a novel, but then the thought of moving into another arena concerns a number of writers. However, it appears that it might well be worth the effort after all.

It’s all about numbers (after skill, talent, motivation and perseverance) – Ms Rowling has her name on over 375 million books, Stephen King also tops 350 million sales, James Patterson over 150 million. Twenty of Danielle Steel’s books have been turned into television movies.

I’ll spend some time looking at the major differences between a screenplay and a novel and share the article when it’s ready.

Now where’s that software programme that automatically turns a 90 page screenplay into a 450 page novel?

It’s a thinker’s film. Screenplay writer Nicholas Meyer has moved the Philip Roth complex novel, The Dying Animal, to a much simpler screen version, while retaining sufficient thought to make this movie compelling, fascinating and a long way from the current Hollywood trend for bang, crash, wallop action movies.

Philip Roth is a very popular novalist, but I’ve always found his work hard going. I can put down his books after a few chapters and come back to them months later, or not at all.

It has the feel of a French Noir film. If that was the target, it achieved it with flying colours.

Director Isabel Coixet has to be congratulated for her direction of the cast. We all know Ben Kingsley is up there with the best in the peak impact acting group with Michael Caine and Jodie Foster. They take over their roles.

The main surprise is the quality of Penélope Cruz. I have obviously under estimated her quality previously. I did enjoy her Spanish movie, Open Your Eyes (better than her second version; Vanilla Sky) and she worked well in Gothika with Halle Berry, but Elegy has to be her academy moment. She simply brought so much life to the screen you felt you were in the room with her. To mix that with Ben Kingsley on top form was excellent. The two of them worked so well together you’ll forget they had a crew watching over them, they were so intimate in their approach with each other.

It was good to see Deborah Harry back in an acting role, which she also mastered. It’s been a long time since she burst on the scene with all those stomping Blondie hits. She’s managed to keep her acting work growing is stature through the years.

The story is about a guy, Ben Kingsley, who falls for a beautiful student, Ms Cruz, who is thirty years younger. He can’t form long term attachments and ends up losing her for almost no reason until a twist brings him to his full character change arc; he now wants commitment.

Both ‘B’ stories fit well in the flow. Ben can’t find a relationship with his son, (and his mother, it has to be said) but he finds a great friendship with Dennis Hopper and a regular lover in Patricia Clarkson.

It’s good to be able to leave a cinema with something other than the action scenes to discuss. Even the ending doesn’t meet Hollywood standards; it’s not at all pleasant and doesn’t tie up all the loose ends. If you wanted a franchise this would be where it continues, but that almost certainly won’t happen here, because you get to talk about the possible next stages of these character’s lives and you decide their next moves.

Most enjoyable and good to have to think for a change. Isn’t this what film making is all about?

Well, Forbes Magazine has just published their annual Ultimate Star Payback League and the results are just in:

Earnings are per dollar (paid to the star and return gained) and are based on the star’s last three movies before 1st January 2008.

Those at the top of this year’s list include:
1. Vince Vaughn – $14.73
2. Tobey Maguire – $13.44
3. Julia Roberts – $13.19
4. Brad Pitt – $12.73
5. Naomi Watts – $12.16
6. Matt Damon – $12.16
7. George Clooney – $11.56
8. Jennifer Aniston – $10.48
9. Hugh Jackman – $9.90
10. Ben Stiller – $9.50

Those at the other end of the list:
1. Nicole Kidman – $1.01
2. Jennifer Garner – $3.62
3. Tom Cruise – $3.99
4. Cameron Diaz – $4.03
5. Jennifer Lopez – $4.10
6. Jim Carrey – $4.11
7. Nicolas Cage – $4.16
8. Drew Barrymore – $4.38
9. Will Ferrell – $4.67
10. Cate Blanchett – $4.97

This just goes to show you that figures can be played around with and any result you want can be found. A lower paid actor staring in a big movie success will appear as a much higher rate of return than those top earning actors who have to sell millions of theatre seats to get their payback.

We’d all be sure to want to have Nicole Kidman as the star in our movie, even if it only brings us another one cent over each dollar we pay out. In fact, if truth be told, we’d accept any of the actors mentioned in the entire list; just think of the publicity.

You’ll need to find a new actor about to break in to the big time and find that great ingredient that follows all skills, preparation, planning, production and marketing: luck.

Stars do sometimes appear in film flops. The trick is to make sure it isn’t your movie.

Our rating 3 stars***
I really wanted to like this book, it gets such enthusiastic reviews from many commentators. However, as hard as I tried, it didn’t really do it for me in the way I expected. I wanted to find out about film and movie making.

I felt like I was in a history lesson at University. I had to wade through page after page of film history when I only wanted to find out how to make a short film, which I though was the point of the book. Clifford’s view appears to be that to make a short film you need to know what happened in the days long gone. I wanted to find out what I needed to do today.

It’s not the only book to describe the whole process of making a short film, but it does include an excellent set of links around the internet and even if some may have been removed by the time you get there, there’s enough on offer to be of real value.

Clifford’s ‘Eight point guide to making short films’ in the script section is wonderful; exact and succinct, exactly as I expected the whole book to be.

Reviewing a few short films and then including the relevant scripts is a great idea. You can find the films mentioned on ‘Youtube’ so completing a full circle look at the making and the result can be seen, enjoyed and analysed. The fact that this promotes his short film, Grete May, is a good marketing ploy. You should note that around one third of the book concentrates on the short film interviews and scripts.

The information in the book will help you get your short film made. If it’s the only book you get on this subject, then as long as you enjoy a lot of history, you’ll be able to get from A-Z. I read it over a couple of weeks rather than a couple of days. I expected to then go back over the best parts to reiterate what I’d need to do to make the short film, but I hesitate because I might have to get stuck in times past again.

It’s not that I don’t like or want to know about the times gone by, but if I did, I’ve have purchased a different book. This is no longer the only ‘bible’ on the subject as I found Nathan Parker’s ‘Short Films … how to make and distribute them’ a much better read and more informative, but Clifford Thurlow’s book has links and information you can’t do without, so I guess you need both books.

Our rating 5 stars*****

If you only choose one book on being a screenplay writer, then this should be your choice.

This is the book that takes you through the various parts of writing your screenplay, how to complete it, who to get it to and lays out all of your business resources exactly where you want them in enough detail, but not needing a Harvard degree to understand them.

This isn’t the book you need if you want to write a screenplay that will sell for a million dollars, because it isn’t a writer’s bible on structure, methodology etc. This book gives you the basics in all areas. It informs and lets you do the hard work of actually writing a script without being bogged down in 22 point structures or 7 point analysis.

First and foremost it tells you that script must be hot, not average, not good, but the best it can be. Less is not good enough.

Planning your script, scene assembly, characters, scene writing and then dialogue takes first timers through the initial stages required.

A good section on copyright is followed by marketing your script, because without marketing, it’s a collection of typed papers.

You’ll learn about the movie game and how to start a networking file with good advice the whole time.

The life of a screenwriter is important; how do you manage your life while writing?

The section on rejection is most useful; it will happen. Be there and deal with it.

The resources guide is a good starting point, but I guess (not!) that the writer really wants you to go to his website and use his facilities – and why not; they’re great.

It teaches you all you need to know to get going and if that isn’t enough for you, then the accompanying CD (make sure you get it if you’re buying this book second hand) provides plenty of extras to guide you further. The format guide is most useful, the blank pages for story planning should be used often instead of blindly going at it without preparation; but some writing is better than procrastination.

There are sections about writing letters; pitching your screenplay and the possible deals you may be offered.

I like the part that helps you watch out for the scam artists, producers and directors!

This book is as good as Elliot Grove’s other titled ‘Lo to No Budget Filmmaking’. Have the two and you’ll have all you need to write, sell, make the movie and watch the profits come rolling in.

Screenplay help & tips from www.FILMandMOVIEmaking.com is all about looking at ways to make a great first impression with your screenplay when your script lands on the desk of the most important person in the world (after your family, your friends and your dog) – the person who will say either yes (recommend), maybe (consider), or no (pass) to your script.

This is all about helping you become a better screenplay writer. The best.

They may be a studio reader; they might be an actor who agreed to read your script as he may like to star in a movie with what he learned from your pitch; they could be a funding house; they possibly will be … and the list goes on.

You only get one chance to make that first impression. Spend time ensuring that both the presentation, but more importantly, the content, is the best it can be, to give yourself a fighting chance. Make simple amateur errors and your two year’s hard labour may not get read, it may not get read past page two and it may find itself in the trash waiting for the shredder.

This is all about you becoming a better script writer. The best

We’ll:

• suggest formatting – how to present your screenplay, the software choices.

• look at plot substance and control

• discuss structure – which methods work and which fail

• how to move from an average script to a master award winning screenplay writer

• use of dialogue – when talking normally is better than prose

• scene management – watch how your scenes flow

• the hero (protagonist) – do you believe in him/her?

• the adversary (antagonist) – do you want them to be defeated?

• motivation and desire – who has the greatest amount?

• Copyright – get it prepared early and more importantly, the right way

• and of course, much more, with many suggestions from colleagues in your chosen field

Please feel free to add your comments so others can learn screenwriting through the help and tips of the many knowledgeable writers where just a small tip or a little suggestion of help can make that difference between the ‘Yes’ and the ‘No’.

This is all about you becoming a better script and screenplay writer. The best

Quantum of Solace – Bond 007

UK release 31^st October 2008

US 7^th November 2008.

The first trailer is now available.

Long awaited, the follow up in the latest James Bond series of 22 outstanding movies, Quantum of Solace, arrives at our screens, firstly in the UK late October, followed by Europe and the rest of the world the week after.

This is the second of the Daniel Craig 007 movies. Each different Bond has taken the film a different way. It will be interesting to see if this Bond maintains his quality start from Casino Royale.

Wikipedia informs us that the first 21 films have cost just over one billion dollars to make, have taken $4.3 billion at the box office, which when adjusted for inflation equals $11.6 million in today’s terms. The money looks well spent from both movie maker and movie supporter points of view. The profits look long to continue.

Die Another Day and Live and Let Die remain my favorites, with Roger Moore my favorite Bond. I do like the way John Cleese was brought in to take over Q’s mantle, even though he’ll be missing this time along with Moneypenny. Dame Judi Dench continues the real menace of ‘M’.

We know the effects will be great, the stunt work brilliant and we’ll get exactly what we expect. It’s just a shame they can’t make one every year.

Who will sing the song? It’s better than winning the Eurovision song content.

It’ll be worth the flight ticket to the UK to see it on opening night.

The Happening has a very important message, about acting now to save our planet before we destroy it, but it waits until the last few minutes to get this across. Unfortunately, by then we’re so uninterested that we almost think ‘sod the planet, let’s go home.’ If we’d got the message earlier, we wouldn’t be wondering what might happen at the end of the film. Nothing did happen, in the event, of any interest. Instead of making us actually think about our planet we really couldn’t care less at that moment.

The Happening is a 2008 American apocalyptic film written, co-produced and directed by M. Night Shyamalan. It stars Mark Wahlberg (who was terrific in The Departed) and Zooey Deschanel. People become disoriented, then stop moving, and finally find the quickest way to kill themselves. The pandemic starts in parks, and rapidly spreads to nearby population centers. It is at first thought to be a bioterrorist attack, but this is ruled out as the events increase in regularity.

Following the Sixth Sense and Unbreakable, I thought that a M. Night Shyamalan movie would be good to see. I wasn’t keen on Signs, but mostly his films are completely entertaining. He’s noted for his twists and turns, but in The Happening, it didn’t happen.

In fact, not a lot happened. All screenplay writers are taught to consider the main three acts of a film (even if they mess around with them a little or a lot). The opening act lays out the ground plan of who we’re going to be watching and why; the second act takes us through the various stages of conflict and partial resolution and the third act wraps up all of the plots and sub plots and leaves us with the ending that works. We were offered the typical Hollywood nice ending here, but even that appeared to be out of touch with the rest of the movie. It didn’t gel.

Unfortunately, this movie just about managed act one, act two didn’t take us anywhere; it was just same, same and more same. Act three almost didn’t occur. There wasn’t a resolution because the film’s message couldn’t allow one. I can see what the director was trying to get across, that act three might not happen if we don’t all take action and save our planet now, but did this movie push us in to action? No.

Perhaps his message was best left to a documentary that might have proved interesting. Perhaps if he’d told us the message at the start of the movie we might have understood why we weren’t going to get an ending and didn’t need to spend an hour wondering what it might be.

When you left the great 5 star movie ‘The Accused’ you knew, and more importantly, men knew, that rape was not acceptable in any society on this planet. You thought about it, you talked about it. The Accused had ‘shown’ us exactly what it’s like and why it must not take place. After the Happening there was nothing but the feeling of having been bored for over an hour and wondering how quickly we could get out of the drive in and what we were going to have for dinner.

4 stars****

Jodie Foster just has to be one the best actors currently working. I may have to add the word ‘ever’ to that phrase soon, or perhaps I should already before she’s even reached fifty. She works in an elite group, along with Jack Nicholson and Michael Caine; you know their performance on screen will be completely incredible, at worst.

Foster brings another side of her acting quality to this film; comedy, which she doesn’t get to use very often in her high drama movies.

Abilgail Breslin marks a brilliant position in taking the lead role in this film. She has already turned over the ten film mark before reaching her teens, and will be pleased to observe that Ms Foster’s movie making route took a similar course.

Nim, looks for assistance from the author of her favourite adventure book series when her father, a scientist, goes missing. Nim lives on an island in the South Pacific. Alexandra Rover, the author (as in Alex Rover whom Nim thinks is a man) is living in San Francisco and suffers from agoraphobia. The writer overcomes her fears and sets out to look for Nim while Nim attempts to overcome her fear of losing her father. It’s a film for all ages so everything will be okay in the end. It’s a Hollywood movie!

The film is suitable for all ages; my 5 year old enjoyed it and while she wasn’t scared, she was slightly worried at some parts of the film.

It moves along at a good pace; the animals are marvelous in their co-staring appeal. They’re particularly helpful when a ship full of tourists try to borrow the private island.

Nicely photographed throughout, the editing is excellent as is the script which brings the package together nicely for the marketing people.

The only reason it gains just three stars is because it tries to appeal too much to all ages. The end comes too quickly and too easily. We almost missed the formulaic ‘ooh-er’ moment just before the end. However, Jodie Foster is wonderful, in case you didn’t get that first time.

The update is here