One, I keep seeing more delicate subtle touches throughout the film and two; I appreciate Abba’s songs more than I ever did before.

Catherine Johnson’s screenplay is a masterpiece. I don’t know how much time she spent on the original play, but it must have been into the months, rather than weeks. Now to transfer it to the big screen she’s achieved another stunning success in making changes that bring the stage show to further life.

I don’t know if the extra touches were Ms Johnsons’s or director Phyllida Lloyd’s ideas, but I expect I’ll have to watch it over and over again when it comes out on DVD to spot more and I doubt I ever will locate them all. Stavros in many disguises is a regular visitor to the screen, but you’ll have to see it to witness what I mean. Meryl Streep humming ‘Fernando’ while on her way to the goat house will be easy to see, but spot the Greek bystanders and staff singing backing vocals to the star’s songs shows how well the Abba songs were constructed.

One of my favourite songs has always been ‘Take A Chance On Me.’ In the movie they turn it around so the opening is sung at the end of the song; it works so well perhaps Benny & Bjorn might have jigged it around had they known.

This brings us to those Benny and Bjorn songs. I admit it, the melodies were so strong, and the chorus’ so easy to sing along to, that there was hardly time to dissect the actual words. Now there’s time to do just that and here we find such beautiful and skilled writing that Catherine Johnson had a great head start in finding a theme for her stage play. Abba songs are mostly sad songs that we all remember as happy songs; they certainly liven up any radio station or karaoke. The backing vocals and musicianship is elaborate, even when they make it simple. That’s the sign of the Beatles.

Amanda Seyfried’s over closing credits version of ‘Thank You for the Music’ is in a league of its own. Each time I see the film I am tempted to tell people not to leave too soon. They’ll miss ‘Waterloo’ but they’ll also miss ‘Thank You for the Music’.

Gross revenue from the movie has topped over $450 million. It might just get to the $500 mark. Now what did I say previously about the academy awards people getting into gear over this movie?

Julie Walters just gets funnier every screening.

Now just where can I get to see it again next week…?

Then you balance that against the actual top commissions paid out which include:

$4 million for Shane Black’s The Long Kiss Goodnight (or $4.5 million)
$3 million for Joe Eszterhas’s Basic Instinct
$3 million for Tom Schulman’s Medicine Man
$3 million for The Ugly Americans (Eurotrip) by Alec Berg, David Mandel and Jeff Schaffer
$3 million for David Keopp’s Panic Room

Further, you check commissions paid for movies not yet produced that include:

$3 million for Bad Dog by Dale Launer
$3 million for Married in the Morning by Harry Elfort and Deborah Kaplan
$2 million for Joe Eszterhas’s Sacred Cows and also for his Reliable Sources

The figures are from Wikipedia. They’ve completed a good job of bringing together the highest paid amounts for screenplays that have been produced and released, while some have not even made it into production – and the writer still got paid!

Now come back down to the land we call Earth.

What you might sell first is just the ‘option’ for a producer to take temporary ownership of your screenplay. He’ll then try to find the finance to make the movie. That might be from a known studio in Hollywood or it might be from one of the other million sources around the globe, including people’s very own credit cards.

How much is he going to pay you for that ‘option?’ You might get $1,000 or it might just be a hundred bucks. When the option period runs out you can either have your screenplay back to offer to someone else, or the same producer might take it from you for another ‘option’ fee.

You have to consider if you’re going to take what you can get:
a) to keep living
b) to eat food
c) to push your career forward
d) to attach your name to a completed project

We can all quote WGA rates or more if we’re asked to complete a screenplay on request, but if your screenplay is with you and looking for a home, realistic life sources remind you of what deal to make. Early on, making the deal is important. Later, the type of deal becomes more significant. As you progress those union rates should be your minimum.

What stage are you at?

Go look over Wikipedia’s page at http://en.wikipedia.org/wiki/Screenwriter%27s_salary
Those WGA rates are at http://www.wga.org/subpage_writersresources.aspx?id=68

I have to add that Basic Instinct still remains one of the best screenplays of all time. You’re worth every penny, Joe.

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

Been there, seen it; got the t-shirt. Now the film.

The movie has been hyped up for what feels like a long time. Do the four lead actors get along with each other or not? Did they argue over positioning of their names in the credits? Was this just to disguise what has finally been, an average movie; well almost?

I followed the television series for many years, but I can admit that SITC fell off in my ‘got to watch’ stakes for the last series or two. It stagnated or perhaps it had no-where else to go. I felt the same about this movie screenplay; it didn’t take us anywhere new; it stayed on safe ground.

Of course some will argue that Samantha spent a long time (faithfully) with the same boyfriend as opposed to her sexual activity being thrust here, there and everywhere as in her previous thirty plus years.

Some will dispute my comments when finding out who did finally get married (the film’s least surprising twist), but that was inevitable; we all knew it was going to happen, just pleased that we don’t have to wait for SITC2 to be slightly surprised.

I felt the film was just like the television series; this could have been the last 3 episodes of the series. It was overlong, but not necessarily boring and then the end arrived and went too quickly.

The money must have gone to the stars because it didn’t go on locations or stunts, CGI or action; so we really were back in a television slot.

A couple of minor new characters were introduced, but they didn’t really get time to address their moods and swings so we felt like we really knew them. They arrived just to move the story along in a very careful, no brain thinking required, manner.

I hope they don’t go for a SITC2 unless they really feel there’s somewhere to go next time. However, that will probably only be possible if one of the major characters dies, changes sex or bats for the other side.

I also don’t like the trend (did SITC start it?) of the lead actor ‘talking’ at the start and the end of the film to tell us what we need to know. Show, don’t tell, I was taught. Now it appears to be tell, don’t show. We can understand the morals and the points you’re making – don’t shove it down our throats like we’re eight years old. In fact, it might even be insulting for eight year olds.

I don’t have any interest in brands, so the shoes, bags, dress and makeup references went way above my head. My good lady wanted to see the movie, so I held her hand. There were no tears. She now owes me a visit to a film she probably wouldn’t want to see.

The Mamma Mia stage show is one of life’s great treasured moments; if you haven’t been, please do; you’ll have the time of your life. Around $1.5 billion has been spent by audiences watching the show in theatres around the world to date; it may even run as long as Agatha Christie’s ‘Mousetrap.’

I saw the show on Broadway where the entire audience were up on their feet and dancing in the aisles. If you want to feel good this summer, see the movie.

You don’t have to be an Abba fan, but it helps. Even if you’re not a fanatic, you probably still know all the words to all of those mammoth songs.

If the film turns out to be half as good as the show, it could only be beaten to the movie of the year award by one quite stupendous offering, and I haven’t see one that good yet this year.

You can read the movie review here

Well, no.

The experts say you should study films before taking your own skills to the next stage and that’s exactly what I’ve done. I’ve been going to the cinema to see how the business works to its conclusion. So much has happened in getting a big movie to the screen.

I’ve also been studying short movies on Atom Films. They have a great variety with a consistent high standard. I’ve been plowing through many dramas and when time arrives, I’ll write some reviews so we can compare notes.

I’m ready to move on to the next stage now. I’m filling in the treatment so I can go on to the script.

I hope the great films I’ve seen recently has given me the inspiration I need, without giving me too many ideas about plots, characters, action and dialogue.

4 stars****

I’m very pleased I chose to go and see Vantage Point. It was an outstanding entertaining movie.

Essentially we saw the film from various people’s perspective’s in ten minute slots with each one just giving us a little more information over the last. Only when we saw each person’s point of view were we able to piece together what actually happened.

Barry Levy completed a very difficult task with this script writing and he deserves a gold medal for his dedicated result. This is a very different slant in movie entertainment and is rarely used. Run Loa Run used this technique with pure excellence as well.

I like a movie to be entertaining; if it’s not entertaining in a purely visual manner then it needs to stretch my brain. This film achieved both. I really can’t stand wasting my time watching movies with very little script, plot or story, just being held together (if at all) by large special effects every nineteen minutes and seventeen seconds. I know that I won’t be entertained or even have to think. Some formula script writing in films lack any real glue and are just to show off a star actor who has just cost the production company $10 million or more.

Vantage Point was interesting throughout and only fails to get the 5 start award because the ending did leave a little much to believe when the revitalized bodyguard suddenly saved his president by just being in the right place at the right time with very little verification of how he got there. That aside, it is a very good movie and one I’ll rent on DVD at some time in the future as I expect I’ll see more the second time I watch it.

The timing didn’t help me to see the second film that I wanted to experience – Bank Job, so I’m hopeful it will hold over to next week. However, there was a second film – Shutter that did fit timings. I left after 30 minutes partly because Vantage Point had been so good that it was difficult for anything to follow it successfully. It started to weave a story that just didn’t interest me so I left early. I’m sorry if it was a really good film but it didn’t keep me needing to stay.

That proves why we all have personal tastes and just because I like one film doesn’t mean you will. However, the writing skills of Vantage Point started me thinking and it kept me highly entertained.