For a few years running my colleague Warren Lewis has asked me to be a panelist for the semi-annual Film Spark event for ASU (Arizona State University) discussing pitching on a panel and then listening and giving notes to students during an afternoon pitchathon.
This year, due to our sheltering at home during the virus the event used Zoom so for the first time they recorded the hour long panel – and here it is.
We were each asked to give advice based on the stories of our best and worst pitches, which provided a few good laughs and hopefully a lot of good advice.
Because I believe that you can’t change things unless you challenge them, whenever I see a newspaper article about a film where the writer uses the director’s possessive (as in “Spielberg’s Lincoln) and never mention the writer (which in that case was Pulitzer Prize-winning Tony Kushner – Spielberg has never won a Pulitzer Prize), I try to write a letter to the editor explaining the mistake.
Often they print them. Once my letter appeared alongside a letter with a similar point, written by the author of one of our History of Screenwriting textbooks (who has come to speak to our students during Workshop – Tom Stempel).
This morning the LA Times published this letter. — Rosanne
“Lawrence of Arabia” came to screens thanks to the book by T.E. Lawrence, which was adapted by screenwriters Robert Bolt and the blacklisted Michael Wilson. “The Shining” came from the mind of prolific novelist Stephen King, whose book was adapted by Stanley Kubrick and Diane Johnson, with Kubric directing. “Vertigo” is based on the novel “D’entre les morts” by Pierre Boileau and Thomas Narcejac, which was adapted by Alec Coppel and Samuel A. Taylor.
I’ve never understood why newspaper writers forget to name screenwriters when discussing movies. It seems an absurd example of internalized artistic oppression.
How can I be able to teach up-and-coming screenwriters their own value if journalists keep naming films as the property of the directors?
Stipe did care about one of the bands inspired by Beatlemania: the Monkees. According to Why The Monkees Matter: Teenagers, Television and American Pop Culture, Stipe said the Monkees mattered much more to him than the Fab Four. He said the Monkees’ “Daydream Believer” was his favorite song as a child and remained a guilty pleasure. Stipe even cited the Monkees as a musical influence. Given that the Fab Four inspired the Monkees, Stipe did take some influence from the Beatles, just not directly.
A hit television show about a fictitious rock band, The Monkees (1966-1968) earned two Emmys–Outstanding Comedy Series and Outstanding Directorial Acheivement in Comedy.
Capitalizing on the show’s success, the actual band formed by the actors, at their peak, sold more albums than The Beatles and The Rolling Stones combined, and set the stage for other musical TV characters from The Partridge Family to Hannah Montana. In the late 1980s, the Monkees began a series of reunion tours that continued into their 50th anniversary.
This book tells the story of The Monkees and how the show changed television, introducing a new generation to the fourth-wall-breaking slapstick created by Laurel and Hardy and the Marx Brothers.
Its creators contributed to the innovative film and television of 1970s with projects like Bob & Carol & Ted & Alice, The Mary Tyler Moore Show, Laugh-In and Welcome Back, Kotter. Immense profits from the show, its music and its merchandising funded the producers’ move into films such as Head, Easy Riderand Five Easy Pieces.
This gave us the chance to meet potential students (and a few who had already been accepted) and answer questions about how the program operates.
It’s always fun to engage with people and share our enthusiasm about the Stephens College MFA in TV and Screenwriting – and nowadays part of the fun of Zooming is checking out other folks’ backgrounds whether they are virtual (are they using the TARDIS of the Golden Gate Bridge) or their real office bookshelves. (Hey – I have that same book on my bookshelf!).
If you have any questions that weren’t answered during this Open House, send them directly to me at email@example.com and I’ll be glad to answer them.
We’re pleased to present a new slideshow designed by graphic artist Phoenix Bussey, a Stephens College undergrad, using photos taken by MFA candidates during the last few years of workshops. We think it tells our story well. Write. Reach. Represent.
London, United Kingdom Fri, Apr 24, 2020 at 12:30 am BST
Eastern Time, ET Thu, Apr 23, 2020 at 7:30 pm EDT
Central Time, CT Thu, Apr 23, 2020 at 6:30 pm CDT
Mountain Time, MT Thu, Apr 23, 2020 at 5:30 pm MDT
Pacific Time, PT Thu, Apr 23, 2020 at 4:30 pm PDT
Sydney, Australia Fri, Apr 24, 2020 at 9:30 am AEST
Learn more about this ground-breaking program focused on bringing more female and underrepresented voices into the mainstream media. The MFA boasts an impressive record of success and some of the best faculty and mentors in the industry.
Due to the COVID19 crisis, the following personal events and events the Stephens College MFA in TV and Screenwriting were planning to attend and present athave been cancelled. I will update this list as necessary. We’ll be announcing online events to be held during this time. — Rosanne
What do you do when your series continues beyond the original book upon which the show is based? On this special evening, we join forces with Columbia College Chicago to welcome a panel of TV writers who’ll discuss how they navigate the uncharted territory of writing for a show that has diverged from the original novel.
Marissa Jo Cerar – Writer, Supervising Producer, The Handmaid’s Tale, 13 Reasons Why
I. Marlene King – Writer, Executive Producer, Pretty Little Liars
Stacy Osei-Kuffour – Writer, Watchmen
Anthony Sparks – Writer, Executive Producer, Queen Sugar