Recent content by Tyler Emerson

Some others: Florida State Colorado Emerson Brigham Young Arizona State University of Texas - Austin (very good from what I hear) Also, look at film conservatories.

It's a question of whether the story is about you or the people around you. If the protagonist is based on yourself, you don't need any written permission because it's your story, your perspective. If it's somebody else, you can probably base material off of them. Just don't outright...

Neither. When you're paid, you're a professional. If you haven't been paid, you're an amateur (sp?) or novice. Getting scripts green lighted gets you writing credits. And experience.

Beat is used almost solely for acting. Any time a beat is put into a script is usually ONLY in the shooting script for the director and actor to reference. Don't write beats into your spec script. Save that for after the financing comes in.

Go to your state or city's film commission. They will always have lists of actors, crew people in your area. For example, I live in Wichita, Kansas. When I need to go to somebody for actors or crew, I know I have several sources to go to. Again, just an example, but here's my list: Kansas...

When the actors are that close in age, it shouldn't matter. For example, the actress who plays the younger daughter of "Seventh Heaven" is actually two or three years older than the girl that plays the oldest sister. Case in point.

Come up with a name, get a lawyer, and have them register your company. Then comes all the paperwork involved, like PAYE Schemes, tax books, and all that other junk. Or you could do what most people do and just develop projects under the name only. But actually register. And always, always...

If anybody wants to read a great book on screenwriting, I would highly suggest Tom Lazarus' Secrets of Film Writing. He wrote Stigmata. I love his book and his style, and it is just a fun read. It's probably the most dog-eared, highlighted, sticky-noted book I have in my library. It's so cool!

I'm just saying that kids are difficult to work with because of time, money, and talent constraints. I'm not saying that it is impossible. What I am saying is that if you are a student filmmaker, you may not have the time or money to work with kids. It's easier to gear parts towards older actors.

I have to pimp my own school! I really do! THE UNIVERSITY OF KANSAS! I know, it sounds absolutely CRAZY, but it's true! I am from Wichita, KS. When I began researching film schools, I looked at the usuals: USC, NYU, UCLA. Then, in the Fiske guide, I checked out schools for film, and KU was...

Here is my list of how to get A-List actors onboard: 1. Become very good friends with them! In all seriousness! You may not become great friends iwth them, but you can at least become aquaintances. Go to film festivals, go to parties, be at events, go out. Over time, you will develop a...

Don't. Just don't. It costs time: getting the rehearsals done correctly, getting the takes doen correctly, feeding them, putting up with temper tantrums, etc. It costs money: Time is money. Plus, you have to feed them.

I'm one of those people who always gets an idea in their head at about one or two in the morning. It is for this reason that I always carry a pen and pad of paper with me (you could be passed out at a house party) or leave my computer on, with FADE IN already typed and ready to go. I also get...

It sounds like a character in "Star Wars." Which is cool, if you're George Lucas. The entire deal with cahracters is that their name should encompass who they are. For example, Napolean Dynamite? Perfect. Ferris Beuller? Great! Sometimes, a name isn't even necessary. If you'll notice in...

There are several ways in which to do this: CHARACTER DESCRIPTION(CHARACTER NAME) CHARACTER NAME Or, have one of the other characters use their name. When the character in question replies...well, here. Let me show you. MAN Hey...