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Whether it was the Director, Art Director or DP it was definitely intentional. When you get to movies at that level, where they have the time to work on each shot, it does tend to be very intentional with everything, blocking, lighting, set design, etc. And that movie was awesome. I love...

I think what Kim is saying is that without context it is hard to be able to give accurate criticism. I would suggest that maybe with each thing that is "wrong" give a solution on how you would fix it. That would help the filmmaker, whoever it is, to improve on their craft and will also get...

I was. Bummer we missed each other. If I'm in New York later this year I'll let you know. You are based in New York, right?

That's gonna be something you'll probably have to figure out, it may mean you'll need to change elements of your story so that it works. I honestly can't give you any suggestions without having read through the script. My suggestions probably would be useful if I did. I would just say to keep...

It was great seeing you there this year!

Ah, thought he went free because of the invalid evidence. If that is the case, how does he get caught at the end? Another court case or is he killed? I would workshop the problems you have until you have some ideas to work with.

A question I have then, what if the villian does go free? That would be the worse thing for the character, right? That would make the reader guessing maybe? Make the worst possible thing happen for your characters and you will likely have people guessing.

When I am writing I usually ask myself a series of questions in attempt to fix any problems I have. When in the script is it clear the goals/intentions of the characters? Can I make that point come sooner? If not, can I move the "context" before that point into the body of the scene/story? In...

Often times switching between genres, courtroom thriller to revenge thriller the character goals may change and confuse an audience. But there are no rules saying you can't do that. It sounds like from your previous post, that you spend a lot of time crating context for your story. This is...

Never let the character break character. You could always do what they did for Breaking Bad, choose how you want your character to react and keep throwing ideas for escalations at them until they react they way you want them to. Then you will know what situations cause them respond a certain way.

Possibly. It sounds like you may be trying to cram too much into one story. Sounds like there is potential of not having clear cut goals for your characters. Just make sure your characters have a single goal they are trying to achieve, may provide for more character development instead of...

I would guess that the reason people say the story lacks realism is that you may have not built proper context for the to believe it. You can do anything you want in a screenplay but for people to get on board and believe it you have to make sure they understand the world the story takes place...

The big question to ask is if your conflict supports your page count. I try to cram as many escalation into a scene as I can. If there is nothing at stake then there likely won't be much conflict. I can't really give you the answer for your script without knowing the context of the entire...

In essence yes, escalations are kind of like stakes but slightly different. Stakes might be fake his death to save his dog...or save his wife. I would think the wife would be higher stakes. Escalations would be more like, cornered in an alley and attacker pulls out a knife, knife is an...

I would first evaluate if hiding the death would be a deescalation or if it would be an escalation. If the story takes a dip in the stakes for the characters I would guess that you probably want to go with the other. Having not read the story this may not work but what if the character fakes...

No problem. My pleasure.

great resource. Thanks for sharing.

Just a quick note. I never mentioned that the 3 Act structure was bad. My issue is with the Story Paradigms of trying to make the same thing happen by certain page counts with everyone of your screenplays. Act 1 doesn't have to be 30 pages...a quick example is The King's Speech. End of Act 1...

Have you tried just saying, "I want to make a movie, are you interested in helping?" Have your script and ideas ready so it doesn't take them much work to be involved then just ask. You never know until you try.

My apologies, in the middle of a production right now. Harder to use does often times mean more advanced, sometimes that is a good thing in the fact you have more control. But if you don't know how to use the tools going a little more simple will give you a good foundation before you move up...