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Online Screenwriting Course: The Rewrite

Wednesday, May 4th, 2016

Note: There are only five spots left open for this course. 

Winter 2018 – 10-Week Online Course

Instructor Gordy Hoffman guides participants who have completed first drafts of their screenplay through the rewrite process. A requirement for the course is students must have a completed draft of their screenplay or tv pilot.

DATE: Saturday, January 27th, 2018 – Saturday, April 7th, 2018

TIME: 09:00 a.m. – 12:00 p.m. PST

FEE: $895 (Payment plan available)

Limited to 7 participants

 

 

 

ABOUT GORDY HOFFMAN

 

Gordy has taught screenwriting at the USC School of Cinematic Arts and the UCLA School of Theater, Film and Television, as well as led workshops all over North America, Australia, New Zealand, Poland and England. He sits on the Professional Advisory Board of the Film and Media Studies Department at his alma mater, the University of Kansas

A proud member of the Writer’s Guild of America, Gordy’s screenplay LOVE LIZA, directed by Todd Louiso and starring his brother, Philip Seymour Hoffman, won the Waldo Salt Screenwriting Award at the 2002 Sundance Film Festival. He made his feature directorial debut with his script, A COAT OF SNOW, which world premiered at the 2005 Locarno International Film Festival. Gordy’s short film, DOG BOWL, had its world premiere at the 2015 Sundance Film Festival and went on to screen at over 50 festivals around the world. He’s currently developing a feature for Abigail Spencer set in his hometown of Rochester, New York..

Raised in Fairport, New York, Gordy founded the BlueCat Screenplay Competition in 1998 and remains its judge.

COURSE

The Rewrite Course will afford the convenience of workshopping your screenplay with Gordy Hoffman on your own schedule, conveniently at your own computer.

GOAL

By the end of the course, all students have the tools needed to create and implement a solid rewrite plan. Most importantly, participants will walk away with a revised and more developed screenplay.

Upon successful completion of the course, each student will receive a certificate from BlueCat and Gordy Hoffman verifying their achievement of the work.

ASSIGNMENTS

Each writer will submit written material to the workshop as outlined in the weekly schedule. Participants read each other’s weekly work prior to class. All members are asked to provide comments on the scripts/weekly assignments, as this will provide a much richer experience for all the participants. Gordy will provide weekly written notes on each assignment, approximately 24 hours prior to each class, in addition to verbal feedback during each class.

WEEKLY SESSION

The screenwriting workshop meets online once per week. Each participant will receive individualized weekly feedback from the workshop in a supportive, courteous, and forthright environment. Writers will have the opportunity to rewrite and develop their script based off the workshop feedback. A constructive, creative, and supportive atmosphere will be strongly encouraged.

TECHNICAL REQUIREMENTS

This is a live workshop (with two-way video) via Skype group video calling and email correspondence. In order to participate, you’ll need the following items:

Computer!

High-Speed Internet Access

Internet browser (Mozilla Firefox, Google Chrome, Safari) to connect to Skype

Web Cam

Note: This program may not be taken on an iPad or tablet computer

SYLLABUS

Week 1 (01/27/18)

Introductions. Break down and discuss scripts. Read screenplays available from fellow writers.

Week 2 (02/03/18)

Break down and discuss scripts. Read screenplays available from fellow writers.

Week 3 (02/10/18)

Workshop will brainstorm and discuss ideas and potential changes for each screenplays.

Week 4 (02/17/18)

Outlines and Pitches. Writers will submit written development material (notes, outlines, beat sheets, treatments, character sketches, etc.) to workshop for further discussion.

Week 5 (02/24/18)

Rewrite first 15 pages of your script.
Review material available from fellow writers.

BREAK (03/03/18—–No Class.)

Week 6 (03/10/18)

Rewrite pages 1 to 30 of your script.
Review material available from fellow writers.

Week 7 (03/17/18)

Rewrite pages 1 to 45.
Review material available from fellow writers.

Week 8 (03/24/18)

Rewrite pages 1 to 60.
Review material available from fellow writers.

Week 9 (03/31/18)

Rewrite pages 1 to 75.
Review material available from fellow writers.

Week 10 (04/07/18)

Complete whole draft.

FROM OUR STUDENTS

“The re-write workshop made it pain-free to shed the layers of an older draft and really weave its new skin in a supportive and nurturing environment. It’s usually nice to get feedback from one person but this felt like such a catch being able to hear from Gordy and four other classmates every time I wrote a set of pages. I would highly recommend it to anyone who can write a screenplay but like me get’s bogged down or indecisive when the re-writing phase begins. A very handy class towards developing my ability in the craft.” – Nikhail

“Gordy personally challenged me to look inward and discover ideas much richer than what I had initially touched on in my first draft .  His insight and encouragement proved invaluable during the course of the class.  What I came out with was so much better than what I started with. ” – Steve Lowery

Questions? Please contact the BlueCat office at info@bluecatscreenplay.com. Thanks!

 

REGISTER:

The Rewrite - Winter 2018

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John Carpenter Discusses Horror Conventions

Thursday, October 29th, 2015

 

Acclaimed horror film director, John Carpenter, talks his career, criticism, and conventions of the horror genre in this clip from the 2002 documentary, “Masters of Horror”. Check out the interview below.

 

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BLUE’S BEATS #15 – “RAIDERS OF THE LOST ARK”

Monday, August 31st, 2015

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Blue’s Beats is a blog series where we break down various feature screenplays by identifying and discussing their important beats.

 

With the end of the 2015 summer movie season upon us, we will take a look at a classic summer movie, and one of my personal favorites, Raiders of the Lost Ark. Released in the summer of 1981, the first installment in the Indiana Jones franchise, Raiders of the Lost Ark, was directed by Steven Spielberg and written by Lawrence Kasdan, based on the original story by George Lucas.

To read the screenplay, click here.

 

 

PLOT SUMMARY

Harrison Ford portrays the iconic professor and archaeologist, Indiana Jones, who finds himself battling Nazis in a globetrotting adventure to find the historic and mystical Ark of the Covenant.

 

SET UP

The first act introduces the audience to two defining aspects of Indiana Jones’ character. The first is Indy as an adventurer, an archeologist in the field, seeking hidden treasure from lost civilizations. Here we see the iconic boulder scene as Indy rushes to escape a booby-trapped temple after stealing a priceless golden idol (page 9). The second is Indy as a professor, bespectacled and straight laced, imparting knowledge upon impressionable youth.

 

INCITING INCIDENT

It is within this academic setting that we come to the inciting incident. Indy is introduced to two government officials who recount the details of a Nazi plot to locate a lost relic, the Ark of the Covenant (page 14). Later at Indy’s home, he is recruited to seek out his past mentor and ultimately foil Hitler’s plan for the Ark (page 19).

 

PLOT POINT ONE

Indy travels to Nepal and meets an old flame, Marion Ravenwood (Karen Allen), from whom he learns of his mentor’s death (page 28). However, not all is lost, as Indy learns that Marion is in possession of a medallion essential to locating the Ark. But, the two have a tumultuous relationship, and Marion is reluctant to help. That is, until she is confronted by four Nazi agents, a confrontation that ends in her bar burning down. With nothing left to lose, Marion agrees to accompany Indy to Cairo, Egypt to find the Ark, hopefully ahead of Hitler’s nefarious henchmen (page 41).

 

MIDPOINT

In Cairo, Indy and Marion meet up with a friend, Sallah (John Rhys-Davies), and, after a chase through the streets by assassins, Marion is taken captive, though Indy believes her to be dead (page 48). Indy and Sallah go off to find the Ark’s location on their own (page 56).

 

 

 

PLOT POINT TWO

Using two ancient relics, Indy ascertains the true location of the Ark of the Covenant and, more importantly, learns that the Nazis are searching in the wrong place (page 59). Indy, as well as the audience, learns that Marion is alive, but he must leave her so that he can get to the Ark (page 60). Indy and Sallah find the Ark, but they are discovered in the process. The Nazis now have the Ark of the Covenant, and all hope seems lost (page 67). Indy and Marion are left for dead, but escape and manage to reacquire the Ark, only for it to be taken again, along with Marion, by the Nazis.

 

CRISIS & CLIMAX

Indy pursues the Nazis and the Ark to a holy site called the Tabernacle, but is himself captured. Here, the Nazis intend to open the Ark, and, upon doing so, are killed in the most gruesome fashions. Indy and Marion are spared the Lord’s Judgment by holding their eyes closed, refusing to look upon the Ark’s contents (page 94).

 

 

DENOUEMENT

With the Nazis dead, Indy and Marion return to the States, where government officials assure them that the Ark is safe. The last shot is of the Ark being placed in a large, mysterious warehouse, sure to house more secret and mystical objects.

 

Founded in 1998, the BlueCat Screenplay Competition seeks to develop and discover unknown screenwriters. For 2016 BlueCat Screenplay Competition submission information, click here.

 

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EARLY DEADLINE TODAY!

Monday, June 15th, 2015

Now accepting Feature length and Short screenplays

 EARLY DEADLINE: JUNE 15TH

 *All submissions received by Midnight PDT TONIGHT will receive one page script analysis by July 1st.

SUBMIT YOUR SCREENPLAY

 

 Scripts by O

Every year, BlueCat provides a community for the unknown screenwriter to develop their work, giving undiscovered talent a path to professional success.

 

PRIZES

BEST FEATURE SCREENPLAY

$15,000 Grand Prize

Four Finalists

$2500 Prize

 

BEST SHORT SCREENPLAY

$10,000 Grand Prize

Three Finalists

$2000 Prize

 

THE CORDELIA AWARD

Best Feature Screenplay from the UK

$2000 Prize

 

THE JOPLIN AWARD

Best Feature Screenplay from outside the USA, Canada or the UK

$2000 Prize

 

THE ROSHAN AWARD

Best Feature Screenplay from India

$2000 Prize

 

MOVIE TITLE CONTEST

Three Winners: $250 each

All screenplays entered by August 1 are eligible

 

 

Recent achievements by BlueCat Alumni include:

 

 

For full competition details, please visit the Rules & Guidelines and FAQ.

 

Subscribe to our Newsletter for upcoming Announcements, Workshop Dates and Deadline notifications.

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One Week to Early Deadline!

Monday, June 8th, 2015

Now accepting Feature length and Short screenplays

 

EARLY DEADLINE: JUNE 15TH

 *All submissions received by June 15th will receive one page script analysis by July 1st.

SUBMIT YOUR SCREENPLAY

 

 Scripts by O

Every year, BlueCat provides a community for the unknown screenwriter to develop their work, giving undiscovered talent a path to professional success.

 

PRIZES

BEST FEATURE SCREENPLAY

$15,000 Grand Prize

Four Finalists

$2500 Prize

 

BEST SHORT SCREENPLAY

$10,000 Grand Prize

Three Finalists

$2000 Prize

 

THE CORDELIA AWARD

Best Feature Screenplay from the UK

$2000 Prize

 

THE JOPLIN AWARD

Best Feature Screenplay from outside the USA, Canada or the UK

$2000 Prize

 

THE ROSHAN AWARD

Best Feature Screenplay from India

$2000 Prize

 

MOVIE TITLE CONTEST

Three Winners: $250 each

All screenplays entered by August 1 are eligible

 

 

Recent achievements by BlueCat Alumni include:

 

 

For full competition details, please visit the Rules & Guidelines and FAQ.

 

Subscribe to our Newsletter for upcoming Announcements, Workshop Dates and Deadline notifications.

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Our 2015 Feature Finalists

Saturday, April 11th, 2015

Pitch_Log_example

Congratulations to our 

2015 Feature Finalists

 
 

i

by

Alex Rollins Berg

Mouth

by

Kimi Howl Lee

Scriptures and Cigarettes

by

Joseph O’Driscoll

Taking the Toll – The Life and Life of Gilbert Booth

by

Theodore Schaefer

& Patrick Lawler

The Anxieties of Peter Wilhelm

by

Palmer Holton

 

 

The Feature Winner 

receives a $15,000 cash prize!

 

Four finalists receive a $2,500 cash prize! 

  

 

Thank you to everyone who submitted their screenplays.

 

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Our 2015 Joplin Award Winner

Tuesday, April 7th, 2015

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We are very proud to announce our 2015 Joplin Award Winner!

 

George!

by

Leonardo Noboru de Lima

 

The Joplin Award winner receives a $1500 Cash Prize.

 

Congratulations to Leonardo Noboru de Lima and thank you to everyone who submitted their screenplays.

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Our 2015 Feature Competition Results

Monday, April 6th, 2015

Classic-Movie-Stills

We are very proud to announce our 2015 Top Ten Features!

Congratulations to our Top Ten Feature Finalists and thank you to everyone who submitted their Feature Screenplays.

 

Girls in White by Chloe Sabbs
i by Alex Rollins Berg
Mouth by Kimi Howl Lee
Pedro by Amelia Phillips
Scriptures and Cigarettes by Joseph O’Driscoll
Taking the Toll – The Life and Life of Gilbert Booth by Theodore Schaefer & Patrick Lawler
The Anxieties of Peter Wilhelm by Palmer Holton
The Lawn Girl Diaries by Deirdre Morales
The Savage Land by Jesus Celaya
Tiny by Kendell Courtney Klein

 

Friday, April 10th, we will announce the Feature Finalists

The 2015 Joplin Award winner will be announced LIVE on Ustream, Tuesday, April 7th at 1 PM PST.

See you soon!

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Our 2015 Shorts Finalists

Saturday, April 4th, 2015

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We are very proud to announce our 2015 Shorts Finalists!

 

Silk by Danielle Barcena
Six Months of Wonder Woman by Susan Fleming
The Last Days of the Dolores Project  by Ludwig Thelin
Wake by      Darren Robert Tibbit


Each Shorts Finalist will receive at $1500 cash prize.

Our winner will receive $10,000.

 

Congratulations to our four Finalists, and thank you to everyone who submitted their Short screenplays. 

 

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2015 Top Ten Percent: Features

Sunday, February 15th, 2015

Anchorman

This year, we set a new record of

4494 feature screenplay submissions.

 

Approximately, ten percent of those scripts

have been selected

to advance in the competition.

 

Congratulations to the Top Ten Percent!

 
 

A Guy Walks Into A Bar by Linnea Gelland
A Kensington Slattern by Peter Rennie
A Lost Tribe in Amsterdam by Ian Sax
A Meeting in Seville by Paul Mendelson
A Mischief of Rats by Franklin Friedlander
A Posthumous Performance by Drew Wagner
A Shot At The Big Time by Janet van Eeden
A Small, Tiny, Practically Insignificant Case of Demon Possession by Shannon Pestock
A Tempered Heart by C. Aaron Wong
A Week in Brazil by John McKenzie
A-L-L by Robert Holt, M.D.
Adonis by Phoebe Roberts & Bernie Gabin
Adventure Has A Name by Justin Piasecki
Affirmation by Kyle Lavore
After The Jubilee by Dom McDonald
Agony by Walter Haley
Alien Rendezvous 3-D by Darlene Inkster
Alive by Robert Cochrane
All I Really Want to Do by David L. Hudacek
All Shook Up by Josh Shevill
Almost Perfect by J. Sol
American Monday by Benjamin Fields
Among Savages by Sean Saffari
Amygdala by Moushumi Angre
An American in Space by Joe MacGregor
Andrian The Android by Julie Merrick
Andy The Android by Kevin Garcia
Angel of Mercy by Josephine Agricola
Antebellum by Kory Olson
Apathetic Death by Joanne Casey
Arcadia by Robert Wolfe Dunn & Ryan Trevino
Assisted Dying by Nick Chianese
At the Devil’s Door by Neal Tyler & Todd Henderson
Bani’s Lullaby by Shruti Swaminathan
Bayou Blues by Lisa Jay
Bear River by Joe Amato & Kass Fleisher
Behind The Glass by Steven Fait
Between the Road and Charlie Macklin by Rod Thompson
Beyond a Shadow by Albert Taylor
Big Man With A Shovel by Joe Amato & Kass Fleisher
Bison Man by Michael Rhodes
Bitches be Bitchin’ by Kristina Baker Smith
Black Hickory by Ronald L. Ecker & Evan M. Pinchuk
Black Santa by Darren Dillman
Blackout by Angela Banks
Blackout Friday by Brian Gallagher
Blank Youth by Alex Michael Harris
Blue Death by Pamela Kay
Bluebeard by Chelsea Russo
Born-Again Virgins by Stephen Boland
Breaking Enigma by Paul Wonnacott
Broken Futures by Chris Welsh
Broken Play by Will Hammitt
Brooklyn Graffiti by Javier Ortiz
Brother Tommy by Peter Wittenberg, Jr.
Bubblegum by John Schulte & Fred Fox, Jr. & John C. Besmehn
Bull Comb Blues by David Warnock
But Thinking Makes it So by Johnny Coffeen
Butter Side Up by Kitty Percy
Career Day by William Payne
Catching the Westbound by Liam Creighton
Chameleon by Paula Lewis
Charity Case by Kathy Charles
Charon’s Pass by Robert Bridge
Chattanooga by Dan A. R. Kelly
Children of the Fire by Eric Hueber
Chiriaco Summit by Ryan Vaughn
Christopher Robin by Scott Alex Rudolph
Collapse by David Cook
Color Blind by Adrien Epps
Concussed by Joshua Keller Katz
Cooties by Frank Longo
Crash Backwards by Randall W. Hahn
Crazy About You by Deana Costner
Crooked Letter Justice by Krystal Foster
Crossed Wires by Stephen G. Eoannou
Cryogenesis by Todd Baker
Cure by Dimitri Neos
Cypress by Charlie Neubauer
D.T. by Ken Comer
Daddy’s Girl by Kristen Hester
Dare County by Irwin Greenstein
Dark Space by R. Adrian Yarbrough
David King Of Promise by Sloan Inns & Jenna Inns
Days of Ignorance by M. Husnu Ozkurt
Dead Tired by Geoffrey Uloth
Deadly Desire by Joe Stevens
Deadly Views by Bill Johnston
Death Comes Calling by Steve Knowles
Delayed Departure by Andrew Hopkins & Peter Sadler
Deserter by Conall Pendergast & Hugh Gibson
Destination: 1600 by Robert People
Dex & Leon by Justin Green
Digger by Dave Wade
Dispossessed by George Billard
Do Something Elvis by Emily Blickem
Dolly’s Tamales by Paula Kay Hornick
Don’t Mess with Mr. Meow Meow by Robert Broderick
Dream Weaver by Greg Daubenspeck
Drinking in New York by Mitchell P. Ganem
Dromenon by Paul Julian
Dropkick Me Jesus by Jared Bailey
Dumb It Down by Paul G. O’Malley
Dwayne and Conner’s 10th Grade Mix-Tape by M. Brazier-Thurman
E.R. by Eleonore Gachet
Ectogenesis by Naz Onuzo
Egregious by Elizabeth Kim
Elephant Milk by Diane Sherry Case
Emerge by Anneli Gelbard & Igor Zor
End of Line by Paul Hunt
Evelyn and Eddie by Gary Wallach
Ever After by Adam McCulloch
Externally Yours by Elizabeth Rogers
Eye See You by Stephen Arthur Cardinal
Fado e Saudade by Ben Hunter
Faith and Destiny by Avi Kadmon
Falling Star by Jonathan Stark
Far From Cool by Augustus Rose
Fate of Adam by Dawn Mecir
Feeling Good by Rachael Swindale
Figment by Michael Soll
Finding Joy by Virginia Lee Brucker
Finding My Own Charlie by Kieron Michael O’Sullivan
Flip Flop by Andrew Schrader & Jordan Harris
Footsteps Of My Father by Erik V Wolter
For One Night Only by Peter Schmidt
Forms Of Life by Evan McNary
4th Floor by Tito Fernandes & David Fernandes
40 Something Love by Declan Butvick
4 Corners by David Morring
Franz Ferdinand Must Die by Katharine O’Brien
Freedom Shuttle by Dan Ochwat
Frog’s Born by Zoe Hatfield
Front Runner by Benjamin Tyler
Full Court Press by Debra Chesley
Full English by Jemma Walton
Ganbaru by Todd Maetani
Garden on the Edge of the World by Willie Hynd
Genetic Warrior by Jeremy Rigby
George! by Leonardo Noboru de Lima
Get Happy! by Phil Lowe
Gifted by Angelina Karpovich
Gimme Danger by Sam Hanna
Gioacchino Lupara by Thomas Ascenzi
Girls in White by Chloe Sabbs
Go to Hell by Greg Daubenspeck
God Help Us by Michael Ball
God Of Your Fathers by Jordan Kalms
Godmother by Karen Willoughby
Golgotha by David Turkel
Good Enough by Susan Damato & Mary Navarra
Gooder: The New Org by Richard Jay Barilla
Grace by Ryan Ellis Boyd
Graves of Lesser Men by Conor King Devitt
Green Tree Summer by David Uloth
Grief by Cihan Narin
Half Of Me by Sage Wells
Happy Birthday, Ray! by Kathryne Isabelle Easton
Hatch by Jeffrey Lee Woods
Herland by Derek J. Pastuszek
Hideout by Aaron Fitzgerald & Aaron Kaufmann
Hindsight by Janice Hallett
Hinterland by Ewen Glass
History of Fire by Michael Whitton & James Hamilton James
Hold This For Me by Marty Michaels
Holy New York and the Inner Moonlight by Sonya Goddy & Claire Lowery
Home Again by Patrick Monger
Homegrown by Marcey Lynn Frutchey
Hooked by Allen Wolf
Hope’s Twenty by Craig A Rutherford & Lee Betteridge
Hunt by Matthew James Thompson
Hunter Lake by J. Holtham
i by Alex Rollins Berg
I Called Him Allen by Ted Nash
I Hate Mondays by Farrin A. Rosenthal
I.S.S. by Chase Kantor
Ice Dragon by Paul Bayford
If I Were You by Allison Buckmelter & Nicolas Buckmelter
If, then by Michael Soll
In Love and War by Ken J. Marks & Tony Gerard
In Visible Ink by Emily L. Manthei
Inches by Nick Tingley
Independence Pass by Brian MacEvilly
International Relations by Donald Greig
Into Dust by Daniel Boocock
Intrepid by Ben Warner
Jack 7 Is Offline by Thomas Faustin Huisking
Jackhammer by Kirk Donlan
James Burns by Kenneth Molloy, Jr.
Jaya by Puja Maewal
Jesus – the Right Hand of God by Rev. Anthony J. Mucciolo DD
Kerry Dunbar by Evan Laughlin
Kevin by Chas Fisher
Kill Shelter by R. J. Daniel Hanna
Killers. by F. Aaron Franklin
Kings Of Hot Springs by Dana Deree
Land That We Love by Julian Awoonor Renner
Last Twist At The Blue Moon Hotel by Duncan Hammond
Last Watch by Chris Hager
Lead Balloon: The Janet Hirsch Story by Adam Rose
Lifers by Phil Burdette
Lilly Loves Phoenix by Maarit Nissilä
Lost & Found by J. Curtis Moran
Mabel by Flavia Krause-Jackson
Magennis VC by John Morrison
Major League Spy by Gary M. Krebs
Man of God by Lee Whitten
Marilyn by Peggy Bruen
Marilyn 13 by Jocelyn Osier
Master of Monsters by Daniel Keane & Vincent Kearney
Medal of Honor by Col. Duke Mulligan
Memories by Marnie Mitchell-Lister
Method by Laurie Nunn
Midnight City by Brentt Slabchuck
Milk Thistle by Adrian Ferrara & Gavin Ferrara
Mine is Yours by Ann Hawker
Minyan by Adam Ansell
Money For Nothing by Craig Murray
Monster Hunters by Sandino Moya-Smith
Montage by Michael F. Brown
Monty by Negar & Rocsana Saddigh
Motel by April Phillips
Mother Judgers by Heather Kennedy
Mouth by Kimi Howl Lee
Muse by Mauro Ferritto
My Liam, My Noel by Gerhard Posch
Namaste Mumbai by Beewan Athwal
Natalia by Pauline Mark
New York is a Friendly Town by Chad Schneider
Next in Line by Sam Washington
1947 by Summer Pervez
Ninety Proof by Nick Lentz
Of Horn and Ivory by Jason Gruich & Willard Hipple Jr.
Of Wolves and Men by Robert Dan O´Neill
Og’s Utopia by Sam Mossler
Oh Mother by Russell Davis & Michael Bernieri
Once Upon A Time In The North by T.J. Dawe & Michael Rinaldi
One Arabian Night by Maha Sidaoui
One Breadcrumb at a Time by Barbara Erysian
One Last Day With Dennis Grove by Pogo New
Orion by Thomas Simon
Out of the Woodwork by Terry Hayman
Overkill by Christian J. Hearn
Overlord by Plissken Boon
Panhandle by Ashley M. Donnelly
Paralysis by Dan Cassell
Party Hackers by Matt Byrnes
Past Tense by Linda Ujifusa
Patchwork by A.E. Keener
Pavement by Andy Berlin
Pedro by Amelia Phillips
Persimmon Lane by Judy Nogg
Perspektive by Michael Deuschel
Pest by Wendy Herman
Piano Player by Colin Larkin
Pie In The Sky by Gary Wells
Pigalle by Lizzie Mason
Pillar of Salt by Thomas Pike
Pilli by Manuel S. Ramirez
Pinch The Beast by Shad Connelly
Piss Tank by Kathryn Mockler
Plague Angel by David Uloth
Plan C by P. Patrick Hogan & Steve Loh
Plan Z by James Hoey & Danielle Whitehead
Plastic Makes Perfect by Georgia Kersh
Platypus by Laurie Stiller
Playing House by Daniel R. Solomon
Polarised by Caroline Dean
Prime Evil by Thomas Morley
Promises by Trevor Mayes
Red Sky by Robert Brody
Redemptive Opportunities by Dorothy Pecoraro Bertram
Redial by Dominic Reynolds & John Reynolds
Rendezvous by David Buffum
Revelation by Raul G. de Miguel
Rock Bottom Of Russell Whoa by Matt Byrnes
Rock’n’Rolla A-Hola by Angie Powers
Rocket City by Alex Wroten & Joe Worthen
Romek by Matthew Kic
Ruby Diamond City by Tim Hewitt
Run! by Anne Katherine
S.L.A.S.H. by Leif Johnson
Safe by Sedona Feretto
Safeword by Glenn Millican
Sailfish by Kyle Portbury & Toby Osborne
Santa Boy by Gary Geyer
Sardis the Merciful by Christian Thomas
Saudade by Kory Olson
Saving Shakespeare by Isabel Bacigalupo
Sawbuck by Mark Strauss
Scatter by Ed Cripps
Scattered by Nick Wildash
Scriptures and Cigarettes by Joseph O’Driscoll
Sculpting Secrets by Jennifer Katz
Seamus Pitt by Joe Swanson & Matt Zucker
Self-Preservation by Juan Armijos
Selling Water by the River by James Connelly & Justin LaForge
Semmelweis by Keith Tomlinson
Senseless Confidential by Marty Beaudet
Sex Monsoon by Anna Maganini
Sexton by Elizabeth Oyebode
Shadows in Scarlet by Adrian Ferrara & Gavin Ferrara
Short Squeeze by Nicholas Marsillo
Sibling Rivalry by Ehren Hotchkiss & Brian Hotchkiss
Signs, Songs & Optimism by Sharen Wood
Simon Says by Keryl Brown
Singlewide Pride by Todd Bull
Sink Swim by Elvis Wilson
Sins of a Super Hero by Dennis Douda
Six Weeks by Johnathan Huslage & Samantha Walker
Sky Thief by Jamie Barthol
Slave by Alejandro Sesma
Slush Funds by M. Lee Brutsche
So Now What? by Connie Weidel
Social Chameleon by Alexandra Weir
Song of Los by Gemma Ventura
Sophie & Valentina by Lucy Luna
Sorrow For Gold by Coleman McClary
Speed by Ryan Jennifer
Squirt by Randy Kaplan & Scott Bernstein
Stewardess by Teresa Sullivan
Storm House by Mark Hibbett
Strange Lady on a Train by Nicholas Pyle
Strangeways by Brian A. Rafferty
Strategem by Kieron Holland & Antaine Furlong
Student Teacher by Molly Gardner
Survivng Life by Stephanie Jones
Sweet Souls Atrocious by Tracey Bradley
Take My Wife by Linda Algazi
Taking the Toll: The Life and Life of Gilbert Booth by Patrick Lawler & Theodore Schaefer
Talk Show Host by Jake Blandford
Tango with Solitude by Maria Hinterkoerner
Tanks by Col. Duke Mulligan
Tansen by Aarthi Ramanathan
Tech and Stryker by Odin Ozdil
Ted Will Return Shortly by Dan Ochwat
Tehran by Alex Fazeli
Ten Speed by John Cork
Tenerife by Richard Willett
Terminus by Omri Rose
Terrorist, Defined by Arianna Safi
Tesla by Caroline E. Layne
Teton Reckoning by Debi Yazbeck
The Adoration of Elliot Nightingale by Ellen Wittlinger
The Adventures of Vagabond & Vixen by Jeff Rohrick
The Anxieties of Peter Wilhelm by Palmer Holton
The Archivist by Adam Stangeby
The Archivist by Greg Cohen
The Art of Snitching by Alexandra Natapoff
The Artificial Woman by Carter Lyles
The Aryan Bookstore by Harold Zellman & Shelley Zellman
The Assignation by Paul Sherman
The Avitrix by Stephen Kelly
The Ballade of Wilbur Wright by Stephen Woodward
The Big Middle by Chris Tolley
The Blue Saint’s Legend by Fabio A. Ortega
The Book of Life by Peter Groth
The Broken Grave by Kevin McGee
The Camera Man by Robert Samuelson
The Candy Cane Soldier by Evan Cooper & Brodie Cooper
The Cedars of Lebanon by Charlotte Gajek
The Celestial by Barry Brennessel
The City of Artists by Eurydice Da Silva
The Clincher by Thomas J. Glynn & Thomas Stanton
The Colored Women’s Chapter by Nancy Zafris
The Complex by Alison Star Locke
The Consultant by David Fairhurst
The Courtesan by Marjory Kaptanoglu
The Crossing Guards by Mike Bernard
The Day We Tried to Live by Sergio Padilla
The Dead House by Shannon Pestock
The Deserted by Pj Farrell
The Diary of Adrian St. Faith by Sean Farrington & Heather Lovette
The Education of Tobias Smith by Zach Jansen
The Fifth Stage by Aaron Sala
The Floor is Lava by Thomas Nesti
The Friend Zone by Aaron Marshall
The German Soldier by Carl Caulfield
The Ghost by David Bullock
The Ghost Army by Matthew Gordon Leslie & Stephen J. Smith
The Good Buy by Szilvia Borsan
The Hopeless Sprint by Brandon Constantine
The Hourglass by Joel Bernard Karlinsky
The Hum by Patricia Sorge Peragine
The Iron Bastard by Walter McCarthy
The Key by Greg Price
The Kidnap by David Scullion
The Lady Be Good by Jeff Toulouse
The Last Statesman by David Clarke Lambertson
The Lawn Girl Diaries by Deirdre Morales
The Life Vaccine by Adam Pachter
The Line by Donan Whelan
The Little Traveler by Wayne Bibee
The Living Years by Lee Thomas Kehoe
The Magician’s Assistant by Darren Teo
The Making of Harriet T. by Yhane Smith
The Man Who Was Thursday by Jonathan Elliot English
The Mark by Kris Pathirana
The McKenzie Friend by Paul Mendelson
The Medley by Keka Reis
The Memory Man by David Bugay
The Movie Saloon by Derick Otto & Rebecca Arnold
The Order of the Pest by David Pepose
The Ostrich Farm by Tyler Tice
The Pain Man by Benjamin T. Busfield MD
The Pier by Emily Kolk
The Pits by Paola Andrea Ariza
The Prodigy by Tommy Trull
The Projectionist by Alison Star Locke
The Race To Saxony by Brian Hood
The Revolt of the Whales by Michael Rhodes
The Rim of the World by Bettina Moss
The Rules Of Perspective by John Morrison
The Savage Land by Jesus Celaya
The Second Coming by Sheryl Parrigan
The Second Tour by Ian Lerch & Logan Spencer
The Secrets of Belford by Taylor Gillen
The Shadow Of The Past by Adam McLean
The Shadows of Hall House by Ashley Sanders
The Sign by Jessica Paliza
The Sleeping House by Suzanne Griffin
The Spoils of Sanctuary by Hallie Tassin
The Tank by Merrit Schmidt
The Tenant by Janet J. Lawler
The Thief by Jenny Seidelman
The Triennial by R. Frederick Ehrenreich
The Tunnel by Diana Westfall
The Weimar Solution by Ian Bonser
The Welcome by Gesha-Marie Bland
The Women Here Are Giants by Al Topich
The Yellow Line by Mike Worthington & Ryan Young
There’s No Place Like… by Carl Pickard
These Damn MacFaddens by Rebecca Mlinek
These Inferior Beings by Owen Paul Nicholls
They Know Not With Whom by F. Aaron Franklin
This Old Man by Nicholas Oktaras
ThisAbility by Don Fried & Mike Fuhrmann
Through The Trees by Mike Andrews
Tiny by Kendell Courtney Klein
To Sharpen A Thorn by Clint Pearson & Patricia Benzon
Together by Steven J Piekutoski
Tomorrow by Ian Howarth
Too Cool For School by Nicholas Martin Johnson
Torgsin by Jeremy Scarth Bowkett
Trading Penance by Timothy D. Kanieski
Tragic Orgy by Aaron Easterbrooks
Trapped in Tuscany by Jennifer Rapaport
Traveler by Dana Cowden
Trials and Tribulations by Dameon D. Pichetrungsi
Trina Sheridan & The Legend of Johnny Garlic by Nicholas Martin Johnson
Triskaidekaphobia by Brian Padian
Twains, Trains And Riverboats: The Absolutely True Story of How Mark Twain Saved America by Kevin Cleary & Patti Vasquez
Under the Ice by Brett O’Keeffe & Chad Jones
Underground Kings by Sam Oliveri & Matthew Kramer
Until The Last Has Come by Jason Edwards
Until the Sun Sets by Quantrell Jackson
Venus Ever After by Trisha Thomas
Walking Blind by Chloe-Lynn Russo
Want by Kati Royle
War Woman by Steven L. Fournier
Warsaw by Kimberly Kaplan
Wasted by Peter Devonald
Waterlily Jaguar by Melora Walters
Way Up High by Dominic Reynolds
We Were Just Kids by Danielle Bonder
West Dakota by Mark J. Rose
What’s So Funny? by Tim Chan
When the Sun Dies by Gabriel Legua Velarde
When They Find You by Kevin McAlpine
Where Dead Men Lie by Joshua Montcalm
Where Wolves Fear to Prey by Jason Gray
White Gold by Rebecca Handley
White Label by Greg Gilpatrick
Wildlands by Alan J. Adler
Winter: Break by Brandon Green
Worm Head by Jonathan Crow
Worry Dolls by Robert Wolfe Dunn & Ryan Trevino
Wrong Blonde by Anthony Egan
XX – The Story of Mankind by Eva M. Strucken
Yes, Virginia by Ben Feuer
Zombie Lover by Stephen Mack
 
 
Competition Results Announcement Schedule:

2015 RULES AND GUIDELINES

The 2015 Top Ten Percent of Short Screenplay Submissions will be announced on Monday, February 16th at 2 PM PST!

Thanks to everyone who submitted to BlueCat, we were blown away by the response this year and grateful for all your hard work!

Please sign up for the Weekly Newsletter to receive Competition announcements via Email.

 

 

 

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Trzin, Slovenia – Andrej Vozlic

Tuesday, October 21st, 2014

Artists

 

BlueCat: Why did you start writing screenplays?

AV: I never did start. I’ve been writing STORIES ever since I remember. Screenplays sneaked in later as a surprise even for myself, but also as a logical step. I like screen and cinema. But if you don’t have a good story, no form, or craft can help you. Always: story first, technique later. How do you know if you have a good story? You tell it to the audience, and if all you see is nothing, but bloated eyes and jaws on the floor, then you can move on. On, to form that story into a novel, screenplay, poem… Outside of that, screenplays can be really boring. And if you don’t have an excellent story, novels and poems are no exception.

BlueCat: What movies do you watch to remind yourself that you love screenwriting?

AV: 101% of Tarantino. 100% of Larry David. 99% of Minghella.

BlueCat: What is your highest screenwriting goal for yourself?

AV: To get complex, and at the same time remain absolutely clear. Kaufman does that quite well.

BlueCat: What aspects of the writing process do you struggle with the most?

AV: Keeping the rush of ideas under control and stay on the track. English being only my third language. Not because it would keep me back from telling a story (stories are stories in any language), but because some people who should be qualified to recognize a story, stop seeing the larger picture with the first grammar mistake, or with the first dialogue that sounds awkward and doesn’t use crisp, up-to-date phrases. That’s where Blue Cat comes to the rescue, because they actually value the story for what it is.

BlueCat: What do you feel you do well as a screenwriter?

AV: Unexpected, crazy, and often sick stories. Outlandish characters. Clean form.

BlueCat: Do you feel that screenwriting is different in your country than it is in Hollywood? If so, how?

AV: There are negligible regional specifics. But outside of the fact that there is practically no formal education available, and hardly any lectures, and outside of the fact that screenwriting is still considered an exotic discipline, there is no difference.  However, what’s important for the story, what works better and what doesn’t, still varies somewhat from culture to culture. We’ll always be way more morbid than Hollywood. Nonetheless, we are becoming a part of the global machine for sure, and “biodiversity” is slowly going out the window.

BlueCat:What screenplay have you written which you feel most proud of and why?
    
AV: Gandhi’s Maze. Because it’s so honestly sick, that it makes me want to cry.

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Buenos Aires, Argentina – Carolina Machado

Monday, October 20th, 2014

Carolina Machado

BlueCat: Why did you start writing screenplays?

CM: I love the idea that a story that I imagined can be materialized on a screen and be felt and seen by other people.  Dreaming about the day I can actually watch my script turned into a movie blows my mind.

BlueCat: What movies do you watch to remind yourself that you love screenwriting?

CM: There are so many memorable movies: “The Godfather”, “The Notebook”, “Back to the Future”, “Lolita”, “Sixth Sense”, “21 Grams”, “Man on Fire”, “The Matrix”, and “Terminator.” These absolutely different movies have one great thing in common: they don´t expire. Each one of them, in its own genre, tells a story of which you never get tired. I love mostly two types of movies: ones that shows you a situation or reality you have never seen before and ones that can truly touch you heart.

BlueCat: What is your highest screenwriting goal for yourself?

CM: My highest goal as a screenwriter is that my scripts can achieve what I love about movies: to thrill the audience. And by audience, I don´t refer only to the people who actually watch the movie; I mean readers, directors and producers too, because in the end, they are the ones who can turn your script into a movie.  I´m just starting to write, so in a short term period, I would love to see one of my scripts turned into movie, even if it´s a short one.

BlueCat: What aspects of the writing process do you struggle with the most?

CM: I guess it would be finding the time and inspiration to write. I currently work in an office doing everything but writing and it takes away most of my time and energy, so It´s difficult for me to find the right moment to write. Anyway, I always try to keep on writing  even if it´s not as fast as I would like to.

BlueCat: What do you feel you do well as a screenwriter?

CM: I  think I have good and original ideas. I´m concise and concrete: my scenes describe clear images and actions, making my scripts easy to read and catchy. I feel I have the ability to tell simple stories in an intimate way. I also always try to find slight dramatic twists to keep the drama and fluency of the story.

BlueCat: Do you feel that screenwriting is different in your country than it is in Hollywood? If so, how?

CM: I totally feel screenwriting is completely different in Argentina that it is in Hollywood.  To begin with, most of our scripts tend to be written in a hyper realistic way, leaving no room for genre movies. Fortunately, this tendency is slowly changing.  Within the past years, we have been starting to see different movies that try to move away from that style.  In my country, it’s also very common that the screenwriter and the director are the same person. That’s the reason why I find there’s little diversity in the films’ thematic, and it also narrows down the participative field of other screenwriters that may have new ideas and different perspectives.  On the other hand, it is a fact that Argentine movie scripts are tied to budget availability. As our industry isn’t solvent enough, most of the stories end up being more intimate and cheaper (less actors and scenery) than the Hollywood ones.  For certain genres this might not be encouraging, but it is an attractive way to inspire screenwriters to be ingenious enough and write original stories that don´t require super productions.

BlueCat:What screenplay have you written which you feel most proud of and why?
     
CM: As I said, I’m just starting to write, so I hope the script that will me make proud is the only that I´m currently working on. It’s called “Small Reality” and it’s about a  lonely sensitive six  year-old girl who’s desperately struggling to be understood and heard by her adult environment. I feel proud about it because it’s really a challenge to write a feature film with a child as a main character.  It’s even more challenging when it’s about a special kid that’s not exactly like the other ones. It’s an intimate moving script, and I really hope I will hook who ever reads it.

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Connemara, Ireland – Greg Ó Braonáin

Sunday, October 19th, 2014

Greg Ó Braonáin

 

BlueCat: Why did you start writing screenplays?

Greg Ó Braonáin: I knew I wanted to be a writer since my early teens. I wrote mostly poetry and short stories originally. Having learned the Irish language in the late 80’s, I became interested in the movement to establish an Irish language television station and decided to learn the art of screenwriting with the idea of moving to Ireland to write for it.

I was successful, and ironically, considering I was American born and bred, I found myself the most produced writer of Irish language drama after 20 years of Irish language T.V. During that time, I wrote a number of scripts for Irish language features, which were well received, but none of them have reached production to date. The funds available for Irish language drama are very small, and it takes a very clever producer and director to get the money to make a film. I also acknowledge that the scripts I wrote were ambitious in scale and more focused on the stories I wanted to tell than on writing a film just to get it made.

BlueCat: What is your highest screenwriting goal for yourself?      

GB: My highest screenwriting goal for myself is to get the films and stories in my head, the ones I’m most passionate about, produced and distributed. Originally, my goal was to do this in the Irish language, but as the years roll on and my idealism wanes, it’s more important to me that my stories get told than it is to create a body of work focused on and for the Irish speaking community in which I live. I am now more interested in initiating projects in English than I would have been 20 years ago.

BlueCat: What aspects of the writing process do you struggle with the most?

GB: I struggle most with the need to earn a living to support my family of 7 children, which requires me to work full time as a writer for hire, leaving me with virtually no time to develop the stories I want to tell. Within the confines of my work I struggle to constantly improve and learn as a writer, so that hopefully when the chance arises, I will be as ready as possible to tell my stories well enough to attract the talent funding necessary to get them made.

BlueCat: What movies do you watch to remind yourself that you love screenwriting?

GB: Once Were Warriors, a gut wrenching and visceral story telling. All of Peter Jackson’s Tolkien adaptations; they take me to a world I’ve wanted to be in since discovering Tolkien as a teenager. One of my main dreams is to develop a trilogy, similar in scope and scale, based on the Cuchulainn cycle from Irish mythology and for Peter to direct it before we’re both too old to do so. Also, The Son’s Room for making me laugh and cry so much during the same film.


BlueCat: What do you feel you do well as a screenwriter?

GB: I feel I write scenes in which the characters are well realized and in which an audience will recognize their own humanity, feelings, and emotions on screen. I also feel there is an emotional depth and a search for truth and meaning in my storytelling in general. I’m pretty good at structure, but struggle with forms which are more plot oriented, and less character based.

BlueCat: Do you feel that screenwriting is different in your country than it is in Hollywood? If so, how?

GB: Ireland is a very small place. The number of indigenous films made per year is small. There are a lot of very good writers looking to get their work made. Big budget, large scale stuff just doesn’t get made here with Irish money.

There is a very strong, and highly skilled and experienced audio visual industry here in Ireland, but most of the larger scale stuff is outside production. Some very good contemporary drama on the smaller end of the budget scale gets made here, but larger scale stuff generally needs to be financed elsewhere and then brought here to shoot.

BlueCat: What screenplay have you written which you feel most proud of and why?

GB: I am very proud of several of my Irish language screenplays, and I have them in English language versions, but the screenplay I’m most proud of at the moment Is Jpeg The Movie. I only had time to write a first draft, generously financed by my best friend Patrick  McLaughlin, and it did pretty well considering. I would love to revisit it improving and refining it in future drafts. But I am pleased that what I have at the moment is a highly visual, entertaining, fun ride for an audience, that raises questions and gives cause to think about how fast our knowledge is outstripping our wisdom to use it.

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Trinidad and Tobago – Pauline Mark

Saturday, October 18th, 2014

pauline_mark-022 small

 

BlueCat: Why did you start writing screenplays?

Pauline Mark: To express the ideas that I had running through my head since I was a child, and to one day produce and perform in my screenplays as an actor.

BlueCat: What is your highest screenwriting goal for yourself?      

PM: To have my work turned into actual productions.

BlueCat: What aspects of the writing process do you struggle with the most?

PM: Following rigid rules in terms of story telling structure.

BlueCat: What movies do you watch to remind yourself that you love screenwriting?

PM: The Dark Knight, Vanilla Sky, and Phone Booth.


BlueCat: What do you feel you do well as a screenwriter?

PM: I have very unique ideas and a vivid and vast imagination. The flow of my ideas are more consistent than your average writer or individual. I am constantly gaining inspiration from everyday situations and can mentally conjure up a story in a short space of time.

BlueCat: Do you feel that screenwriting is different in your country than it is in Hollywood? If so, how?

PM: There are no real opportunities in Trinidad and Tobago to learn about, or train, in screenwriting. The concept is still a novel idea here because our film and television industries are still in an incipient stage. Most local screenwriters are self-taught, or gain training outside the region.

BlueCat: What screenplay have you written which you feel most proud of and why?

PM: Natalia, because I cannot take responsibility for the uniqueness of the story, I believe I am merely a conduit for it. I was inspired to write it by some force greater than myself. I feel blessed to have been selected to tell the story.

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Candido Rondon Brazil

Friday, October 17th, 2014

carlos billig

 

 

 

 

 

 

 

 

 

 

 

BlueCat: Why did you start writing screenplays?

Luiz Fernando Rohenkohl: The whole idea of writing was camouflaged in my dreams of becoming a director until one day I noticed this was something I should give a try.

I’ve spent a decade doing special effects with the objective of making a short movie. In the past 5 years I’ve been trying to write and produce an animated short. One day I reached the tipping point and gave up. Looking back, I realized I spent five years writing ten minutes of animation. I had the epiphany I was trying to write a 10 minute animated short with the structure of a full length feature. After giving up I thought I could put to use everything I learned and write a full length feature.  

BlueCat: What is your highest screenwriting goal for yourself?      

CB: My dream has always been to make a movie and it still is. The means and the rewards may not be clear, but the dream is still there.

BlueCat: What aspects of the writing process do you struggle with the most?

CB: I feel the creative burden can get you dry and frustrated. I guess writing is like a Rubik’s Cube, when you move one side the other gets dislocated. Inspiration is something pivotal, you need to seek where the sparks come from.

BlueCat: What movies do you watch to remind yourself that you love screenwriting?

CB: I think you can spot the magic in any film. I often rely on Kubrick, Fincher, Nolan—director centric movies. Also, movies that get good reviews and internet buzz. However, my passion for film started much earlier with things like Jurassic ParkThe Terminator, Back To The Future, all the popcorn movies I watched growing up.  


Back in the day, with films like Titanic and Home Alone they would reopen the cinema and do special screenings, I remember Cinema Paradiso being the first movie I watched in the movie theater, but now the theater has became a night club.

BlueCat: What do you feel you do well as a screenwriter?

CB: I think I have an eye for seeing the movie in the pages. I am very visual and screenwriting is visual coding.

In my art, I always struggle to elicit a psychological response, and writing provides the opportunity for using more than just an image. You can infuse it with ideas and projections that are in opposition, create contrast with music, and evoke an idea through a simple, effective camera move. Movies are a deep and layered canvas.

BlueCat: Do you feel that screenwriting is different in your country than it is in Hollywood? If so, how?

CB: I think here in Brazil the difference is the structure of the industry. You need to be a dragon slayer, director, producer—you can’t just be a writer. I enjoy Brazilian movies but the pace of the industry can’t compete with Hollywood’s organic approach. The films here seem to always be a step behind of what the audience demands. We end up with television being the more effective Brazilian entertainment and then import Hollywood films for the theater.

BlueCat: What screenplay have you written which you feel most proud of and why?

CB: The one I am sending in to this year’s BlueCat competition, it’s very personal. I think a movie is made by its process, not by trying to make a certain movie, and with this one I ended up with a movie reminiscent of movies I enjoy.

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Stellenbosch, South Africa – Erika Nortje

Thursday, October 16th, 2014

Erika Norte

BlueCat: Why did you start writing screenplays?

Erika Nortje: After reading an unpublished novel I wrote, a friend commented, “I love it, it’s like it has a soundtrack!” I frowned and figured, perhaps then it makes more sense if I write screenplays. Movies and TV series have always inspired me and I like the idea of entertaining and inspiring people too.
 
BlueCat: What is your highest screenwriting goal for yourself?      

EN: To see people touched by what I have written, in the way many movies and stories have touched me over the years. To see actors and production crews having as much fun in the process as I did while writing the material. That end product, that symphony – making every project my favorite, giving it my all!  And finally, but not least, staying faithful to what God wants, whether I make one movie, or I’m the next big thing. Semper fi (always faithful).

BlueCat: What aspects of the writing process do you struggle with the most?

EN: Three things, writing loglines, writing synopses, and writing in every nook & cranny of time I can find, because this is not yet my day job

BlueCat: What movies do you watch to remind yourself that you love screenwriting?

EN: My top 10 are: Dreamer, Mr. Holland’s Opus, While You Were Sleeping, Cool Runnings, Elizabeth Town, Message in a Bottle, Eight Below, Fireproof, Alex & Emma, Shanghai Knights.

BlueCat: What do you feel you do well as a screenwriter?

EN: I feel I create characters that people are going to care for. They absolutely drive my stories, making it unique and filled with pure emotion.

BlueCat: Do you feel that screenwriting is different in your country than it is in Hollywood? If so, how?

EN: Yes, I feel there are less opportunities and encouragement here in South Arica. Hollywood screenplay competitions and sites like InkTip, BlueCat and Script Pipeline (to name but a few) gives everybody a chance. It gives you hope and an opportunity to grow and improve your craft. We cannot always afford these international resources (the exchange rate is just too steep), but at least they are there – available, professional, welcoming and I like it.

BlueCat: What screenplay have you written which you feel most proud of and why?

EN: Face the Music. It is an adventure thriller with a plot which came together so amazingly. I love the characters, I would easily write them into another dilemma one day, which they will find their way out of and change my life in the process. The cherry on top – part of the story takes place in South Africa’s flagship conservation area, the Kruger National Park.

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Ho Chi Minh City, Vietnam – Chau-Ai Pham

Wednesday, October 15th, 2014

Chau-Ai Pham

BlueCat: Why did you start writing screenplays?

Chau-Ai Pham: I started my first screenplay Moulting after being cured of last stage lung cancer, I decided to quit my banking career to do what I like most, writing. Moulting is a family action story, inspired by my own healing experience.
 
BlueCat: What is your highest screenwriting goal for yourself?      

CP: If I tell you, you might take it seriously. So, I won’t.

BlueCat: What aspects of the writing process do you struggle with the most?

CP: Writing in English since it’s not my mother tongue.

BlueCat: What movies do you watch to remind yourself that you love screenwriting?

CP: There are so many, but lately The Homesman by and with Tommy L. Jones.

BlueCat: What do you feel you do well as a screenwriter?

CP: Trying to “watch” my screenplay as a movie-goer.

BlueCat: Do you feel that screenwriting is different in your country than it is in Hollywood? If so, how?

CP: First, I don’t know where my country is (born in Vietnam, living in Switzerland for years, back to Vietnam for years also and now living in Thailand). Let’s take Vietnam, definitely screenwriting here is different, as censorship is king. The struggle for daily living keeps people’s minds busy for decades—no time for culture and spirituality.

BlueCat: What screenplay have you written which you feel most proud of and why?

CP: My last one, White Lotus. Being my third screenplay, I could see the progress I’ve made from the first one in all aspects of the craft.

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Lethbridge, Canada – Bob Cousins

Tuesday, October 14th, 2014

bob_cousins

 

BlueCat: Why did you start writing screenplays?

Bob Cousins: I have always had an interest in making up stories and I have many failures in writing for other media to show for it. I stumbled upon screenwriting when I was supposed to be playwriting as part of my MA. My advisor’s interest in film and screenwriting helped steer me in this direction. As a lifelong movie fan, it should have been a natural step, but it wasn’t.
 
BlueCat: What is your highest screenwriting goal for yourself?      

BC: Ultimately, I would like to work as a professional writer. As with most screenwriters, I would love to have one of my scripts made into a feature film. Caveat emptor.

BlueCat: What aspects of the writing process do you struggle with the most?

BC: Dialogue! It is often problematic and takes many, many rewrites. Keeping subtext in emotionally charged dialogue is always a challenge.

BlueCat: What movies do you watch to remind yourself that you love screenwriting?

BC: Notorious, Sunset Blvd., The Godfather, Back to the Future, Some Kind of Wonderful, Pulp Fiction, Eternal Sunshine of the Spotless Mind,and The 40-Year-Old-Virgin.

BlueCat: What do you feel you do well as a screenwriter?

BC: I usually create pretty original concepts. I have written across many different genres and have written scripts set in every decade since the 1950’s.

BlueCat: Do you feel that screenwriting is different in your country than it is in Hollywood? If so, how?

BC: Yes and no. There is a dynamic Canadian film industry, both in English and in French, that works independent of, and alongside, Hollywood (which considers Canada as part of the domestic box office) films which dominate the Canadian market. There are government grants and incentives available to some in the Canadian film industry. Many Canadian filmmakers choose to create films that are dissimilar to mainstream Hollywood, in the same manner that many American “indie” filmmakers do. There are many talented Canadians who are an integral part of Hollywood filmmaking and my career goal is to be one of them.

BlueCat: What screenplay have you written which you feel most proud of and why?

BC: My most recent script, Blood Red Moon. The first draft was written under unfavorable circumstances and it was an overly long, directionless mess. My recent rewrite brought some order to the disorder and in it, I found the story that I had originally intended. It is still very much a work in progress but a huge improvement over the first draft.

P.S. I am very grateful for BlueCat. Over the years, I have submitted many different scripts and I have used the valuable input from your readers to make my scripts better. Often, I have not agreed with their initial assessment but as I rewrite the script, I usually discover how perceptive their comments were and this contest has become an integral part of my script writing process.

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Auckland, New Zealand – Debi Lewis

Monday, October 13th, 2014

Debi Lewis

 

BlueCat: Why did you start writing screenplays?

Debi Lewis: I started writing my first screenplay after I had finished my novel.  I would dream about my novel as a movie, so I researched and studied scripts, it was off from there.
 
BlueCat: What is your highest screenwriting goal for yourself?      

DL: My two highest goals would be to see my first screenplay The Appetite on the big screen being enjoyed and loved by all—I could then call myself a successful screenwriter!

BlueCat: What aspects of the writing process do you struggle with the most?

DL: The logline is my biggest struggle. I still don’t think I’ll ever get it right.

BlueCat: What movies do you watch to remind yourself that you love screenwriting?

DL: I watch all genres of movies. I get angry when I have sat through a movie and it is horrible.  I like to be so moved and consumed by a movie that it’s all I can think about and talk about the next day.

BlueCat: What do you feel you do well as a screenwriter?

DL: I know my characters inside and out. They are interesting, entertaining, and what we say Down Under here in New Zealand, ”one out of the box”. I think my screenplay is a dash of The Help and a tad Bridget Jones’ Diary, so that can’t be too bad can it?

BlueCat: Do you feel that screenwriting is different in your country than it is in Hollywood? If so, how?

DL: New Zealand traditionally downplays its successes. We are proud of Peter Jackson, and lets face it he is famous, but the difference would be in Hollywood he can just step onto the red carpet. Here in New Zealand he probably would have to supply his own!

BlueCat: What screenplay have you written which you feel most proud of and why?

DL: My first one is based on love, lust, and youth.  I like it the best because it takes me back to when life was just simple, sweet and easy.  I think we need that right now.

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Paddington, Australia – Warren Glover

Sunday, October 12th, 2014

Warren Glover

 

BlueCat: Why did you start writing screenplays?

Warren Glover: Quite by accident. In 2009 I moved from London (England) to Edinburgh (Scotland), with the intention of doing a Masters degree in global health policy at Edinburgh University. I had three months before the Masters course started so I decided to re-visit an old passion and enrolled on an eleven-week course on writing short stories and poetry. There were also courses on adapting short stories to short film and screenwriting, so I took those as well. I ended up pulling the plug on my Masters and have devoted my time to writing ever since.

BlueCat: What is your highest screenwriting goal for yourself?

WG: To sell a feature script and see it produced and in cinemas. I’ve sold a short film script and have made two of my own shorts into films. I’ve also had another short film script made into a film by someone else, but the goal is a feature.

BlueCat: What aspects of the writing process do you struggle with the most?

WG: Making my characters likeable (or at least that’s what coverage always comes back with).

BlueCat: What movies do you watch to remind yourself that you love screenwriting?

WG: I watch anything! I’m always recording movies to watch later, and if I’ve read the screenplay in advance so much the better, but I tend to gravitate to rom-coms and dark comedy.

BlueCat: What do you feel you do well as a screenwriter?

WG: Dialogue, or at least that what coverage always comes back with!  I also write stage plays.

BlueCat: Do you feel that screenwriting is different in your country than it is in Hollywood? If so, how?

WG: Although I’m English I live in Australia, which is a much smaller market. Australian films are hard to sell domestically as it appears Australian audiences don’t really want to see Australian films. It’s also hard to sell screenplays set elsewhere in Australia; the market’s just too small.

BlueCat: What screenplay have you written which you feel most proud of and why?

WG: DeCodeMe is a very contemporary, and slightly controversial, comedy/rom-com about a ladies’ man who’s maliciously diagnosed with the ‘latent gay gene’ by his girlfriend, who erroneously suspects that he’s been cheating on her. He’s forced to confront his entire sense of self and identity as he comes to terms with the fact that he’s gay. When he finally accepts this the truth comes out that it was all a hoax, but by this stage he’s much more comfortable with himself and is ready – finally – to commit. However, will it be to a man or a woman? I was hired to write this story by an independent production company in Melbourne who have since gone bust. It’s a great concept, very timely and topical, and very funny (or has the potential to be). I enjoyed researching the science set-up and there are some great characters in it.

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