That’s right my friends… the new issue of Moviescope is out and contains a supreme focus on hallowed Ugly One HELLBOY II, not to mention a plethora of other scriptwriting and moviemaking goodness including a look at plotting and character by some sort of script reader type from the Sarf of England or summat – oh goodness, that’ll be ME!
When the lovely Liz and Eric asked me to write something for Moviescope, I was LIKE WELL THRILLED, INNIT. Moviescope is a great magazine so the chance to appear on its lovely, glossy, strokable pages (I’ve said too much!) was too good to miss. My article can be found in the craft section alongside the ledge that is Bill Martell >BURBLE<. So if you’re not sure, I’ve posted the table of contents below so you can see what you’re getting for your moolah – but don’t just take my word for it, you can email lovely Liz for a FREE sample copy of a previous issue: LizHobbs”at”movieScopeMag”dot”com.
Take a look:
THIS ISSUE’S CONTENTS….
HELLBOY II: THE GOLDEN ARMY
Guillermo del Toro: Man, Myth, and Monsters
He is not of our world. He is from another place where fairies are real, where monsters roam free and the dark denizens of the underworld dwell and thrive. We could be talking about Hellboy, the stump-horned, cat-loving, gun-toting hero of comic books and movies. Or we could be talking about writer/director Guillermo del Toro. The Oscar®-winning director of PAN’S LABYRINTH stalks the pages of movieScope once again with an exclusive interview about his latest film and his love of fables, film and the fantastic. And as if that’s not enough, he gives us the latest scoop on his plans for his next project, THE HOBBIT.
By Rick Drew
Hooray for Hoodywood!
Does the amazing box-office success of ADULTHOOD augur the dawn of a vital new popular British cinema or merely a return to the largely forgotten B-movie byways of the 1960s and 1970s?
By Mick Southworth & Martin McCabe
How to Ruin a Script
The sometimes uneasy truce between the writer and the director doesn’t necessarily have to end in war. Ron Oliver discusses how it can work on the emotional Gaza Strip of filmmaking.
By Ron Oliver
ACTING FOR THE CAMERA
Modest, Versatile and on Fire!
Cast often and internationally, actor Selma Blair is surprised to have a successful career to which most actors can only aspire.
By Colleen Patrick
Writing and Rocking in the Rockies
The Annual Banff World Television Festival
For many writers and producers, the end of the TV rainbow is nestled in the heart of the Canadian Rockies at the Banff World Television Festival.
By Rick Drew
Going Indie… Again!
Richard Perello examines the pros and cons of independent versus studio production, as he and Broken Lizard finalise their latest feature, THE SLAMMIN’ SALMON.
By Richard Perello
That’s no Moon; it’s a Styrofoam Lunch Container
How to build, light and composite your way to a low-budget sci-fi epic that will make your nerd friends lose control of their bodily functions.
By James & Robert Dastoli
Britain’s got talent, all right. But a high-end honour programme created by the UKFC suggests that it’s the US that will make better use of it.
By Liz Hobbs
Rob Cohen Redefines THE MUMMY
Taking time out of his crazy post-production, director Rob Cohen talks about redefining THE MUMMY franchise in the latest incarnation, TOMB OF THE DRAGON EMPEROR.
By Athos Kyrus
Nolan, Bale and THE DARK KNIGHT
Director Christopher Nolan and star Christian Bale talk about Heath Ledger, Gotham and shooting what looks to be the best blockbuster of the year, THE DARK KNIGHT.
By Will Lawrence
“RED is going to change everything.” This bold statement by Steven Soderbergh heralding the arrival of the RED ONE™ camera was seen by some as prophetic, by others as hype. We finally got the chance to test it ourselves.
By Stephen Webb
Frank Spotnitz wants to Believe
Writer/producer Frank Spotnitz talks about The X-Files series, the forthcoming movie THE X-FILES: I WANT TO BELIEVE and being blamed for 9/11.
By Chris Patmore
The Masks that Reveal
The masks of the Greek god Dionysos are said to reveal as much as they conceal and this truism seems particularly apt with regard to the career of Doug Jones, who recreates the role of Abe Sapien in HELLBOY II: THE GOLDEN ARMY.
By Michael Guillén
Unleashing Hell… Weather Permitting
Screenwriter David Lemon recalls how his first feature, FAINTHEART, made it from script to screen with a little help from MySpace and a horde of part-time Vikings.
By David Lemon
THE POPE’S TOILET
Oscar®-nominated Uruguayan cinematographer César Charlone talks lavvies, knickers, psychoanalysis and his first feature: the award-winning EL BAÑO DEL PAPA (THE POPE’S TOILET).
By Adam Thursby
Santosh Sivan’s Visual Language
The multi award-winning Indian cinematographer talks about his latest film, BEFORE THE RAINS—a period drama and his first English language film as director.
By Chris Patmore
A Cast of Tens
Limiting the speaking roles and extras in your script is one of the most important elements in selling a script to a budget-conscious producer.
By William C. Martell
Lost the Plot?
Structure is put under the microscope when a professional script reader examines why writers should be paying just as much attention to plot as character.
Glory, glory hallelujah: I am in the same section as WILLIAM C. MARTELL! After his fabulous 16 Steps To Better Scene Description, he is like a GOD to me.
I need a lie down. No doubt I will read my lovely copy of Moviescope whilst doing so. Buy it! Buy it now!