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The Stage 32 Writers' Room Script Breakdown welcomed Sammy Warshaw — the producer and film executive behind Blumhouse's HAPPY DEATH DAY, TRUTH OR DARE, and HALLOWEEN, and Co-Producer on SONIC THE HEDGEHOG 2 — who broke down the script for OBSESSION live. OBSESSION premiered at TIFF where Focus Features acquired it for $14–$15 million, the highest price commanded by a genre film in TIFF history, before grossing $459 million worldwide and becoming the eighth-highest-grossing horror film of all time. Sammy revealed what makes this script work on the page — the structure, the character engine, and the high-concept hook that turned a festival premiere into a global phenomenon.
The Breakdown
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We’re back in the Writers’ Room for the Breakdown with Lauren Schuker Blum & Rebecca Angelo breaking down DUMB MONEY: THE GAMESTOP SAGA! This is a unique adaptation so join us as Lauren and Rebecca breakdown their script!
Isn't it ironic? In this Breakdown Webcast we discuss Dramatic Irony - when the audience knows more information about the circumstances the characters find themselves in than the characters do themselves. There are actually several different types of "irony" in storytelling and we will be looking at most of them during this packed hour. We will pay special attention to Dramatic Irony which can be used for dramatic, comedic, suspenseful or tragic effect. During this webcast we'll discuss different ways of utilizing dramatic irony and how it effects the emotional connection we have with our characters and the heightened tension and stakes it creates.
We return to the Writers' Room Script Breakdown Webcast of the iconic Quentin Tarantino script, PULP FICTION, which debuted at Cannes on May 12th, 1994, on its 31st anniversary!
We take a look at how writers use cutaways to drive home punchlines in Family Guy and Brooklyn Nine-Nine, explain big ideas in The Big Short, give historical context in Narcos, and frame stories in The Princess Bride.
We're back in the Writers' Room for the first Breakdown Webcast of 2021! At some point we have heard a note that “your story feels flat" or "your second act is weak" or "this won’t sustain for 100 minutes." If that is the case, there is a good chance that you have an underdeveloped (or perhaps no) B-Stories or Subplots. That is why we will be breaking down story structure to find out exactly what B-Stories and a Subplots are, and how we can incorporate them into our writing. Using clips from INCEPTION, BACK TO THE FUTURE, and DIE HARD, we'll examine how the B-Stories and Subplots of these narratives help drive the second act and create a more impactful story. After the webcast, make sure to head on over to the Private Lounge to discuss your thoughts on the best B-Stories and Subplots.
We're back in the Writers Room this afternoon for The Breakdown Webcast with Film & Television Writer, Ashley Miller!