John August, Off-Topic

50 Common Misquotations (by MentalFlossVideo)

Wed, 22 May 2013 17:03:41 -0700

50 Common Misquotations

(by MentalFlossVideo)

Cat-Friend vs Dog-Friend (by fatawesomefilms)

Thu, 16 May 2013 16:58:22 -0700

Cat-Friend vs Dog-Friend (by fatawesomefilms)

Point Break Remake (Wes Anderson, David Lynch, Tommy Wiseau, Joe...

Sat, 11 May 2013 08:48:37 -0700

Point Break Remake (Wes Anderson, David Lynch, Tommy Wiseau, Joe Swanberg) (by patrickhwillems)

Hi John, thanks for a great show on Tuesday, loved every minute of it & seeing one of my favorite movies being brought to the stage! I was curious as to why you kept out the whole town bit where Saundra was from & the no shoes bit. Yes, I know its a musical & you have to make cuts somewhere (if its based off something thats already been made), but it was such an important part. Other then that, it was a phenomenal piece from the projections to the voices, the acting. Can't wait to see it again!

Fri, 05 Apr 2013 22:58:00 -0700

Locations are a challenging thing in theater, because on a fundamental level you’re always in the same place. You can do a lot to suggest that the characters are somewhere new — a house, a circus, a town square — but everything is much less literal than on film. So you have to embrace that. And when you do, you can show a corner of a garage, or use a door to be a house. The audience fills in the rest.

Spectre — the little magic town in the woods where Edward meets Jenny Hill in the movie — is cinematic in the best ways: unique and beautiful and fascinating to observe through a lens. But on the stage, “going to Spectre” would mean staying on the same stage as every other scene. Obviously, we do some pretty amazing transformations on stage, but how would Spectre feel different from Ashton, and would you be able to keep them separate in your head?

I don’t know if you had balcony seats, but if you did, would you know what the hanging shoes were? Again, it’s a question of what makes sense when every shot is a wide shot.

The closeups of a musical, of course, are the songs. We can zoom in on people and feelings, but not props or locations.

THE BATTERY Official Trailer (by OhannahFilms) The Remnants had...

Mon, 18 Mar 2013 09:27:36 -0700

THE BATTERY Official Trailer (by OhannahFilms)

The Remnants had no zombies, but if it did, it would probably be a lot like this. Which is why I dig it so much.

Ash Beckham at Ignite Boulder 20 Terrific TED-like presentation...

Wed, 06 Mar 2013 06:10:33 -0800

Ash Beckham at Ignite Boulder 20

Terrific TED-like presentation on “so gay.” And I love that it happened in my home town.

(by igniteboulder)

Don’t Stop Believin’: Everyman’s Journey -...

Mon, 25 Feb 2013 06:20:31 -0800

Don’t Stop Believin’: Everyman’s Journey - Official Theatrical Trailer (by Everymansjourney)

Symmetry (by Everynone)

Fri, 15 Feb 2013 13:43:23 -0800

Symmetry (by Everynone)

Yawns (by Everynone)

Fri, 15 Feb 2013 13:39:32 -0800

Yawns (by Everynone)

Gray Keys (by Carlo Vega)

Sun, 10 Feb 2013 08:57:58 -0800

Gray Keys (by Carlo Vega)

An Introduction to BIG FISH, The Broadway Musical (by...

Fri, 08 Feb 2013 11:25:17 -0800

An Introduction to BIG FISH, The Broadway Musical (by BigFishMusical)

Photo

Wed, 06 Feb 2013 11:14:12 -0800

Big Fish - A World Premiere Musical (by BigFishMusical)

Mon, 04 Feb 2013 10:18:18 -0800

Big Fish - A World Premiere Musical (by BigFishMusical)

Major Scaled #2 : REM - “Recovering My...

Mon, 21 Jan 2013 17:26:26 -0800

Major Scaled #2 : REM - “Recovering My Religion” (by major scaled)

The warbliness of the post-processing isn’t so awesome, but the tune actually works in a major scale. I’d love to hear a real cover done in this arrangement.

Departing Space Station Commander Provides Tour of Orbital...

Wed, 16 Jan 2013 12:18:28 -0800

Departing Space Station Commander Provides Tour of Orbital Laboratory

Suni Williams is a great tour guide

(by NASAtelevision)

Hi there, I just wanted to drop in to say that I saw Frankenweenie the other day, and I thought the writing was superb. Great job, and congrats on the Annie nomination! I really enjoyed the film and it's quickly become one of my favorites from Burton. I also have a question for you: what's the most important thing to consider when developing the core, or backbone, of one's story? I hope that isn't too vague. Thanks!

Mon, 14 Jan 2013 14:15:56 -0800

I think the most important thing is keeping in mind what the movie wants to be. It’s so easy to get distracted by What’s Possible that you lose sight of why you’re making the movie.

With Frankenweenie, it’s a story of a boy and his dog, and the fundamental purity of that bond. Whatever detours we took, we could keep coming back to that as its emotional core.

Hi John. Do you know where to find good forms for 1) a collaboration agreement for feature writers, and 2) an option or adaptation rights agreement for for the novelist to sign? (At present all parties are willing and the novelist is not requesting an option payment.) Thanks! Théo

Mon, 14 Jan 2013 14:12:00 -0800

I haven’t seen a good one for collaboration, but my go-to for forms questions is CONTRACTS FOR THE FILM & TELEVISION INDUSTRY by Mark LItwak. It’ll get you started.

Amazon link:

Contracts for the Film & Television Industry

SCREEN WRITING SOFTWARE TUTORIAL (by Adam Buxton)

Fri, 11 Jan 2013 15:44:09 -0800

SCREEN WRITING SOFTWARE TUTORIAL (by Adam Buxton)

Django Unchained - Season 3 Opening Theme (by docfuture1)

Fri, 11 Jan 2013 13:09:11 -0800

Django Unchained - Season 3 Opening Theme

(by docfuture1)

Photo

Mon, 07 Jan 2013 14:23:44 -0800