Archive for Structure

Having recently seen the wonderful film Hugo, it’s hard to believe that it was directed by the same man who directed Taxi Driver and so many hard-edged gangster films. It’s sad that Hugo has been such a flop at the box office, Scorsese deserved success with it.

Anyway, if you’d like to get a peek at his storyboards for Taxi Driver, I found some of them at the site and you can see them here. Good luck trying to read the captions, but it’s interesting to look at his sketches.

Below is a two-part video of Scorsese talking about Taxi Driver, its influences, and why it was a labor of love (they are about 8 minutes long each).

Martin Scorsese on Taxi Driver – part one

Martin Scorsese on Taxi Driver – part two

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Categories : Characters, Structure
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I have a hunch these are NOT what’s stopping you from writing your screenplay:
* You don’t have any ideas
* You don’t understand the basics of screenwriting
* You have a fear of success

I think maybe one or more of these IS what’s stopping you:
* Procrastination
* Too many ideas
* Writing blocks
* Not enough time
* No support from family and friends

If I’m right, the WRITING BREAKTHROUGH STRATEGY program is what you need in order to write the screenplay you know is in you. Here’s a little (one minute) overview of what it gives you. If you want to find out more or sign up, go to: But hurry, because it starts on Monday, January 16!


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I saw a screening of Carnage the other day. Although the acting was good (especially Christoph Waltz, with a faultless American accent), there is one major ingredient missing.

Twelve Angry Men and Who’s Afraid of Virginia Woolf, two films to which it has been compared, had it.

It’s glue.

By that I mean a reason why these people have to stay together. In the case of Twelve Angry Men, the members of the jury couldn’t leave until they reached a verdict.

In the case of Who’s Afraid of Virginia Woolf it was the codependency of George and Martha–as much as they hated each other they also counted on their partner’s hatred to energize them.

In the case of Carnage, what keeps the visiting couple from leaving a situation from which any sane person would flee? An offer of more tea.

What could have fixed this? Well, having recently stayed in a New York hotel where at least one of the elevators seemed to be perpetually breaking down, that might have been a suitable device. Yes, the audience would have recognized it as a device but that’s preferable to having them think at least three times that of course the visiting couple would now get the hell out of this situation.

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