Ivo Raza: Director, screenwriter and editor in Miami, Florida.

Jennifer- You read other screenplays to improve your craft. Why not find the top 10 greatest films of all time? I would start with 'CASABLANCA'. "Here's looking at you kid".

I would not read older scripts to pattern after. Read what's working now. Trends change. What was acceptable in the 30s or 40s doesn't always work for today. Read scripts that performed well, were critically applauded, and just well written for the genre you're writing in. If it's tv, get the pilot script for a show close to your genre. And remember, you're trying to catch the attention of the reader who will pass your script up the chain. If you're writing spec, write it for the reader. Don't write a shooting script. There's a huge difference. Write it to read. Make sure it's entertaining. Make sure it's as perfect as you can get it. And make sure it's not all passive tense. Make sure it works. I'm a student of Lew Hunter. Read Screenwriting 434. Lew taught me.. Learn from the best teachers out there. “Lew Hunter is the greatest screenwriting professor I’ve ever known.” -- Steven Spielberg.

I think the scripts of films you enjoy the most.

I absolutely loved this book. In fact, I was going to announce that Amazon.com just published my review. Link is http://www.amazon.com/review/R2G1PFH3MH641N.

I also enjoyed it. Review is here: http://www.amazon.com/review/R1EPZ601VDLNF7/ref=cm_cr_pr_perm?ie=UTF8&AS... I think it's important to remember, though, that there needs to be a compelling story to hang on that framework, or you'll just end up with 100 pages of well structure tripe.

Blake Snyder has absolutely helped me. I also love Frank Daniel's 8-Sequence System. He taught it at USC and AFI. His and Blake's guides are the most popular structures at www.scriptoutliner.com

David Tackett, I would add a note during the character introductions saying that they talk in fake accents sometimes, then use parentheticals when they use the fake accents. I would also bold the note during the character introductions. It would be a combination of what Ivo Raza, Dustin Quinteros, and CJ Walley said.

I wouldn't do separate character names. That's definitely confusing. Depending on the length of the dialogue, you can put it in italics in the action section just before they start talking with the accents. So, something like, "Ed, Bill, and Greg approach the guard, each one using their fake African accents." At whatever point they stop the accents, just put that in the action section. If it only happens in a couple of lines here and there, put in a parenthetical below the character's name in the dialogue. Just put (AFRICAN ACCENT) in all caps like that.

Good luck, David!

if you keep the character names the same it will make it easier for actors, production departments and readers. As mentioned abobe, you can include a note in brackets to make it clear to the reader and actors that they are delivering the line in their alter-ego. You can have some fun with this too, like if the accent is unconvincing you can mention it.

Great question. I think it depends on what you’ve done so far. I think a great scene study class is essential to learn script analysis among other key fundamentals. Too many actors skip this step assuming that auditioning IS their training. Big mistake. But once an actor has a good foundation, improv becomes essential to that “next level” because it takes that training you’ve had and makes it more versatile. Because you will NEVER get to act in optimal conditions. Improv teaches you to embrace that, adjust in the moment, and actually have fun creating something new that was never intended.

Agree, in film making there is so much juicey tid bits to learn my biggest problem is not enough hours in the day!

I think all those are great investments...not an actor but as a writer/director i took all kinds of classes, acting, improv, rehearsal,etc, and they all were incredible experiences. I was pushed to the improv class by a friend, and then loved it and studied/practiced as part of my writing... and then last year did a film where I had some serious improv talent on set and used all that to work with them...

I write the movie I'd wanna see at the cinema

Donnalyn, I'm not really a follower of trends when it comes to me deciding what to write next. (And that's my tough luck!)

Me, I'm like Wally and Greg in that my next project is the one I'd want to go see at a theater or watch on TV...a project I keep thinking about.

And it's got to be a project where I've already mapped out six plot points and got an outline/scene list ready.

Great question, Donnalyn! Thanks for posting...and all the VERY BEST to you!

I have a list of ideas/premises that are in the waiting...

Eric Roberts - the man of 1,000 films. :)

Of course you can. Many features are shot with DSLR cameras.

https://www.imdb.com/list/ls059550382/

The bigger questions are......what can you afford - from a camera standpoint, and from a lens standpoint?

Getting the most bang for your buck and managing your project and time wisely are obviously important factors in your project. Hook up with a wise guru or two that can help you out....and who might have the equipment already, if you don't.....give them ownership in your project, bro, and make things as easy as possible for you. You're a really good filmmaker already, and have a great command of a director's POV, and keeping an audience engaged and your story moving. You also might want to check out this Stage32 webinar:

https://www.stage32.com/webinars/The-Camera-Conundrum-Choosing-the-Best-...

Watch the webinar...get your gurus....give them a piece of the pie if necessary, bro....and go make that voodoo that you do so welllllllll! Heh-heh.

Best wishes to you and your family, and best fortunes in your endeavors!

Yep. I would just rig it out with a cage to give it weight. Also a recorder would be good to give it a little more color depth for post. But these guys shot 8bit and got good results. Just expose and light properly. I DP'ed an indy feature with this camera as well. The A7III is cheaper and even better. The new Black Magic Pocket Cinema camera is impressive too. It's a tiny sensor but you can capture in raw.

https://nofilmschool.com/Sony-a7sii-movie

Yes you can but it takes the same effort as if you were using a RED Camera with proper lighting and good glass. The movie Act of Valor was shot using a DSLR. About 80% of the movie was done using the Canon 5D. Search behind the scenes and how they did it. Here is the movie trailer https://www.youtube.com/watch?v=_oFzxV_pmwI&t=31s

WOW Dan MaxXx really? How great! any more details?? Thank you!

Enter screenplays into legit competitions and if yours get to finalists, you should have an easier time reaching out to agents...

Hi Ivo, have won a number of Festival but I think one needs to attend the events to gain mileage. I live in Oz - a little difficult to attend all Festivals I've gained Finalist and/or won. I'm hoping to make films out of some of my scripts this year. Sorry, this is not my blog and you may not have been directing to me at all. Sorry.

Very good advice on the short film - good work. I learned something over my cup of coffee on Sunday - keep up the good work and break a leg on your short to come. dc

Not a bad suggestion, Ivo. Our last 2 short contest winners which led our Stage 32 Short Film Program had films over 10 minutes. But many in the program were under 10 as well.

Glad to hear it, Doug! If I can enhance your Sunday coffee experience, I've done my job.

The Brits and a many others have a much longer theater history, so settings, costumes and props appropriate to historical tales are more ingrained in the culture. Take a look at Spielburgh's Amistad; the costuming suffices but comes across to me as 'thin' and somewhat painted on. Though shot here, 12 Years A Slave seems to have a much better tuned look, not to mention a Brit Director.

Yes Ralph, 12 Years A Slave had excellent costuming, as did of course Lincoln, a movie I like very much. Generally I think the Brits have the edge in historical romances and dramas. With my 2 historical scripts, I'm entering Brit. competitions and am almost ready to pitch to producers there.

Like Biblical films, the historical genre appears to resurrect periodically with upgraded technology and new spin directors. Like Spielberg's Lincoln and Cameron's Titanic. However, historical editions of biblical stuff is harder to manage - mostly because belief is dna embedded and no one wants to let it be dented by historical details. This says the Jews of Judea were heroes in challenging Rome's emperors - else we'd all be worshiping Jupiter today. Five Roman historians of the 1st century agree: http://www.amazon.com/Ben-Hur-II-Happened-Century/dp/0994201842/ref=sr_1...

Unique material is king...and every so often, a screenwriter on the outside gives birth to a brilliant idea...so why not?

Everything has good and bad. If you want it bad enough, you can make it happen. However, I will say that you wear different hats. I wore 3 or so just today including my networking hat.

Did you live for movies as a kid? We all watched movies, but a small minority would watch 4 or 5 movies back to back and have seen certain films countless times. If you are not in that camp, I would say don't pursue it, it's not your calling.