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Brandon is a Producer, Executive, and Script Coordinator currently working on MARVEL’S HIT MONKEY, a Floyd County and Speck Gordon production for Hulu, 20th Animation, and Marvel Studios. Prior to HIT MONKEY, for nearly a decade, Brandon worked on the development teams at some of the industry's top production companies such as Sam Esmail's Esmail Corp (MR. ROBOT, HOMECOMING), Skybound Entertainment (THE WALKING DEAD), and Jason Cahill (THE SOPRANOS, THE RINGS OF POWER) where he developed original and IP-driven shows with Atomic Monster (M3GAN, MORTAL KOMBAT). He began his career working for Will Speck & Josh Gordon (BLADES OF GLORY, OFFICE CHRISTMAS PARTY) on the production of LYLE, LYLE, CROCODILE at Sony Pictures Entertainment. Before his work with Will Speck and & Josh Gordon, graduated from the American Film Institute with a Master of Fine Arts in Screenwriting. He continues development work finding great stories to bring to his massive network of executives. Full Bio »
We’re back in the Writers’ Room for the Breakdown with Brandon Gale (Producer/Script Coordinator). We breakdown produced screenplays focusing on a different aspect of writing every webcast. Join us as Brandon breaks down OCEAN'S ELEVEN.
We’re back in the Writers’ Room for the Breakdown with Brandon Gale (Producer/Script Coordinator). We breakdown produced screenplays focusing on a different aspect of writing every webcast. Join us as Brandon breaks down OCEAN'S ELEVEN.
The Breakdown
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We're back in the Writers Room this afternoon for The Breakdown Webcast with Development Executive at Cooke Media Group, Laura Woodworth! We breakdown produced screenplays focusing on a different aspect of writing every webcast.
Can you use long dialogue blocks effectively? Sure you can! We'll break down the rousing sales rally in THE WOLF OF WALL STREET, the chilling call in TAKEN, the desperate video message in "Breaking Bad", and the moving speech from HIDDEN FIGURES.
Dramedy is a compelling genre to write because many argue it best captures the realities of life. There are comedic moments in some of the most tragic of times and dramatic moments that give way to levity. During the webcast, we examine some of the most critically and commercially successful dramedies - including "FLEABAG", PARENTHOOD (1989), THE BIG SICK, and SILVER LININGS PLAYBOOK to understand why they work so well. We also discuss ways in which you can develop your characters and narratives so that your dramedy is as authentic as possible.
We're kicking off the final month of 2020 in the Writers' Room with a another member-inspired Breakdown Webcast! This month we will be talking about writing Theme in your feature scripts. Every well-conceived and executed story will have a theme, which is the "controlling idea", underlying essence, or deeper meaning of film script. And yet, because themes are often buried deep within a story’s structure, it can be hard to articulate or even recognize them. That is why we will be breaking down story structure to find out exactly which scenes typically explore theme. As always, we will be utilizing scenes from some of our favorite films to discuss how they handle theme. We pull clips from classics such as Jurassic Park, Shawshank Redemption, The Exorcist, Saving Private Ryan, and more!
During this Breakdown Webcast, Megan will discuss self producing your work and why it’s a good idea! Meghan was a staff writer on HBO’s Emmy-Nominated comedy series, "SILICON VALLEY". Her work has also appeared on Cartoon Network’s "POWER PLAYERS".
We take a look at how writers put together montages to explain complex plots in V for Vendetta, makeover a character in Crazy, Stupid Love, bring levity and character to the dark comedy of Groundhog Day, make working out interesting in Rocky, drive home a theme in The Godfather, and tell us an entire, moving prequel in Up.