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Issue
92: May/June
2003 - Contents:
The
Light and the Dark
There are a few reasons why Dead Bodies is a big
deal, argues Joe Griffin. It could make a star of its star.
It's a fine example of what High Definition digital technology
can do. Probably the most important thing about this film, though,
is that there's a good chance that it will make money.
Extract
The
Dirty Laundry Busines For their forthcoming book Screencraft:
Screenwriting, Declan McGrath and Felim McDermott tracked
down the writers behind great films from Bicycle Thieves
to Chinatown. Kieran Hayes listens to their tales of
adventure in what Paul Schrader describes as The Dirty Laundry
Business. Extract
I
Write Screenplays You want to be a screenwriter? You want to
have an agent? From the same shadowy hand that gave you S.ed.ition
in Film Ireland 91 come a few words of cautionary advice. Extract
Finding
the Cinematic Story in History Diog O'Connell compares Rabbit Proof Fence
to The Magdalene Sisters, arguing that, in order to draw due
attention to historical events, filmmakers must learn to subordinate
facts to the creation of emotional structure.Extract
Loose
in the Lab Paul Farren went out West to Renvylle to
catch the goings on at last February's Moonstone Film Makers'
Lab. He was met with a vista of intense activity: emerging talents
pitting their wits against the challenges of a fully-crewed
professional set in freezing midwinter locations. Read on.Extract
Just
Sign Here You want to write for screen? What do you
see in your producer's eyes? How much will you earn? Will your
rights be respected? And if you see few rights and fewer expectations
how can all that be changed? David Kavanagh of the Irish Playwrights
and Screenwriters Guild answers talks to Paul Farren.
Extract
Fat
and Happy Michael Sheen is currently starring in Heartlands,
Irish director Damien O'Donnell's follow up to East is East.
Sheen spoke to Joe Griffin about his work on the film on the
morning after its world premiere at the recent DIFF.
Extract
