Thuswise

Funny thing about editing The Prometheus Trap -- the story doesn't let us assign different acts to different editors the way we usually do. At least not that easily. Because we're using the same scene, with different takes, over and over, we need to balance each act and each timeline with one another.
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Nicholas Kazan gives what I think is horrible advice. I feel that a lot of writers, at least on the Internet, get all worked up about notes and re-writes. And here Mr. Kazan thinks that just because nobody liked Death of a Salesman's script that we should all give notes as suggestions rather than mandates.

When the real lesson is just that flashbacks don't read well on the page.

Via.

Writers very frequently have no idea what they're work is about. I've seen a lot of smart writers completely miss the subtext of their own play. Just totally not see it at all. And the fact is that although a reading can illuminate some things about a script, there are plenty o' things it just won't show you. Like, for instance, flashbacks.

I'm not on the writer's side. I'm not on the costume designer's side. And I'm certainly not on the actors' side. (I mean... good grief.) The purpose is to make a good movie or play, and the agenda of the writer, the designers, the DP, or the actors, is their own agenda. Not necessarily that of producing good work.
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I mean, we re-write Shakespeare for crying-out-loud. Heck, Shakespeare freakin' re-wrote Shakespeare. What is up with that speech about the freakin' season wherein our Savior was born being a time when there aren't any ghosts? You think they performed Hamlet with that stupid thing in there all the time? No, it was added to appease some investor (or the wife of a guy who had the play performed at his castle.)
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Joe Chapman turned me onto the 8 Secrets of Cheap Sci-Fi, which amuses me.
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