
Real drama. Real impact. In less than 15 minutes. Not a moment of self-indulgence. Awesome film making is all:

Real drama. Real impact. In less than 15 minutes. Not a moment of self-indulgence. Awesome film making is all:
by Herbie J PilatoNo, I’m not talking about Jim Morrison and his legendary rock band.
But what I am addressing are the physical front door props, on the exterior and interior, of certain television shows, and how their consistency or inconsistency is pertinent, representative and conducive to the true success of any given series – and the creative process in general.
For example, Bewitched. And I know what you’re thinking: “Really? Did he reference Bewitched…AGAIN?”
Speaking of an audience learning to love ambiguity, welcome to those who are, well, terrified of it, actually:

Even though I know I’m just howling at the moon…

Rewriting is hell, right?
Nope. Not when you can goose the effectiveness of your writing and create a really outstanding script or manuscript.
Have you heard from a producer, “there’s nothing wrong with your script, it just needs a rewrite.”?
Time now for a perceptive look at both a new feature film and an old feature film and TV writing problem. Yes, even we egomaniacs at TVWriter™ are suckers for good analysis and advice:

Villainous backstories are an… imprecise science. When done well they can imbue a previously simplistic baddie with depth and challenge conventional morality. When done poorly, however, they are frustrating, self-pitying, and utterly off the mark. Unfortunately (though not surprisingly), Dracula Untoldfalls into the latter category. To be fair, as a film it’s not entirely awful. It contains some interesting visuals, great sound editing, and a decent score byGame of Thrones‘ Ramin Djawadi. However, as a villain origin story, which it purports itself to be, Dracula Untold is an absolute failure.