A couple of years ago, I wrote an open letter to the TV and movie vampires of the world. That’s definitely worth a quick read, but if you’re pressed for time, it can be summarized by a simple question:
If blood is so tasty, then why do you leave so much of it on your damn face?
Well it seems that the vampire in the remake of Fright Night (played by Colin Farrell) read my post, because there are several scenes where he stops to lick the extra blood off his face and chin.
Finally — a vampire movie that pays attention to the details! Credit must be given to Marti Noxon (of Buffy fame) who wrote the smart screenplay, as well as director Craig Gillespie (of Lars and the Real Girl fame).
There are a number of really nice touches and surprises in this movie that make it a cut above most remakes out there. If you like your vampires more dark and broody, less sparkle and moody — then you’ll enjoy this film (which is now on DVD/Blu-Ray).
Anyone else pleasantly surprised by this movie?
Writing For Television
They say film is a director’s medium, and television is a writer’s medium.
With quick turnaround times for episodes, high paying salaries, and creative control, I’d say that’s definitely true. And with more channels than ever thirsting for content of all types, there’s never been a better time to consider writing for T.V.
If you’re looking for a place to start, I’d like to recommend a great book:
Writing the TV Drama Series 3rd edition: How to Succeed as a Professional Writer in TV
by Pamela Douglas
The new third edition of her book, is a must-read for writers looking to break into (and excel at) television writing. It’s packed with incredibly valuable tips, tricks, insights and first-person accounts.
Not only does it explain fundamental concepts, like “How shows get on TV and the TV season,” it also goes in depth on such topics as:
- How a classic script is crafted
- Writing your own episode or pilot
- Working on staff
- How to break in
- The future of TV
There’s even a section on Unscripted or Reality Television shows and the writing jobs available therein.
Each key section is anchored by first-person insights and lessons from industry veterans.
If you’re planning, or even thinking, of writing for television, this book is the place to start.