7 Deadly Mistakes Screenwriters Make - Steve Douglas-Craig

After graduating from the AFI, Steve was recruited by Sony Pictures Entertainment to work as a Story Editor & Acquisitions Executive for the Worldwide Acquisitions team in Los Angeles where he received an induction into story & business development, feature film packaging, domestic & international distribution, theatrical marketing & product acquisition. He helped develop & shepherd film titles including Terminator: Salvation, The Book of Eli, Django Unchained, War Room, Don’t Breathe (Sequel current in post-production), the Insidious horror movie franchise, Manchester By The Sea, The Grudge (reboot), Searching, Arrival, Whiplash, The Call, Attack The Block & many others (including TV releases – The Tudors, House of Cards).

Steve's tenure at Sony Pictures Worldwide Acquisitions was followed with a promotion to Senior Story Editor & Creative Executive at Screen Gems where he was involved in the development & release of theatrical titles like the recent releases of Monster Hunter & the adaptation of James Herbert’s novel – The Unholy. Before that he helped shepherd Black & Blue, The Intruder, Possession of Hannah Grace, Brightburn, & Slender Man. He was also heavily involved in developing content strategies that attracted financiers & talent to specific projects for the studio.

Steve is also a professional screenwriter having worked as a freelance staff writer for the hit CBS TV series Hawaii Five-O over a number of seasons & currently has a pilot & several feature films (including a creature feature) going out through his literary managers in Los Angeles.

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#writing #story #movies

[dominiquetolley]

Tarantino once said the script should not just be a blueprint and should be an enjoyable read. He said lean into the prose but not too much so to where it’s a novel. Interesting to see different perspectives.

[magnolia]

Steve Douglas-Craig has been my favourite guest so far because what he said - though it's not entirely revelatory - he says it in a way that I can understand because I too like structure and he has provided me certain insights that genuinely makes me want to practice more. I like rewriting drafts because it helps me internalise and truly understand what I want to say in my story and my characters' motivations. This channel has been an invaluable public resource, thank you so much!

[MG.N]

"Learn the rules like a pro, so you can break them like an artist." Can't get away without the first part.

[southlondon]

Steve, thank you for helping to develop The Book Of Eli! One of my favourites.

[VincentStevenStudio]

When I watched Godzilla minus one recently, at times I thought it was predictable. But its only because I understand movie structure. The general audience probably wouldnt recognize it as much. That structure though is what makes it great. The way it sets up the characters and the plot. The way it resolves them and pays off at the end. The way some things were forshadowed briefly but became important at the end like them mentioning the japanese government doesnt provide the planes with eject seats or how people are still missing hinting that the girl might still be alive or the guy who's never been to war but helps save the day or the final line "Is your war over?" The pay off is so satisfying because everything is perfectly set up and well structured. Good Structure is what makes a good movie.

[intuitioncinema]

Wow!!!! So much useful info here. Will need to watch this another 50 times with notes to take it all in. Thank you.

[destinypirate]

Loved this. A few specific thoughts to bounce with, or against. Thank you!

[markfetherman]

I write novels and find this series very insightful.

[yapdog]

I found this particular video instructive as to the differences between writing novels and crafting screenplays. Well done 👍

[matthewpaul]

The character had a life before your movie and assuming they didn't die, will have a life afterwards. The movie is a pivotal time in that character's life story.

[JayFingers]

Everything Steve says here is 💯 percent spot-on. Thanks for having him on the channel. Definitely sharing this one. 🙌🏾

[adammacdonald]

Don't agree that if you introduce the main character fifteen pages in is a sign of an inexperienced writer. It can be a sign of confidence in the story telling and help set the table of what's to come. You see it in horror and thrillers all the time. Scream, Jaws the Chaser etc etc. But maybe the argument is the "killer" is the main character but a classic like Psycho broke that rule beautifully. To me, is it a compelling story or not - thats it. I read scripts all the time and when I smell the basic structure that everyone seems to follow, the proving "blue print", that can get very predictable, which is never good for telling a good story.

[ComicPower]

A screen play is not literature. Good advice

[ardidsonriente]

So, if you can't even tell the actor how to move... you can't make scenes without dialogue?

[Penguino]

If my character's taking a dump in the bathroom, eventually, they're gonna have to wipe, flush, stand, and leave the room. So, if we're not allowed to describe a character's movement, then what?

[AlifaRowshani]

everything needs an structure, dont you think? even atoms have structure let alone a film

[greyeyed]

I want to read the screenplay with no characters, no structure, no plot, no setting, and no story.

[davidgray]

Oh dear there are still people who don’t understand that human ability is a mix of strengths and weaknesses, plenty of people spell well and have absolutely no creativity. Spelling is easy to fix, it’s intelligence and style you want to find. This attitude was prevalent in the 60s and 70s and still mentioned here, very amusing error on his part.

[thomasley]

Hey, Film Courage, about script mistakes: Your video titles are total click-bait.

[reallymakesyouthink]

I cannt beleeve peeple wood send scrips in wit bad speeling.