Backstory Magazine, USA, Senate discussed on The Q&A with Jeff Goldsmith

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My script and then that can snowball day I think you just keep sending it to people be relentless the Senate have everyone read. Have people aren't just you know this. You exact dream of reading it but like you know your friends Gardner have read it and keep working on it and I think what you really need to be as writers lucky and I can't tell you how to be lucky but I can tell you if you keep working at it one day the an opportunity to open up and you feel lucky because you'll be like I've got the script and it's ten drafts in and I knew I've absolutely nailed it and I'm GonNa give it to this guy so that would be my advice to you. The device USA right there in the good question any resources that you draw inspiration from in prepare you for the next story. I mean I read a little scripts I've already every script going going I like to see you all people are doing. I do definitely I am. I also read the Law of Literature. I am an I think you writers is like James Salter and stuff like that like writers writers are amazing to read because you can see how they scrape characters who they describe rooms and stuff like that and and I would urge you to steal from them. Because they're they're great in the current issue backstory magazine. I think we published about twenty five scripts. You Sir right there. Did you have any family. Connections the First World War that you dedicated your writing to I am I. I have distant great uncles aunts but actually my grandfather who was born in nineteen twenty nine. Who never fought in the war? Obviously I am. He was profoundly affected by drought. And Glasgow. I'm you know in the early thirties. There were still a generation of men messing. There was rampant poverty. The the ship building was kind of run so bad at that point women were working in the shipyards. Were just not enough men and he grew up in real object poverty and he had a real belief in education. Even though he wasn't highly educated he would go to the library. He would read himself. I am I think he left school at fourteen. We had like nor traditional education. But he really really believe that if you can learn history if you as a society but also use an individual inertia you can be better people and he passed that one to me he had such a love. AWW can affect your history of of understanding the wars in particular how they came about and so in a we has kind of respect for history became mine. He would read me bedtime stories about the war which obviously profoundly made me off and made me write this. I am that that to me. Was My family connection. Another one from the audience. Member question is is in regards to. How do you create characters? You line up a big backstory for them about where they're coming from who they are before you start writing thing or is this something that you discover fluidly while writing and rewriting. I think a lot about them before I start writing. I mean for school field. I I knew that he he would have been a poet so I read all the war poets until like I couldn't tell you where he grew up because that wasn't important to me I could tell you how he would react to something or or or what can of lane verse would make him cry to me. That was more interesting than he. He was born in what be because that would never have appeared in the script. It doesn't matter to me. So that was the kind of thing and then for bleak I knew he was young. He was green. I knew that he wants to be a hero. I thought he would read the lone ranger because they can note the time they were a big books of the Taymor through man would read stuff like that and think. Oh this is horribly. Could react to stop. This is this is the kind of heat who he dreams of being. I am and then when I'm writing characters addict. This is going to serve the scene. But I'm everyone in the script. I'm trying to understand the logic of higher though behave and so I think I would. I be even the scenario because I think ultimately really what you're trying to do is you're trying to make people that the audience understand and you can only do that. If the behaved the way people behave so I might either. Ob meal with someone. I knew and this this is how the this is how they react under stress this too at this I do it and so I think with actors in mind rate with people in mind. Does that make sense. That totally makes sense and the other thing that you do is you wrote a very character. Driven piece and the silences allow us to discover character through action and through meditative moments. which I thought was is really cool as well? Still Take it away. We'll look I absolutely love your movie. I'm so glad you came here tonight. I can't wait to see what you do next congrats and your wgn nomination give it up again for Christie. Thank you so thank you for listening to me. and that's the Qa went down special. Thanks again Takuo writer Christie Wilson Cans for coming down and being so generous with their time and chatting about her debut feature film nine thousand nine hundred seventeen also. Don't forget to check out the massive nineteen seventeen issue of backstory magazine. It features four great cover stories that include nineteen seventeen stars Dean Charles Chapman and George Mackay Plus Editor Lee Smith Plus co-writer co-writer Christie Wilson Cairns. who gets into some different topics in the ones covered in this podcast and heck you could even read the entire screenplay for nineteen seventeen plus a bunch of other other awards season scripts and backstory as? Well there's a lot of stuff you to explore an issue forty so I hope you'll check out the table of contents backstory dot net to see all the other great stuff that's inside and while you're there.

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