This week, we sit down with Alejandro Seri from Final Draft. Yeah, THAT Final Draft.
For him though, that’s merely the day job. At night he’s a screenwriting superstar. He and his writing partners just sold their first script Final Girl and recently (as of last week) signed with a top manager. Here his story as it’s unfolding! What he’s going through as well as his advice for how to make the same thing happen to you.
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Now onto the show!!
Till next week…
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While you all may have been sittin’ down, once again the show did not fail to Stand and Deliver! Thanks for all of the great information and insights!
My favorite part was hearing the difference between a thriller (like Hitchcock, which I love) and horror (which I am so far removed from that I no idea what the term “final girl” means) — and that the slasher/torture movies that were so popular some years ago are no longer.
I’ve mostly written dramas, and I could never see myself writing horror. But now that I know that a thriller is, and that (in a sense at least) it is simply a drama “that goes to eleven” (to put a Nigel Tufnel spin on what you all were saying), the world of possibilities suddenly seems greatly expanded!
(I am glad to hear that the pendulum may be swinging back toward dramas, but as a new writer I am of course not going to exclusively rely on that.)
I was also glad to hear you all say that comedy is probably the toughest form of screenwriting. I’ve written some shorts that still make me laugh out loud when I read them, but with the screenplay I’m currently working on I’ve come to realize that sustaining that for a full-length is extremely difficult!