aaron sorkin screenwriting tips

I’ve rarely felt this annoyed in a movie theater. Next to me, during a screening of Steve Jobs, an elderly couple loudly whispers comments to each other every few minutes. With each line of dialogue they distract me from basking in, the more frustrated I grow. I’m afraid to ask them to keep quiet — not because I care how they’ll react, but out of fear of missing another line from the movie.

Aaron Sorkin writes anti-bathroom break movies. You don’t want to miss a scene or a line of his, especially in the case of his latest piece of work, the breathless, unrelentingly paced, and intricately structured Steve Jobs. By now, such an exciting piece of drama seems like a foregone conclusion from one of Hollywood’s most prolific, acclaimed, and all-around successful screenwriters. But past and present interviews with him have revealed not only how he pulls off these feats of genius, but how to start if you’re trying to create your own.

After the jump, learn writing tips from Steve Jobs screenwriter Aaron Sorkin.

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Whether you like spiteful Philadelphians or vengeful Romans, there’s something for you here. After the jump:

  • Louis CK, Bryan Cranston, and Rian Johnson score DGA noms
  • It’s Always Sunny in Philadelphia is getting its own beer
  • Revolution, Political Animals, and more are coming to Netflix
  • Fox’s late-night animation block will kick off this summer
  • Fox’s In Living Color reboot is not going to happen
  • Read one fan’s argument that it’s OK if NBC kills Community
  • Is ABC’s Happy Endings in danger of getting cancelled?
  • The casting search for Dexter Season 8 offers some plot hints
  • Spartacus: War of the Damned has a bloody new trailer

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After a decade of false starts on the big screen, an adaptation Jonathan Franzen‘s The Corrections looked to finally be making some headway on the small screen. HBO began developing it as a series with producer Scott Rudin last fall, and quickly signed director Noah Baumbach as well as a high-profile cast including Ewan McGregor, Rhys Ifans, Maggie Gyllenhaal, Chris Cooper and Dianne Wiest. The novel, which won the National Book Award in 2001, centers around an elderly couple and three adult children as they gather for “one last Christmas” near the turn of the millennium.

But alas, it seems this incarnation of the project isn’t going anywhere, either. After viewing the pilot, the premium cable has chosen to pass on the series. While HBO apparently liked the episode and the performances, it was concerned about the long-term sustainability of the premise. The book’s plot jumps back and forth through time, filling in the characters’ backstories, and HBO worried that it would be difficult for viewers to follow. The decision was not related to this week’s straight-to-series order of True Detective; with Luck off its plate, HBO would have had the resources to do both. [Deadline]

After the jump, the West Wing gang prove they’ve still got their walk-and-talk skills.

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VOTD: TV Kisses

In honor of Valentine’s Day, TV Squad created a three minute supercut montage of both contemporary and classic television characters kissing. Hit the jump to watch the video.
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