Elba Kroop : The Writer's Block

I'm a 33 year old screenwriter who knows where the door is but just can't seem to get inside it.

I love movies, film, flicks and theater. This is everything I love about them. And yes, some TV stuff will pop up here once in a great while.
In my ongoing attempt to achieve what would ultimately be my wildest dream come true: having Steven Spielberg read a script of mine. I am putting my own Indiana Jones, original screenplay, up for all to read.  I know, I know, the chances are preeeeeettttttty slim. And by slim, I mean anorexic. And by anorexic, I mean starving in the dessert alone with no one in sight.  But I gotta try, amiright?!   What Orci and Kurtzman did with Trek was unbelievable. It reinvented the franchise for a new generation of Trek lovers. This is something that I am attempting to do here with Indiana Jones. Not Indiana Jones and the something of the something something. It’s just Indiana Jones. He hasn’t earned his “and the something of the something something”.  And so I give unto thee, one of my best scripts. Ever.  Should you read it and should you like it, please, mention it to someone. Have them read it. Maybe they’ll get a kick out of it too. If you are bold enough to click the links, the log line is with the script.  http://www.scribd.com/doc/123711621/Indiana-Jones

In my ongoing attempt to achieve what would ultimately be my wildest dream come true: having Steven Spielberg read a script of mine. I am putting my own Indiana Jones, original screenplay, up for all to read. 

I know, I know, the chances are preeeeeettttttty slim. And by slim, I mean anorexic. And by anorexic, I mean starving in the dessert alone with no one in sight. 

But I gotta try, amiright?!  

What Orci and Kurtzman did with Trek was unbelievable. It reinvented the franchise for a new generation of Trek lovers. This is something that I am attempting to do here with Indiana Jones. Not Indiana Jones and the something of the something something. It’s just Indiana Jones. He hasn’t earned his “and the something of the something something”. 

And so I give unto thee, one of my best scripts. Ever. 

Should you read it and should you like it, please, mention it to someone. Have them read it. Maybe they’ll get a kick out of it too. If you are bold enough to click the links, the log line is with the script. 

http://www.scribd.com/doc/123711621/Indiana-Jones

I have finished my World War 2 action/adventure movie. I encourage any and all to take a look and let me know what you think. This movie isn’t based on historical events, this a complete work of fiction.  “Two weeks after the landing at Normandy a group of US Marine’s  survive a crash landing in the middle of Nazi Occupied France and are forced to fight the wilderness, cannibals, Nazi forces coming from all sides and each other to survive. “

I have finished my World War 2 action/adventure movie. I encourage any and all to take a look and let me know what you think. This movie isn’t based on historical events, this a complete work of fiction. 

“Two weeks after the landing at Normandy a group of US Marine’s  survive a crash landing in the middle of Nazi Occupied France and are forced to fight the wilderness, cannibals, Nazi forces coming from all sides and each other to survive. “


rcjohnso: New Beverly Cinema projection room Los Angeles

rcjohnso:

New Beverly Cinema projection room

Los Angeles

cinephilearchive: Cameron’s underwater epic was a shoot so torturous it not only almost sunk the director’s career but turned some of the crew’s hair white — literally. Take a deep breath: The Making Of The Abyss. This binder contains countless production used storyboard copies of the complex Special Visual Effects shot for James Cameron’s undersea science fiction epic The Abyss. Also included is a Film Crew contact list, a two page prop inventory, and two humorous documents, one a memo written in the voice of a southern person from Gaffney, South Carolina where The Abyss was filmed and a cartoon of an Alien NTI mocking the I Want My MTV with “I Want my NTI” instead. The binder is dated 9/26/88 and is an interesting look into the production of the film. This is one of the best motion picture documentaries I have ever watched. It is right up there with Hearts of Darkness: A Filmmaker’s Apocalypse, the documentary about the making of Apocalypse Now. James Cameron opens the documentary by talking about something he feels is cold, dark and made up of unrelenting pressure: the movie business. The documentary really gives the viewer a good idea of how The Abyss was a challenge on many different levels. Not just on a technical level. The documentary also shows how it was a challenge, both emotionally and physically, for all the cast and crew involved in the project. It would soon be considered by many to be one of the toughest shoots in film history. It was interesting to learn about the innovative underwater equipment developed just for the film, plus seeing how some of the best underwater photography for a motion picture to date was accomplished. James Cameron has a reputation of being difficult to work with and this film shows why this may be the case. It is up to the viewer to decide whether or not this is true once the viewing experience is complete. If you have not seen the film you will have a great appreciation for what went into the making of this underwater epic. If you have seen The Abyss, you will enjoy the movie even more than you did before.

cinephilearchive:

Cameron’s underwater epic was a shoot so torturous it not only almost sunk the director’s career but turned some of the crew’s hair white — literally. Take a deep breath: The Making Of The Abyss.

This binder contains countless production used storyboard copies of the complex Special Visual Effects shot for James Cameron’s undersea science fiction epic The Abyss. Also included is a Film Crew contact list, a two page prop inventory, and two humorous documents, one a memo written in the voice of a southern person from Gaffney, South Carolina where The Abyss was filmed and a cartoon of an Alien NTI mocking the I Want My MTV with “I Want my NTI” instead. The binder is dated 9/26/88 and is an interesting look into the production of the film.

This is one of the best motion picture documentaries I have ever watched. It is right up there with Hearts of Darkness: A Filmmaker’s Apocalypse, the documentary about the making of Apocalypse Now. James Cameron opens the documentary by talking about something he feels is cold, dark and made up of unrelenting pressure: the movie business. The documentary really gives the viewer a good idea of how The Abyss was a challenge on many different levels. Not just on a technical level. The documentary also shows how it was a challenge, both emotionally and physically, for all the cast and crew involved in the project. It would soon be considered by many to be one of the toughest shoots in film history.

It was interesting to learn about the innovative underwater equipment developed just for the film, plus seeing how some of the best underwater photography for a motion picture to date was accomplished. James Cameron has a reputation of being difficult to work with and this film shows why this may be the case. It is up to the viewer to decide whether or not this is true once the viewing experience is complete. If you have not seen the film you will have a great appreciation for what went into the making of this underwater epic. If you have seen The Abyss, you will enjoy the movie even more than you did before.

The Master interview with Paul Thomas Anderson

Anderson has been a big influence on me, personally, as a filmmaker. His sense of composition and the way he elicites performances from his actors/actresses is consistanly amazing to me.

You’ll see him grow as a director/writer from Hard Eight , Sydney to The Master. He will always get me into a movie theatre seat with just his name, regardless of what he makes for the rest of forever.