Q4 2019

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Page 60 of 103

61 F A L L Q 4 I S S U E By Holly Sklar "Excellent melodrama. Colorful, timely back- ground, tense mood, suspense, psychological and physical conflict, tight plotting, sophisticated hokum. A box office natural." - Stephen Karnot, Warner Bros. story analyst, in his coverage of an unproduced play, "Everybody Comes To Rick's," the basis of "Casablanca." If you've worked on a Hollywood-produced movie as a Motion Picture Editors Guild member, chances are a Local 700 story analyst "covered" it first. Long before the cameras rolled, the footage came to post, and the movie made its way to audienc- es, a story analyst like Stephen Karnot wrote coverage on it: a summary of the nascent material's story, and an evaluation of its big- screen potential. Story analysts have long played an essential, yet unheralded, part in Holly- wood's movie-making machinery. They date back to the industry's beginning and continue to play a critical role in helping to choose which movies are made, refining screenplays as they move through the development pro- cess toward a green light. Yet their Here's the Story FOR DECADES, STORY ANALYSTS HAVE PLAYED A MAJOR ROLE IN HOLLYWOOD AND ITS LABOR MOVEMENT F E A T U R E Dashiell Hammett spoke at the first meeting of the Screen Story Analyst Guild in the 1930s. P H O T O : P H O T O F E S T

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