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There's a traditional model of television writing, where stories are pitched in the writers' room, assigned to individual writers and then the scripts that come back get rewritten in the room.
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And then the script says: "I've always had the great fortune to be loved by extraordinary women".
What comes first is the editing of what I see — editing in my head — and then the script materializes out of the footage".
And then the script was loose.
I read the short story ["Story of Your Life"] by Ted Chiang and then the script of course.
We see 100 minutes of bad drama and good special effects, and then the script opts for frustration and meaningless mystery".
The central intrigue is revealed pretty early and then the script consists of scenes of characters repeating explosive information to each other.
"We grab all that and then the script will sort out the main words Syria, Obama and the ones that get used the most will bubble up to the top.
Release dates come first, movie stars come second, and then the script might be delivered a week before you shoot, or it might be delivered as you're shooting.
It's nice to read the book and then read the scripts.
Just sort of seeing it written on the side of the script, and then got the script through my agent, and saw on email that I received it in, that it was written by Stephen Chbosky [the novel's author] and that he was going to direct it.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.
Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com