Sable: There are roughly 40,000 screenplays registered yearly. Samuel Goldwyn Films must receive a good portion of them. How in the world do you manage to extract the screenplays you want to review?

Samuel: We look for well-constructed, concise loglines or pitches on completed scripts that reveal the type of project that fits our search parameters, that reveals a wholly unique concept and strong character(s).

Sable: I recently had a screenplay of my own rejected because, even though the producer liked the first and second acts very much, he didn't care for the third act. We all know screenplays go through a development phase where everything from characters to setting can get changed. If you liked everything about a screenplay except one of the acts, would you still be inclined to reject it? Would there be a deeper reason other than the one unlikable act?

Samuel: Sometimes a failed third act can reveal deeper problems throughout the screenplay that can indicate more development work than a production company is ready to embrace. Often times it's difficult to see these innate problems until the climax and resolution of the material.

Sable: New writers are drilled in format, format, format. They're then fed conflicting stories regarding what to write for description and dialogue. Oftentimes they're told to keep scenes at no more than three pages and dialogue no longer than three lines. I've read screenplays like this and found them rather static with a: "Run, Jane, run!" feel to them. Any idea who sets these rules and what do you think of them?

Samuel: While it's important to know and understand the standard format for the industry that demonstrates your professionalism as a screenwriter, the kind of formatting you're questioning can change from genre to genre (action vs drama vs comedy.) These all require a different approach to the writing of a scene. Remember the standard format and learn to balance your action and descriptions appropriately according to scenes. Though length in a scene can be necessary, question why something is going on so long and if its relevant. Being concise w/o sacrificing is part of the screenwriting success formula.

Sable: You mentioned at our last meeting that many of today's movies seem to be nothing but special effects and split second scenes with characters barely acknowledging each other, let alone relating. I've heard other such complaints expressed loudly and vehemently by movie attendees. Yet, there are movies that manage to succeed despite having no explosions or MTV sound bytes. Do you think it's possible that the industry could be on the brink of falling back on its roots and offering the movie going public stories of intelligence, wit and depth?

Samuel: These kind of stories do exist, but can face an uphill battle. When writing the kind of stories you're referring to you have to be smarter in your storytelling. It's not enough to write for the sake of writing. Remember you are writing to tell your story to someone. Recognize what your story is, who the audience is and how it can be marketed to the public. Your audience is there. You have to know whom they are and how to reach them. It's a tougher job being a writer today. You are expected to wear many hats and understand what kind of product you have. This is not to dismiss the art of writing, but to encourage writers to be more knowledgeable and ahead of the game. These are all questions agents and producers will ask. The more you prepare yourself, the better writer you will be.

Sable: What qualities do you look for in a script?

Samuel: Intelligence, strong characters, original concept or an original twist on a familiar story, humor, romance, and being able to gauge how an audience will react to the material.

Sable: What turns you on in a script?

Samuel: Originality and a refreshing new voice.

Sable: We all know the bottom line is the box office. Yet, Goldwyn Films continues to provide quality. How do you manage this?

Samuel: We're focused. After many years in this business, this company is clear about what kind of material it wants to pursue. We don't develop scripts or acquire films that don't work within our vision.

Sable: What is your favorite type of movie?

Samuel: I respond to films that are able to both entertain me, either through humor or romance, and also speak to me about something.

Sable: Is it possible for an unproduced, unrepresented writer to get a script to you?

Samuel: Yes. If a logline comes through our office that demonstrates the kind of qualities we desire then we will examine the script.

Sable: Do you have any advice for a newer screenwriter?

Samuel: My advice is the same advice I give to those writers who win the Goldwyn Writing Awards, and that is not to stop writing. Commit to your craft and you will continue to grow as a writer. Even if you win a contest or get an agent, the work doesn't stop. Writing should be essential to your life, like breathing.

And, considering the advice we've just received, I think I'll go back to that script that got rejected because of the third act and see what I can do about the first and second acts.