Information about her classes, consultations, books and podcast can be found on her website.
Order Pilar's book from Michael Wiese Productions here.
Dave Watson: First of all, congratulations on the book. How did it come about?
Pilar Alessandra: The Coffee Break Screenwriter was compiled of the writing tools I was already using in class to help writers make progress on their scripts by writing for short, focused periods of time. The second edition that’s coming out in April better incorporates TV into the mix. It also updates the examples and pitch templates and looks at structure as it applies to all mediums - not just feature films.
DW: You start with the story and outline. Would you agree with the statement that screenplay is structure, and vice versa?
PA: Wow, that makes screenplay sound really boring! I start with the story because that lets writers see the outline and structure emerge, rather than starting with a rigid structure they have to wedge their story into.
DW: Do you ever have actors in mind when writing, and think of them improvising?
PA: I actually do encourage writers to have actors in mind to help them find voice and phrasing. What Bill Murray might say is different from what Seth Rogen might say.
DW: I think of the Robert Frost quote, “Writing is like driving through the night. You can only see a few feet in front of you, but you’ll get there.” Have you encountered many writers who write organically, as they go along?
PA: Yes, I have. And, I totally get that. Sometimes characters say and do things you didn’t expect and your scenes take on a new shape. But, you actually won’t “get there” unless you have a map. It can be a general map in the form of a loose, pliable outline. But you’re going to need one before you drive off into that night.
DW: At an upcoming writer’s conference in Madison, WI, a theme is that literature feeds the film world and vice versa. Would you agree?
PA: Yes, I would. We still pull from classic stories and we love contemporary book adaptations. Perhaps the slow boil of a great novel is the same thing that makes audiences respond to the current structure of their favorite TV dramas. Then again, I’ve also worked with several book authors who polish their novels by thinking about them as though they were a movie. It helps them tighten the story and strengthen the visuals.
DW: What is your writing program On the Page like?
PA: I teach a variety of classes ranging from six-week seminars where a writer can crank out a first draft to rewrite weekends where writers learn advanced writing techniques to strengthen their projects. I also teach one-day classes in television and the occasional specialty class like a class I teach about female-driven scripts called “Beyond the Chick Flick.” In addition to the book, I offer a few recorded classes and hope to be adding to those throughout the year.
DW: Many say TV is where the best writing, filmmaking, and storytelling is these days. How does your book fit with TV series that extend for hours versus a cinematic screenplay?
PA: My book will help people write their pilot episode ten minutes at a time. But, to do that, they also have to know what their overall series is like, the week-to-week conflicts within it and the arc of their seasons. The new edition dives into those areas.
DW: In one section you discuss scenes and complications, which are stacked and hurled against our protagonist. This seems to seldom occur. Why? When it does the payoff is wonderful.
PA: I think it occurs more than you think. Even the most mundane, daily obstacles can make for interesting complications. And complications don’t have to be negative, they can just be … complicated. Falling in love is certainly a complication.
DW: You also discuss set pieces for characters, which seems to be making a comeback on the big screen. Why do you think this is?
PA: I don’t think they went away. I think they just got more subtle, which they needed to be!
DW: Alfred Hitchcock is still hailed as the grand master and said the script is the most important part of a film. William Friedkin’s memoir two years ago, which said you don’t need to go to film school, watch Hitchcock’s movies. What are some of Hitchcock’s biggest gifts to the film world as far as transitions go?
PA: Um, is this a test? While I’m sure it’s true, and I am a fan, I’m not enough of an expert on his work to answer that. Love Psycho, though, even though it made me afraid of motels, showers and my mom.
DW: This is not a test! But, why do you think Hitchcock’s influence has lasted so long?
PA: Pacing, pacing, pacing. We wait. We wonder. We’re wowed. Then it happens all over again.
DW: Some screenwriting conferences are getting smaller. Are you involved in any?
PA: I teach at ScriptFest every year (formerly known as The Great American Pitchfest) because the organizers, Bob Schultz and Signe Olynyk, are filmmakers themselves who care about the experience of the writers. I also teach yearly at the London Screenwriters’ Festival and have a wonderful time. I love the energy there and I’m usually in the company of some amazing speakers.
DW: What’s next for you?
PA: I’ll be teaching a two-day Rewrite Weekend in Los Angeles May 1st and in London June 11th and 12th. In late June I’ll be teaching a two-day class in Rhinebeck, New York at a place called the “Omega Institute” which may sound like a good place to be cloned, but I’ve heard is pretty cool.
DW: What’s your favorite cinematic moment? One that inspires you still to this day. It can be a scene, emotion, character or thematic moment.
PA: OK, I am a SUCKER for this scene in It’s A Wonderful Life where George and Mary are sharing a phone while talking to a mutual friend who wants to marry her. George wants to get out of town and live his dreams but he’s clearly distracted by Mary. He’s so in love with her that, even when he then takes her by the arms and angrily shouts that he’s leaving and nothing can stop him, we know he’s really saying “I’m staying with you.” And then they kiss and it is the very best kiss in cinematic history. Bam.
Clip: It’s a Wonderful Life
Order Pilar's book from Michael Wiese Productions here.
Dave Watson: First of all, congratulations on the book. How did it come about?
Pilar Alessandra: The Coffee Break Screenwriter was compiled of the writing tools I was already using in class to help writers make progress on their scripts by writing for short, focused periods of time. The second edition that’s coming out in April better incorporates TV into the mix. It also updates the examples and pitch templates and looks at structure as it applies to all mediums - not just feature films.
DW: You start with the story and outline. Would you agree with the statement that screenplay is structure, and vice versa?
PA: Wow, that makes screenplay sound really boring! I start with the story because that lets writers see the outline and structure emerge, rather than starting with a rigid structure they have to wedge their story into.
DW: Do you ever have actors in mind when writing, and think of them improvising?
PA: I actually do encourage writers to have actors in mind to help them find voice and phrasing. What Bill Murray might say is different from what Seth Rogen might say.
DW: I think of the Robert Frost quote, “Writing is like driving through the night. You can only see a few feet in front of you, but you’ll get there.” Have you encountered many writers who write organically, as they go along?
PA: Yes, I have. And, I totally get that. Sometimes characters say and do things you didn’t expect and your scenes take on a new shape. But, you actually won’t “get there” unless you have a map. It can be a general map in the form of a loose, pliable outline. But you’re going to need one before you drive off into that night.
DW: At an upcoming writer’s conference in Madison, WI, a theme is that literature feeds the film world and vice versa. Would you agree?
PA: Yes, I would. We still pull from classic stories and we love contemporary book adaptations. Perhaps the slow boil of a great novel is the same thing that makes audiences respond to the current structure of their favorite TV dramas. Then again, I’ve also worked with several book authors who polish their novels by thinking about them as though they were a movie. It helps them tighten the story and strengthen the visuals.
DW: What is your writing program On the Page like?
PA: I teach a variety of classes ranging from six-week seminars where a writer can crank out a first draft to rewrite weekends where writers learn advanced writing techniques to strengthen their projects. I also teach one-day classes in television and the occasional specialty class like a class I teach about female-driven scripts called “Beyond the Chick Flick.” In addition to the book, I offer a few recorded classes and hope to be adding to those throughout the year.
DW: Many say TV is where the best writing, filmmaking, and storytelling is these days. How does your book fit with TV series that extend for hours versus a cinematic screenplay?
PA: My book will help people write their pilot episode ten minutes at a time. But, to do that, they also have to know what their overall series is like, the week-to-week conflicts within it and the arc of their seasons. The new edition dives into those areas.
DW: In one section you discuss scenes and complications, which are stacked and hurled against our protagonist. This seems to seldom occur. Why? When it does the payoff is wonderful.
PA: I think it occurs more than you think. Even the most mundane, daily obstacles can make for interesting complications. And complications don’t have to be negative, they can just be … complicated. Falling in love is certainly a complication.
DW: You also discuss set pieces for characters, which seems to be making a comeback on the big screen. Why do you think this is?
PA: I don’t think they went away. I think they just got more subtle, which they needed to be!
DW: Alfred Hitchcock is still hailed as the grand master and said the script is the most important part of a film. William Friedkin’s memoir two years ago, which said you don’t need to go to film school, watch Hitchcock’s movies. What are some of Hitchcock’s biggest gifts to the film world as far as transitions go?
PA: Um, is this a test? While I’m sure it’s true, and I am a fan, I’m not enough of an expert on his work to answer that. Love Psycho, though, even though it made me afraid of motels, showers and my mom.
DW: This is not a test! But, why do you think Hitchcock’s influence has lasted so long?
PA: Pacing, pacing, pacing. We wait. We wonder. We’re wowed. Then it happens all over again.
DW: Some screenwriting conferences are getting smaller. Are you involved in any?
PA: I teach at ScriptFest every year (formerly known as The Great American Pitchfest) because the organizers, Bob Schultz and Signe Olynyk, are filmmakers themselves who care about the experience of the writers. I also teach yearly at the London Screenwriters’ Festival and have a wonderful time. I love the energy there and I’m usually in the company of some amazing speakers.
DW: What’s next for you?
PA: I’ll be teaching a two-day Rewrite Weekend in Los Angeles May 1st and in London June 11th and 12th. In late June I’ll be teaching a two-day class in Rhinebeck, New York at a place called the “Omega Institute” which may sound like a good place to be cloned, but I’ve heard is pretty cool.
DW: What’s your favorite cinematic moment? One that inspires you still to this day. It can be a scene, emotion, character or thematic moment.
PA: OK, I am a SUCKER for this scene in It’s A Wonderful Life where George and Mary are sharing a phone while talking to a mutual friend who wants to marry her. George wants to get out of town and live his dreams but he’s clearly distracted by Mary. He’s so in love with her that, even when he then takes her by the arms and angrily shouts that he’s leaving and nothing can stop him, we know he’s really saying “I’m staying with you.” And then they kiss and it is the very best kiss in cinematic history. Bam.
Clip: It’s a Wonderful Life