Paul Castro the original writer of the Warner Bros. hit movie, AUGUST RUSH.He is a produced, award winning screenwriter and world-renowned screenwriting professor. Success leaves clues and so do masterfully crafted screenplays that sell for millions of dollars.
20 brisk segments.
Professional screenwriting techniques
Plot development for the big screen
Creating compelling characters to attract movie stars
Structure to serve as the blueprint for your movie
Scene construction to evoke suspense
Sequence writing to manage an ensemble cast
Good movie idea to writing a great feature film screenplay!
And so much more!
Entertainment industry professionals celebrate Paul Castro:
“A truly inspirational experience. I left Paul Castro’s class more prepared.Invaluable!” Rick Rapoza. Sold his script for $500,000.
“What clearly resonates with me is Paul’s love for and dedication to his students and to storytelling. He is a composed and practical artist and teacher, yet highly imaginative in his approach.”Michael Eisner, Former CEO of The Walt Disney Company.
“Paul Castro teaches screenwriting from the inside out.”Richard Walter, UCLA Screenwriting Chairperson.
"Paul Castro is exceptionally skilled at his craft."Bill Badalato TOP GUN, MEN OF HONOR.
“Paul is one of the best screenwriters I’ve known in my 50 plus years of movie making.”Oscar winner, Shirley Maclaine
“RUNNING WITH GOD… Spectacular writing!”Oscar nominated Terrence Howard, IRONMAN, AUGUST RUSH.
“Paul Castro teaches with elegant style." Sean Astin, LORD OF THE RINGS.
“I was taken with his understanding of cinematic writing.”Ross Greenburg, Producer MIRACLE.
“Clear and concise offering aspiring screenwriters the tools necessary to go from baby screenwriter to working professional. I am forever grateful.”Yule Caise, HEROES
“Paul is simply one of the best I’ve worked with.”
Don Ranvaud, CITY OF GOD
Cinematic, dramatic, simple plot, complex characters, suspenseful!
This is the property and architectural home built before you start decorating. Feel wonderful about this as it is your story.
Title, genre, and the pitch. Built in conflict is what drives story. Your logline is your first communication to the world and to yourself about your clear, concise, cinematic story that is a… movie.
Like a parent naming a child, so shall you name your movie. Both are crucial to the life of the journey. This is the shop sign inviting all to enter. Feel great about your title or come up with a new one.
Movies are often given the green light and money because of story and movie stars. Your lead, your protagonist, needs a strong clear character that is both multidimensional and flawed. This will attract that star. Your protagonist is the key to a great story. Love your protagonist and the audience will too.
That character in opposition to your protagonist is the antagonist. The antagonist should be stronger than your protagonist as to add a layer of anxiety, urgency, and intensity to your story. Also known as a “heavy,” this good vs. evil dynamic will drive the conflict organically. Give us a great heavy and you have a great movie.
Tone, vibration, feeling, texture, and energy are established immediately with your opening images. This will certainly ground your audience in the world and the journey they are about to venture on. Close your eyes and breathe. What images do you see and feel for your movie?
Going from the ordinary world to the extraordinary world is the moment in your movie that alerts the audience to a special world soon to come. This is very important as it is the calm pond getting a rock thrown in and your inciting incident is the ripples.
This is the point in your movie vital to your movie. Without this moment your movie does not exist. This is the moment that changes the entire trajectory of life as this movie has known thus far.
The consequences of your page 17 are reflected on your page 30. Cause and effect, action-reaction, energy in motion has no turning back now. This is now full on cinematic, dramatic, story world.
Breathe… This is the first false epiphany that gives your audience a breather and a false sense of security that all is well in paradise. This goal has a reasonable chance of being accomplished for your protagonist and his or her quest.
This is the midpoint and tent pole of your movie as all is supported by this moment.It is when your lead character, the protagonist, goes from passive to active in his or her destiny as does your antagonist. The old self dies (metaphorically) and the new self is born.
Inhale, inhale… exhale…Okay, this is the second false epiphany where your audience now is convinced that your protagonist will triumph. It is a false sense of security that will soon be shattered.
Ouch! This is the big gloom. Anything that can go wrong will go wrong in all plausible areas of your protagonist’s life. This is the true dark before the dawn. The audience feels that your lead is farthest from their goal then they’ve ever been.
If this where a symphonic concerto would have the crescendo to punctuate the piece in grand fashion. In all successful screenplays we hit our emotional highpoint and exit our movie! Yes, it is okay to leave the audience waiting for more.
All great scenes are sculpted and peppered with perpetual conflict and obstacles. Enter a scene late and exit a scene early to keep the audience curious and desperate to want to learn what happens next.
This is really character ascension in the fact that your protagonist is progressing in their evolution toward their destiny. The best characters in movies change for better or worse.
Group your character dynamics and story lines to make writing more manageable. To better manage multiple character dynamics you can simply outline the progression of just those scenes involving just those character groupings. Then once outlined, write just those scenes. Then when all is done, edit it all together with seamless transitions.
All movies come down to good news followed by bad news increasing with intensity and stakes as it progresses. Timeframe is the overall time period that your movie takes place over. Time lock is that time honored cinematic device that gives your movie a sense of urgency based on a deadline.
This is a cinematic device that tells your audience who we care about in your movie and who we do not. Always have one or multiple petting the dog moments.
Writers write, great writers re-write and create the stories that speak to their soul. Contribute to the world and the world will reciprocate. You can do this! We all look forward to your movie.
Paul Castro is a highly respected professional screenwriter of forty plus original television pilots and feature length screenplays. Major studios, A-list producers, Oscar winning movie stars and production companies in Los Angeles, New York and London have collaborated with Paul Castro for his screenwriting expertise.
As part of a 3 picture million-dollar deal, Paul sold his original screenplay AUGUST RUSH, the Warner Bros. hit starring Robin Williams, Jonathan Reese Myers, Kerri Russell, Terrence Howard and Freddie Highmore.
Paul Castro is one of the leading screenwriting experts in the world having lectured around the globe on the craft of value-based storytelling and the business of the entertainment industry. Many of his students are now professionals in the entertainment industry.
•Professional Screenwriter – Film & Television 15+ years
•Premiere screenwriting teacher in the world
•Original feature film writer of AUGUST RUSH, SPEED KILLS, SUMMER DREAM WEDDING, and writer of 40+ feature films.
* Original writer of SPEED KILLS, starring John Travolta
•UCLA Film School Professor undergraduate program and graduate program
•Master of Fine Arts in Film & Television, UCLA
•Professional Program in Screenwriting, UCLA Professor
•UCLA Professor Film and Television
•MovieGuide Award Winner “AUGUST RUSH.”
•Writers Guild of America (WGA) 15+ years