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Beyond the Screenplay

Episode 28: Children of Men

Beyond the Screenplay

Michael Tucker

Tv & Film

4.7626 Ratings

🗓️ 17 January 2020

⏱️ 84 minutes

🧾️ Download transcript

Summary

The LFTS team discusses why Children of Men is the perfect marriage of technique and subject matter, the layered iconography of the film, and how the exposition and world building are delivered effortlessly from the very first scene.


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Temi Coker's class: "Digital Poster Design: Combining Images & Type for Powerful Visual"


Show Notes

LFTS video on Children of Men: https://youtu.be/HUgYoT_xEFY

Beyond the Screenplay Patreon: https://www.patreon.com/beyondthescreenplay

LFTS Merch: https://standard.tv/collections/lfts


Find us on Twitter

Beyond the Screenplay: https://twitter.com/BTScreenplay

Michael Tucker: https://twitter.com/michaeltuckerla

Tricia Aurand: https://twitter.com/TriciaJeanA

Brian Bitner: https://twitter.com/BrianBitner

Alex Calleros: https://twitter.com/Alex_Calleros


Produced by Vince Major: https://twitter.com/VinceMajor

Edited by Eric Schneider: https://twitter.com/ImEricSchneider


Website: http://lessonsfromthescreenplay.com

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Transcript

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0:00.0

Hi, I'm Michael and welcome to Beyond the Screenplay. Happy New Year. We are today talking about

0:12.3

Children of Men, the 2006 film, directed by Alfonso Coran, written by Alfonso Coron,

0:18.8

Timothy J. Sexton, David Arata, Mark Ferguson, Hock Atsby,

0:24.2

based on the book, The Children of Men, by P.D. James.

0:27.7

I'm joined by the lesson to screenplay team, writer Trisha Aran.

0:31.4

Hello, everyone.

0:32.3

Writer Brian Bittner.

0:33.2

Hello, Amiga.

0:33.9

And editor Alex Kayas.

0:35.8

Hello.

0:36.4

So I think this will be a pretty short episode.

0:40.0

Children of Men is a perfect movie.

0:43.7

Thanks for listening, everyone.

0:45.0

And we can all go home now.

0:46.1

Hold on.

0:46.3

Can I add that it's great?

0:48.2

No, that's kind of the same thing.

0:49.0

Yeah, okay.

0:49.3

I'm good.

0:49.8

Good great.

0:50.2

All right.

0:51.1

We'll see you next.

...

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