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That is, this is the fight for Winterfel and felt like, as a result, part of the fight needed to be in Winterfel, especially given the Stark's connection to it. Winterfell's fortifications were Ramsay's Trump card, it's stated time and again that all he needs to do is hold up in Winterfell and he wins, since Jon doesn't have the resources for a seige. For the northmen to deny him that would have been very poetic and would have resolved a lot of the narrative issues with the battle, at least from the standpoint of Ramsay's arc. We know that the scene as originally written could not be accomplished with the time and budget provided so Sapochnik removed Ghost and had the body crush instead of whatever was originally written there, possibly a fulfillment of the foreshadowing of Ramsay's men turning on him in part. They interviewed the director somewhere and he mentioned how he original script was significantly different. Maybe significantly isn't the right word, but it was going to play out differently. I think the main difference was the suffocating scene when Jon's army is surrounded. Based on his comments, he made it sound like that particular part of the battle was never intended to happen. Think about that scene compared to the rest of the battle. It was all extras in a tiny area and it lasted for quite a few minutes. That bit lasted longer than I was expecting anyway. And then of course, that scene sets up perfectly for Little Finger's men to come save the day. So I feel like the surrounded by Bolton men scene was not originally supposed to happen and the Knights of the Vale would have saved the day in some other manner. That being said, it's clear the Knights of the Vale were always intended to save the day. So I still don't see any point where the Umbers could have turned on Ramsy.

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(And get this. getting caught in a Moebius time trap that put him on the field facing his younger self from BO1. This is regarding Umah and Vorador? appearance in Defiance. What was Umah? intended role in Defiance and where would she appear. Also, this concept which you drew of her: Have you drawn her as a human or a vampire in that picture. Jake and I are wondering, because the colour of her eyes and her skin seems unnatural to a regular human and she seems to be wearing Voradors symbol. So we are thinking she is either a vampire worshipper or a vampire. Thanks a lot! Did Vorador originally appear more times than in the final game. Was his resurrection (as he is in BO2) planned to be explained. If so, can you tell us who would resurrect him after his beheading by Moebius. As you correctly guessed, she was to play a similar role to the Vampire Priestess originally envisioned in Soul Reaver. LOL She was always meant to be 'special' and quite a powerful sorceress, hence the eyes.


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Comic screenplays usually come in under the 100-page mark but so long as the reader is whipping through the pages then you are doing well. If they flick or scroll to the end and see page 157 (end Act Two) then you are in trouble. Scripts are written in 12-point Courier font, (using industry standard software such as Final Draft or Celtx) on one side of the paper only, double-spaced, with yours or your agents name and contact address on the front cover. If you are not submitting online, you will ensure that your name and contact details are prominent. The basic rule of thumb is, make it look like a writer wrote it. If you have no pride in your work, then why should others. To avoid criticism say nothing, do nothing, be nothing. We consider what to wear to a dinner, date, function or the workplace, as we consider how we must behave in those situations, but most criticism in life is simply a device for social balance. When it comes to the criticism of cultural artefacts such as films or books, its usefulness is to direct us towards something we might appreciate or to warn us off spending money on something we won’t. However, when the project is Writing The Comedy Script 11 complete the creator has finished with it. He is unlikely to react by going back and re-shooting or re-writing the work in order to tailor it to the critic. The best one can do is to take note of any valid criticism so that we can improve the next time. Where criticism has validity is during the creative process. Committees make movies and many eyes are on the work from first draft to the locked down shooting script, and even then much will change on the set (and everything in the edit). The writer must be grateful for any opinions offered up to point of sale.

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In fact, the structure of Deadly Invasion is closer to an urban legend structure than the other films are. The “interdiction” follows the moment that we discover the bees in the American idyll of Blossom Meadow, California, by the placing of killer bee traps. If you’re comfortable with the bees, they’ll be comfortable with you. As Barnes (1996) noted, “The Interdiction phase in such campus horror legends is most often only implicit, doubtless because of its strong didactic force for tellers and listeners” (4). The violation of the interdiction is young Tom stupidly blasting the Africanized hives with a shotgun, and the consequences are that the bees attack, in this case the nearest point, the house that the hero, his family, and young Tom are holed up in. The bees lay siege to the house, forcing the family to initiate the final aspect of the pattern, attempted escape. In other words, legend plots, like mystery plots, are often elliptical. (5) Although it is implicit in Barnes’s article, we need to contextualize the climax in urban legends as reflecting the culture in which the narratives are presented. Here, the suppressed function becomes explicit in the documentary appended to the film: that killer bees are not the invading armies of Genghis Khan, laying waste to everything in their path, but that with the proper knowledge and information, which the filmmakers have seen fit to supply (an ideological position to be sure), one can escape a killer bee attack and even prevent further ones. This is not just a question of the change in times increasing the available materials about the bees as much as it is that those belief narratives, even those that purport themselves as “fictionalized truth,” can be told that are based on a reasonable amount of factual material (Deadly Invasion’s opening statement: “the following could be a true story”). Thus, cinema, like legend, is a negotiation of the possible while fully recognizing the self-reflexive nature of its medium. Legends, particularly legends in film, are a negotiation of the possible (Lindahla 1996a; Oring 1986) in the subjunctive mood (Turner 1984). Finally, it appears that Deadly Invasion has not had that great an impact on the popular perceptions of the threat from killer bees. None of the informants I either spoke with or communicated with via e-mail watched the 1995 movie, possibly because of the memory of the poor quality of the killer bee movies of the late 1970s. The 1970s disaster films focused on how a natural disaster affects society or a representation of that society through a cross-section of characters, while the 1990s disaster movies focus more on “the family,” exploring how these natural disasters affect a specific family or ersatz family.


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