“Unveiling Secrets: Cameron Fay Reveals the Unexpected Twist in His Journey”
Have you ever wondered what goes on in the mind of a writer whose work captures the attention of Hollywood’s elite? Well, I recently had the pleasure of sitting down with Cameron Fay, the brilliant screenwriter behind Until You, which proudly made it onto the prestigious 2024 Black List. Our conversation was a deep dive into Cameron’s cinematic journey, exploring not just his successful script, but also his unique approach to the craft of screenwriting. From influences to insights, Cameron shared invaluable lessons that aspiring writers can carry into their own creative endeavors. As we wrap up this intriguing interview series, join me in unraveling the world of screenwriting through the eyes of a rising star in the industry! Stay tuned for some thought-provoking questions and insider revelations that just might inspire your own writing journey. LEARN MORE.
My interview with the 2024 Black List writer for his script Until You.
Cameron Fay wrote the screenplay Until You which landed on the 2024 Black List. Recently, I had the opportunity to do a deep dive with Cameron into his filmmaking background, writing his Black List script, and his approach to the craft of screenwriting.
Today in the final installment of this week’s interview series, Cameron answers some questions about the craft of screenwriting.
Scott: You mentioned Steve Conrad. I think he’s from Chicago.
Cameron: He is. I think he lives there. He’s the best.
Scott: You mentioned you read his scripts. I’m assuming then that it’s fair to say that you do read scripts, you enjoy reading scripts, or you feel like it’s an important part of your gig?
Cameron: I think it’s a critical part, especially as you’re starting out as a screenwriter. It doesn’t mean you should ever stop, but what I’ll say is when I was working for that actress after moving out to LA, she was repped at CAA at the time. And she liked to read hard copy scripts. They would send her a package of scripts. Once or twice a week, they would throw it over her gate. I would usually go out and get it and she would let me read all of those scripts. Not that she cared about my opinion, [laughs] but just for me. I got to read all of these….
You know what was so valuable? This is something I tell grads coming out of NYU cause I mentor some of them. I always tell them, “To me, the most important thing, the most important film school for a writer is reading scripts that are set up, that the town is trying to make, but that haven’t been shot yet.”
“You can’t fill in the blanks with a trailer or with any casting. It’s just a script that people have bought and have said, “This is good.” You might think it’s not good. But I read, I would say, hundreds of screenplays at that job that I had to really use my imagination and visualize these scripts as movies. I couldn’t rely on anything.
I just thought that was so valuable. I started to see certain patterns and trends in these scripts. Ways to convey the story. “Oh, I’m getting a Steve Zaillian script. I’m getting a big writer’s script,” and I’m seeing certain ways that…
Post Comment