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<FONT COLOR=#ff0000>Screenplay reviews</FONT>: The Ninth Gate, Bolier Room, The Matrix, Mission to Mars, Erin Brockovich, 28 Days.<BR>

<FONT COLOR='#ff0000'>Interviews</FONT>: Gina Prince-Blythewood, Keith Gordon, Paul Morrissey.<BR>

<FONT COLOR='#ff0000'>On The Ninth Gate</FONT>: An interview with Roman Polanski.<BR>

Coppola's Transformation of Milius's <FONT COLOR='#ff0000'>Apocalypse Now</FONT>.<BR>

Don't Tread On Me: An interview with <FONT COLOR='#ff0000'>John Milius</FONT>.<BR>

Writing in Soap: An interview with <FONT COLOR='#ff0000'>Thom Racina</FONT>.<BR>

Interview: <FONT COLOR='#ff0000'>Susannah Grant</FONT> on 28 Days &amp; Erin Brockovich.<BR>

<FONT COLOR='#ff0000'>The Busine$$ of Screenwriting</FONT>: Giving credit where credit is due.<BR>

<FONT COLOR='#ff0000'>Belly of the Beast</FONT>: Indie flicks Hollywood style.<BR>

<FONT COLOR='#ff0000'>Agent's Hot Sheet</FONT>: The new adult film.<BR>

<FONT COLOR='#ff0000'>The write stuff</FONT>: Lost in Cyberspace?

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Analyzing The Script Analysis (article by Jim Cirile); Anatomy Of A Spec Sale (article by David Michael Wharton);Lost Scenes: HEAT (article by Jeff Goldsmith); Listen To The Good Voice (article by Steve Oedekerk); Coming Soon: SNAKES ON A PLANE (by Jeremy Smith); CLERKS II (by Peter N. Chumo); HOW TO EAT FRIED WORMS (by Art Eisner); YOU, ME AND DUPREE (by Nancy Hendrickson); THE DESCENT (by Jeff Goldsmith); THE SCIENCE OF SLEEP (by Jeff Goldsmith); MY SUPER EX-GIRLFRIEND (by Judd Bloch); MONSTER HOUSE (by David Michael Wharton); Landing A TV Series Staff Job (article by Ron Suppa); Implied Contract Implications (article by Steve Ryfle); Laying Down The Law (article by Jim Cirile); Eight Ways To Hook The Reader (article by Karl Iglesias); It's Not Over Till You Say So (article by Catherine Clinch); Irrational Resonance: M. Night Shyamalan (article/interview by David Michael Wharton); Yo, Ho Ho!: Writing PIRATES OF THE CARIBBEAN (article by Sean Kennelly); A Story That Should Be Told; WORLD TRADE CENTER (article by Yon Motskin); 36 Ways You Can Jump-Start Your Career (article by Catherine Clinch); A Dialogue With Mr. Wilder: interview (by Lew Hunter).

Features<br>

Glorious<br>
Quentin Tarantino's glorious return to the screen is explained by none other than the maestro himself. <br>
BY JEFF GOLDSMITH<br>

Funny Guy<br>
Funny People marks writer-producer-director Judd Apatow's most personal work to date-a feat that he's been striving toward for well over a decade.<br>
BY JEFF GOLDSMITH<br>

In the Public Eye <br>
Screenwriters Ronan Bennett and Ann Biderman, and writer-director Michael Mann each did time with John Dillinger, one of America's most well-known-and well-liked-criminals, to create the script for Public Enemies.<br>
BY PETER CLINES<br>

An American Writer in Bollywood: From Michigan to Mumbai<br>
Supriya Kelkar may be the only American writer ever to go straight from college to writing for Bollywood. Here's what the journey has been like so far.<br>
BY SUPRIYA KELKAR<br>

Did Anyone See the Original?: Direct-to-DVD Horror Sequels to Movies That Didn't Fly<br>
They're a sub-niche of a niche. Because even failed horror films develop a brand identity, their sequels work financially. That makes them a market in which a writer can make a living.<br>
BY PAUL DORO

<strong>REWRITING HOLLYWOOD</strong>
<p class="body" style="margin-top: 0pt; margin-bottom: 0pt;" align="left"><em><strong>A Decade in Review</strong></em><br>
The films and writers that changed moviemaking<br>
over the past ten years.

<p class="body" style="margin-top: 0pt;" align="left"><strong><br>
Creative Screenwriting's TOP 50 FILMS
OF THE DECADE - <em>The Reader's List</em></strong><br>
As voted on by the readers and staff.<br>
<br>
<span class="body"><strong>Rewriting Hollywood - <em>The Essays</em> </strong><br>
Rewriting Hollywood: An Introduction BY JEFF GOLDSMITH<br>
The Comics Renaissance BY PETER CLINES<br>

The Long, Slow Death of Horror BY PETER CLINES<br>
Political Pushback BY PETER CLINES<br>
Indie Storm Rising BY ADAM STOVALL<br>
Pixar's Risks Pay Off BY DANNY MUNSO<br>
Don't #*%! with the R-Rated Comedy! BY JEFF GOLDSMITH<br>
<br>
</span><span style="font-family: Times New Roman; font-size: 15px;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: 13px;"><strong>The Best Writing of 2009</strong></span></span>

<p class="body" style="margin-bottom: 0pt;" align="left"><strong>Throwing Out the Book</strong><span class="style37"><br>
</span><span class="body">Screenwriter Gary Whitta found himself working against conventional
wisdom, methods and even his own rules of screenwriting when he
penned a sci-fi parable about faith called <em>The Book of Eli</em>.<br>
BY PETER CLINES</span>
<p class="body" style="margin-top: 0pt; margin-bottom: 0pt;" align="left"><span class="body"><br>
</span><strong>Niche Markets for Screenwriters</strong>
<p class="body" style="margin-top: 0pt;" align="left">Niche films are seeing their business boom because of recent
Hollywood fare and are creating new opportunities for screenwriters.<br>
BY JOHN FOLSOM

<p class="body" style="margin-bottom: 0pt;" align="left"><strong>Men Growing Up...At Least a Little</strong>
<p class="body" style="margin-top: 0pt;" align="left">Following the runaway success of The Hangover, audiences should<br>
prepare themselves for more tales of men failing to act their age.<br>
BY PAUL DORO