Greetings... I don't know what the proper or best introduction for me is but, I will say that my name is Carlos Funes and I make movies.   I've been producing/writing/directing since High School and I'd like to share with you some of the bits of information and tricks I've gathered along the way.

I'm not certain as of yet the approach, take or angle I will use in my blog entries but looking forward to disseminating information along the way.   In addition to that I'd like to write profiles of AFM members and perhaps also write reviews of works produced by local members as well.  Leave a comment or write me if interested.  But, for now, a word on screenwriting.


At about 2002 I decided I wanted to write screenplays in their proper format.  You know, all professional like.  The first (and to this day, still the best) book for learning the mechanics and formatting of screenwriting is David Trottier's "The Screenwriter's Bible".  I remember skimming through that at a Barnes & Noble in Dallas and feeling blessed as it had the answers I was looking for.  I haven't opened that book in years... I may have let someone borrow it and they haven't returned it.  But, I'll just get another copy as it's nice to read through it for pointers as it's not just about proper formatting for your script.  But, anyway, here's some things you'll learn.

Really, there's just one: Courier (Size 12).  God, help you if you've written entire screenplays and you didn't know this.  Sure you can probably substitute "Courier New" or "Courier Classic"... but, the main reason for this font is that it's easy to read and navigate through.

Well, this can't be summarized in a couple of lines but I'd recommend "The Screenwriter's Bible" for all your formatting needs.

If you format  your screenplay correctly using the correct size and font you will find that 1 page will equal 1 minute of screen time.  It sounds strange but this is virtually the case almost every time.  So, if you want to make a movie that's 120 minutes long, then you need to write 120 pages of script.

I recommend Final Draft.  But, when it comes to software it doesn't matter as long as you feel comfortable using it.  CelTX is a free one that should work just fine.

As a final note, when you learn how to format your screenplay you will start to spot screenwriters by glancing at their writing.  You will see things like the triple dots (...) or the double dash (--).

sample script
When you start to use these punctuations you'll notice that they tend to sneak into your emails and things and you start to spot other people who use it.  And, you'll say, "Hey!  Are you a screenwriter?"  To which they'll respond, "How'd you know?"

"Oh -- No reason..."

Carlos Funes

Carlos Funes is a filmmaker born in El Salvador, worked in TX and now operating out of New York. He's been attached to projects as a director, writer, editor, digital effects animator and more. His work has earned him more than a few awards, including multiple nods from the world famous Alamo Drafthouse's Filmmaking Frenzy and his latest Best Script award from Toronto's Wildsound. In 2006 he directed the No Talking Promo for the Drafthouse starring the late TX Governor Ann Richards. Funes is also the founder of his own production company Clasico Entertainment. Under the Clasico moniker Funes has produced several crowd- pleasing shorts. The company has also recently expanded to feature-length films. One is an adaptation of his latest short "This Is Kilo 3," a film about a radio operator doing his best to aid a downed pilot who's in the wrong place at the wrong time. Funes and his partner-in-film Dan Dalbout are also furiously adapting their biting, but hilarious, short "Tobey McGraw: America United" into a full-length film titled: "South of Bexar". The script has been optioned by Wild Invention films and is currently being scheduled to be shot in New Mexico. In addition to his Clasico oeuvre, Funes has worked on projects for IBM, Lionsgate, Texas Parks & Wildlife, Droid, Blackberry, Verizon Wireless and the Alamo Drafthouse to name a few.

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