WHY When I took the domain name, I believed  it to be unique, but I now see it exists in other areas of the internet. For this reason I feel it important to clarify the derivation. I was named after both my grandfathers. Albert Richard and Maurice Baron. My full name is Albert Maurice Baron Richard. I created my domain name by choosing the first two letters of each name, AL from Albert, MA from Maurice, BA from Baron, and RI from  Richard, thus creating the name--almabari.

"Rosie, I think we'll be featured in Albert's Screenwriting classes. "

 ALBERT RICHARD      CREATIVE  WRITING   SPECIALIST                CINEMA                  TELEVISION                   LIVE   THEATER         


"I cut myself shaving."

creative writing for cinema and television 

   Jake Gittes (Jack Nicholson) and Mrs. Mulwray (Faye Dunaway) face-to-face in Polanski's Chinatown. The sparkling dialogue of Robert Towne's script is one of the many outstanding components that make this such a great movie. The class will examine how the dialogue is integral in propelling this story.

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Story Essentials--Identifying and defining the essential dynamics that create powerful and successful stories

Other courses I would enjoy  teaching include:

       History of Cinema       Introduction to Music (all genres)       Creative Writing        Expository Writing        Painting and Drawing       Art History

Marshall Will Kane (Gary Cooper) in High Noon--a Script we use when exploring the topic Creating Well-defined Characters.  Carl Forman's script lends itself perfectly to the study of characters that are universal and  simultaneously uniquely individual.

   Everyone has a story to tell. During my tenure as a high school teacher, I taught Creative Writing focused primarily on the Short Story and Novel. Many of my English students expressed an interest in learning basic skills for writing scripts for television and cinema.They were eager to learn the basic techniques and writing strategies needed to tell their story ideas in a script format suitable to these genres.

   Being a avid screenwriter myself, I was in tune with their interests. I began to put together teaching/learning materials with the hope of eventually being able to offer scriptwriting classes.  Unfortunately,  I was not able to accomplish this within the context of a high school curriculum. I decided to tailor my syllabus to community college students. I did an intensive study of the available books on screenwriting and   related materials and created syllabi that contained the necessary introductory essentials.  To test my approach, I facilitated Screenwriting workshops at my local community center. They proved to be a great success and provided me much-needed feedback with which to improve and revise my course content. Subsequently, I designed several possible courses for College level students.


           The script and movie list

 Students are provided with their own script of each film we study.

We will read each with a specific focus on one element of script writing--dialogue, character, setting, etc.--and discuss and analyze 

how this element functions and enhances the script. finally, we view the movie.


  • HIGH NOON--a study in defining strong characters
  • CHINATOWN--with focus on dialogue
  • THE AFRICAN QUEEN--Where's the plot?
  • THE FARMER'S WIFE--Hitchcock's superb setting
  • THE MUSIC MAN--Harold Hill strikes up the band
  • LES ENFANT DU PARADISE--French Fantasy/Reality
  • SAVIOR--a study in personal redemption

What Happens Next? 

   The principles of good story-telling are at the core of the most powerful, moving and entertaining stage plays, movies and television dramas. Robert Mckee's excellent book, Story, provided me invaluable insights into the ways and means of a crafting  a  great story.  He outlines valuable basic writing principles that are essential, not only screenwriting, but to all forms of creative writing. I draw heavily on his advice as well as from books by other notable screenwriters.  


  • ACQUIRE AN OVERVIEW of each of the basic Story components.  
  • DEFINE AND DISCUSS each component in depth. 
  • READ scripts, selected for their clear use of each component.
  • VIEW AND ANALYZE the  effectiveness of the component as it functions in the  context of the script.
  • DRAW CONCLUSIONS based on all our  previous study and apply them to our own scripts.

   Having completed the above steps for each component, we view the film version of the script and discuss how these  elements work to unify, propel and enhance the story.  For each class session there will be topic-specific  writing activities.  By the end of the course students will be able to utilize the essential tools and elements of Story as they apply to a script. They will have viewed specific examples in some great films  and understand how these essential elements are used to craft a successful script-based story. Students will have been working on and revising their own scripts during the entire duration of the course.