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Author(s):DavidLandau,DavidB.Carren
ISBN(s):9780429055386,0429055382
Edition:1
FileDetails:PDF,4.33MB
Year:2019
Language:english
NextLevelScreenwriting NextLevelScreenwriting isanintermediatescreenwritingbook,forthosethat havealreadylearnedthebasicsofscreenwriting,writtenascreenplayortwo andwanttobringtheirwritingandstoriestothenextlevel.
Eachchapterofthebookexaminesaspecificaspectofscreenwriting,such ascharacter,dialogueandtheme,andthenprovidesthereaderwithideas, tipsandinspirationtoapplytotheirownwriting.Ratherthanbeinganother “howto” book,thisvolumefeaturesavarietyofcasestudiesandchallenging exercisesthroughout – derivedfromabroadselectionofsuccessfulfeature filmsandTVshowsfromthe1940stothepresentday – tohelpsparkthe imaginationofthewriterastheyworkthroughdifferentstylesand approachesofscreenwriting.
Anabsolutemust-readforanyscreenwriterwantingtoimprovetheirwriting andstorytellingskills.
DavidLandau isanaward-winningscreenwriterandplaywrightwithseven playspublishedandistheauthorofthebooks LightingforCinematography and FilmNoirProduction inadditiontonumerousarticlesonscreenwritingforsuch magazinesas Script, Screenwriter’sMonthly, StudentFilmmakersMagazine and HD ProGuide.Hisfeaturescreenwritingcreditsinclude MurderatCaféNoir and DarkTarot.DavidearnedhisMFAinScreenwritingfromGoddardCollege andisafullProfessoratFairleighDickinsonUniversity.Heisalsoamember oftheDramatistsGuildandtheUniversityFilm&VideoAssociation.
DavidBennettCarren isanaward-winningscreenwriterwhosework includesnumerousepisodesforsuchtelevisionshowsas StarTrek:TheNext Generation, StargateSG1, MartialLaw, DennistheMenace,and TeenageMutant NinjaTurtles amongothers.Hisfeature filmsinclude Mr.Hell and Waitingfor Sandoval,andhewasthewriter/directoronthefeature film TheRedQueen AmemberoftheWritersGuildofAmericaandtheUniversityFilm&Video Association,DavidearnedhisMFAinScreenwritingfromSpaldingUniversity andisanAssociateProfessorattheUniversityofTexasRioGrandeValley whereheistheInterimChairoftheDepartmentofTheatre.
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NextLevelScreenwriting Insights,IdeasandInspirationforthe IntermediateScreenwriter DavidLandauandDavidBennett Carren Firstpublished2019
byRoutledge
2ParkSquare,MiltonPark,Abingdon,Oxon,OX144RN andbyRoutledge
52VanderbiltAvenue,NewYork,NY10017
RoutledgeisanimprintoftheTaylor&FrancisGroup,aninformabusiness
©2019DavidLandauandDavidBennettCarren
TherightofDavidLandauandDavidBennettCarrentobeidentified asauthorsofthisworkhasbeenassertedbytheminaccordancewith sections77and78oftheCopyright,DesignsandPatentsAct1988.
Allrightsreserved.Nopartofthisbookmaybereprintedorreproduced orutilisedinanyformorbyanyelectronic,mechanical,orothermeans, nowknownorhereafterinvented,includingphotocopyingandrecording, orinanyinformationstorageorretrievalsystem,withoutpermissionin writingfromthepublishers.
Trademarknotice:Productorcorporatenamesmaybetrademarksor registeredtrademarks,andareusedonlyforidentificationandexplanation withoutintenttoinfringe.
LibraryofCongressCataloging-in-PublicationData
Names:Landau,David,1956-author.|Carren,DavidBennett,author. Title:Nextlevelscreenwriting:insights,ideasandinspirationforthe intermediatescreenwriter/byDavidLandauandDavidBennettCarren.
Description:NewYork:Routledge,Taylor&FrancisGroup,2019.| Includesbibliographicalreferencesandindex.
Identifiers:LCCN2018057340|ISBN9780367151515(hardback)| ISBN9780367151584(paperback)|ISBN9780429055386(e-book)
Subjects:LCSH:Motionpictureauthorship.
Classification:LCCPN1996.L282019|DDC808.2/3–dc23 LCrecordavailableathttps://lccn.loc.gov/2018057340
ISBN:978-0-367-15151-5(hbk)
ISBN:978-0-367-15158-4(pbk)
ISBN:978-0-429-05538-6(ebk)
TypesetinBembo bySwales&Willis,Exeter,Devon,UK
FromDavidBennettCarren:Iwishtodedicatethisbook tomycolleagues,administration,andstaff attheUniversity ofTexasRioGrandeValley;talented,supportiveand superlativepeopleall.IalsowishtothankmywifeMarilyn andmychildren,MaxandSavannah,fortheirin fi nite understandingandpatience.ButmostofallIappreciate myco-authorDavidLandau,whohasmadetheexperience ofworkingonthisprojectatotaljoy.
FromDavidLandau:Iwouldliketodedicatethisbookto myscreenwritingstudentsandtheirloveofwriting,tomy childrenTraceyandAlexandra,andmostofallmyloving wifeWendyforallhersupportandencouragement.
Wewouldbothliketodedicatethisbooktoallthosethat havetheinspiration,driveandobsessionwithcreativewriting. Storytellingisoneofthenoblestprofessions.
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Introduction
1Don’tbeafraidofgenre 1
Enjoyingthegenre1
Crossinggenres2
Horrorcomedy4
Genreexpectationsandbendingthem6
A finalnote9
Whatdidwelearn?9
Exercise9
2Thewriteapproach 11
Motivatedstyle12
Theinternalapproach13
Maintaininganestablishedstyle14
Stylethat fitsthegenre16
Whatdidwelearn?16
Exercise16
3Characterdepth 18
Motivatingyourcharacters18
Unmaskingyourcharacters21
Humorischaracter23
Theothercharacterchange24
Televisioncharacters27
Whatdidwelearn?29
Exercise30
4Dialoguethatdoesmorethanfurthertheplot 31
Adistinctvoice32
Attitudedialogue35
Perioddialogue37
Dialoguethatrevealscharacter39
Poeticdialogue41
Contemporarydialogue43
Whentalkisaction46
Whatdidwelearn?48
Exercise48
5Poeticdescription 49
Choosingyourwords49
Describingforthemind’seye51
Writingforthereader52
Humorouslysaid54
Whatdidwelearn?55
Exercise56
6Findingthetheme 57
Popularmovieshavethemes57
Sharedthemesofwesternsandhorror59
Wehavemettheenemyandtheyareus59
Thestrongerthetheme,thestrongerthestory60
Evencomedyhasatheme61
Thenakedtheme62
Whatdidwelearn?64
Exercise65
7First-personnarrativescreenwriting 66
Narrationthatisn’tacrutch66
Hard-boiledwittynarration69
Foundfootageas firstperson71
Mockumentary73
Whatdidwelearn?77
Exercise77
8Managingmultiple-protagonistsyndromeorensembles78
Ensemblevs.episodic78
Linkingstories79
Playingwithtime80
Ensemblecharacters81
Recurringlocations82
Theensembleanchor83
Ensembleinthepark84
Thetroublewithensemble85
Ensembleintelevision87
Anoteontelevisiondialogue91
Whatdidwelearn?95
Exercise95
9Basedontrueeventsandresearch
Adaptinghistory97
Freeyourselffromthetruth99
Findaspecialeventinhistory102
Findaspecialplaceinhistory103
Researchthatworksforyou106
Thisallappliestotelevision108
Thisallappliestoeverythingyouwrite108
Whatdidwelearn?109
Exercise109
10Set-up,pay-off andthetwist 110
TheTwilightZone set-up/pay-off 111
Twistendingset-up/pay-offs112
Character,character,character112
TwistsinTV115
Comedyset-up/pay-off 116
TheAristotleconnection116
Whatdidwelearn?117
Exercise117
Bonusexercise118
11Writingforabudget
Micro-budgetfeature119
Independentlowbudget121
Hollywoodlowbudget123
Limited-budgetTV124
Whatdidwelearn?124
Exercise125
12Rewriting:Thepainandthegain
Workinginbackstory128
Thedevelopmentrewrite129
Theproductionrewrite131
Thepost-productionrewrite133
Anoteontakingnotes133
Threetrickstotakingnotes134
Whatdidwelearn?135
Exercise135
13Wrotethescript,nowwhat?
Copyright137
Feedback137
Contests139
Producersandagents140
TheycallitHollywood142
Pitching143
Howhardispitching?144
GoodbyeHollywood144
Makeityourself145
Low-budgetindependents146
Howandhowmuch?146
Showmethemoney – inthemovies146
Showmethemoney – intelevision147
Don’tundoyoursale148
Whatdidwelearn?148
Exercise149
Introduction Thisbookismeantforpeoplewhohavealreadyreadascreenwritingbook ortwo,takenascreenwritingclass,orwrittenascreenplayortwo.Itisn’t another “howtowriteyour firstscreenplay” book,butrathera “howtodo morewithyourwriting” book.We,theauthors,thoughtofitmoreas a “ScreenwritingII” book.Ofcourse,wecertainlyhopethatthematerialin thisbookwillbeofinteresttoawriteratanylevelofscreenwriting,from beginnertointermediatetomoreexperienced.
DavidCarrenandIhavebothtaughtbeginningandadvancedscreenwriting collegecoursesformanyyears.Whilethereisaplethoraofbookswecanchose fromforourScreenwritingIclasses, findingabookforScreenwritingIIhas beenachallengewehaveoftenlamentedoveratUniversityFilm&VideoAssociationConferences(yeah,acoupleofhundred film/videoprofessorsspend aweektogethergeekingoutover filmstuff onceayear).Overouricedteas,we complainedthatsinceourScreenwritingIIstudentshavealreadylearnedabout mostoftheconceptswritteninany finescreenwritingbook,(three-actstructure; thehero’sjourney;characterarc;protagonistgoal;antagonistmotivation;kinds ofconflict;usesofdialogue;professionalscreenplayformat;condensingdescription;etc.)whatbookcouldweuseforthenextleveloradvancedscreenwriting coursethatdidn’tspendmostofitspagesrepeatingthem?
There’salwayssomuchmoretocoverandtalkaboutafterthebasics,but there’snotenoughroomtogointothatineventhebest “howtowrite ascreenplay” book.Andreviewingconceptsinanewlightisalsoavery helpfulthing.So,whatdoweuse?Thereareafewgoodbooksthatconcentrateondialogueandafewgoodonesthatareabouttherewritingprocess, whicharegreatsubjects.Butwewanttohelpourstudentsgrowaswriters bygivingthemexamplesthatexciteandinspire,thatgivethemnewideas andhelpthemexploremoreadvancedconceptswithinscreenwritingand remindthemofvaluablebasics.So,onesummer,IsaidtoDavid, “Maybe weshouldwriteanintermediatescreenwritingbook – youknow,something thatmightinspireourstudentstotaketheirwritingtothenextlevel.”
Weputourpenswhereourmouthswereandwrotethisbook.Wewantedto addresssomemoreadvancedconceptswithinscreenwriting,suchasensemble storytelling,successfuluseofnarration,research,advanceddescriptionwriting,
rewriting,andalittleaboutthebusinessofscreenwriting – basically,thestuff we coverinmoreadvancedlevelscreenwritingclasses,deliberatelyavoidingmostof thethingsthatarecoveredinbeginningscreenwritingcoursesandbooks.Each chapterofthisbooklooksatavarietyofsuccessfulscreenplaysfromfeature films anddramaticTVfromwhichanywritercangainsomeinsight.Theyrangefrom classicstomodernstreamingshows.Buttheyallserveasexamplesastohow somewritersachievedcertaincreativeconceptsoraddressedcertaincreative goals.
Thisbookdoesn’treallyhavetobereadinanyorder,althoughwedid breakitdowninto13chapterssothatitcouldbeusedasatextinastandard advancedscreenwritingclass(whichis15weeks,allowingoneweekoff for mid-termandoneoff for final).Attheendofeachchapterweaddedwriting exercises,forthosethatfeellikeachallenge.
Warning:Youwon’t findinthistextdiscussionsonsuchthingsasscreenplay format,three-actstructure,plotpoints,formsofconflict,falseclimax,hero’ s journey,subplot,momentofloss,andotherbasicimportantscreenwritingconcepts.Otherbookscoverthesethingsverynicelyandthoroughly,andwehope you ’vealreadyreadoneortwoofthembeforecomingtoourbook.
Wearealwaysgrowingaswritersandartists.Wecanlearnalotfrom thosethatcamebeforeus.Paintersstudythemasters,novelistsstudytheclassics.Screenwritershaveahugebodyofwonderfulworksthatwecanread andgaininsight,ideas,tipsandinspirationfrom.Wehopethatthisbookwill provideyou,thereader,withjustthatandhelpyoubringyourwritingand storiestothenextlevel.
– DavidLandau
1Don’tbeafraidofgenre Enjoyingthegenre Therealityisthatmanypeopleoftenselectthemovietheywanttowatch basedonitsapparentgenre.Whatdotheyfeellikeseeingtonight?What soundslikefun?Or,moreimportant,howdoesthis filmoffersomething expectedyetalsofreshandnewwithinthestricturesofitsgenre?Genreis apromisethatwritersand filmmakersmaketotheaudience.Genresprovide viewerswithcertainexpectationsbasedontheperceivednatureofthe film theycametosee.Noonewantstoseearomanticcomedythatendswith atragic,violentdeathorahorror filmthatendswith “itwasallajoke.” Itis unfortunatethatsomeyoungwritersandwritingtutorsseemtoturntheir nosesupattheveryideaofwritingwithinagenre,particularlythemost popularormainstreamexamples.Thetruthis,thesesupposedlydespisedor disrespectedcategoriesof filmareusuallywhattheaudiencewants,butthis doesn’tmeanwewritershavetobeclichédorunoriginal.Whatawriter doeswithinthegenrecanbefreshandoriginal.Toaccomplishthisawriter needstoberespectfuloftheconceitsofthegenre,andoftheaudiencethat wantstoenjoyit.
Howeverawriterapproachestheirstory,whatevertaletheymaybe tryingtotell,itcan,will,orshouldbede fi nedbyagenreofsomekind. Themorethought,studyorknowledgethewritergivestothegenrethey areworkingin,thebetterequippedtheywillbetounderstandand developtheirownstory.Thiswillbethecaseevenifthewriterintendsto bend,twist,orbreakthatgenreinsomestartlingorinterestingway. Bottomline:knowyourgenre,whetherornotyouintendtocompletely reinventit.
Inanycase,noonehastowriteamainstreamgenrestory,butitscreation canbealotoffunandveryrewarding.Whetherit’swesterns,horror,war, romanticcomedy,musicals,spystories,orsomecrossmixtureofallofthe above,theyallcontaincertainelementsthattheaudienceexpects,andthe writerisobligatedtoprovide.Theuse,timingandtwistsontheseelements canmakesomegenrescriptsandmoviesfarmoreentertaining,popularand artisticallyrewardingthanothers.
DamienChazelledidjustthatwithhismusical LaLaLand (2016.)He wroteascriptthatcontainedallthegenreelementsoftheclassicmusical,but toldtheminanoriginal,refreshingwayandthendivertedfromthetypical genrehappyendingwithamorebittersweetandtouchingresolution.Buthe stillfulfilledalltheaudience’sexpectations,evengoingaboveandbeyond. Boymeetsgirl,theystruggletowardstheirdreamstogether,onesucceeds whileonesuffers,theydriftapart,theyrescueandinspireeachother – and thenthey’rebothhappyintheend.Besidesemployingauniquestructurein howhetoldhisstory,Damien’sendingwastotallyoriginal – theromantic couple findshappinessbutnottogether.The filmwasanenormousbox officesuccessandearnedsixAcademyAwards.It’sagenrepicture,butit’ s clearDamienhadfunwritingwithinthegenre.
DavidPeoples’ screenplayfor TheUnforgiven (1992)isagenrewestern.It haseverythingtheaudiencescouldexpecttoseeinawesternbutwithone singularexception – itreversestheparadigmofthefallengunslinger finding redemption.Inthis film,thegunslinger,atorturedandguiltstrickenindividualwhohasreachedaninnerpeaceandforswornviolence,literallyloseshis soulandreturnstoviolencebytheendofthe film.Itwasnominatedfor nineAcademyAwards,wonfourandwasabigboxofficehit.
PeterChiarelliandAdeleLin’sscreenplayfor CrazyRichAsians (2018), basedonthebookbyKevinKwan,isagenreromantic/comedythat finds anewtakeonCinderella;oneoftheoldeststoriesevertold.Here,the unusualenvironment,charactersandsituationmaketheoldnewagain,succeedingwithbothcriticsandaudiencesalike.
Allofthese filmsfulfilledthegenreexpectationstheaudiencewentto theirmoviestosee,butalsodeliveredsomethingoriginalanddifferent withinit.Butevenifawriterdecidedtoapproachagenre filmin atraditionalmannerwithoutattemptingtoreinventtheforminsomeway, thiswouldn’tbeacopout.Workinginanyrecognizablegenreisnotas simpleoreasyasotherswouldhaveonebelieve.Tocraftagoodgenre piece,thewriterneedstobefullyawareofitsexpectations,elementsand trappings.Evenbeforetheybegin,theyneedtohavewatchedandanalyzed manyyearsofthatgenre’spictures.Whatdotheyallhaveincommon? Whataretheirrecurringplotpoints?Whataretheircharacterarcs?What aretheirtypicalactbreaks?Whatdidcriticsandaudiencesappreciatethe most?Howdidpastwriterssticktothegenrestructurebutvaryitand makeittheirown?
Mostofall,anygenrewriterneedstoactuallyenjoytheonetheyhave chosentoworkinasmuchastheyenjoywatchingandreadingit.Onlyby understandingandrespectingagenrecanawriterchange,adaptorbreakit.
Crossinggenres Crossinggenresisendemictothe filmindustrynow,notonlyinthiscountrybutacrosstheworld.Forthelasttwodecades,LucBessonhasbeen
bringingaFrenchsensibilityandGalliclocalestoAmerican-stylehighconceptaction,fantasy,andscience fiction filmslikehis Taken,TheFifth Element,TheTransporter,and Lucy,oftensucceedingandsometimeseven reinventingorexpandingonthethemes,intentions,andpossibilitiesof thesegenres.However,evenLucBesson,withallhisexperienceand resources,couldn’tproduceasuccesswithoneofhismostambitiousprojects, ValerianandtheCityofaThousandPlanets (2017),becausehisscreenplaydidn’tcontainintriguingprotagonistswithatrulyinvolvingor unexpectedstory.
TheChinese filmindustryhasalsomadeastrenuousattempttobreakinto theworld(particularlytheAmerican)marketwithcross-genreprojectslike TheGreatWall (2016),anuneasymixoffantasy,horror,history,and romance,whichalsofailedbecauseofstoryandcharacterproblems.Inparticular,it’shighlyunwiseinanyfantasy,horror,historicalromancetohave theadventurerherodrivingitsplot,WilliamGaren(MattDamon),fallin lovewithabeautifulfemaleChinesesoldier(JingTian)buthavehimride awayattheendofthemoviewithhismalebuddy,leavingheraloneonthe GreatWall!Sometimes,justabadendingcandefeatallthebesteffortsofan entirecross-genrescreenplay.
Whilemixinggenresisrifethroughout filmit’sespeciallyprevalentintelevision,whichhasenteredanewGoldenAgewithliterallyhundredsof dramasbeingproduced.Butwhetherthegenresbeingmixedarethecarefully calibratedcharacterandzombiedramadisplayedin TheWalkingDead,characterandcrimedramaof BreakingBad,orthecharacterandpoliticaldramaof HouseofCards,thefoundationsoftheseprojectscannotfunctionbeyondthe soliddevelopmentofthepeopleintheirworlds,nomatterhowbizarreor overthetoptheworldsmaybe.
In JanetheVirgin,(2014–)anabsolutelyabsurdpremise,thatayoungvirginalwomancouldbeaccidentallyinseminated,ismadebelievable,accessible andwildlyentertainingthroughadeftmixofcomedy,drama,andthedistinctanduniquecomponentsofatelenovela.Inthepilot,writtenbyJennie SynderUrman,basedontheVenezuelansoapopera JuanaLaVirgen,every sceneisunexpectedthankstotheanglefromwhichitisapproached,the characters’ reactions,theuseofvoice-over,imagery,andgraphics,orallof theabove.AsuperbexampleiswhenthedoctorwhoaccidentallyinseminatedJaneconfirmsshe’spregnant.ThescenefocusesonJane’sastonished response,theseriesnarrator’svoice-over,andtheimaginarysupportof afantasytelenovelacharacter.
Janeisjuststaringather,inshock.Timeseemstoslow.Weare PUSHINGIN:onJaneasherheartbeats.Webecomeawareofthe sound.THUMPTHUMP.THUMPTHUMP.THUMPTHUMP.
JanelooksdownandisstartledtoseeRubio(thetelenovela star)kneelinginfrontofher!InsubtitledSpanish:
RUBIO
It’salright.Justtakedeep Breaths ... inandout.Inandout.
Janeisalittleconfused,butstartsbreathingdeeply.
LATINLOVERNARRATOR
Itisimportanttonotethatright nowJaneishavinganoutofbody experience.Noneofthisisreally happening.
RUBIO (toJane)
Iknowexactlyhowyoufeel.When Ifoundoutthatthedeepest, truestloveofmylife,wasreally myhalfsisterbornasaresultof myfather’ssecretdoublelife,I wasdevastated.
LATINLOVERNARRATOR (rapidly,dramatically)
Itseemsthat,unabletoprocess thecosmicjokethathadjust happenedtoher,Jane’smindhad jumpedtotheonlyothereventthat wasevenremotelyasoutrageous –
RUBIO
Igotthroughthat,Jane.Andyou willgetthroughthis.
Magicalrealismandcharactercomedyhasbeensuccessfullywoven togethertocreatesomethingfresh,fun,andsincere.Whilethismomentis amusingandunexpected,it’salsoaccessibleandtrue,evenarguablyrealistic. Ifyoujustfoundoutyouhadbeenaccidentallyinseminated,wouldyour reactionbeanylessshockedorsurreal?
Horrorcomedy Returningto film,anothersuperbexampleofasatisfyingmixofgenresis thezombie-drama-comedy ShaunoftheDead (2004),writtenbySimon PeggandEdgarWright.Asinallsuccessfulcross-genreprojects,thisone gatherstogetheraslewofseeminglyincongruousanddisparateelements thenintegratesthemintoasatisfyingwhole.WhilethestoryofShaun,his
friendsandfamilyjourneyingtoalocalLondonpubtotakeshelteragainst the fl esh-hungryhordesofazombieapocalypseisundeniablyfunny,it neverneglectstheelementsoffearandsuspensethatsupportaproper undeadhorror fi lm.Neitherdoesiteverloseitsfocusonitscharacters, carefullyestablishingthemasrealpeoplewithrealisticrelationshipsand concerns.
Forexample,afterPhilip,Shaun’sstepfather,isbitten,andneardeath,the manhasamomentwithhisstepsonwhereheaddressestheirfraughthistory inaccessible,touchingterms.
SHAUN
Philip,youdon’thaveto explain ...
PHILIP
Ido.I’vealwayslovedyouShaun, alwaysthoughtyouhaditinyouto dowell.Youjustneedmotivation. Somebodytoproveyourselfto.I thoughtthatcouldbeme.
SHAUNnods,eyeswide.Withhugeeffort,PHILIPputshishand onSHAUN’sshoulder.
PHILIP(CONT’D)
TakecareofyourMum,there’sa goodboy.
PHILIPslipsaway.SHAUNcloseshisdeadstep-dad’seyes.
Thesecharactersconnectforperhapsthe firstandonlytimeasastepfather andsonrightbeforethepoormandies.Thisisamoment – identifiable, human,andengaging – thatwouldprovidestrongemotionalpurchasefor anydrama.However,afewsceneslater,asPhiliptransformsintoabloodthirstyzombie,andShaunlockshimintheircar,wehaveacompletelydifferentmoment.WhilearaucouspieceofmusicthelivingPhilipwouldhave despisedisplayingonthecar’sradio,Shauntriestoreasonwithhisdistraught motherwhoisindenialaboutherundeadhusband.
BARBARA
I’msureifwejust –
SHAUN
That’snotevenyourhusband.I knowitlookslikehimbutbelieve me,thereisnothingofthemanyou lovedinthatcarnow.Nothing.
BEHINDweseeZOMBIEPHILIPreachforwardandSWITCHTHE HARDHOUSEOFF.Hesitsbackandlooksalmostpeaceful.
Wegofromtragicdramatoironiccomedyliterallywiththeturnof aradiodial,yetbothmomentsareproperlygroundedincharacterandcircumstance.Thisabruptbutsmoothshiftintonecanbedifficulttopulloff incross-genreprojectslikethis.The first PiratesoftheCaribbean filmmasteredthisprocessbeautifully,switchingbackandforthfromcomedyand dramatofantasyandhorror,allthewhilestillmaintainingabelievable worldandcharacters.However,thisfranchise’ssequels,whichhavegotten increasinglyextreme,luridandoverdone,havelosttheirsenseofrealism; thecharactersandsituationsusuallyservicingtheirplotsratherthanthe otherwayaround.
Genreexpectationsandbendingthem Crimecomedycross-genre filmsdatebacktoaslongagoas1933’ s TheLittle Giant writtenbyRobertLordandWilsonMizner,aboutagangsterbootleggerwhoseeshiscareerendingwiththerepealofprohibitionanddecidesto getintohighsociety.The filmwasabighitstarringgangstercharacteractor EdwardGRobinson,whowouldgoontomakeseveralmorecomedygangstercross-genre films.Theseincludedthe1938 ASlightCaseofMurder writtenbyEarlBaldwinandJosephSchrank,basedontheplaybyDamon RunyonandHowardLindsay;the1940 BrotherOrchid writtenbyEarlBaldwinandRichardConnell;andthe1942 LarcenyInc. writtenbyEverettFreemanandEdwinGilbertandbasedontheplaybyLauraPerelmanand S.J.Perelman.Thecrossingoftheseparticulargenrescontinuedtothrivein the1960swiththeholidayclassicgangstercomedy PocketFullofMiracles (1961)writtenbyHalKanterandHarryTuggend,basedonastoryby DamonRunyon;andthecomedycrimemusical Robinandthe7Hoods (1964)writtenbyDavidSchwartzandstarringtheHollywoodbratpack –FrankSinatra,DeanMartinandSammyDavisJr.Crimeandcomedyhave alwaysbeendisciplinesthatcanbemergedwell,butinmostofthesethe crimeelementisonlythereforthesakeofthecomedy – thereisnoreal heighteneddangerortraumaticdeath.Iftheaudiencecomesinfor acomedy,theyusuallywon’twanttowatchpeopledyingviolently.Inallof thesecrimecomediesthecriminalelementisthere,tryingtocommit acrime,butthecomedygenrewinsout.
Anothercrossingofthecrimeandcomedygenresisthe2000boxoffice hit MissCongeniality writtenbyMarcLawrence,KatieFord,andCaryn Lucas.Aserialkillerhasthreatenedabeautypageant,sotheFBIneedsto sendinanundercoveragentasacontestant.Theirchoiceforthisimportant assignmentisatotaltom-boywhohasnorespectforthegirliegirlswhodo beautycontests.Whilethisisathriller,theplotislacedwithcomedyas
agentGraceHartmustlearnhowtobecomeabeautycontestantoragirlie girl,andsheistaughtbyagaymanofcultureandstyle – everythingsheis not.Onceagainthecrossingenres – thrillerandcomedy – isachieved throughthecharacters.Thethrillerpartofthestoryisneverdiminishedor side-lined,butneitheristhecomedywhichcomesfromourmaincharacter venturingintoaworldsheisunfamiliarwithandevenhostileto – girls doinggirliethings.Whilethepotentialforviolenceanddeathishintedatall along,itisalsoside-linedforthesakeofthecomedyandthetheme – finding yourselfandembracingyourfemininity – somethingthefemaleFBIagent mustlearnfromhergaymentor.
Thissamemixofthrillerandcomedywasachievedyearsbeforeinthe 1991hit film TheHardWay writtenbyLemDobbsandDanielPyne.Here aserialkillerisshootingupnightclubsinNewYorkCityandtoughloner detectiveJohnMoss(JamesWoods)isafterhim.He’samanwhocan’tkeep apartnernoragirlfriend,butissuddenlyforcedtoallowayoungHollywood moviestar,NickLang,actor(MichaelJFox),tagalongasresearchforhis upcomingstarringroleasaNYCcop.Unlikethe filmsofthepastthat mixedlowcrimeandhighcomedy,thisprojectincludespeoplegetting bloodilyshottoheightenthedangerandsuspense.Butneitherofthese films wentasdarkwithitscrimeelementasthefamousscreenplaywrittenby ShaneBlackin1987, LethalWeapon.Partsofhisscriptwereconsideredtoo darkforaudiencestostomachasathrilleractioncomedyandscreenwriter JefferyBoamrewroteit,addingmorehumor.Inbothofthese filmstheviolenceismadetolerablefortheaudiencethankstothelikabilityofthecharacters.Thesearepeopleweenjoyspendingtwohourswith,andthese films bendthegenrebutstilldeliverthegenreexpectations.
Tolookataharsherversionofreinventingthebasicdesignofagenre,we willexaminetheworkofthemastersoftheform,JoelandEthanCoen.All oftheirprojectsbendgenre,usuallywithanelementofdarkcomedy,from thefarceandthrilleraspectsof Fargo,totheColdWarcommentaryand Hollywoodshenanigansof HailCaesar!,tothePrestonSturgessstylehijinks andOdysseusstructureof O,Brother,WhereartThou,tothewesternadventureandcross-countrychaseof TrueGrit.Theresultscanbeunevenorconfusing,asinthespythriller/womaninmidlifecrisisplotof BurnAfter Reading.However,whentheelementstheCoen’semployhappentomesh, theycanmintstorygoldoutofplotelementsconstructedoftin.
Forexample,thekidnapping,murders,andbizarrecharactermachinations of1996’ s Fargo shouldn’tclicktogetheratall,buttheydo.Asinthecaseof thebestCoenmoviesandalltheprojectsdiscussedinthischapter,ifnotthis entirebook,thisisbecausethestoryultimatelyfocusesonastrong,accessible, andappealingprotagonist.In Fargo,thisisMarge,apregnantBrainerd,Minnesotapolicechiefinvestigatingamurdercasewithmultiplevictims.We don’tmeetheruntilpage35inthe film’s105pagescript,butshemakesan indelibleimpressionassheinvestigatesacrimesceneonasnowandcorpselitteredcountryroadwithhercolleague,Lou.
MARGE
I’dbeverysurprisedifoursuspectwasfromBrainerd.
LOU
Yah.
Margeisstudyingthegroundintently.
MARGE
Yah.AndI’lltellyouwhat,fromhisfootprint helookslikeabigfella –
Margesuddenlydoublesoverputtingherheadbetweenher kneesdownnearthesnow.
LOU
Yaseesomethingdownthere,Chief?
MARGE
Uh – Ijust,IthinkI’mgonnabarf ...
LOU
Geez,youokayMargie?
MARGE
I’m fine – it’sjustmorningsickness –Shegetsup,sweepingsnowfromherknees.
Well,thatpassed.
Wegofromtwopoliceofficersinatraditionalscenebasedinfamiliar detectiveproceduretoshockingfarceinasinglelineandanindelibleimage: auniformed,pregnantwomanbentdoubleoverthesnow.Again,thisabrupt shiftintoneandthisweirdmixofgenresonlyworksbecausethestoryis groundedinabelievableandaccessiblecharacter.
Sowhydoesn’tthescriptandthestorystartwithMarge?Becauseofthe film’ sgenre – thisisapoliceprocedural.It’snotamysteryandit’snotreally athriller.Thestandardincaper filmsistofollowthosepullingoff thecaper firstandthenintroducethecopstryingtocatchthem.AndtheCoensadhere tothoseconventionshere.Buthere’sthebendtoit.Thepersonpullingof thecrimeisineptandacoward.Hiscaperwastohavehiswifekidnapped andthenmakehisrichfather-in-lawpayoff andthensplitthemoneywith thetwogoonshehired – allbecausehewasgoingtobecaughtonasmall fraudhewastryingtounsuccessfullypulloff atwork.Buteverythinggoes wrong – thegoonskillacopandsomeinnocentpassers-by,thefather-in-law
refusestopay,thegoonsturnoneachother,andbothhisfather-in-lawand wifeendupmurdered.Andwhenit’stherighttimewithinthegenre’ s formattointroducetheantagonisttothemaincharacter – thecopinacaper film – it’sMarge.Notathreatening,seasoneddetective,notasupersleuth, notaDirtyHarriet – butpregnant,slowtalking,gentleMarge. Fargo conformstoitsgenre,butwhatmakesitsouniqueandsofamous washowtheCoenBrothersbenttheirproject’scrimegenre,nevertruly crossingintocomedy,buttwistingitintoasardonicdarkness.
A finalnote Bottomline,thebasicandmostcommercialgenresof filmandtelevision, whetherthey’recomicbook,mystery,thriller,orscience fiction,arealive andwellbutbeingrealignedandrecombinedinsurprisingorunexpected permutations.Learnasmuchasyoucanabouttheparticulargenresthathold yourinterest – whattheirkeyelementsareandhowtheyworktogether –thentearthemapart,reassemblethemandmakesomethingnew.
Mentionmustbemadeofhowimportantitisforascreenwritertobefullyletteredor “viewed” intheirrespectivearea,nomattertheirpreferredgenre,discipline,orformat.Ifyouhaven’tseenanyofthe filmsortelevisionseriesdiscussedin thisbook,thenwatchthemand/orreadtheirscriptsassoonasyoucan.Educate yourselfontheirdevelopmentandproductionhistoriesfromavarietyofsources. Attheleast,readtheWikipediapagesthatoffertheirbasicinformation.Get asenseofthecontextoftheseprojects;howsimilar filmsthatfollowedorpreceded themimpactedtheirstructure,storyelements,andintentions.Abroadknowledge oftheantecedentsthatpertaintothescreenplayorteleplayyou’rewritingwillbe vital,especiallywhenit’sacross-genreproject.Creativecontextandcircumstance iseverythinginthis field,whetheryouaresimplyattemptingtogetthebestpossiblereturnonthisvolume,writingyourlatestproject,orworkingwithexperiencedprofessionalsonyour firstassignment.
Tobeblunt,whenyou’vebeenhiredtowritea filmnoirslashhorrorprojectandyourproducerbringsup Chinatown and Psycho,youdon’twantto respondwithonlyaraisedeyebrowandananxiousgrin.Knowyourgenres.
Whatdidwelearn?
Knowyourgenre. Loveyourgenre. Crossyourgenres. Everystoryhasagenre. Exercise
Choosetengenresyouarefamiliarwithandlaythemoutinatablelikethe onebelow.Focusonlyon filmortelevisiongenresyouwatchregularlyand
enjoyoryouwouldbecomfortableworkingwith.Iftenchoicesaretoo manythencutyourlistdowntofour,sixoreight;whateverworksforyou, solongasit’sanevennumber.Forexample:
• Drama
• Horror
• ScienceFiction
• Western
• Thriller
• Comedy
• Family
• Political
• Historical
• War
Nowexaminepremisesyouhavepreviouslywrittenthatfocusonleast five ofthesegenresorcreatefreshones;neworold,itdoesn’tmatter.Oneway oranother,you’llneed fivepremisesthatmatch fiveofthesegenresforthis exercise.
Forsimplicity’ssake,let’ssayyouhavepremisesforthe first fiveonthis list – Drama,Horror,ScienceFiction,Western,andThriller.Nowlookat theremainingbottom fivegenresandreworkeachofyourpremisestomatch upwithoneofthem.Likethis ...
• Drama/Family
• Horror/Comedy
• ScienceFiction/War
• Western/Political
• Thriller/Historical
Eventheimmediate,undevelopedconceptsweseehereappearpromising. Nowfocusononeofyourmash-uppremises,theonethatappealstoyou themost,andputfurtherworkintoit.Developitintoasynopsisofapage ortwo.Ifanyadditionalmash-upsworkforyou,developthemintosynopses aswell.Ifjustoneoftheseideasshowsanypromise,thenthishasbeenan extremelysuccessfulexercise.
2Thewriteapproach Oncewehaveastory,weneedtodecideonthestyleinwhichwearegoingto tellit.Willthisbenaturalistic,impressionistic,orsurrealistic?Sometimesbefore wecanwrite,andoftenafterwe’vewrittena firstdraft,theangleonthestory comestous.HowamIgoingtospinthistale?Whatwillbethepointofview? Whatapproachwillhelptellthestorythebest?Asanexample,Jeff Nathanson wasbroughtintorewritethescreenplayfor TheTerminal (2004)becausethe producersandStevenSpielbergfeltsomethingwaslacking – namelythebasic approachtotheplot.WhattheygaveNathansonwasastorythatalltookplace inthewingofanairport.Nathansonevaluatedthestoryandconsidereditgood butsomehowstagnantthankstotheconfinesofthelocation,requiredbythe plot.Thentheapproachcametohim.Itwaslikeaprisonmovie.Herewasthe maincharacter,trappedinasmallplace,unabletoleaveortodomuchaboutit. Nathansonreadthescreenplaysfor ShawshankRedemption andotherprison films andthenwenttoworkrevisingthescreenplaywiththisapproachinmind. Whatwasthereinprisonstoriesthatmadethemworkandwhichcouldwork forthisstory?Defeatingthesystem,anunfeeling “warden,” defiance?Nathanson nowhadanangleandhewenttowork.Theproducers,StephenSpielbergand TomHankslovedit,andsodidmany filmcritics.
Theco-writeroftheinimitable CitizenKane (1941),HermanJ.Mankiewicz, spentmanyhourstalkingwiththe19th-centurynewspapertycoonWilliamRandolphHearst.Hehaddonehisresearch,andheknewhehadagreatstoryinthis figure.HealsohadOrsonWellsbreathingdownhisnecktowritethescreenplay. Buthowtoapproachit?Whatshouldbetheangle?Hewasstuck – untilhesettled ontheideaofamystery.Whatiftheapproachwasn’tstraightforward?Whatifhe startedthestorywiththemaincharacter’sdeathandthewhisperofaword –awordthatnooneknewwhatitmeantorsignified?Thenhecouldexplorethis character’slifefromthepointofviewofreporterssearchingfortheanswertothe meaningof “Rosebud” and,alongtheway,tellthestoryofoneman’slife.
Thesearetwoexamplesofhowwriterscameupwithanapproach,an anglefromwhichtotelltheirstories.Findingyourownangleontellingyour ownstorywillnotonlyprovideyouwithanapproach,butoftenastylistic mannerinwhichtotellit.
Motivatedstyle LetusnowexamineBillCondon’sscriptfor Chicago (2002).It’sfairtosaythat CondonhasredefinedtheAmericanmoviemusicalwiththisscreenplay,justas Kander&EddredefinedtheBroadwaymusicalwhenitpremieredunderthe choreographyanddirectionofBobFosse.ButCondondidmorethanjusttranscribetheplaytothescreen;here-inventeditwithamotivatedstyle.
Musicalnumbersshouldeitherfurthertheplotorthecharacters’ inner thoughts.InclassicslikeAdolphGreenandBettyComden’ s Singinginthe Rain andeveninmodernmoviemusicalslikeDennisPotter’ s Penniesfrom Heaven,themusicalnumbersinterruptthedramaticscenes – or,inthecase of Evita,arethedramaticscenes.Butthemusicalnumbershavealwaysbeen givenfullandcenterstagewhentheyoccur.NotsowithCondon.Whathe doesiscrossbetweenthemusicalnumbersandnon-musicaldramaticscenes, beginningatthestartofthe filmasVelmasingsinthenightclubandRoxie takesherlovertobedinherapartment.Condonwritesinhisscreenplay everycutbetweenthesetwomomentsastheysimultaneouslyhappen.
ButthatisnotwhatissooriginalandimpressiveaboutCondon’swriting. Afterall,cross-cuttingbetweensimultaneousactionsisnotuncommon,asin TheGodfather murder/christeningscene(whichwasactuallycreatedintheeditingroomlongafterthe filmwas finished).Condon’struegeniuscomeson page16,whenRoxie’shusbandAmosisconfessingtothepolicethathekilled a “burglar”– wheninfactitwasRoxiewhokilledhim,andhewasherlover.
Roxiesingsthetorchsongleaningagainstthepiano,ala HelenMorgan.It’sasiftheonlywayforhertodealwith thisterrifyingsituationistotransportherselftothe worldshe’salwaysdreamedabout – toseeherlifeas avaudevilleact.
Fromhereonin,virtuallyeverymusicalnumberwillbejustthat – Roxie’ s inneremotionalwaytodealwiththeworldcrashingdownaroundher.As Condonsetsuphiscross-cuttingstylewiththe firstmusicalnumber,he’salso establishedhislogicandpointofviewfortherestofthe film.Eachandevery musicalnumberisanescapeforRoxie(exceptone,whichisanescapefor Amos.ButeventhismusicalsegmentbeginswithRoxiestaringouttheback ofanambulance, “RoxiegazesoutatAmos,alookofpityinhereyes”).
So,frompage16on,thecross-cuttingisn’tbetweensimultaneousactions anymore,it’sbetweenrealityandRoxie’smusicalfantasyofanightclub show.Her firstnightondeathrowsheimaginesherselfinaclub, “Shetakes aseatatacentertable,anaudienceofone.” TheCellBlockTangonumber isahighlystylized,Fosse-esquepieceintercutwithscenesofRoxieoverhearingthereal-lifeconversationsofthevariouswomenofdeathrow.Thescene isamasterpiece,anexcellentmixofgreatmusicalwritingbyKander&Ebb, choreography,photography,artdirection,editingandgreatperformances.
ButthethingthattiesthemalltogetherisCondon’smarvelousscreenwriting, elevatingthescene,andthemovie,fromanormalmusicaltoanart film.
AsRoxieinternalizesherexperiences,eachmomentisdramatizedas amusicalnumber,creatingthemotivationfortheentire film.Wewitness thiswhenshe firstseeslawyerBillyFlynn,whenshe’sforcedtoanswerquestionsbeforethepress,whenshetalkswiththeprisonMatronMamaabout buildingacareerinvaudeville,whenVelmaasksRoxietobepartofheract, whenBillytakeshertoher firstdayincourt,andsoon.Condonevenadds musicalinterludestosceneshecreatedforthe film – suchasthesurrealexecutionoftheonlyinnocentwomanondeathrow,andBillyFlynntapdancinghiswayoutoftroubleincourt.
WithoutCondon’smotivationalconceptthatRoxieviewseverythingas avaudevillemusicalnumberashercopingdevice Chicago wouldjustbe astringofmusicalcabaretnumberson film – like AChorusLine,whichdid notworkwellasa film.Stagemusicalsareall-encompassing – thedancing, thelivemusic,theenergyofaliveperformance.Muchofthatcanbecome lostonthescreen,againasin AChorusLine. Condonredefinedwhat Chicago wasaboutinits filmversion.Insteadofit beingaseriesofmusicaldancenumbersstrungtogetherbyamurderess’ s story,hecreatedtheveryreasonthatthistaleshouldbetoldasamusicalin the firstplace.Hegaveamotivationforthemusicalnumbersbeyondthe normal;theyfurthertheplotorthecharacter’semotion.And,bydoingso, healsogaveamotivationforthestyleofthe film – asnappy,jazzy,crosscuttingapproachthat fitsthetimeperiod,theplotand,mostofall,themain character.Condonmadesurethateverythingin Chicago,includingthestyle ofthestorytelling,wasmotivated.Isn’tthatwhateverywriterneedstodo inanyscreenplay – musicalornot?
Theinternalapproach Letuslookatanon-musicalapproach.AkivaGoldsmanworkedhardonhis screenplayfor ABeautifulMind (2001)tomakeusfeellikehismaincharacter Johndid – throughtellingthestoryfromJohn’spointofview.Thisapproach madethestoryallthemorecompellingandbeautiful.
Makingtheaudienceexperiencetheactual,torturedworkingsofthemind ofaschizophrenicisadifficulttask.Many filmshavebeenmadeaboutmentallyillprotagonists.Most – suchas Equus,ShadowofaDoubt,and Pressure Point – havebeenvisualizedfromthepointofviewofanobserver, afacilitatorormedicalprofessional;fromsomeoneontheoutsidelookingin. Goldsman’schallengeandhisskillweregettingusto “fall” forthesamedelusionsthatJohnhimselfbelievedarereal.Theaudienceknowsgoinginthat thisisastoryaboutamentallyillgenius.Goldsmanthususesabstractimages toillustrateJohn’smind,revealingitstwistedanddelusionalpatterns.Ashe establishesJohn’santi-socialandeccentricnature,wearelulledintobelieving thatthesearethewaysthatthescreenwriterwillillustrateJohn’scraziness. Thewriteapproach
Thusweneversuspectthathischarmingandhelpfulroommateisoneof John’ s firstandmostlong-standinghallucinations.
Asthestoryprogresses,Johnisrecognizedbyothersandbytheaudience asbeingatruegeniusandisaskedtoworkonoccasionwiththePentagon. Thus,whenheisrecruitedtoworkonatop-secretproject,whoareweto doubtit?Slowlytheserealitiesbecomesuspect.Thenwebegintorealize, onlygradually,thattheyaren’trealatall.Webegintoexperiencethesame doubtsandsenseofbetrayalforbeingdeceivedasourmaincharacterdoes. Weareinsidehismind,sharinghisinsanity,notoutsidelookingin.
Goldsmanslowlysetseverythingup,piecebypiece.Neverdoweseehis roommateinteractwithanyonebutJohn.Neverdoesanyoneseethelittle girlorthespecialagent.Thelinesbetweenrealityandhismindbecome blurred.ButweneverloseourfocusonJohn’sgeniusandhishiddendepths. ThisiswhatattractshiswifeAliciatohimandmustbemaintainedinorder forustobelieveintheirrelationship.ThisisalsoastoryofAlicia’sincredible strength,notjuststandingwith,butalso fightingforherhusbandduringhis boutswithmentalillness.
Goldsmanslipsinbeautifultouches,suchasthepenceremonytohonor greatteacherswhichbookendsthe film,andJohn’srelationshipwithhis fellowclassmates.ToestablishJohn’sgrowthasahumanbeingdespitehis mentalafflictions,Sol,hiscolleague,andHansen,hisantagonist,bothtransformintohisonlyfriendsbythestory’sthirdact.
AnotherexampleofhowGoldsmankeepsusinJohn’sheadishowhe neverallowsJohntobewell.Johnmerelylearnstocopewithhiscondition whilehecontinuestohavehisimaginaryfriendsfollowhiminvarious scenes.WefeelJohn’striumphbutalsofeelforhiscontinuingbattlewith mentalillness. ABeautifulMind isn’tonlythebiographyofJohnNash – it’ s abeautifulstorythankstotherichandimaginativepointofviewofthe screenwriterwhotellsit.
Maintaininganestablishedstyle Inallofthesepreviousexamples,thewritershadthefreedomtochoose theirbasicapproachtotheirmaterial,evenastheyadaptedtheirworks frompriormaterial.Needlesstosay,writershavecompletefreedomintheir originalprojectstodeveloptheminanystyletheysee fit.Oncedirectors, producers,castandothercollaboratorsbecomeinvolved,thesituationmay changeandthewritermayberequiredtoreinventhisapproachtotheproject.But,atleastatthebeginning,thewriterhassomefreedominwhathe wantstodo.
However,forthevastmajorityofwriterswhoworkintelevision,thisis notthecase.Theshowrunnerand/orcreatorofaserieswillestablishthe creativeapproachoftheprojectandthewriter(s)mustmimicthatstyleas besttheycan.Thisgoesfortheseries’ premise,world,storychoiceandcharacters,aswellasthespecificvoicesofthosecharacters.
DavidCarren’s(DC) fi rstjobintheindustrywasfreelancinganepisode oftheoriginaltelevisionversionof Starsky&Hutch (1975–1979).When hebroughtinhis firstdraftandhisversionoftheleadcharactersdidnot soundoractliketheleadcharactersthathadbeenestablishedinthreeseasonsoftheshow,thestoryeditortoldhim, “ ThisshowiscalledStarsky &Hutch,not ‘Afreelancer’ scharacters’ . ” Thispoint,madeinthe1970s, isstillpertinenttoday.EveryTVserieshasitsowndesignintellingits speci ficstoryandit’ sthewriter ’ sjobtocopythatstyleasbesthecan whilealsostillprovidingfreshenergyandmeatfortheparticularscript he ’sworkingon;adi ffi cultbalancingactthatisbeyondtheabilitiesof manywordsmiths.Eachseriesmustmaintainitsowncreativemethod;this willbeakeysellingpointtoanaudiencedelugedwithchoices.Ifthe seriesdoesn’ tstandoutinitsownuniqueway,whyshouldanyonebother towatchit?
Astrongexampleisavailableinthepilotfor TheWalkingDead (2010), writtenbyFrankDarabont,basedonthegraphicnovelbyRobertKirkman.Inoneofthe firstscenesintheseriessetatnight,thepoint-of-view hero,RickGrimes,witnessesawalkerapproachhishidingplacein ahouse.
RICK’SPOV AWALKERisdriftingupthelawntowardus.Awoman.Herskin, onceblack,nowthecolorofdead fish.
RICK
Pullsback.It’slikesheknowsthey’reinside.Infact,ashe watches,shechangescoursefromthewindowanddriftstoward thefrontdoor.
Ricklosessightofher.Heleavestheslit,easestothedoor instead.Listens.Barelybreathing. Heputshiseyetothepeephole.
PEEPHOLEPOV(FISHEYELENS)
Thewomanisjustoutside,wildlydistortedinthe fisheye effect.Turningherhead,alsolistening.
Shereachesherhandouttowardthedoor,and: Softscratching.Shewantsin.
Thestyleisimmediateandstriking.CappedcharacternamesorPOVindicate shots.Briefandtellinglinesofdescriptionexpressvisualbeats.Keymomentsare
underlined.Thewritingisleanbutdramaticandintensive,anapproachthatwill defineeveryepisodeoftheentireseriesof TheWalkingDead.Whileelements, characters,andsituationsmaychange,anywriterthatcreatesascriptforthis showwillberequiredtofollowinDaramont’sfootstepsfromnowon,atleast whenitcomestoitsbasicnarrativestyle.
It’saTVwriter’sjobtobecomeacraftsmanwhoseworkwillbedistinct toaparticularshow,achameleonwhosecolorsmustchangetosuitthejob athand.Iftheycan’tperformthatfunction,theywon’tlastlongworkingfor thatseriesoranyother.Thechallengeincreativeassimilationintelevision willalwaysbethesame.
Stylethat fitsthegenre ItisinterestingthatpartoftheapproachhereishowDaramontalsomadethestyle ofhiswritingmatchthegenrehewaswriting.Zombiesareslow,creepyand, becauseoftheseattributes,mostzombiestorieshaveslow-buildingsuspense.Part ofthefunofthezombiemovieistheslowbuildtothebloodyclimax – thecreepingdoom.ThewayDaramontlaysouttheactioninshortsentences,howheadds spacesbetweenthem,createsforthereaderasimilarfeelingofgrowingdoomthat theendresultingTVshowwillhave.Thewritingapproach fitsthegenre.
RussoandElliotdidthesamewhenpenning PiratesoftheCaribbean,writinginthesame flippantandfunstylethattheyenvisionedthemovietohave. JohnAugustdiditin BigFish,writingasifhisscriptwasinitselfatalltale. Thefashioninwhichwewriteandthewordswewriterschooseisasimportantasthestorywetellandthecharacterswecreate.Thestyleofthewriting willhelpcreateinthemindsofallwhoreadit – producers,directors,actors, artdirectors,costumedesigners,cinematographers,editors,andcomposers –thetoneofthemovietheyseeintheirmindswhentheyreadthescript.And withanyluck,theywillcarrythattoneintothe finishedproduction.
Whatdidwelearn?
Findtherightstyle.
Motivateit.
Maintainit
Researchit. Supportitwithastrongandappropriatetheme. Fityourstyletoyourgenre.
Exercise
Writeasceneinyourownstyle,oratleastonethatyou’recomfortablewith. Placetwocharactersinadramaticmomentinalocationwithwhichyouare familiar.Youcansetthesceneinyourownworkplaceorafamilysituation, usingthevoices,attitudes,andsituationofpeopleyouknow.
Nowtakethatsamesceneandsetitinasupposedepisodeofatelevision showofyourchoosing.Trackdownascriptfortheseriesyouwishtoemulateandmakesuretheformatandstyleofyourscenematchestheshow’ s approach.Adjustyourowncharacters,theirdrama,theirhistoryandtheir voicestomatchcertainkeycharactersintheseries.Dependingonthescene you ’vewrittenandtheseriesyou’vechosen,youshould findtherevision processprettychallenging.
AnotherwaytoapproachthisistosimplywriteasceneblindforaTV seriesyouappreciateorenjoy,thenreadaproductiondraftfromtheshow andseehowyoumanagedordidn’tmanagetocopytheshow’sstyle.Ifyou didn’tdowell,writeanewscenetobettermatchthatstyle.Thiswillgive youapreviewintoworkingintelevision.Whateverthecircumstance, whichevertheshow,youwillbeexpectedtoreadpreviousproductiondrafts andmatchorimitatetheirapproachinyourownwork.Thiscanalsooccur on filmassignmentsaswell,especiallyifyou’rescriptingasequel,prequelor rebootofapriorproperty.Dependingontheproject,asacreativechameleon,yourcolorswillhavetochange.
3Characterdepth It’sagiventhatnostory,whateveritsformat,market,setting,ormedium, canworkifitscharactersfailtoengage,surprise,orappealtotheproject’ s audience.Butrememberthat “ engage ” onlyhappenswhenthestoryandits themeproperlysupportthecharacters, “surprise” onlyworkswhenthediscoveryisearned,and “appeal” doesn’tmean “like” somuchasidentifywith.
Motivatingyourcharacters Partofwhy PiratesoftheCaribbean:TheCurseoftheBlackPearl (2003),written primarilybyTedElliott&TerryRossio,workssowellisinthemannerin whichitskeycharactersaresocarefullyemployedinservicetoitstheme throughthecreationofpeoplewhoaresuccessfullyengaging,surprisingand appealingtotheaudience.Inthiscase,thewell-structuredplotandcarefully nurturedthemesprovidethesharplydefinedcharacterswiththeobstaclesand challengestheyneedtogrow,change,andprogress.
Greatscreenstorytellingdoesn’tgiveitspeopleeasysolutionstotheir problems,and Pirates’ lovers,ElizabethSwannandWillTurner, findthemselvesfacedwithseeminglyinsurmountableobstacles.It’sestablishedinthe very firstscenewhenapre-teenElizabethwishestomeetapirateandthen herdesirecomestrue.However,sheisforcedtospendtherestofthe film securinghimagainstthestricturesofherclass,theoppositionofthepirates, andherlover’sowninstincts.Will,whoisdeeplyashamedofhislowlypositioninPortRoyale’ssocialstrata,doesnotfeelhedeservesElizabeth,let alonebeabletoevencallherbyher firstname,and,ashelearnshisfather wasapirate,he’sevenmoreconvincedofthisreality.
Mentionmustalsobemadeofthesignificanceofapiratemoviehavingits keypointofviewcharacterandprotagonist,fromthevery firstscene, ayoungwoman.Thisisnotonlyhighlyunusualforapirateproject,it’snot theusualapproachforanyactionadventure film.Thefactthattheentire storyisfocusedonElizabethachievingthefreedomtobewhoshewantsand lovewhoshewantsisnotonlyappropriateforafemalecharacterlivingin themid-17thcentury,it’sunfortunatelystillrelevanttotoday.
BeyondElizabethandWill,eventhedarkestcharactersin Pirates understandthevalueofindividualfreedom.Thekeyvillain,Barbossa,hasastrong motivationthatrelatestothe film’scentralthemeofachievingpersonalfreedom;hesimplywantstobehumanagain,asdefinedbyhisdesiretoeat agreenapple(greensignifyinglifeasopposedtored,signifyingbloodor death).JackSparrow,ashesoeloquentlyexpressestoElizabethwhenthey’ re maroonedonanislandtogether,saystheBlackPearlrepresentsfreedomto him,whichisclearlywhathe’sseekingthroughoutthe film.
Jack’scharacterisaparticularlysurprisingandalmostuniquecreation.He’ s atrickster,notunlikePuckin AMidsummerNight’sDream,andhe’swily, shocking,andunpredictable;allveryappealingandscarcequalitiesinan actionadventuremoviecharacter.Hissingle-mindeddeterminationto retrievehisshipdriveshimthroughthestoryandpullsothercharacters,particularlyWill,alongwithhim.Yetthoughhe’sapirateandostensibly abloodthirstyrenegade,heneveractuallyhurtsaninnocentpersonanywhere inthestory.PleaseregardthelistofJack’ s “crimes” themagistratereadsoff whenhe’sabouttobehung – notoneofthemisaviolentactagainst anotherhumanbeing.AsElizabethherselfsays,Jackmanagedtosackthe portofPanamawithout firingasingleshot.Themanisnotakiller,he’ s arascal;animportantdistinctionthatallowstheaudiencetoadorehim.
Barbossa,ontheotherhand,isamoretypicalpirate.LikeJack,he’ s atrickster,slyoftongueandaction,broadandappealinginhisownway,but farmoreruthless.Forwhileit’sclearJackcan’tbetrusted – heliesaseasily ashebreathes – themanneverbetraysanyoneatthelevelBarbossa,his former firstmate,betrayedhim.What’sworse,Barbossaisademonofthe night,describinghimselfwithgreateloquenceasawalkingghoul,andhe evenhasademon’sfamiliar,themonkey,asaconstantreminderofhisdamnation.However,hishungerforjustonesatisfyingbiteofthatgreenapple humanizeshim.
Screenwriterstakenote;blackandwhitecharacterizationisadisastrous choicein film – justlookatthethree StarWars prequelsGeorgeLucas launchedontotheworld.Inthosemovies,allofthepeopleareeithertotally goodorutterlyevilwithnoshadesinbetween,leavingtheaudiencewith nothingbutplotmechanicsandspecialeffectstohangonto. Piratesofthe Caribbean brilliantlyavoidedthistrap.
A finalfewcharacternotes.TakeacloselookatMullroyandMurtogg, thetwoBritishMarinesthatJack firstencountersonthe Interceptor’sdock.In reality, the 18thcentury’sBritishMarineswerefearlesssoldiers,thebestof thebest,justliketoday’sUnitedStatesMarines.Whenwemeettheseguys they’reshadingthemselvesunderthedock,arguinglikeschoolboysandareas easilygulled.ThesearenotgenuineBritishMarines;they’reacoupleof overgrownkids.
Ontheothersideoftheequation,thetwopiratesPintellandRagettiare nomorematureorrealistic.Eventhoughthey’reviciouskillers,they’restill childlikeandplayful,bickeringliketwobulliesinaplayground,andthey’ re
aseasilymisledasthesillyMarines.MurtoggandMullroyandPintelland Ragettiare “twins” toeachother – matchingsetsofjuvenilecharactersthat providecomedyreliefandstructuralsupportthroughoutthe film.Compare themtotheboringsupportingplayersinsomanyaction filmsandyoucan seehowtheyprovideawelcomeenergytoexpositionandnarrativein adozenplaces.
Finally,pleaseexamineNorringtonandtheelderSwann,Elizabeth’sfather. Thesecharactersarefailedpeopleinthesensetheycannotchange.Elizabeth andWillfacetheirdestinywithcourageandadaptability,bravelyovercoming everyobstacleandreversethrowntheirwaybypirates,societyandcircumstance.Bytheendofthe film,Elizabethiscommandingashipinmajor combatatseawhileWillhas finallyacceptedhislifemate.Norringtonand Swann,ontheotherhand,haveexperiencedalmostnothinginatrueemotionalsenseandchangednothing.Theonlyfalsenoteintheentireplotis whenNorringtonreleasesallofourheroesattheendofthestory,achoice nodoubtdictatedbyaudienceexpectation.
Also,keepclosetrackofthegoldmedallionthatElizabethtakesfromWill, whichshethenretrievesfromherbedroomdrawer(leavingadusttrail, showingit’sbeentherealongtime)andthendropsintheoceanwithher. Allgoodstoriesofferasenseofdestiny,andthemedallionistheMcGuffin fortheheroine’sdestiny.ItbindsElizabethtoWill,andthenbringsthepiratestoPortRoyaleatakeypointintheplot.Itdefinesthepirates’ goalas wellasElizabeth’s.Andit’sneatandvisual.
Films,especiallygenre films,arerifewithelementslikethis.Fromsmall itemsliketheMalteseFalcontoworld-sizedthingslikethe Titanic;the strongersuchanelementcanbe,thestrongeryourstory,charactersand theme.
Switchingtosubtext – theemotionandideasbeneathasceneasopposed tothetext;thebasicinformationbeingdealtwithorconveyed – Pirates offersusasolideducationinthisareaaswell.Ifawriterwantstoseehow subtextcanbeusedbrilliantlyinacharacterscenetonotonlyservicethat particularbeatbutthecentralthemeofanentire film,takeahardlookatthe momentearlyinthescriptbetweenElizabethandhermaidEstrellainher bedroom.
Itbeginswiththemaidshowingherconcern: “Itwasadifficultdayfor youI’ msure. ” Nowremember – Elizabethfelloff acliff andalmostdrowned beforea filthypiratewrappedachainaroundherthroatandpointedapistol atherhead.AnyrationalpersonwouldassumeEstrellaisreferringtoanyor partofthesehorrificevents.ButElizabeththinkshermaidiscommentingon Norrington’smarriageproposal. “ImustadmitIwasn’tentirelypreparedfor it.” EstrellathencorrectsElizabeth,sayingshewasactuallytalkingabout “being threatenedbythatpirate” and onlythendoesElizabethsay “Oh.Yes. Itwasterrifying.” It’sclear.ForElizabeth,beingmarriedtoNorringtonisliterallyafate worsethandeath.She’dratherJackhadkilledher.
ThescenecontinueswithEstrellaoffering, “ifit’snottoobold” thatthe Commodoreisagoodmatch.WhenElizabethhalf-heartedlyagrees,saying Norringtonisthekindofmananywoman “should” marry,Estrellatakes note,offeringthatWillTurner’ sa fineman,too.Elizabethgiveshermaid asharplookandsnaps, “Thatistoobold.” She’sputtingEstrellainherplace. ButEstrellajustsmilesandslipstheknifeinbysaying, “Beggingyour pardon,miss.Itwasnotmyplace.” Whatshe’sreallysayingtoElizabethis thatit’snot her placetoloveWillTurner.
Inlessthanapageofsuperbwork,wetouchonthecentralconflictofthe entirescript – freedomversusimprisonment – andourpointofviewcharacter’scentraldilemma – howcansheeverhaveherpirate?Thisalsoclearly helpsestablishthatElizabethisourprotagonist – itisherstory,goals,change, andjourneyintotheunknown.Sheistheonethatmakestheentirestory happen.
Screenwriterstakenote.Neverstatetheobvious.Slipinbehindyourcharactersandletthemexpresstheirgreatestdesiresandfearsthroughsubtext. Andremember – creatingcharactersthatengage,surprise,andappealtoan audienceisnotassimpleasitsounds.
Unmaskingyourcharacters Haveyoueverheardthesayingthatthecharactersinyourscreenplayshould belikeanonion?No,we’renotsayingtheyshouldbringtearstoyoureyes orgiveyoubadbreath.Wemeantheyshouldbemultilayeredand,during thecourseofyourstory,theouterlayersshouldbepeeledoff toreveal what’sinside.Thisis,ofcourse,easiersaidthandone.Writersneedtolearn orestablishalotabouttheircharactersinorderto findwhat’sinside.Mostof usdon’tevenknowenoughaboutourselvestodiscoverourowntrue natures,whichmaybewhywritinglayeredcharacterscanbetherapeutic. Butwe’llleavethattothetrainedprofessionalswhochargebythehour.
Thereissomethingknowninwritingcirclesasthecharactermask.Thisis whenacharacterpresentsoneappearance,buteventuallyanothertruerselfis revealedlateron.Let’stakeadeeperlookatthemodernclassic filmwhich launchedGeorgeLucas’scareer,alongwiththecareersofquiteanumberof now-famousactors; AmericanGraffiti (1973),oneofthebestensemblemovies evermade.
Inthis film,screenwritersGeorgeLucas,GloriaKatzandWillardHuyck wroteanengagingstoryofagroupofhighschoolgraduatesastheyexperiencetheirlastdayofsummer.Whatmakestheirscreenplaystandoutistheir cleveruseofcharactermaskstotellafresh,surprisingandfunstoryofthe comingofage.Themovietracksbasicallyfourplotlines:thecouplewho haveitalltogether,thewiseguyindoubt,thenerdwithapretenseofselfassurance,andthecoolguywiththeairofindifference.Allfourmaincharactersarefriends,theircomfortablerelationshipsin fluxwiththedepartureof twoofthembeingcollege-bound,butallofthemlivingbehindmasks,
concealingwhotheyreallyarefromnotonlyeachotherbutfromthemselves aswell.Theeventsoftheeveningduringwhichthestoryunfoldschange thembyforcingthemtore-examinewhotheyreallyare.Asthescreenplay flowsbackandforthbetweeneachcharacter’sexperiences,weseelayerafter layerfallawayuntiltheyallbegintochangetheiroutlookonlifeand themselves.
Thisisallachievedthroughaseriesofsimplescenesthatillustratethe experiencesofatypicalhighschooler’snightonthecircuit,cruisingthe town’smaindrag.Throughoutthisaction,the film’swritersskillfullyembed humorinthecharacter’sexperiences – aswhenthenerdobtainsacoolcarto drivearoundinandaprettyor “ easy ” blondegirlsuddenlyhopsintotheseat besidehim.Butwhentheygonecking,thecarisstolenandthenerdmust cometogripswithhistrueself – asaloserandnotpartofthecoolgang. Theeasygirlbecomesthemirrorbeforewhichhecandrophismask,for, insteadofthestereotypedumbblonde,thescreenwritersmakeherathreedimensionalpersonwhohasherownideas,concernsandinsights.Itisunder herencouragementthatthenerd finallyattemptstomakeastandandtake backthestolencar.Andashebeginstofail,asonlyhecould,itisthe “dumb” blondethatcomestohisaid.Togethertheysucceedandrealizethat neitherisassimpleacharacterastheymayhaveperceivedthemselvestobe. Theirchangesaresubtle,notatotalmakeover,butitgivesbothofthem newenergyandencouragementtofacetheworld.
Inthesamemanner,thewritersuseamaskwiththeirhotrodcoolguy. Whiletryingtoimpresstheladiesdrivingonthedrag,heendsupwith ayoungtweenieinhiscar.Embarrassedtoevenbeseenwithher,he attemptstodumpthegirl,butthenhismaskofcoolindifferencebeginsto slipandtheirrelationshipgrowstooneofenjoyingeachother’ scompany. Insteadofthehotwomanizerpersonahepreferstodisplay,Mr.HotRod allowshimselftobecomethegentlebigbrotherheisdeepinside.Itisthis awakingthatleadshimtotherealizationthatheshouldn’twastehislifeon dragracing.
Thewritersalsogivetheirwiseguycharacteranimpossiblequest – the searchforthatgorgeouswomanwhowhispered “Iloveyou” whiledriving pasthimonthedraginawhiteconvertibleT-bird.She’sanunachievable fantasyhecanusetostophimselffrommovingon,fromleavingtownand facingthefutureandcollege,whichheobviouslyfears.Byhispursuingthis unobtainablegoal,thewritersallowthewiseguytofaceamoredangerous obstacle – thestreetgang.Usinghiswit,heisabletoturnthetableson them,transforminghimselffromcaptivetohonorarymember.Asheproves hispersonalbraverytothem,andeventuallyhimself,herealizeshecanface thefutureandheadoff tocollegeforwhateverliesahead.
Theperfectcouplearethepastschoolpresidentandhomecomingqueen. Theyappeartohavetheirfuturetogetherallplannedout,butthewriters maketheirnice,smart,always-in-controlguydosomethingthatwillforce thesituationbeyondhiscontrol.Helogicallyexplainstohissteadythatthey
shouldfeelfreetoseesomeoneelsewhilecollegeseparatesthem.Heexplains thistoherandtohimselfassimplelogic.Shereflectshiscoldlogicbackat himandmakeshimquestionhisdecisionandmotives.Themirrorsheholds uptohismaskforceshimtoloweritandtaketheriskoflookinginsideand realizingthat,foronce,heisunsure.
Inthisonenight,thesefourmaincharactersaregiventheopportunity toremovetheirmaskstobreathesomefresh,cleanair.Isn’ tthiswhatwe alllongtodoashumanbeings?Perhapsthisiswhythis filmresonatedso deeplywiththepublicwhenitwas firstreleasedandeventhroughtothe currentday.Thewritersof AmericanGra ffiti usedthecharactermaskasthe backboneoftheirstorytocreateafull-bodiedscreenplay.Theyleteach onionpeelbackafewlayersand,ifitforcedtheaudiencetoshedany tears,theywereofenjoyment.Sodon’ tbeafraidtopeelalayerortwo o ff yourownpersonalonion;ifitproducesafewtears,somuchthe better.
Humorischaracter Lifeisnotdevoidofhumor.Whyshouldscreenplaydramasbeanydifferent? CatchMeifYouCan (2002)isnotacomedy.Jeff Nathanson’sscreenplay, whichisbasedontheautobiographyofcon-artistandcheckforgerFrank Abagnale,isreallyastoryofaboywholongsto findaplacewherehe belongsandarelationshipwherehecanbehimself.Thisisatruecrimestory thatbeginswithadysfunctionalfamilyconsistingofason,hisfatherand alessthanaffectionatemother.Whilethiscouldeasilybeapsychological crimedrama,Nathanson’sskillofexpandingonthetruthalsoallowedhimto addtouchesofhumorthatmadethestoryallthemorehuman.
Theplotbeginswithagloomytoneinadimworld – thehorribleconditionsofaFrenchprisonandthenear-deathconditionofFrank,theprisoner FBIagentwhoCarlisheretoextradite.Tooffsetthisdarkness,Nathanson preludesthescreenplaywithasegmentoftheoldTVshow ToTelltheTruth inwhichFrankwastheguest.Thishelpstoestablishthe film’struetoneand premise,thatofabrilliantindividualplayinganentertainingifdesperate game.Aftertheprisonscene,Nathansontransportsusintothepasttoreveal theuglycollapseofFrank’shomelife.Hegivesusthe firsthumorousinsight intoFrank’spersonalitywhenhisparentsarecalledintothehighschoolprincipal’ sofficewheretheyaretold: “Mr.AndMrs.Abagnale,thisisnot aquestionofyourson’sattendance.Iregrettoinformyouthatforthepast week,FrankhasbeenteachingMs.Glasser’sFrenchClass.”
Evenastheparentconferencecontinues,Frankoffersafellowstudenttips onhowtomakeherfakedoctor’snoteappearmoreconvincing.Frank’ s ingenuityisquicklyestablishedandsetsthetonefortherestofthestory;one thatincludesafatherwithoutvalues,amotherwhohasanaffairandabandonsherson,andaboywhoisforcedtolivealonewithouttheabilityto earnaliving.Itshouldbenohugesurprisethatadesperate,smartkidlike
Frank,raisedbypeoplewithlittlecharacterortruehumanity,wouldresort toforgingcheckstofeedandclothehimself.
Audienceslovetorootfortheunderdog,especiallyonewhobeatsthe system.ThisisthecharacterNathansonskillfullysetsupinhiswriting, addingatroubledsoulintothemix,makingFrankmorethree-dimensional andengaging.Thisisnolightsubjectforamovie. CatchMeifYouCan isthe storyofaboypretendingtobeamaninordertostealtosurvive – aboy whogetsnoguidancewhatsoeverfromhisparents,whoareonlyconcerned forthemselves.Nathansonre-introducesCarl,theFBIagent,20minutesafter we firstsawhim,astheantagonistwhohuntsdownFrank.ButCarlwillalso fillthevoidleftbyFrank’sfather,becomingtheonlymanwhotrulycares abouttheboy.
Inaway,FrankgivesCarlsomethingimportantaswell – apurpose, aproject,andagoal.Thesecharactersaresetupasopposites:Frankthefreewheeling,anythinggoes,fun-lovingyoungcon-artist,andCarl,themature, deadpan,ultra-seriousworkaholic.Whattheybothshareisalonelinessthat NathansonrevealsbeautifullybyhavingFrankcallupCarlattheFBIoffices onChristmasEve.Tohammerhomethesignificanceofthesituation, NathansonevenhasFranktellCarlexactlywhereheisstaying.ButCarl, aloneinhisofficewithaphotoofhisex-wifeandchild,refusestobelieve him.Thisissuchaskillfullywrittensceneitskipsoverbeingmanipulative intotruemelancholyandpathos.
Allthatsaid,thestoryisnevercompletelydevoidofhumor.Nathanson usesCarl,theleasthumorouscharacterinthe film,toprovidethemost laughs.WhentheotheragentsmakefunofCarl,hetellsthemaknockknockjokethatendswith “Who’sthere?GoFuckyourself!” Thefactthat thejokeisn’tfunnyiswhatactuallymakesitsofunny.It’sastartling,even shockingmomentforthisstraight-lacedcharacter.Theunexpected,whether it’saction,storytwists,charactersordialogue,iswhatweallstriveforinour writing.Theunexpectediswhatmakestheworldandlifesointeresting.
Nathanson’sscriptisfullofsurprises – fromtheingenuityofFrank’ scon games,totherelentlessnessofCarl’spursuit,tothegrowthoftheirunexpectedfather/sonrelationship.Thereareveryfewlaugh-out-loudmoments inthe film,yetthehumorandfunofthestoryprevails,evenwithinthe tragiccircumstancesofitscharacters.Itiswithsmalldashesofhumorthat Nathansonmakesthedramahititsmarksomuchmorepoignantly.Weall wanttobeabletodothat – towriteitifwecan.
Theothercharacterchange Aristotle,inhis Poetics,basicallysaidthatgoodstoriesfeatureamaincharacter whochangesandiftheydon’ttheyaredoomedtosufferforitorperhaps evendie.Everyonetalksaboutthecharacterarcandhowtheirgoalschange asthestoryprogresses.Inordertoreachtheirgoalthecharactermust change.Buttherecanalsobeanotherversionofcharacterchange.Onesuch
screenplaythatdoesthisquitewellisthecomedy MissCongeniality (2000) writtenbyMarcLawrence,KatieFord,andCarynLucas.
ThestoryisaboutatomboyFBIagentwhogetsassignedtoposeas abeautycontestantinordertostopsomeonethreateningtoblowitup.It’ s a fish-out-of-waterstory,withthehard-as-nailsAgentGracieHartebeing pickedbyhersuperiorAgentMatthewstogoundercoverasMissNewJersey (ofcourse).Butwhenhersuperior,AgentEricMatthews,offersherthejob, sheissomewhatresistantat firsttoputitmildly.
ERICMATTHEWS
Whatdoyousay,Hart?
GRACIEHART
Nofreakin’ way.
ERICMATTHEWS
Sparky,whynot?
GRACIEHART
CauseI’mnotgonnaparadearoundinaswimsuitlike someairheadbimbothatgoesbythename,what, GracieLouFreebush,andallshewantsisworldpeace?
ERICMATTHEWS
Itwon’tbelikethat.Comeon,you’reanimportant memberoftheundercoverteam.
GRACIEHART
Yeah,right,inathong.
Butamakeoverisn’ttheonlythingthewriterssettledforintheircharacter change.Theyavoidedthe “uglyducklingtoswan” asthecharacter’smain changeandthe “nowshe’shotandattractingallthemen” angleandinstead decidedthatherchangewasinhowsheviewedwomenwhoshethoughttobe vacant,looksobsessive,fools.Herchangewastorecognizethateveryoneisan individualandthateverypersonhasinherentworthandvalue.That’sabig change,andoneworthyofbeingmadeforanycharacter.Doesthischangesolve thecase?No,itdoesn’t.Thephysicalmakeoveristhechangethatallowsherto blendinandcatchthecriminal.Whiletheplotfocusesonhermissionandthe humorofherbeingunfamiliarwithhowtolookandactlikeafemininewoman andnotletherhardedgesshow,italsogentlyallowshertodiscoverwhatshe’ s beenmissingmostofherlife – femalecompanionshipandcomradery.Sointhis case,insteadofhertruecharacterchangeallowinghertoreachhergoal,her innercharacterchangewasabyproductoftryingtoreachhergoal.Pursuingher goalallowedhertodiscoverthewomaninsideherselfandforcedhertobuild relationshipswiththekindofpeoplesheavoidedordiscounted.
ItisimportantthatthewritersneverallowedGracietofullychangeand embracewhattheotherwomenembracenorfullybecomeoneofthem. Theyrecognizeddoingthatwouldbetootrite,andunbelievable.Atthe endofthe film,shedoesn’tdressmorestylishlyorfrillyanddoesn’twear fine-tunedmake-up,butshedoestakeabitmorecarewithherappearance. Theinternalchangebeginstoshowitselfinthethirdactofthescriptin thewell-set-upinterviewpartofthepageant;themomentthatherbeauty pageantmentorVictorhadbeendreadingthemost,thatputsAgentGracie inthespotlight.
KATHYMORNINGSIDE NewJersey,asyouknow,therearemanywhoconsider theMissUnitedStatesPageanttobeoutdatedandantifeminist. Whatwouldyousaytothem?
GRACIEHART Well,Iwouldhavetosay – Iusedtobeoneofthem.AndthenI camehereandIrealizedthatthesewomenaresmart,terrific peoplewhoarejusttryingtomakeadifferenceintheworld. Andwe’vebecomereallygoodfriends.Imean,Iknowwe allsecretlyhopetheotheronewilltripandfallonherface and – waitaminute,I’vealreadydonethat!Andformethis experiencehasbeenoneofthemostrewardingandliberating experiencesofmylife.
TheAudienceapplaudsasVictorwatches.
VICTORMELLING
MyGod,Ididit!
GRACIEHART Andifanyone,anyone – triestohurtoneofmynewfriends Iwouldtakethemout.Iwouldmakethemsuffersomuch thatthey’dwishtheywereneverborn.Andiftheyran, Iwouldhuntthemdown.Thankyou,Kathy.
VICTORMELLING
Abriefshiningmoment,andthenthatmouth!
Howmuchacharacterchangesisasimportantashowthecharacter changes.Graciealwaysremainstruetoherself – thatbeingahard-edged tomboydedicatedtolawenforcement.Itisherviewofothersthathas changed,andthatchangesherbehavioraswell.Ofcourse,shedoesn ’ t winthepageantwhichshewasnevertryingtodo,butshewinssomethingmuchmoreimportantthatshowsherinnerchange.Shewinsthe MissCongenialityawardfromherfellowcontestants,theverywomenshe originallyhelddistainforbuthas nowcometoseeaspeopleandfriends.
It ’ snotarewardforsavinglivesorsolvingthecase,it ’ sarewardfor changingherperspectiveonlife.Seeingacharactermakesmallstepsforward,seeingthembegintochangeforthebetter,givesusallhopethat wetoocanandwillbegintochange.Andthat ’ sacharacterchangeworth writingabout.
Televisioncharacters WiththecurrentnewGoldenAgeoftelevision – over450seriesinproductionandcounting – adiscussionofcharacterinthismediumiseven moretopicalifnotrequired.A fi lm’ scharacters,atleastoutsideofpotential sequels,prequels,andremakes,areusually fi nite.Ifthefallingactionofthe resolutionhasbeenproperlyachieved,theaudiencemayexperience asatisfyingafterglowregardingthecharacters’ fi ctionalfutures,but,when thestoryends,theirlivesend,inaway.Withtelevisionprojects,theprimarygoalistomaintainanintriguingcastofcharactersthroughoutan extendedperiodofdramatictime;onethatcouldcoverasmanyastenseasonsormore.Untilrecently,mostTVseriesmanagedthiswithin acontained,simpleepisodicformatwitheachsegmentstandingmostlyif notentirelyonitsown.Anissuewouldbeintroduced,dramatized,and resolvedinanhourorhalfhourandthatwasthat.Youcouldwatchan episodeof TheMentalist,TheSimpsons,or Southpark,andprettymuch followwhatwasgoingonwithoutanyseriousconfusionordissatisfaction overcontext,character,orplot.
Today,mostTVserieshaveaserialaspecttothem,oratleastanoverallarcthatdisplaysorexploitsnewaspectsofthecharactersfromseason toseason.Thisapproachdemandsamuchdeeperdevelopmentofthe show ’ speopleandamuchmorecomplexexplorationofitsstory,worlds, andthemes.Thishasledtoastartlingwaveofexperimentationand innovationinthedramaticdevelop mentoftelevision,asdisplayedin ambitiousprojectslike Lost,TheWalkingDead,BreakingBad ,and Gameof Thrones thathavearguablyrevolutionizedtheprocess.Notonlyarethe charactersmorecomplexbuttheirworldsaswell,whetherit ’ sazombie apocalypticlandscape,aremote,magi calisland,oranalternateuniverse DarkAges.
Needlesstosay,thishasgeneratedanunprecedentedlevelofartisticand professionalpressurefortoday’stelevisionwriters.Whileit’sneverbeenan easymattercreatingmultipleepisodesofaTVseries,whetherit’skeeping thecharacters’ voicesandbehaviorconsistent,theproductionqualityat aproperlevel,orsimplygettingeachsegmentshotandeditedintimefor theirairdates,youaddinthenewcreativeandbudgetarydemandsoftoday’ s incrediblycompetitivemarket(450series!)andthechallengecanbetruly overwhelming.
Inthiscurrentenvrionment,it’snolongeradequatetooffer “likable” charactersinanormalcontemporaryworldinasimpleepisodicformat.Amuch
