Paul Schrader on Writing

"You’re a real writer if you write every day. I’ve written two screenplays this year, but for three years earlier, I didn’t write any screenplays at all."

"The weakest writing in America today is in the movies, the best writing is on TV, in series like The Sopranos. That’s because scripts for TV are about human beings and human behavior, not a journey to the center of the earth. Movies have become less and less about good writing and more and more about spectacle, so the importance of the screenwriter has declined. The most spirited dialogs in spectacle films are lines like: “Look, it’s coming” or “Run, run, run.” When I started out in the film business about 30 years ago, there was a crisis of content. Now there is a crisis of form, with films on DTH, internet downloads, and so on. But as screen sizes become small — TV, cable, computers, mobile phones — spectacle will become less important, and the importance of the screenwriter will be re-established."

~ Paul Schrader, screenwriter (Taxi Driver, Raging Bull, Last Temptation of Christ)

Source: http://www.tehelka.com

Two Giants in Two Days

The world of motion pictures has lost two giants within the last two days -- Ingmar Bergman, and Michelangelo Antonioni.

I must admit that I could never take a shine to Bergman. His films left me cold, drained, without a drop of sunshine.

So why did I love Antonioni that much? His classic trilogy (“L’Avventura” (1960), “La Notte” (1961) and “L’Eclisse” (1962)) was not exactly a display of "fun under the sun" either.

But first of all, Antonioni's courage to leave behind the 2,300 years old 3-Act paradigm and sail towards the unchartered waters of emotions-without-a-plot really fascinated me.

Secondly, the way he brought the sense of modern alienation into focus will probably be without an equal for a long time to come.

His "Blowup" was not bad either but at the level of the Trilogy. "The Passenger" with Jack Nicholson is another latter-day Antonioni classic that should be on every cinema fan's must-see list.

The Italian master will be missed. And perhaps I'll write about him more later on.

For the time being, I'll refer you to this excellent NYT review.

Screenwriting – The Power of “Character Arcs”

A “character arc,” that is, the changes a character goes through during the 2 hours of a movie, is one of the most tricky aspects of screenwriting.

You miss it, and you have in your hands a flat piece of narrative, a chain of events without a human-emotional core. Such movies do not move us to laughter or tears.

Nail it on the head, and the whole narrative comes alive like the juice hitting a light bulb. We can now identify with those characters and feel the satisfaction of living through their lives vicariously. Our hearts expand. Our souls take wings. Those are the movies we love to watch more than once.

LITTLE MISS SUNSHINE (2006) is one such jewel in which not one but all SIX characters go through clearly defined sharp character arcs. It is a good example of careful and loving writing by Michael Arndt which won the Best Original Screenplay Oscar for him this year. Alan Arkin, as grandpa Hoover, also won a well-deserved Best Supporting Actor Oscar with his unforgettable performance in “Sunshine.”

Here are the SIX arcs for SIX characters in “Sunshine”:

(WARNING: Plot points are revealed.)

OLIVE: A seven year old darling of a girl, a perfect picture of innocence, who is not quite sure of herself, whether she can win the contest and make her daddy proud… arcs to… an uninhibited beauty pageant performer on stage “kicking ass” with the dance routine taught her by her grandpa. Shy Olive refuses to be intimidated by her more polished competitors, brings down the house and shows her own dad what “winning” is all about.

RICHARD: A stuck-up and judgmental disciplinarian, a paint-by-numbers motivational speaker with strong Protestant-ethic work values, unsympathetic to the plight of the losers of the world… arcs to… himself becomes the kind of loser that he always despised in the past, gets rid of his self-righteous inhibitions and joins in with his daughter’s “ass kicking” stage performance.

DWAYNE: A catatonic and depressed teenager idolizing Frederick Nietzsche who would no talk to anyone and would communicate only by writing on a note pad… arcs to… a young adult who comes to full terms with his worst fear of not being able to become an air force pilot due to his color blindness, he starts talking with his family, and joins Olive on the stage for a wild “ass kicking” stage performance.

GRANDPA: A cantankerous foul-mouthed old man who had been kicked out of a nursing home for his heroin habit, who is bitterly critical of the world and in particular of his son’s attempts to lead a clean and “ideal” family life… arcs to… his granddaughter Olive’s most precious role model and talent coach, and a man who truly appreciates his son’s courage and the risks he is taking in life to prove himself.

SHERYL: A mother who is trying to hold her family together by acting as the sane moderator, a good woman who is busy putting out fires, steering the dysfunctional characters in her family towards common sense solutions, but also a homemaker who feels the full brunt of the family’s financial problems… arcs to… the only family member who refuses to blink at the brink of Olive’s critical talent show stage appearance, a mountain of inner strength who refuses to be intimidated by the prospects of failure even when her son and husband give in and want to pack it up and go back home.

FRANK: A catatonic survivor of a suicide attempt sitting in a wheelchair at a mental hospital before his sister Sheryl takes him to her home to join the rest of the family, a world-class Proust scholar driven to self-loathing and self-destruction for losing his male lover to his chief competitor in the academic world… arcs to… a man literally running ahead of anyone else to the hotel ballroom where Little Miss Sunshine competition is held to make sure Olive would not miss the registration, a lonely pessimist who becomes an unexpected mentor to the equally depressed Dwayne, accepts all his loses in life and joins the rest of the family on the stage to celebrate Olive’s improbable “kick ass” stage performance.

Six well developed non-overlapping characters. Six arcs. Six paths to a better life, or at least, a deeper life where love, solidarity and understanding replace hatred, sarcasm and anger.

What else can we expect from a movie?

If you are a screenwriter you owe it to yourself to watch this very well written Oscar winner and study and learn from it.

Hollywood Writers Up in Arms Over "Residuals"

In this day and age of free YouTube downloads, webisodes, and mobisodes, "creatives" of Hollywood think they are shortchanged. They want a piece of the "backend." They want "residuals." That is, they want to get paid everytime, for example, you log on to ABC's web site and watch any episode of any show.

Or else? WGA, The all-powerful Writers Guild of America, will go on strike on October 31. So the studios are busy like crazy stocking up on extra scripts and shooting all those back-logged episodes so they'll be ready if and when the writer's strike hits Hollywood like a tsunami.

"Tsunami"? Well, perhaps I went overboard with that description because the last time WGA went on strike in the 1980s over the home video rights, 9,000 WGA members walked out. But then they came back for only 0.3 cents on the dollar! It turned out the writers' pocketbooks bled a lot faster that the "suits" in corporate offices. It's an embarrassing episode that most WGA members would rather forget.

One alternative is for the suits and the creatives share the ad revenues on these sites. But probably that's not going to happen anytime soon since the suits accuse the writers with splitting the profits but not the risks as, for example, when a show that has cost tens of millions of dollars bombs completely.

What you definitely do NOT need to WRITE a good screenplay?

You definitely, absolutely, positively do NOT need any of the following to START and FINISH writing a good screenplay:

An encyclopedic knowledge of every movie ever written.
Watching ten movies a week.
An intimate knowledgeable of the “lingo” used in Hollywood shoptalk.
Subscriptions to all Hollywood related magazine and newsletters.
Spending thousands of dollars on famous screenwriting workshops.
A Hollywood agent, manager and/or publicist.
An intimate knowledgeable of the way Los Angeles and Hollywood works.
An English, Film Studies or Screenwriting degree from a well-known college.
A college degree of any kind, including a Master’s or a P-h-D.
An intimate knowledgeable of Shakespeare.
Any drug habit.
Smoking cigarettes and/or drinking alcohol.
To be a Christian, Moslem, Jew, Hindu, Scientologist, Atheist or to belong (or not to belong) to any other religion or belief system.
An intimate knowledgeable of the underworld and the seedy side of life.
An intimate knowledgeable of police and court procedurals.
An intimate knowledgeable of doctors and hospitals.
Lots of cash in the bank.
To be homeless and at the edge of absolute poverty.
Lots of free idle time.
An “Oscar material” subject matter.
An idea that has never been written before.
A film that A-List Hollywood actors would die to star in.
To be under 25 or 30.
To be over 40 or 50.
To be any given specific age.
To be a male or female.
To be straight, gay, or of any other sexual orientation.
To be white, black, Hispanic, Indian, Oriental or belong to any of the thousands of ethnic/racial groups.
To have a child or not to have a child.
To come from a large or a small family.
To have been born in the United States or abroad.
A top-notch professional screen writing software.
A Mac brand or any other brand computer.
A blog and/or web site visited by thousands of people a day.
A house in any neighborhood of any city on earth.
The latest cell phone or Blackberry with all the bells and whistles.
A great looking sports car or any given brand of vehicle.
Visiting Europe for your vacations or any other country or spot on earth for any occasion.

Importance of Keeping Your Work Close to Your Vest

It happens all the time...

A writer working on his or her first script, first novel, thinks it would a "great" idea to "share" it with a spouse, lover, child, friend, parent, co-worker or neighbor...

And the result is an unintended punch to the gut. The work stops right there. Enthusiasm and joy is replaced by doubts, second thoughts and eventually depression.

Why? Do our loved ones mean to harm us? Of course not.

Do they have an "ulterior motive" or a "sinister agenda"? Absolutely not.

But this is their problem -- they are NOT writers.

So they have no idea about the sensitive "mental and spiritual soup" in which our ideas and most precious creations ferment, multiply, and take shape as stories, scripts, articles and novels. It is a mysterious process, part "science" but mostly magic. That soup can be soured very easily by criticism while we are still adding crucial ingredients to it.

A lot of people think to give a "feedback" is to point out to the things that are missing. We all have that impulse to come across as "thoughtful" and usually the way we try to come across as thoughtful is to point out at what's "missing" or "wrong" with a project.

Even a casual and well-meaning comment like "I think that's been done before" is usually enough to dampen the spirits of a writer and mortgage her determination to press onward.

That's why I strongly recommend all my writer brothers and sisters not to show their hands too early, and not to ask their loved ones to read their stuff until it is 100% DONE. Only then they can read it if they please and enrich our work with their thoughful insights and learned suggestions.

But until then you have to protect your work just like a mother hen protects her chickens or a banker protects his vault.

Missing Fourth Element in Basic Screenwriting Paradigm

You must have read the following "Basic Screenwriting Paradigm" a few times too many:

1) Get the cat on a tree.
2) Get the cat in trouble.
3) Get the cat down the tree.

This is of course very true. That's your basic bare-bones Aristotelean "3-Act Structure." It has not changed for the last 2,300 years or so.

However, it is not complete.

You also need a Fourth Element: the emotional reaction of your protagonist to the Step #3.

Without that fourth element, a "dramatic" movie rapidly devolves into a video tutorial of how to rescue a cat from a tree.

Don't get me wrong: video tutorials are great. They are fantastic tools of information design. But they are not dramatic stories for which the movie audience spends hard-earned cash.

As a creator, you have to be very clear on whether your are a documentary or a dramatic writer.

So here is the corrected basic paradigm:

1) Get the cat on a tree.
2) Get the cat in trouble.
3) Get the cat down the tree.
4) Get the hero react to the cat's rescue.

Or, for even a deeper dramatic twist:

1) Get the cat on a tree.
2) Get the cat in trouble.
3) Show the cat either getting down or not getting down the tree.
4) Get the hero react to the previous step.

Plot Points - SERAPHIM FALLS (2006) , APOCALYPTO (2006), SAVING PRIVATE RYAN (1998)

SERAPHIM FALLS (2006)

Starring: Liam Neeson (Carver), Pierce Brosnan (Gideon)
Directed by: David Von Ancken
Writer: David Von Ancken & Abby Everett Jaques

PROTAGONIST GIDEON’S DILEMMA: He is trying to leave his old life behind by Carver won’t let him..

PROTAGONIST'S DESIRE: To forget about the past and get on with a new life.

PROTAGONIST'S OBSTACLE: Carver on his tail with a posse of five.

ESTABLISHING SHOT: Snowy mountain peaks. “Ruby Mountains 1868.”

INCITING INCIDENT: He is shot at the shoulder by a sniper.

PLOT POINT 1: Gideon takes out the bullet in his shoulder. We know he will survive.

MID POINT (REVERSAL) EVENT: N/A

PLOT POINT 2: Through a flashback, we learn why Carver is mad at Gideon, who used to be a Union officer during the Civil War.

3rd ACT RESOLUTION: Final confrontation at the desert. The two exhausted men decide to bury the hatchet and go their own separate ways.

-----------------------------------------------------------

APOCALYPTO (2006)

Starring: Rudy Youngblood (Jaguar Paw), Dalia Hernández (Seven), Jonathan Brewer(Blunted), Morris Birdyellowhead (Flint Sky), Carlos Emilio Báez (Turtles Run)
Directed by: Mel Gibson
Writer: Mel Gibson & Farhad Safinia

PROTAGONIST JAGUAR PAW’S DILEMMA: He is afraid of death but he has to face and overcome his fear to save his wife and son from enemy hands.

PROTAGONIST'S DESIRE: To live the good life with his family.

PROTAGONIST'S OBSTACLE: Slave traders capture him to sell to the Mayan temple..

ESTABLISHING SHOT: A tapir hunt by the local Indians in a South American jungle. Jaguar Paw is the chief’s son.

INCITING INCIDENT: Jaguar Paw and friends meet another tribe in the jungle who are migrating away. Something happened to them and they are scared..

PLOT POINT 1: Jaguar Paw’s village is ambushed by slave traders and all are taken captive.

MID POINT (REVERSAL) EVENT: Jaguar Paw is saved from the religious execution at the temple by the solar eclipse.

PLOT POINT 2: Jaguar Paw defies the odds and runs away from his captors, launching a long chase.

3rd ACT RESOLUTION: Jaguar Paw and family survive the slave traders only to be introduced to a new reality down at the beach – Spanish galleons.

-----------------------------------------------------------

SAVING PRIVATE RYAN (1998)

Starring: Tom Hanks (Captain John H. Miller), Tom Sizemore (Sergeant Mike Horvath), Edward Burns (Pvt. Richard Reiben), Barry Pepper (Pvt. Daniel Jackson), Adam Goldberg (Pvt. Stanley Mellish), Vin Diesel (Private Adrian Caparzo), Giovanni Ribisi (T-4 Medic Irwin Wade), Jeremy Davies (Cpl. Timothy P. Upham), Matt Damon (Private James Francis Ryan), Ted Danson (Captain Fred Hamill), Paul Giamatti (Sergeant Hill), Dennis Farina (Lieutenant Colonel Anderson)
Directed by: Steven Spielberg
Writer: Robert Rodat

PROTAGONIST JOHN MILLER’S DILEMMA: He is a high school English teacher but he has to serve his country at D-Day..

PROTAGONIST'S DESIRE: To find Private Ryan and go back home to his wife.

PROTAGONIST'S OBSTACLE: They don’t know where Ryan is. They have to find him somewhere in France while fighting the Germans.

ESTABLISHING SHOT: A much older James Ryan visits the military cemetery at Normandy, France to flashback to the D-Day.

INCITING INCIDENT: Army Chief Staff Gen. George C. Marshall decides that, since all his three brothers are killed in action, Private Ryan must be found and safely delivered back to his mother in Iowa.

PLOT POINT 1: After gaining a foothold at Omaha Beach, Capt. John Miller is issued his orders to find and take Private Ryan safely back home.

MID POINT (REVERSAL) EVENT: Private Ryan refuses to leave his squad and go back home.

PLOT POINT 2: Germans attack the strategic bridge that Ryan’s squad, together with Miller’s squad defend.

3rd ACT RESOLUTION: Miller, while dying, whispers to Ryan’s ear and asks Ryan to “earn it” so that the death of all those who perished to save Ryan won’t be in vain. Back to our own day, his wife assures Ryan that he is a good man and he indeed lived a good life and “earned it.”

Watch Out for That Pen Name

Pen names are a long-honored tradition in Western literature. Sydney Porter wrote under the pen name “O. Henry.” Samuel Langhorne Clemens became famous as “Mark Twain.”

But you have to watch out these days if you are writing under a pseudonym. Especially if Hollywood is interested in your work.

Exhibit A -- A writer named "JT Leroy" catapults to stardom in 2000 with his explosive autobiography “Sarah,” the story of a kid growing up as the son of a West Virginia hooker turning tricks in truck stops.

It gets better – Soon JT Leroy is writing for the New York Times and Vanity Fair and calling the likes of Winona Ryder an Madonna his “friends.”

And better – In 2003, Antidote International Films Inc. (which produced movies like “Laurel Canyon” and “Thirteen”) options “Sarah” for $15,000 with the intention of turning it into a movie. The option is renewed next year for the same amount.

Then, the sky caves in – New York Times discloses that “JT Leroy” is nothing more than a pen name for Laura Albert, a mother and a little-known young novelist from Brooklyn Heights.

Result – Antidote wants all its money back since they made a contract with “JT Leroy” but Leroy does not exist.

Big mess. The case is still in court.

UPDATE (6/23/07)

Jury: novel bought by company fraudulent

By AMY WESTFELDT, Associated Press WriterSat Jun 23, 4:57 AM ET

To writer Laura Albert, her alter ego was a psychological necessity, but to jurors, the fictitious male prostitute JT LeRoy was a fraud. A Manhattan jury decided Friday that Albert had defrauded a production company that bought the movie rights to an autobiographical novel marketed as being based on LeRoy's life.

The federal jury, after a short deliberation, awarded $116,500 to Antidote International Films Inc.

Screenwriting – Write Your Movie Backwards

Did you know that Dave Chase, the genius behind The Sopranos series, has visualized that shocking very last scene [screen going black for 10 seconds] a full three years ago? He carried that ending with him for three years. He must have realized the power of configuring his ending well in advance to settle the issue three years in advance.

Many successful movies would not add up to anything without their strong endings. Every scene is shaded and nuanced by the ending in one way or the other. As an art form with its own limitations, screenplays really are anchored by their last scenes.

Imagine, for example, the “Sixth Sense.” And think about its unexpected ending. Could any of the earlier scenes make any sense if the ending was different? Of course not.

Here is the “Ugur Akinci Method” (ahem!) of writing a screenplay without too much pain (“some pain” is unavoidable of course):

Here is the "Ugur Akinci Method" (ahem!) for writing a screenplay without too much pain ("some pain" is unavoidable of course):

1. First decide on what your ENDING will be.

2. Think your way backwards, all the way to the beginning of your script. Try to see the whole movie playing from beginning to the end in that little movie screen on the inside of your forehead.

3. Chop your story into 18 to 25 sequences.

4. Divide each sequence into 3 to 5 scenes.

5. Sit down and write the whole thing as quickly as possible from start to finish, without stopping for any reflection or self-criticism. The minute you stop and start "thinking" about it you will freeze forever and never get done.

6. Once you finish your 100 to 120 pages, you can re-write, edit and polish to your heart's content. Writing is rewriting. But "writing" -- and not the "rewriting" -- comes first.