Wednesday, March 18, 2009

The Selling Script

Screenwriter Billy Mernit urges us to break some rules and make your story sell: "Making you turn the page is what a good spec script does, no matter the height of its writer's status. Your spec doesn't have to suck. But it helps to acknowledge that it is a sell. It's not a work of art, it's not a priceless pinnacle of writing perfection, it's a draft of a story that wants to be movie. And if letting go of some rules you were taught is what it takes, to get people to see the movie you see in your head... have at it, I say. You have nothing to fear but another rewrite.

The fundamental job of a selling screenplay is to get the reader to empathize with its protagonist.

Paraphrased for emphasis: The most important task a screenplay must accomplish is to get whoever is reading it to identify with the lead character. It's really that simple, although often tricky to pull off. If you can't get an executive, an actor, a whoever the hell is reading the thing to see the story through the eyes of its protagonist, to experience your story's emotions as they're experienced by the person in the starring role... then you are dead in the water."

Monday, March 9, 2009

Michael Arndt - On Screenwriting


Watched Michael Arndt, screenwriter for Little Miss Sunshine, give a presentation, here are some notes:
  • Love your characters
  • Don’t condescend to your character – As smart as you are – If not smarter
  • Don’t give fake problem – give real problem
  • Give them a real problem the audience can’t figure out ahead of time
  • Push them into the most horrible corner you can, then give the audience a solution they couldn’t see
  • Ending. Looks like going to be a huge disaster, then do something to flip it and make it be the best thing ever
  • Preston Sturges. Billy Wilder. Everyone is funny. Not just one guy. Use ensemble. Bouncing off each other.
  • If you’re stuck in script, don’t look for best thing. Make list of everything possible. Then choose the best thing.
  • The solution is already in the script. You already thought of it, you’re just not aware. You don’t have to invent something new.
  • Screenwriting is an endurance race. Assume 90% failure rate.
  • You have to be doing it just for the pleasure of doing it.
  • Story is about the ending. Reverse engineer story.
  • What decisive action leads to climax? You have to know what’s at stake in that decisive action. External, internal and philosophical
  • Little Miss Sunshine Structure:
  • Exciting incident: Aunt Cindy Calls
  • 1st Act Break. Richard slams fist on table, we’re going to California!
  • Mid-point. Grandpa dies
  • 2nd act break. Arrive California
  • 3rd act. Achieve goal. Reveal much bigger problem. Reverse 2nd act.
  • Climax. Super Freak
  • Need an agenda to a comedy. Most comedies are not about anything.