James M. Cain, tough guy novelist & screenwriter, was interviewed before his death in 1977.
Many of his great works were made into movies, ex. "Double Indemnity" & "The Postman Always Rings Twice." His novel, "Mildred Pierce", was recently remade for HBO with Kate Winslet.
I thought his words re: the difference between theme vs. plot were so helpful. It is in the 3rd to last paragraph.
Here's an excerpt from the interview:
[I've changed the paragraphing for your viewing pleasure. All parentheticals are mine.]
Q: What are the events behind Mildred Pierce?
A: Jim McGuinness, my old producer friend at Columbia, once made a remark that led to "Mildred Pierce." Out in Hollywood all they talk about is story - secretaries, everybody - story.
Well, one day we were going to lunch, talking about stories, when he said, "There's one that's never failed yet, and that's the story of a woman who uses men to gain her ends." I though, well, if it's never failed yet that sounds like a pretty good story to me.
Secretly, then, I began to try to adjust this formula. For a while I had the woman as an airline stewardess. Then she was a girl who won a beauty contest & came to Hollywood. Neither of these came to life, so I thought, maybe it makes some difference what ends.
I suddenly thought it might help if her children were the ends she used men for, & naturally it would be better if it focused on one child. But I had to have another child in there so it wouldn't seem so pat & easy.
Then made her not a femme fatale at all, just a housewife, but she had that instinct to use men.
Every time I had trouble with that book I thought, "My friend, you've forgotten what your story is about. This is not the story of a woman who is devoted to her daughter & is nuts about her [plot]; it's a story about a woman who uses men to gain her ends [theme]."
Every time I'd remember that & reinstate that theme in the book, it would go.
No reviewer or anybody who read it ever detected that that's what the book is about. I didn't highlight it enough. I don't take much pride in "Mildred Pierce," I have to confess to you. It's not my kind of book. I made some egregious mistakes in it, especially right at the end, which is a very costly place to make mistakes.
From "Backstory:Interviews with Screenwriters of Hollywood's Golden Age," by Pat McGilligan (1986).
Wednesday, December 8, 2010
Wednesday, December 1, 2010
TODAY'S NUGGET: 30 Scripts in 30 Days
Here's what I've learned in the past 30 days:
1 - As I moved up to #1, the scripts got better.
2 - Why did they get better? The characters became fuller, clearer.
3 - How do I define "clearer"?
We're dropping in on a character on a particular day in their lives. They have busy lives before & after this story.
If a "character is just a function of the plot" as Tom Hooper says, they are cardboard cutouts who exist just for the script.
4 - The plot follows the character, not the other way around.
ex. In Citizen Kane, we're following Kane. It doesn't matter that the story isn't in chronological order.
ex. In the Godfather, we're following Michael as he struggles. It doesn't matter who he's fighting. All we want to see is how he takes on the mantle of Don.
ex. In Casablanca, we're following Rick. Is he really going to leave Casablanca?
5 - Most people mention the plot when talking about scripts #20-30. Most people mention the characters when talking about #1-19.
WHAT I'VE LEARNED: This is the best thing I've done for myself as a writer.
It's easy to read scripts, but the real work is studying why they work.
1 - As I moved up to #1, the scripts got better.
2 - Why did they get better? The characters became fuller, clearer.
3 - How do I define "clearer"?
We're dropping in on a character on a particular day in their lives. They have busy lives before & after this story.
If a "character is just a function of the plot" as Tom Hooper says, they are cardboard cutouts who exist just for the script.
4 - The plot follows the character, not the other way around.
ex. In Citizen Kane, we're following Kane. It doesn't matter that the story isn't in chronological order.
ex. In the Godfather, we're following Michael as he struggles. It doesn't matter who he's fighting. All we want to see is how he takes on the mantle of Don.
ex. In Casablanca, we're following Rick. Is he really going to leave Casablanca?
5 - Most people mention the plot when talking about scripts #20-30. Most people mention the characters when talking about #1-19.
WHAT I'VE LEARNED: This is the best thing I've done for myself as a writer.
It's easy to read scripts, but the real work is studying why they work.
Tuesday, November 30, 2010
TODAY'S 2nd NUGGET: #1 WGA Script of All Time - Casablanca (1942)
[Quick Summary: Rick meets old flame Ilsa. Will he help her leave Casablanca?]
This is a fantastic script because it has great structure, & meaty characters.
But it's a very rare script because it has real humor.
Not ha-ha humor, but subtextual humor borne out of the character & conflict.
ex. German Major Strasser wants a reason to make trouble for Rick.
STRASSER: What is your nationality?
RICK: I'm a drunkard.
Rick doesn't want to answer, but also doesn't want to offend. So he uses humor to defuse & distract. He's poking fun at Strasser, & sending a message that he won't be cornered.
Also, the structure lends itself beautifully for humor & conflict.
ex. The script begins with refugees Jan & Annina who don't have money for visas.
It then lays out in great detail that Rick thinks of himself as heartless. He would never rig a casino game except to bribe the police.
So when Jan puts his last chips on Rick's roulette table, it's quite funny & poignant that Rick lets Jan win enough for visas.
It says a lot about how Rick is changing (without any on the nose dialogue), & shows how things are getting more desperate (raising stakes).
WHAT I'VE LEARNED: I simply loved the subtext & humor.
The script was unapologetically smart, but never forgot it was telling a good story.
I find it amazing that they shot this with a half finished script, & were writing the night before each day's shoot.
Casablanca (1942)
by Julius & Phillip Epstein, Howard Koch
This is a fantastic script because it has great structure, & meaty characters.
But it's a very rare script because it has real humor.
Not ha-ha humor, but subtextual humor borne out of the character & conflict.
ex. German Major Strasser wants a reason to make trouble for Rick.
STRASSER: What is your nationality?
RICK: I'm a drunkard.
Rick doesn't want to answer, but also doesn't want to offend. So he uses humor to defuse & distract. He's poking fun at Strasser, & sending a message that he won't be cornered.
Also, the structure lends itself beautifully for humor & conflict.
ex. The script begins with refugees Jan & Annina who don't have money for visas.
It then lays out in great detail that Rick thinks of himself as heartless. He would never rig a casino game except to bribe the police.
So when Jan puts his last chips on Rick's roulette table, it's quite funny & poignant that Rick lets Jan win enough for visas.
It says a lot about how Rick is changing (without any on the nose dialogue), & shows how things are getting more desperate (raising stakes).
WHAT I'VE LEARNED: I simply loved the subtext & humor.
The script was unapologetically smart, but never forgot it was telling a good story.
I find it amazing that they shot this with a half finished script, & were writing the night before each day's shoot.
Casablanca (1942)
by Julius & Phillip Epstein, Howard Koch
TODAY'S NUGGET: #2 WGA Script of All Time - The Godfather (1972)
[Quick Summary: When the Godfather is wounded, will the succession of power go easily. (Answer: No.)]
This story is about the making of a new Godfather.
The brilliance of the script comes from how the characters change, i.e., the characters' arc.
ex. Michael begins as a far removed player.
But through the death of Sonny, the wounding of the Godfather, the death of his first bride, Michael must grapple with conflicts he would rather not.
He doesn't want to get involved with the family business. But he has the right temperament for it.
He falls in love & marries a beautiful Italian girl, who is killed. He returns home & marries Kay...but does he love her?
When the Don dies, Michael must step up. But he has doubts that he's ready.
It's not easy to make Michael's changes very human. It would've been easier to write him as a caricature.
But in this script, he really struggles with making the right decisions for himself & family. He earns each milestone.
I also liked that even the minor characters had arcs.
ex. Kay's reaction to the same situations take her from naive to hardened.
WHAT I'VE LEARNED: Once again, character traits rule.
The whole purpose of the plot is to push the character one step closer to something he doesn't want to face. Here, Michael has to take the reins of an empire he didn't want.
The Godfather (1972)
by Mario Puzo & Francis Ford Coppola
This story is about the making of a new Godfather.
The brilliance of the script comes from how the characters change, i.e., the characters' arc.
ex. Michael begins as a far removed player.
But through the death of Sonny, the wounding of the Godfather, the death of his first bride, Michael must grapple with conflicts he would rather not.
He doesn't want to get involved with the family business. But he has the right temperament for it.
He falls in love & marries a beautiful Italian girl, who is killed. He returns home & marries Kay...but does he love her?
When the Don dies, Michael must step up. But he has doubts that he's ready.
It's not easy to make Michael's changes very human. It would've been easier to write him as a caricature.
But in this script, he really struggles with making the right decisions for himself & family. He earns each milestone.
I also liked that even the minor characters had arcs.
ex. Kay's reaction to the same situations take her from naive to hardened.
WHAT I'VE LEARNED: Once again, character traits rule.
The whole purpose of the plot is to push the character one step closer to something he doesn't want to face. Here, Michael has to take the reins of an empire he didn't want.
The Godfather (1972)
by Mario Puzo & Francis Ford Coppola
Monday, November 29, 2010
TODAY'S NUGGET: #3 WGA Script of All Time - Chinatown (1974)
[Quick Summary: A p.i. is hired on an adultery case, but it turns out to be a setup, & he is plunged into a much deeper mystery revolving around LA, land, & water.]
Some people call this the perfectly structured script.
What I like most is that the problem escalates because of Gittes' character traits.
ex. Mrs. Mulwray hires Gittes. Gittes takes pictures of Mr. Mulwray with another woman. There's a big scandal...except that the "Mrs. Mulwray" who hired him wasn't the actual Mrs. Mulwray.
Gittes has many reasons not to pursue this case, yet he can't put it down.
He's curious and takes pride in his reputation. He's offended that he was made to look bad & wants to know who set him up.
This isn't business. It's personal.
His traits (curiosity & pride) are great motivators because things get much worse. He could back off at any time, but it's that darn curiosity that drives him to risk more & more.
WHAT I'VE LEARNED: The plot is convincing because Gittes is convincing.
It all stems from believing that Gittes needing to know...& the plot is believable too.
Chinatown (1974)
by Robert Towne
Some people call this the perfectly structured script.
What I like most is that the problem escalates because of Gittes' character traits.
ex. Mrs. Mulwray hires Gittes. Gittes takes pictures of Mr. Mulwray with another woman. There's a big scandal...except that the "Mrs. Mulwray" who hired him wasn't the actual Mrs. Mulwray.
Gittes has many reasons not to pursue this case, yet he can't put it down.
He's curious and takes pride in his reputation. He's offended that he was made to look bad & wants to know who set him up.
This isn't business. It's personal.
His traits (curiosity & pride) are great motivators because things get much worse. He could back off at any time, but it's that darn curiosity that drives him to risk more & more.
WHAT I'VE LEARNED: The plot is convincing because Gittes is convincing.
It all stems from believing that Gittes needing to know...& the plot is believable too.
Chinatown (1974)
by Robert Towne
Sunday, November 28, 2010
TODAY'S NUGGET: #4 WGA Script of All Time - Citizen Kane (1941)
[Quick Summary: After Charles Kane's death, newspaper reporters try to make sense out of his last words.]
I've never seen this movie or read this script before.
But now I can say I'm "one of those people" who understand Citizen Kane completely.
I get why it's non-linear, & why Ebert has analyzed it at least 30 times (shot by shot), & what Rosebud means to Kane.
Actually, I'm lying. (Except that I've read the script.)
The script is ambitious & the theme is enormous: It's about how Kane's hubris led to forcing everyone to bend to his will. How do you do that visually?
It also attempts things that cause other scripts to fail, ex. The narrative jumps around in time. Kane is his own antagonist. There are a lot of quick montages.
But it works here, but why?
I think it boils down to the #1 commonality in the top 5 scripts: The character is well-rounded & three dimensional.
When the narrative jumps around in time, it's ok because it deliberately focuses us on one of Kane's characteristics. (In other words, we're driven by the character, not the plot.)
When Kane is his own antagonist, it's ok because the only person who could take Kane down is Kane himself. (He gets in his own way all the time, not just for this film.)
When there are quick montages of the Enquirer building circulation, it isn't a cheat. It's a visual of Kane's success, as well as the swelling of his head, which is vital to the story.
WHAT I'VE LEARNED: This script is over the top...yet believable.
That's tough. Really tough.
Citizen Kane (1941)
by Herman J. Mankiewicz & Orson Welles
I've never seen this movie or read this script before.
But now I can say I'm "one of those people" who understand Citizen Kane completely.
I get why it's non-linear, & why Ebert has analyzed it at least 30 times (shot by shot), & what Rosebud means to Kane.
Actually, I'm lying. (Except that I've read the script.)
The script is ambitious & the theme is enormous: It's about how Kane's hubris led to forcing everyone to bend to his will. How do you do that visually?
It also attempts things that cause other scripts to fail, ex. The narrative jumps around in time. Kane is his own antagonist. There are a lot of quick montages.
But it works here, but why?
I think it boils down to the #1 commonality in the top 5 scripts: The character is well-rounded & three dimensional.
When the narrative jumps around in time, it's ok because it deliberately focuses us on one of Kane's characteristics. (In other words, we're driven by the character, not the plot.)
When Kane is his own antagonist, it's ok because the only person who could take Kane down is Kane himself. (He gets in his own way all the time, not just for this film.)
When there are quick montages of the Enquirer building circulation, it isn't a cheat. It's a visual of Kane's success, as well as the swelling of his head, which is vital to the story.
WHAT I'VE LEARNED: This script is over the top...yet believable.
That's tough. Really tough.
Citizen Kane (1941)
by Herman J. Mankiewicz & Orson Welles
Saturday, November 27, 2010
TODAY'S NUGGET: #5 WGA Script of All Time - All About Eve (1950)
[Quick Summary: Eve, an ambitious young actress, insinuates herself into an older stage actress' (Margo's) circle in order to become a star.]
This script was nominated for 14 Oscars, the most ever (until "Titanic" tied it in 1997). It held the record for 47 YEARS!
It was also nominated against "Sunset Boulevard", which also was about an aging actress.
Do I agree that the writing in "All About Eve" should've edged out "Sunset Boulevard"?
Yes, but only by millimeters.
Why? I think it's because Eve's "selfless, good intentioned" actions are actually self-serving.
Eve's actions are beyond reproach...but her motives are cloaked. This results in great subtext as Margo comes to realize Eve's true motives.
ex. Around p. 37, Margo gets an unexpected phone call from the operator. Eve had pre-arranged with the operator that Margo should call Bill to wish him a happy birthday.
Margo feels terribly guilty because she forgot Bill's birthday completely, & that Eve has been planning a 'surprise' party with Bill, unbeknownst to Margo.
On the surface, Eve seems like such a thoughtful person. But her actions cause Margo's female intuition to ring off the hook.
On the surface, everyone marvels at efficient, kind Eve. But Margo knows at some level that Eve covets Bill.
Eve is so good at looking innocent that people jump to her defense. This causes Margo to doubt herself because Eve seems to want nothing but Margo's happiness.
But that's the genius of Eve. She is a well thought out character who persuades others to champion her cause...all the while, Eve is undermining Margo.
WHAT I'VE LEARNED: I'm getting into rarified air with the top 5 scripts.
Margo & Eve are three dimensional characters & this script is a slice of their lives. The plot falls naturally from the character & her flaws, i.e., they are not constructed just for this plot.
[I believe this is what Tom Hooper (see previous post) means when he says characters should not be a function of plot.]
All About Eve (1950)
by Joseph Mankiewicz
This script was nominated for 14 Oscars, the most ever (until "Titanic" tied it in 1997). It held the record for 47 YEARS!
It was also nominated against "Sunset Boulevard", which also was about an aging actress.
Do I agree that the writing in "All About Eve" should've edged out "Sunset Boulevard"?
Yes, but only by millimeters.
Why? I think it's because Eve's "selfless, good intentioned" actions are actually self-serving.
Eve's actions are beyond reproach...but her motives are cloaked. This results in great subtext as Margo comes to realize Eve's true motives.
ex. Around p. 37, Margo gets an unexpected phone call from the operator. Eve had pre-arranged with the operator that Margo should call Bill to wish him a happy birthday.
Margo feels terribly guilty because she forgot Bill's birthday completely, & that Eve has been planning a 'surprise' party with Bill, unbeknownst to Margo.
On the surface, Eve seems like such a thoughtful person. But her actions cause Margo's female intuition to ring off the hook.
On the surface, everyone marvels at efficient, kind Eve. But Margo knows at some level that Eve covets Bill.
Eve is so good at looking innocent that people jump to her defense. This causes Margo to doubt herself because Eve seems to want nothing but Margo's happiness.
But that's the genius of Eve. She is a well thought out character who persuades others to champion her cause...all the while, Eve is undermining Margo.
WHAT I'VE LEARNED: I'm getting into rarified air with the top 5 scripts.
Margo & Eve are three dimensional characters & this script is a slice of their lives. The plot falls naturally from the character & her flaws, i.e., they are not constructed just for this plot.
[I believe this is what Tom Hooper (see previous post) means when he says characters should not be a function of plot.]
All About Eve (1950)
by Joseph Mankiewicz
QUOTE OF THE DAY: Tom Hooper on Character
"I get very few original screenplays where the character writing is anywhere near as good as when the characters are drawn from history....
I'm tired of scripts where the character is just a function of the plot, but I am consistently drawn to iconic figures who are highly flawed. It isn't difficult to humanize them because they have such an active struggle."
- Tom Hooper, director of "The King's Speech". USA Today, 11/26/10.
I'm tired of scripts where the character is just a function of the plot, but I am consistently drawn to iconic figures who are highly flawed. It isn't difficult to humanize them because they have such an active struggle."
- Tom Hooper, director of "The King's Speech". USA Today, 11/26/10.
Friday, November 26, 2010
TODAY'S NUGGET: #6 WGA Script of All Time - Annie Hall (1977)
[Quick Summary: Neurotic guy & ditzy girl break up. Guy remembers the relationship.]
As I get closer & closer to the #1 script, the characters become more & more well rounded.
I can honestly say I know Annie Hall after reading about her. I know how she reacts to stress, how ambitious she is, what she's afraid of, what she's look for in a partner.
How did the writers get me so close to Annie? It was the small moments when she had to make decisions, i.e., her character arc of growth
ex. Annie's afraid of being seen as dumb. Alvy, the antagonist, likes being the know it all & lording it over Annie (though he would disclaim it if you pinned him about it).
Growth Step 1 - Alvy encourages Annie to take adult education classes, which she balks at, at first.
Growth Step 2 - But then she starts to enjoy learning - - & suddenly Alvy is threatened & tells her he thinks adult ed is "such junk".
Growth Step 3 - She decides to be brave & breaks up with him.
Step Backwards - She makes a bad decision (but understandable) & gets back together again with Alvy later.
This is reality. By Growth Step 3, Annie is stronger than at Step 1, but she is still emotionally attached.
She takes a step backward & decides to go with what is fun & safe...but the next time an opportunity is presented, she is positioned to risk it, i.e., Growth Step 4 - Tony, the famous record personality, offers her a chance to work together.
WHAT I'VE LEARNED: The growth arc is seen by a few steps forward, one step back
Annie Hall (1977)
by Woody Allen & Marshall Brickman
As I get closer & closer to the #1 script, the characters become more & more well rounded.
I can honestly say I know Annie Hall after reading about her. I know how she reacts to stress, how ambitious she is, what she's afraid of, what she's look for in a partner.
How did the writers get me so close to Annie? It was the small moments when she had to make decisions, i.e., her character arc of growth
ex. Annie's afraid of being seen as dumb. Alvy, the antagonist, likes being the know it all & lording it over Annie (though he would disclaim it if you pinned him about it).
Growth Step 1 - Alvy encourages Annie to take adult education classes, which she balks at, at first.
Growth Step 2 - But then she starts to enjoy learning - - & suddenly Alvy is threatened & tells her he thinks adult ed is "such junk".
Growth Step 3 - She decides to be brave & breaks up with him.
Step Backwards - She makes a bad decision (but understandable) & gets back together again with Alvy later.
This is reality. By Growth Step 3, Annie is stronger than at Step 1, but she is still emotionally attached.
She takes a step backward & decides to go with what is fun & safe...but the next time an opportunity is presented, she is positioned to risk it, i.e., Growth Step 4 - Tony, the famous record personality, offers her a chance to work together.
WHAT I'VE LEARNED: The growth arc is seen by a few steps forward, one step back
Annie Hall (1977)
by Woody Allen & Marshall Brickman
Wednesday, November 24, 2010
TODAY'S NUGGET: #7 WGA Script of All Time - Sunset Boulevard (1950)
[Quick Summary: Joe, a poor screenwriter, becomes a companion/writer for Norma Desmond, an aging star who rapidly becomes more & more unhinged.]
Billy Wilder has 4 of the top 30 scripts ("Double Indemnity", "The Apartment", "Some Like It Hot", & "Sunset Boulevard").
I think Sunset Boulevard takes the cake.
Sure, a guy is also lured into a female's web in Double Indemnity. But he wasn't facing Norma Desmond, the eight foot black widow spider.
Norma really makes the script. She's a worthy antagonist because she never lets up.
ex. Norma traps Joe in a gilded cage & keeps him dependent on her. When he balks, she punishes him with a suicide attempt. What a ballsy move. How can he leave now?
ex. Norma calls Betty to plant doubts about Joe. She forces Joe to come clean to Betty that he's living off of Norma.
Of course, this is the last straw. Norma has pushed Joe to face that he is better off broke in Ohio than in this cage.
WHAT I'VE LEARNED: Norma is no wimp & will not be ignored. A good antagonist will do that to bring the protagonist up higher.
I actually admired Joe a lot more by the end because he refused to bow to Norma. He earned his arc.
Sunset Boulevard (1950)
by Charles Brackett, Billy Wilder, & D.M. Marshman, Jr.
Billy Wilder has 4 of the top 30 scripts ("Double Indemnity", "The Apartment", "Some Like It Hot", & "Sunset Boulevard").
I think Sunset Boulevard takes the cake.
Sure, a guy is also lured into a female's web in Double Indemnity. But he wasn't facing Norma Desmond, the eight foot black widow spider.
Norma really makes the script. She's a worthy antagonist because she never lets up.
ex. Norma traps Joe in a gilded cage & keeps him dependent on her. When he balks, she punishes him with a suicide attempt. What a ballsy move. How can he leave now?
ex. Norma calls Betty to plant doubts about Joe. She forces Joe to come clean to Betty that he's living off of Norma.
Of course, this is the last straw. Norma has pushed Joe to face that he is better off broke in Ohio than in this cage.
WHAT I'VE LEARNED: Norma is no wimp & will not be ignored. A good antagonist will do that to bring the protagonist up higher.
I actually admired Joe a lot more by the end because he refused to bow to Norma. He earned his arc.
Sunset Boulevard (1950)
by Charles Brackett, Billy Wilder, & D.M. Marshman, Jr.
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