Archive for July, 2010

Screenwriting 101: The Parabola

Saturday, July 10th, 2010

More from the original John G.

DRAMATIC ACTION IS PARABOLIC.

CHARACTER WANTS TO DO X

IT BECOMES LESS AND LESS POSSIBLE.

THINGS HAPPEN SO THAT S/HE HAS TO DO Y.

Beats are units that make up parabola. The parabola is the skeleton. Beats are the muscle. One parabola leads to the next.

People do not want to change. They hang on as long as they can until it is painfully clear that they MUST change.

The PARABOLA – 5 C’s

C.1         CHOICE

I will go into the kitchen to get cookies.

C.2          COMMITMENT

I enter the kitchen.

C.3         CONSEQUENCE [UNEXPECTED AND UNWELCOME]

But there are no cookies here.

C.4         COUNTERCAST

The wall caves in behind me. I cannot return to my bedroom to watch Family Guy on Hulu.

C.5         CONCLUSION [REVERSE OF CHOICE]

I must escape this kitchen and continue my search for cookies.

JERRY MAGUIRE – The Mission Statement

A little kid tells Jerry to fuck himself. “Who had I become? Just another shark in a suit?”

C.1         CHOICE

Jerry has a breakthrough – he hates his place in the world. He DECIDES to write a memo. To help save himself.

C.2          COMMITMENT

“And then it happened.” He sits down and writes and writes and writes. “Fewer clients. Less money.” He mass produces it. “EVERYBODY got a copy.”

C.3         CONSEQUENCE [UNEXPECTED AND UNWELCOME]

“Boom.” He realizes this is a horrible mistake. He frantically calls the hotel reception…

C.4         COUNTERCAST

…but the manuscripts have already been sent out.

C.5         CONCLUSION [REVERSE OF CHOICE]

Although he is cheered wildly the next morning, director Cameron Crowe forshadows what will happen soon – sure enough, he is FIRED.

This begins the next parabola where Jerry C.1: Decides to keep all his clients, C.2: and calls them, desperately fighting against the Bob Sugar’s rumors and leverage. C.3: He cannot keep pace with either and then gets stuck in a conversation with motormouth Rod Tidwell who throws Jerry’s “more personal attention” line back at him. As the “on hold” lights on the phone become fewer and fewer Jerry must prove his loyalty to Rod by screaming “Show me the money.”  C.4: At the end of this conversation, there is no one left for Jerry to talk to. C.5: Jerry must move forward with just Rod, Dorothy Boyd and the fish.

Ironically enough, now he has less clients and less money, which is what he was preaching in the first place. And by the end of the film, that mission statement that caused him so much pain does end up saving him.

Man, making movies is easy!

-ML

Getting Things Done – By Any Means Necessary!

Saturday, July 10th, 2010

Modern life is pretty absurd sometimes. I don’t know how we get anything done with all this reflecting on how we get things done.

At any rate, WELCOME TO THE TEAM LEE!

Characteristic ridiculousness.

-ML

10th team member announced!

Friday, July 9th, 2010

The search for the tenth and final member of our Four-Week Feature team has been a long and circuitous one.  At first, we weren’t even sure what the job description was; the initial thought was to bring someone on as a kind of personnel manager — someone to keep us all sane and functioning — until Chad pointed out that we were dangerously light in the technical departments, with only him, Derek, and Clint focused primarily on the nuts and bolts of making a film.  The search was on for the elusive Fourth Technician.  And there were a lot of false starts along the way.

But now, thanks to the vigilant efforts of Lauretta Prevost, who shot “Sublet” for the 12 Films 12 Weeks project, that crucial final member has been found!  His name is Lee Gillentine, and we’re very pleased to welcome him to the team.  In addition to being Lauretta’s roommate, Lee is a blogger, tweeter, and filmmaker with both electrical department and production experience.  I’ve never met Lee personally, but he and Mike got together at Mike’s apartment two days ago, and I joined them from Connecticut via video-chat.  The chat was surreal to say the least; because of the abysmal Internet connection at my parents’ lovely home, I was getting about a five-second delay on the video, but with more-or-less live audio through my cell phone.  As a result, I may have come across as … a little … slow — but I enjoyed the conversation!  I’ve posted a brief clip below so you can see how silly it got.

(From left to right: Mike, Lee, me.)

Fascinating, no?  Anyway, we decided Lee was the kind of guy we could spend four weeks in a condo with, and he was obviously excited about the project.  It was more or less a no-brainer.

(Incidentally, Lee’s Dead Sea comparison is not too far off, but not exactly right either.  From Wikipedia: The salinity of Great Salt Lake is highly variable and depends on the lake’s level; it ranges from 5 to 27%, (or 50-270 ppthousand). For comparison, the average salinity of the world ocean is 3.5% (35 ppthousand) and 30.7% in the Dead Sea.)

I’ll get to meet Lee in just a couple of hours, when most of the Four-Week team gathers at Mike’s for a screening of Memento.  Footage from that event will be up in this space soon!  Till then, keep cool.

-KB

Insta-Inspiration!

Thursday, July 8th, 2010

Worst comes to worst, we’ll just throw a couple of these together and improvise! Via Tom Gauld.

-ML

Screenwriting 101: Beats

Wednesday, July 7th, 2010

SCENES ARE BUILT ON BEATS.1

This goes back to Stanislavski. Beats are the byproduct of two (or more) character’s incompatible agendas. Only one can be successfully realized and often it takes a very long time for the protagonist to get what s/he ultimately desires. If not, Lord of the Rings would have gone something like this:

FRODO

Give me the ring. It must destroy it.

GOLLUM

Here is precious, for you!

Frodo throws the ring into the center of a nearby volcano. Evil dies forever.

THE END.

The beat is like a possession in football. Whoever has the ball tries to advance. Whoever is on defense tries to stop the other’s advance. If they are stopping the RUN, the offense is likely to CHANGE TACTICS and mix it up with a PASS. Evenly matched teams produce the most dramatic, most entertaining games. Evenly matched characters have the same effect. Blowouts are boring.

*****

BASIC BEAT RHYTHM

Two characters: A & B

  1. A makes an offer – Met by weak block by B
  2. A makes a revised (but not different) offer – Met by stronger block by B
  3. Impasse (not a silence)
  4. A makes a much revised (but not different) offer – Met by a counter from B
  5. A & B negotiate the differences between the revised offer and the counter: this is the core of the scene and takes the most time.
  6. This offer is either accepted in the revised form or fails despite the negotiation.

You see the wit and relationships in the negotiations. The characters come alive.

An example from the shooting script of Pulp Fiction. Vincent races to his drug dealer’s house with a woman who is overdosing. He needs his dealer’s help. The dealer does not want to be involved in any way. Drama and dark comedy ensues.

VINCENT – OFFER
Lance, this is Vincent, I’m in big
fuckin’ trouble man, I’m on my way
to your place.

LANCE – WEAK BLOCK
Whoa, hold you horses man, what’s
the problem?

VINCENT
You still got an adrenalin shot?

LANCE
(dawning on him)
Maybe.

VINCENT – REVISED OFFER
I need it man, I got a chick she’s
fuckin’ O.D.ing on me.

LANCE – STRONGER BLOCK
Don’t bring her here!  I’m not even
fuckin’ joking with you, don’t you
be bringing some fucked up pooh-
butt to my house!

VINCENT – IMPASSE
No choice.

LANCE- IMPASSE
She’s O.D.in’?

VINCENT- IMPASSE
Yeah.  She’s dyin’.

LANCE – NEGOTIATION
Then bite the fuckin’ bullet, take
‘er to a hospital and call a lawyer!

VINCENT – NEGOTIATION
Negative.

Moments later, in person…

LANCE – NEGOTIATION
Have you lost your mind?!  You
crashed your car in my fuckin’
house!  You talk about drug shit on
a cellular fuckin’ phone –

VINCENT – NEGOTIATION
If you’re through havin’ your
little hissy fit, this chick is
dyin’, get your needle and git it now!

LANCE – NEGOTIATION
Are you deaf?  You’re not bringin’
that fucked up bitch in my house!

VINCENT – NEGOTIATION
This fucked up bitch is Marsellus
Wallace’s wife.  Now if she fuckin’
croaks on me, I’m a grease spot.
I’m gonna be forced to tell
‘im about how you coulda saved her
life, but instead you let her die
on your front lawn.

OFFER ACCEPTED.

Easy!

-ML

  1. Notes from the screenwriting classes of Professor John Glavin. []

Screenwriting 101: The Protagonist

Tuesday, July 6th, 2010

Another blatant swipe – from Michael Goldenberg via John August.

The protagonist is the character that suffers the most.

More great stuff on protagonists and heroes here.

-ML

Kickstarter news: we’ve been offered matching funds!

Tuesday, July 6th, 2010

If you see this man, tell him we're looking for him.

For those of you who haven’t been following our Kickstarter fundraising campaign, it’s been going pretty well; we’re up to 53 backers and $3,328 in pledges.  Even more exciting: we’ve just received word that any money we manage to raise on Kickstarter will be matched, dollar for dollar, by an anonymous benefactor!  As you can imagine, we’re overjoyed by this news.  Suddenly this whole crazy endeavor seems a little less crazy …

The catch, of course, is that since Kickstarter funding is an all-or-nothing proposition, we have to meet our $10,000 goal in the next seventeen days in order to see so much as a penny.  The pressure is on!  If you’d like to contribute to the cause (and no amount is too small!), you can click here.  If you’re unable to give, but would like to help, you can simply spread this link around to friends and family: http://tinyurl.com/help4wf

Our thanks to those who have pledged so far, and those who have helped spread the word.  This is the first project we’ve attempted to raise money for, and the groundswell of support we’ve seen to date has been both humbling and gratifying.  Keep it coming!  We have no intention of letting you down.

-KB

Screenwriting 101: Low Budget, High Narrative

Monday, July 5th, 2010

I don’t know much about making movies and I’m forgetting the little I do know all the time, so I’m going to spend the next few weeks reminding myself slash imparting some nuggets to the 4WF team.

Today’s lesson is jacked straight from my boy John August. 1.

A lot of story can happen even when you’re constrained to a few locations. Hamlet takes place in a few rooms. So does The Usual Suspects. Both Go and The Nines pack a lot into each of their three-part sections. And while Sex, Lies and Videotape might seem low-plot, the story keeps forcing characters to make choices and face the consequences…

The writing is always going to be the least expensive but most challenging part of the process. Making a low-budget movie is a study in compromises. Story shouldn’t be one of them.

Full article here.

This follows with one of my goals of the project: creating a compelling protagonist who WANTS something & a plot where THINGS HAPPEN. Sounds simple but I’m always surprised by how much of my first drafts are angsty chit chat and how little actually transpires.

Disagree? Totally agree? Noncommittal? Leave a comment!

-ML

1. I do not have a personal relationship with John August. He’s just the man.

Lessons from LAB Intensive — Mike’s take

Sunday, July 4th, 2010

One week removed from the LAB ensemble; it’s like trying to remember a dream. Fortunately there are 40 other dreamers who can help me remember. Some of this will sound like hippie, artsy-fartsy crapola. But love is pretty sappy sounding too, unless you’re in love, in which case, nothing else is more important. Here are a few thoughts, seven days later.

1. It’s not about creating work that is great – it’s just about creating

As the aforementioned David Deblinger told us on Day One, “The work we do here is not about stress or pressure. It’s about rigor and being diligent.” That is, more “Just do it” and less “Do it well.” The whole LAB experience was set up to encourage risk and bravery – a celebration of the ACT of creation.  It was more important that the work existed than for it to be an enduring piece of art. Which in turn created the ideal conditions for everyone to do their best work. The crazy applause that Keith spoke about fostered an environment of complete support and trust. The audience was with you, accepted you, loved you from the jump. You had already succeeded.

2. No one sucks as bad as they think

There’s at least one thing everyone abhors doing. Sometimes it’s several things. But everyone did everything – there was no place to hide. And whenever there was full commitment, the skill level didn’t matter. Everyone in my group sang. Everyone in my group is not a singer. But I heard nothing embarrassing or cringe-inducing. Everything was beautiful in it’s own truthful way – a crack in someone’s singing voice, a flub of a line, a fall during movement exercise. It wasn’t a mistake, it was just pushing yourself beyond your comfort zone. Everyone thinks they suck at something. Do it anyway.

Keith in bed with two beautiful women! ( MAN, I'm getting good at Photoshop! )

3. Stretch your limits. Respect the limits of others.

“I am going to say something that will be very unpopular.” It was 2:30AM, Saturday morning, outside a nearby chapel. Group C had just finished our first read through of our Group Project. We were exhausted and sick of each other. I was the one about to spring a terrible idea on the team: “I think we need to start blocking this now. We’re performing this in about 17 hours. If we don’t – ” I was cut off by a dissenting and utterly spent mob. The team was wiped and could not go on. I said, “Ok, cool. Well… I guess I’ll work on some transitions between now and then.” We all agreed to meet at 8:30AM in the rugby field behind the cafeteria.

Three other members of the team remained and we all jammed until 5 – among the four of us we blocked the whole show and even figured out a cool opening and closing for the project. We never would have gotten through as much with the whole team there – and it would have made everyone miserable. Sometimes you just need to hang around, see who wants to hang around too and go from there. And sometimes you need to call it a night. Know thyself.

Group C strikes a pose

4. The mind can control the body

That night I got to bed at 5:30. I was sleeping 3-4 hours a night toward the end of the week. Mealtimes shrank into 10 minutes of wolfing down as much as possible so I could re-write, rehearse or memorize some thing or another. And I felt amazing. Not just awake, but hyper-awake, super-aware, unnaturally driven. The entire week we were headed toward something glorious – both as a team and as a collaborative. It was as spiritual an experience as I’ve ever had.

As I trekked up the hill back to the dorms that night, the full moon shining down on the four of us, I was reminded of a quote by George Patton:

Now if you are going to win any battle you have to do one thing. You have to make the mind run the body. Never let the body tell the mind what to do. The body will always give up. It is always tired in the morning, noon, and night. But the body is never tired if the mind is not tired.

5. We can do this

Stephen Adly Guirgis’ advice for writing was: “Get down. Stay down.” You stay down long enough to write something and you don’t get up until you have something. I think that’s the key to success in any field. You get down, you stay down – you sit down you do not leave the table. If there is no exit sign, no escape hatch, how could you possibly fail? It’s just you and the work and the rest of your life. What else is there?

Utah, I’m ready to get down, get down.

Jungle boogie!

-ML

Lessons from LAB Intensive — Keith’s take

Thursday, July 1st, 2010

As Mike mentioned in his last post, he and I spent all of last week at the LAByrinth Theater’s Intensive Ensemble, where we slept little, made new friends, and immersed ourselves in theater up to our eyeballs.  In many ways, it was the perfect precursor to the Four-Week Feature, and Mike encouraged me to do a blog entry about things I learned at the Intensive that we can apply to August’s project.  Below is what I came up with.  Hopefully, Mike will chime in with his insights at a later date!

  1. A little noise is a powerful thing. Every night at 10 PM, all the members of the Intensive Ensemble would gather in a basement-level room to witness a reading of a new or in-progress play.  This happened at the end of a long day of classes and rehearsals, and we all knew we would have to wake up the next morning to begin the whole cycle again.  By rights, we should have been a sluggish, low-energy crowd, but one of our instructors, David Deblinger, took it upon himself to begin every reading with a loud, enthusiastic incantation.  “Yo yo yo yo YO!!!” he would shout, and the whole audience would go into a frenzy of clapping, cheering, and banging on tables.  He would then shout out the names of the play, the director, and the playwright, all to wild applause.  Then, and only then, the reading would begin, and whatever slothfulness we might have felt coming into that room would vanish into the excitement of seeing something new.
  2. Mike takes charge for a moment.

  3. It helps to know what your job is. For our final project at the end of the program, each eleven-person group had to present a twenty-minute piece of theater — in any location, in any style, on any topic.  As you can imagine, the early brainstorming sessions were difficult, because we had so little assignment to go on, and eleven points of view to accommodate.  Things got a lot easier when we had designated a choreographer, dancers, a writing team, and a director.  We didn’t confine ourselves to those roles exclusively, but it was useful to know what our default positions were.
  4. It helps to have something on paper. Another thing that made those early brainstorming sessions so challenging was that we were, in effect, critiquing scripts that hadn’t been written.  I can try to sell you on my idea, and you can have a reaction to it, positive or negative, but until the words are actually in front of us, it’s hard to know if we’re even talking about the same thing.  Some of our early arguments simply dissolved once the first draft was completed; others came more sharply into focus, so we could deal with them in a more informed way.
  5. Look! I'm LISTENING!

  6. Shut up and listen. Oftentimes, in class or in rehearsal, I would find myself wanting to defend myself, defend my own ideas, prove my worth, and all that jazz.  I had to keep reminding myself that learning and collaborating are not competitive sports.  The first step to really making yourself heard is to listen.  The second step is usually to listen some more.
  7. We can do this. For a week, I was overextended, under-rested, collaborating intensely — and sometimes contentiously — with people I’d only just met.  I didn’t cry (except cathartically), I didn’t scream at anyone (except when I was “in character”), and I never egregiously dropped the ball.  Not only that, but my group managed to create a piece of theater we were all proud of in the little free time our class schedule afforded us.  Anything is possible if you want it badly enough.  I’ve never felt more confident about August than I do right now.

My thanks to everyone who participated in the Intensive Ensemble.  Watch this space for more updates!

-KB