A lot of times, minor characters serve only as a bridge to plot points for main characters. Spouters of exposition, but generally needed and considered an acceptable cheat.
Supporting characters tend to be nothing BUT exposition fountains (think Ken Wantanabe as Dr. Ishiro Serizawa in 2014’s Godzilla). Just about the ONLY thing the good Dr. did was explain to the audience what was happening and spout some science gobbledegook to make it seem vaguely plausible. The more astute might say: just cut his character, what do you lose? (hint: nothing)
Dr. Serizawa doesn’t SHOW us anything. He TELLS us… ad nauseam.
But we’re really not talking about those sort of characters. Most of your summer blockbusters have that sort of character and we just sort of roll with it because, well, we roll with so many other God-awful movie sins, sure, let’s throw in Professor Exposition.
What we’re REALLY talking about are the hidden gems. Where can you REALLY make a minor character literally change the movie.
1) Alfred Molina in Boogie Nights
(Boogie Nights has a TON of examples where minor characters are BIG)
When the gang stops at Rahad Jackson’s house to sell him fake coke and rip him off, Alfred Molina steals the scene:
There are a million ways to write and perform that scene. This was the RIGHT way. They give Molina a KILLER set-up. Everything works here: the set-up, the music, the dialogue, the pacing. Continue Reading »
There’s a saying “you have to be able to eat your own dog food” that basically means — you’re making dog food, you should be willing to eat that dog food.
For example, people who work at Microsoft use Windows, not the latest Apple OS.
Or McDonald’s execs should actually eat at McDonald’s.
In the writing world, eating your own dog food translates into reading and enjoying your own work. Continue Reading »
What an incredible Cinderella story, this unknown comes outta nowhere to lead the pack at Augusta.
He’s on his final hole. He’s about 455 yards away. He’s gonna hit about a 2-iron, I think. Oh, he got all of that!
The crowd is standing on its feet here at Augusta, the normally reserved Augusta crowd, going wild, for this young Cinderella. He’s come outta nowhere. He’s got about 350 yards left. He’s gonna hit about a 5-iron, I expect, don’t you think? He’s got a beautiful backswing — that’s — oh, he got all of that one! He’s gotta be pleased with that.
The crowd is just on its feet here. He’s the Cinderella boy, uh — tears in his eyes I guess, as he lines up this last shot, he’s got about 195 yards left. And he’s got about a — it looks like he’s got about an 8-iron. This crowd has gone deathly silent, the Cinderella story, outta nowhere. A former greenskeeper and now, about to become the Masters champion. It looks like a mirac-
It’s in the hole! It’s in the hole!
Not just an improvised line, but an improvised scene. Pretty awesome. Continue Reading »
All things have a beginning.
I’m almost positive that’s a quote from some super-hero movie.
But of course all things have a beginning. But in script writing, you have to plan the beginning (and the middle, the end, and all points in-between).
Combine the idea of “massive planning” with the idea of “writing is re-writing” and one cancels out the other, doesn’t it? If writing is rewriting, why plan to the umpteenth degree? You’re just going to have to re-write it, anyway. Continue Reading »
The term ‘kill your darlings’ refers to the feeling that occurs in the editing process where something you’ve written has got to go. Doesn’t matter if you love it — if you have pace issues, length issues, story issues, sometimes you’ve got to delete that stuff. Save it for the sequel, maybe.
Those cuts are bad, they sting the soul.
But they’re not the worst.
The most unkind cut is turning one hundred ten pages into… ONE page. Not more. Not less.
My UNTITLED POSSESSION SCRIPT clocking in at 23,792 words spread across 113 pages. My one page synopsis is about 500 words and took me about two hours to write.
I’m a pretty good typist. I can type 500 words in about seven minutes. How, then, does that stretch to two hours of effort? Continue Reading »
What does “cheese smells so good on a burnt piece of lamb” mean? That’s where I’ve been over the past few days. What does it mean?
I’m going to tell you.
But first, let me back up…
Coming off SAFE (an exhausting experience), we decided to squarely focus on something that was easy (easier) to sell and settled on a cop / CIA / FBI thriller.
They make those all of the time. A nice big market.
Of course, you still actually have to write something compelling. Still have to check the same boxes. Still have to find a way to stand out against a crowded market filled with talented writers.
Before I started sketching out a cop thriller, I took a close look at 1995’s SE7EN…
… a movie I consider to be close to perfect. Great pace. Great direction. Iconic landscape. Iconic roles. Highly re-watchable. If I could get even close to what Se7en achieved, I was heading in the right direction. Continue Reading »
Script readers (at just about any level) are bored.
They’re bored by (their definition of) bad writing. They’re also angry. Angry that you didn’t follow the rules… and also a tad pissed you didn’t know when to break the rules.
To be sure, readers come in all shapes and sizes, but, as a writer, your number one job is to engage the audience (the reader). Sometimes, that’s achieved with a LACK of writing — that is, less is better. Sometimes.
Sometimes, though, the less is better approach makes for a flat read and can short your characters or action beats.
Let’s look at a sentence written four ways. None wrong. None right. It all depends.
The context is Greg escaping the scene in his Corvette. Continue Reading »
When the universe speaks to you, you’ve gotta listen.
Back in the mid 70’s, I started listening to Bruce Springsteen’s Born To Run via my sisters vinyl copy.
Through the years, I’ve worked through all of his music, and found a lot of connections in his songs. They spoke to me on many levels — musically, lyrically, and sometimes through subtext and nuance.
I’ve never been the blue-collar dude who worked with his hands while the man kept me down. That was never me.
But, with sparse lyrics and gut-wrenching passion, he drew engaging pictures with his lyrics and music — he connects emotion to his images. Continue Reading »
In January 2014, I started work on Safe — a sort of HEAT meats BULLY sort of story, based loosely on the Brad Johnston gang who terrorized Pennsylvania in 60’s and 70’s.
Five teens rob a bank and bury the loot in a gun safe, making a pact to reconvene in five years to dig it up and split the money. But as relationships deteriorate, it becomes clear that nobody is safe.
Through the four month period, we moved and resettled. My ability to write was hampered by this (and still is) so it took about 45 days longer than it should have. At my age, every day counts, so watching a project inch to the finish line can be frustrating, especially when you know the story beat-by-beat.
First I wrote a twenty page treatment, then I wrote a fifty page treatment, then I wrote the script. The 50 page treatment is pretty much (like I said…) a beat-by-beat telling of the story — say 90% of the story. You might flinch at a 50 page treatment. In fact, a lot of people flinched at a 50 page treatment, but here’s a truth: Continue Reading »
Kids relate to kids.
That’s why you’ll see kids shoe-horned in all over the place.
Carl on Walking Dead is a good example. Short Round from Indy is another.
To me, kids in movies are annoying. Why? Maybe because I don’t relate any more. They do dumb kid things. They say dumb kid things. If you took them out, could the story move on without them? Could you see a version of Walking Dead with no Carl? I could. Continue Reading »