Filmmaking. Direct Your Movie from Script to Screen Using Proven Hollywood Techniques

497 Pages·2011·21.445 MB·English

by  Jason Tomaric (Auth.)

CHAPTER 1
The Script
5
INTRODUCTION
The script is the blueprint for the story and contains dialog, character move-
ments, and scene descriptions. Like the old adage says, “If it ain’t on the page,
it ain’t on the stage.”
Every good movie is produced around a well-written script, and it doesn’t
matter how big the budget is, how good the actors are, how incredible the
explosions are, or how dynamic the visual effects are if the story isn’t moving,
engaging, and believable. Films with high production values have been known
to flop because the script was poorly written, and rarely has a bad script been
made into a good movie. Writing a script is a craft that takes time to learn and
requires a tremendous amount of discipline and understanding of story struc-
ture, psychology, human dynamics, and pacing.
Not only is writing a script is the most important aspect of making a movie; it’s
also the cheapest. Whereas Hollywood studios spend hundreds of millions of
A single shot on set can
be very expensive to
produce – from the cost
of the cast and crew
to the equipment and
locations, it’s cheaper to
work through problems
on paper than on set.
Filmmaking.
© 2011 Jason J. Tomaric. Published by Elsevier Inc. All rights reserved.
6 UNIT 1 Development
dollars on visual effects, great actors, explosions, and car chases, the materials
involved in writing a script cost little more than a few dollars – the cost of a
pencil and paper.
In embarking on the journey to the perfect script, there are three paths you can
take. You can write the script yourself, you can option a script that has already
been written, or you can hire a writer to write the script for you. This chapter
will look at these three options and determine which may be the best choice
for your production.
WORKING WITH A WRITER
Writers tend to be stronger in either structure or dialog and character, so fi nd-
ing a writing partner who complements your skills can lead to a much better
script. Finding a competent writing partner can be as easy as contacting local
writing organizations, colleges, or university programs with writing courses or
seeking writers online or through industry contacts. When looking for a good
writing partner:
■ A sk for a writing sample. Read through the writer’s past works to see if his style,
ability to write dialog, pacing, dramatic moments, structure, and plot twists are
on par with the nature of the story. To get an idea of the writer’s ability, read the
fi rst 20 pages of one of his previously written screenplays and see if the script
Bob Noll and I work engages you. If so, keep reading. If not, consider fi nding another partner.
through a scene of T ime ■ F ind a partner whose strengths are your weaknesses. If you are good at
and Again . I found that structure, then fi nd a writer who is good at dialog and characterization. A
collaborating with him
good writing partner will bring additional talents to the table and balance
was both inspiring and
your skill set.
functional. We would
often bounce ideas off ■ T alk with your potential writing partner about the story and make sure
each other if we were she likes the genre, story, and characters before working with her. For
stuck, support each other example, if you are writing a romantic comedy, look for partners who spe-
if our ideas needed work,
cialize or have an interest in writing romantic comedies.
and grounded each other
if we felt our ideas were ■ M ake sure your partner has the time and commitment to work on the
too good. script, especially if it’s being written on spec (for free). It’s diffi cult to com-
plete a screenplay if your partner has to drop out
in the middle of the project or has obligations
that may interfere with his ability to work on the
project. Write and sign a contract that outlines
the details of your working relationship together.
Understand that when working with a writer, you
both own 50% of the script, so if any problems
occur during the relationship, the project may go
unproduced.
■ W ork out the credit your partner will
receive as well as payment terms if the
screenplay is sold, optioned, and/or pro-
duced. It’s vital to work out the details of
The Script CHAPTER 1 7
your business relationship before beginning work on a script, should any
problems arise during or after the writing process.
Ultimately, a compatible partnership is as much about chemistry as it is about
artistry: find a person with the same goals as yours, who compliments your
vision but completes your skill set. A rewarding writing partner can be both
inspiring and motivating, both traits that have a positive impact on the script.
WRITING YOUR OWN SCRIPT
Developing the Idea
The first step to writing a movie script is to have a solid idea, but before you
settle on a concept for your film, it’s important to decide what you want the
project to do for you once it’s finished. Are you going to make a movie for art’s
sake – to explore your vision and style, or maybe just to learn the process of
filmmaking? Or are you looking to produce a commercially viable movie that
can be sold and hopefully generate a profit?
Contrary to the popular belief of many filmmakers, these two options are
almost always mutually exclusive. Most commercially produced movies tend
to rely on a time-proven, revenue-generating formula designed to appeal to the
widest possible audience. Because the marketing budget for most Hollywood
movies is significantly higher than the production budget, the industry has
to sell as many tickets as possible to cover not only the film’s production and
marketing costs, but also the costs of movies that fail to recoup their initial
investment. Unfortunately, this commercialization tends to discriminate
against artistic films that play to a smaller audience, leaving those productions
to run, at best, in local art theaters and small film festivals.
Jason’s Notes
So here’s how Hollywood works. A young movie execu- he going to pick? The second one, of course – wouldn’t
tive, whose job depends on the financial success of you? With an existing fan base, practically guaranteed
the movie he greenlights, has the choice between two return on investment, and years of branding, Garfield
scripts. The first is an emotional, awe-inspiring drama is a sure shot. To this young executive, the choice was
that captivates the reader with tales of entrancing about the financial future of his next project and his
human drama, riveting conflict, and heart-wrenching feel- career. This is how Hollywood works.
ing. The second script is Garfield: The Movie. Which is
Making a movie is an expensive and time-consuming process, so think smart
when choosing the type of story to tell. Carefully consider what you want the
movie to do for you:
n Do you want the movie to make money? Then develop a concept around
the industry standard formula, with marketable actors, clearly defined
8 UNIT 1 Development
genre, a tight three-act structure, and high production values. This can be
the most expensive option.
n Do you want to make a movie for the educational experience? If you
want to learn filmmaking or practice your craft, produce a short film and
know that you won’t recoup your investment.
n Do you want to make art? Producing an artistic film that defies traditional
Hollywood convention is risky because distributors tend to shy away from
films they can’t easily describe explain to viewers. If picked up for distribu-
tion, most art films will find homes in small art theaters and possibly on
home video, although the odds of generating a profit are slim.
Jason’s Notes
One of the biggest tricks to developing a strong idea marketplace, determine how much money you have, and
is to work backward. Look at the types of movies that list the resources you have access to before you settle
are selling in both the domestic and international on an idea for your movie.
The statistics are grim for filmmakers who produce feature films. I’ve read
numbers that place the number of features produced in the United States
every year at around 7,000. Less than 10% get picked up for distribution, and
an even smaller percentage makes a profit. One of the biggest reasons is the
lack of market research to determine the commercial viability of the film.
Filmmakers often develop an idea and produce the movie without researching
what distributors are looking for and what’s selling in the international mar-
ket, so they end up in massive debt with a movie that sits on the shelf.
The first real step of making a movie is to start at the end by contacting dis-
tributors and researching what types of productions DVD distributors and
TV broadcasters are interested in buying. Find out what genres sell the best,
the best format to shoot on, the ideal length, and which actors have the most
international appeal.
Jason’s Notes
Don’t think of these boundaries as creative restrictions. between you and the audience. They are looking for a
Instead, use them as a guide to writing a marketable product that can make them money, so give them what
screenplay. Remember, the goal is to get your movie they can sell.
seen, and distributors are the gatekeepers that stand
The Script CHAPTER 1 9
Writing What You Know
When it comes to developing a story, I find that it always helps to write what you
know. The best piece of advice I ever received was to write what I’ve seen, what I
have experienced, and what I’ve lived in life. Filmmaking is about truth, and writ-
ing scenes and moments that truthfully resonate with the audience can be a dif-
ficult task unless you are personally familiar with the material you’re exploring.
One way of doing this is to dedicate your life to experiencing a variety of sit-
uations, cultures, and people so that when it comes time to write, you have
a broad range of life experiences from which to draw. Many legendary film-
makers are older men and women who have put their life experiences on film,
resulting in real, engaging moments that ring true to the audience.
Ultimately, ideas are everywhere – just be open to finding one that resonates
best with you:
n Look at real-life moments for inspiration: childhood memories; interest-
ing happenings at work; relationships with family, friends, and love inter-
ests. Think of family conflicts, your first job or your freshman year in high
school, moving out on your own for the first time, and college experiences.
Drawing on personal experiences leads to strong material because you’ve
lived and experienced it.
n Read the newspaper, listen to the radio, and watch news stories that may
captivate your imagination. The old cliché says that truth is often stranger
than fiction, and in many instances, it is!
n Keep a journal of interesting things that happen every day: an engaging con-
versation, a funny moment, an unusual or interesting person you may have
encountered in public. These moments can be the seeds not only of good
ideas, but also of engaging characters, moments, and lines of dialog in the
movie.
n Brainstorm and write down anything and everything that comes to mind.
You’d be surprised what comes out. Listen to inspirational music, turn off
the lights, let your mind roam free, and be ready to capture ideas as they
strike.
n Study political history and the lives of dictators, emperors, famous people,
and serial killers. All these peoples’ lives involved extraordinary circum-
stances that are full of drama and conflict.
Jason’s Notes
I have a concept called the 98% rule. When I come up entirely enthusiastic about and ended up discarding the
with an idea, I need to be 98% happy and consumed project, sometimes after investing hundreds of hours.
with it before I agree to further develop and flesh it out. I’ve learned to wait until I find an idea that really reso-
Too many times, I’ve tried to work on an idea I wasn’t nates with me before I commit to it.
10 UNIT 1 Development
n Be original and avoid copying concepts used in other forms of media, sto-
ries from movies or television shows, or major plot lines from popular
books. Audiences want to see new, unique ideas, not rehashes of old ideas.
n Be careful not to infringe on copyrighted work. Copyright infringement can
be an expensive mistake if the original owner of the stolen property chooses
to sue.
n Surf the Internet. The knowledge of the world is at your fingertips and can
provide outstanding ideas and motivation for a movie.
n Try reading the Yellow Pages, magazines, and even advertisements for
inspiration.
n Get out of your house. Traveling to a new place, whether it’s going out of
town or visiting a local coffee shop, can help spur the imagination.
n Take breaks and don’t force your imagination. A walk on the beach or through
the woods can help clear your thoughts and open your mind to new ideas. I
find that the less I think about my story, the more ideas pop into my mind.
n Write stories you’re passionate about. Be excited and willing to explore the
subject matter. Learn as much as you can about the world, people, and situ-
ations you’re writing about.
n Ask “what if?” open-ended questions that help your mind wander – you
may stumble onto a sharp idea.
n Read or reread classic literature and listen to operas. Stories of mythology,
ancient romances, and tales of adventure and heroism are the root of story-
telling. If in doubt, go back to see how authors of old tackled an idea.
n Research your idea by studying the time period, characters, customs, fash-
ions, technologies, and values of the world in the story you’re telling.
Learning more about the actual events or motivation behind your story will
help develop ideas.
n Learn from people who resemble or can provide insight into your character. If
you’re writing a crime drama, contact a local police station and ask to shadow
an officer for a week. Listen to how she talks and acts, both casually and
under pressure. Get a sense of the police environment so that when it comes
time to create it into a script, you can write a realistic and believable world.
Concepts to Avoid
As you’re developing the concept for your movie, be aware of several mistakes
that independent writers often make:
n Avoid writing a sequel. Movie studios already own the rights to fran-
chises like the Jason Bourne movies, Spiderman, and Die Hard, and develop
sequels internally with staff writers. Studios will not even read your script
if you choose to write a franchise-based story. You’ll have a much better
chance if you write an original idea, even on spec, and pitch it to produc-
tion companies.
n Don’t follow the next trend. Remember that movies take years to pro-
duce, and if you try to jump on the bandwagon of a hit movie by writing a
The Script CHAPTER 1 11
similar script, odds are that another movie will become the next big thing
before you finish your script.
n Develop an idea that is within your means to produce. If you’re looking
to produce your own script, be attentive to your resources, both financially
and materially. Don’t write action or stunt scenes unless you can afford to
shoot them properly. Be aware of the number of locations you create.
n Know your market. If you want to produce your script independently, know
that distributors aren’t looking for a low-budget attempt at a Hollywood
movie, but rather an interesting, unique take that is usually possible only
outside the studio system. If you choose to write a cheap version of a
Hollywood film, know that your competition is huge . . . it’s Hollywood
itself. So make what Hollywood doesn’t: character-driven, daring, uniquely
told stories that go beyond the typical Hollywood storytelling formula.
n Know your product. If you’re producing a low-budget movie, the audience
can be forgiving of less-than-Hollywood-quality production values, as long
as the story is strong and the performances engaging. The audience will
expect an independent movie to look like an independent movie. Effects are
expensive; a good script is cheap.
OPTIONING MATERIAL
As a writer, you can not only develop an original idea, but you can also
develop a script around an existing work, such as a book, poem, short story, or
even a personal account. However, to simply adapt the idea into a screenplay
could violate copyright laws and expose you to increased legal liability.
One way of legally using this material is to option the rights to use it. An option
is a short-term lease that grants a producer permission to adapt material into
a screenplay and to either produce it or try to sell it to a production company.
Once a story is optioned, you are free to market, sell, or produce the project as
if you owned it during the term of the option.
The ability to option a book or story opens up hundreds of thousands of possi-
bilities, so one way of finding a strong story is to go to the bookstore and start
reading. If you find a book that you like, call the publisher and get the author’s
contact information. Explain how you want to use the book and how you will
adapt it and ask if the author is willing to consider an option. The author may
want money up front, a percentage of the profits, credit, or any number of deal
points that would need to be negotiated. If the conversation gets this far, it’s
best to contact an entertainment attorney to help negotiate with the author on
your behalf and draw up the necessary paperwork.
Never assume that your idea is freely available to be adapted into a movie.
Although failing to secure an option to an idea may not hurt you during pro-
duction, it will haunt you when you try to sell the project. Distributors require
you to show documentation that you secured all necessary rights to the idea,
actors, music, and third-party footage. If you can’t, they won’t distribute your
film because the liability is too high for them.
12 UNIT 1 Development
Setting Up Your Space
Before writing your screenplay, find a comfortable, quiet space to work.
Whether it’s your office, your basement, or your workspace after business
hours, designate this space as your “writing room,” and remove any distrac-
tions. It’s important to have a designated space so that when you enter it, your
brain knows it’s time to start being creative.
n Find a quiet space that you use only for writing. I like to work in a par-
ticular coffee house in Burbank. For some reason, this space, the constant
rhythm of the people coming and going, and the quiet ambience help me
focus and allow the creativity to flow.
n Turn off the telephone and television. These needless distractions will
only draw your attention away from the script. Writing is a practice in the
art of focus and discipline as much as it is about storytelling.
n Be prepared with a pencil, paper, and computer. Even though I use
Microsoft Word and Final Draft when I write, I find that keeping a pencil
and paper nearby is handy to write down notes and thoughts I have during
the writing process.
This is where I’ve been
n Consider playing music from movie soundtracks or classical music that
sitting for months now,
writing this book – and inspires you. I find that background music, especially music without lyrics
that’s the only thing I that supports the theme and tone of the story I’m writing, gets the creative
write when I sit here. juices flowing.
Having a consistent
workspace is a great
way of helping my mind STORY STRUCTURE
click into “book-writing
mode.” Whenever I begin a new story, I define the foundation first. Although the
results seem obvious, it helps me narrow the focus to what I am
really writing, why I am writing it, what my point is, and for
what audience the story is intended.
I know it’s impossible to thoroughly discuss the screenwrit-
ing process in one chapter, so I’ve included only the important
points that you should understand – not to necessarily write a
script, but to dissect, translate, and direct it effectively.
Step 1: Fiction or Nonfiction
Now that you have your idea both legally and conceptually
established, you need to lay out the foundation for your story
and make a few choices. The first is whether your movie is fic-
tional or nonfictional.
Fictional stories involve made-up characters in made-up situa-
tions. Based on imagination more than fact, fictional stories allow
the writer to evoke emotions and thoughts outside the realm of the
audience’s everyday world. Fiction provides a vehicle for the writer’s
creativity to blossom and take form in a nearly boundless format.
The Script CHAPTER 1 13
Nonfiction stories are true stories based on actual people and events.
Nonfiction stories include documentaries, biographies, and stories based on
history, politics, travel, education, or any real-world subject matter.
Always be aware of the rights involved in making a movie. Fictional sto-
ries grant you unrestricted access to the material, because you are creating
it. Nonfictional stories may require you to secure the rights to an idea.
Make sure you have permission to write about the subject matter you are
writing.
Step 2: Genre
A genre is a category or type of story. Genres typically have their own style and
story structure, and although there are several primary categories, movies can
be a mixture of two or three different genres.
Some common genres include:
n Action n Musical
n Comedy n Romance
n Crime n Romantic comedy
n Drama n Science fiction
n Family n Thriller
n Fantasy n War
n Horror n Western
When choosing the genre for an independent film, be aware of the costs and
difficulties of shooting certain genres like science fiction or westerns, for which
the cost of sets, costumes, and props may be prohibitive.
If you’re making a commercial movie, horror movies and action films tend to
sell better than other genres in foreign markets because the viewer isn’t reliant
on dubbed dialog to get into the story.
Jason’s Notes
Traditionally, distributors tend to favor movies that are perform, basing these estimates on years of sales data.
easily identified in a specific genre, making it easier for Movies that are not specifically genre-based can scare
them to pitch and sell the movie to buyers. In the busi- away distributors who aren’t willing to invest the time
ness, DVD rental stores, TV stations, and online distribu- and money needed to properly market and sell a film.
tors all know how particular genres like horror or action
14 UNIT 1 Development
Commercials are mini- Step 3: Format
movies and are one
Stories can be told in many different formats, each designed for a different pur-
of the most profitable
types of production. With pose. Be mindful of your budget, the availability of resources, and time when
generally high budgets, you choose the format for your story.
short turnaround time
and sometimes creative The main formats include:
ideas, commercials are
an outstanding way to be n Animation. Produced either by hand or using computer technologies, 2D
creative and pay the bills. or 3D movies still rely on traditional story structures, although the means
of production lie strictly with the animator and
rarely include live-action elements. Animated
films are very time-consuming and technically
elaborate.
n Commercials. Designed to advertise a product
or service, television commercials incorporate
a wide range of styles, techniques, animation,
narrative, and hard-sell techniques into 10-, 15-,
30-, or 60-second time lengths. Commercials
are a great way for filmmakers to showcase their
style, storytelling, and production capabilities,
and are among the most lucrative, well-paying
forms of production.
n Documentaries. Documentaries are intended
to study a subject, occurrence, theme, or belief
in an attempt to either explore the subject or arrive at a conclusion about
As attractive as feature the subject. Documentaries can either take on an investigative approach,
films are to most
in which the filmmaker tries to answer a question or research a subject,
filmmakers, they don’t
or follow a subject and allow the story to unfold during the production.
pay as well as other
forms of production, Documentaries can, in some instances, be inexpensive but time-consuming
require long hours on to produce.
set, and make it difficult n Feature films. The 90-minute narrative is the mainstay of Hollywood enter-
to have a social life.
tainment, and its production is the dream of mil-
lions of aspiring filmmakers. The riskiest style of
production, feature films are expensive and time-
consuming and rarely recoup the monies invested.
n Industrial/corporate. These productions are
typically marketing or how-to pieces for busi-
nesses. Although generally not very entertaining
to watch or make, industrials are an outstand-
ing way to make money.
n Music videos. These highly stylized promo-
tional videos for music artists are a great way
for a filmmaker to explore unbridled creativity
using any medium, any style of narrative or per-
formance, and artistic editing.