Monday, 9 December 2013

Empire Podcast - Three Flavours Cornetto Triology special

The Empire podcasts are a wealth of information on film and television development, as well as being delightfully entertaining thanks to the characters in the Empire team. Their knowledge, humour and ability to put almost every actor, director, and writer at ease, always gets the best out of them.


This one here's a Three Flavours Cornetto Trilogy special with Simon Pegg and Edgar Wright. Their work is testament to how important finding a writing partner can be to your work. Something magic happens whenever these guys get together, and the two share stories about how they met, how Spaced was developed and produced, and plenty of amusing on-set anecdotes from three of the best British comedies of the last decade. Interesting to hear how, before writing Shaun of the Dead, they read Syd Field's book 'Screenplay' and then would watch their favourite movies and match the story events to Syd Field's paradigm, and were surprised how many fit into the structure.



Monday, 2 December 2013

Andrew Stanton - The Clues to a Great Story

In his TED talk Andrew Stanton divulges what he believes are the keys to telling a great story, from the affirmation of meaning to knowing your punchline, the presentation is full of useful take-home information for all types of aspiring writer. And seeing as this is the man behind the likes of Toy Story, A Bug's Life, Finding Nemo, WALL-E and *ahem* John Carter, you know it's worth listening to.



A few choice quotes include, "Drama is anticipation mingled with uncertainty." This is Stanton quoting William Archer, a British playwright. "Make me care." Stanton explains how important it is for the audience to empathise with characters, and care what happens to them. The most poignant soundbite, however, is when Stanton states that the audience "Want to work for their meal, they just don't want to know they're doing it." This relates to Stanton's unifying theory of giving viewers 2 + 2, not giving them 4, because ultimately viewers want to put things together themselves. This is the essence of dramatic fiction, good writers show, rather than tell. And this is how we have different interpretations of stories, this is where our own imagination comes into play, and why audiences can have such different experiences of the same story.

Wednesday, 20 November 2013

To Catch a Thief - Plot Point Breakdown

To Catch a Thief (1955) isn't one of Hitchcock's most famous flicks but it's an enjoyable romantic thriller with solid performances from its two leads and an engaging enough 'who done it' plot to hold the whole thing together. There's a signature director cameo about 10 minutes in when Cary Grant gets on a bus and sits down at the back next to Mr Hitchcock.


Inciting Incident - John Robie (Cary Grant) is a retired jewel thief living in the south of France. After a string of jewel heists from hotels on the French Riviera, Robie is suspect number one and must go on the run to clear his name by catching the real thief, a professional cat burglar as skilled as Robie was. He's aided by his old gang of ex-cons, Britani, Foussard and Foussard's daughter Danielle (Brigitte Auber), who helps him escape on a boat.

Lock In - After being apprehended by French police Robie is let out due to insufficient evidence, he now has ten days to clear his name. With the help of insurance man Hughson, who provides Robie with a list of the most expensive jewels currently on the Riviera, he can second guess the real jewel thief and catch him in the act. One of these items belongs to Jessie Stevens (Jessie Royce Landis) so Robie befriends her and her beautiful daughter, Francie (Grace Kelly) under the false identity of Mr Conrad Burns, an American industrialist.

Midpoint - After a car chase around winding mountain roads where Francie and Robie elude the policemen following them, Francie reveals she knows Mr Conrad Burns is in fact John Robie the Cat. At first Francie welcomes his checkered history, but the next morning Jessie discovers her jewels are stolen, and Francie blames Robie, accusing him of using her to steal her mother's jewellery. The police are called and he is back on the lam.

Climax - To catch the new Cat burglar Robie stakes out a rich estate at night and is soon attacked. The two struggle but Robie's assailant loses his footing and falls off the cliff to his death. It was Foussard and the police publicly announce he was the new Cat responsible for the jewel heists. However Robie states this is impossible as Foussard had a wooden leg and wouldn't have been able to climb over rooftops and walls.

Resolution - At a masquerade ball conveniently attended by everyone necessary, Robie dresses in a Moor mask concealing his identity till Jessie asks him to fetch her heart pills. He complies and his voice tips off the authorities to his identity. He and Francie dance the night away, the police watching and waiting nearby. When they return to Francie's room he removes the Moor mask revealing it's Hughson, who switched with Robie to conceal his exit. Robie is waiting on the rooftops where he catches the real cat burglar - Danielle, who was working for her father Foussard, and Britani all along.

Tuesday, 19 November 2013

The Mistake - Short Film

This great little short from Bryan Moses is like 127 Hours for Generation Y. Exploring how far one woman will go to avoid an awkward situation it's got some great art direction towards the end and a simple idea realised well. 


Unfortunately The Mistake seems to be a direct copy of another short film from 2009 called The Morning After. Now, no idea is original and it's the sort of common premise that anyone who's ever had a one-night stand could come up with but both are decent enough shorts. The Morning After's got a few extra jokes but you could say The Mistake is more effective as it's shorter and goes for the jugular more swiftly.


Monday, 18 November 2013

The Monomyth - Star Wars & The Matrix

In Joseph Campbell's 'The Hero with a Thousand Faces' the writer establishes the journey taken by an archetypal hero in mythologies. This structure is also apparent in films and in many ways it made Campbell the original screenwriting guru. The guys over at Moon Gadget have neatly outlined how Star Wars and The Matrix both faithfully adhere to the structure of 'The Hero with a Thousand Faces'.

These films, essentially adventure stories with their heroic protagonists, are more prone to abide to the Hero's Journey due to their genre and style, however plenty of other films in less directly related genres also follow this structure, from crime films to social realist dramas. It's well worth familiarising yourself with the Hero Journey structure, as it highlights particular circumstances, challenges and changes that your protagonist can go through that will sub-consciously resonate with an audience and naturally make your story feel more complete and conclusive.


Campbell

Star Wars

The Matrix
I: Departure
The call to adventurePrincess Leia's message"Follow the white rabbit"
Refusal of the callMust help with the harvestNeo won't climb out window
Supernatural aidObi-wan rescues Luke from sandpeopleTrinity extracts the "bug" from Neo
Crossing the first thresholdEscaping TatooineNeo is taken out of the Matrix for the first time
The belly of the whaleTrash compactorTorture room
II: Initiation
The road of trialsLightsaber practiceSparring with Morpheus
The meeting with the goddessPrincess Leia (wears white, in earlier scripts was a "sister" of a mystic order)The Oracle
Temptation away from the true pathLuke is tempted by the Dark SideCypher (the failed messiah) is tempted by the world of comfortable illusions
Atonement with the FatherDarth and Luke reconcileNeo rescues and comes to agree (that he's The One) with his father-figure, Morpheus
Apotheosis (becoming god-like)Luke becomes a JediNeo becomes The One
The ultimate boonDeath Star destroyedHumanity's salvation now within reach
III: Return
Refusal of the return"Luke, come on!" Luke wants to stay to avenge Obi-WanNeo fights agent instead of running
The magic flightMillennium Falcon"Jacking in"
Rescue from withoutHan saves Luke from DarthTrinity saves Neo from agents
Crossing the return thresholdMillennium Falcon destroys pursuing TIE fightersNeo fights Agent Smith
Master of the two worldsVictory ceremonyNeo's declares victory over machines in final phone call
Freedom to liveRebellion is victorious over EmpireHumans are victorious over machines
Common Mythic Elements
Two Worlds (mundane and special)Planetside vs. The Death StarReality vs. The Matrix
The MentorObi-Wan KenobiMorpheus
The OracleYodaThe Oracle
The ProphecyLuke will overthrow the EmperorMorpheus will find (and Trinity will fall for) "The One"
Failed HeroBiggsIn an early version of the script, Morpheus once believed that Cypher was "The One"
Wearing
Enemy's Skin
Luke and Han wear stormtrooper outfitsNeo jumps into agent's skin
Shapeshifter (the Hero isn't sure if he can trust this character)Han SoloCypher
Animal familiarR2-D2, ChewbaccaN/A
Chasing a lone animal into the enchanted wood (the animal usually gets away)Luke follows R2 into the Jundland Wastes; The Millennium Falcon follows a lone TIE fighter into range of the Death StarNeo "follows the white rabbit" to the nightclub where he meets Trinity

Wednesday, 13 November 2013

Friday, 1 November 2013

Halloween - Plot Point Breakdown

Halloween (1978) is a masterful horror film and still one of the best slasher movies ever made. From the chilling musical score to setting up Jamie Lee Curtis as the ultimate scream queen and developing the archetype of the terrorised blonde teen, it's impact can still be felt today. 

It was also one of the original horror flicks to start the trend of punishing the young who have fun. In the opening scene Micheal kills his sister directly after she's had sex with her boyfriend. Similarly, when he kills Laurie's friend Lydia and her boyfriend Bob, it's right after they've done the no pants dance. Laurie is the sole survivor, and yeah, she's a virgin. So if you wanna survive a horror movie, stay pure!




Inciting Incident - 15 years after murdering his sister on Halloween Michael Myers escapes his asylum in Smith's Grove and returns home to small town Haddonfield, Illinois, by stealing the car of his primary psychiatrist Dr Samuel Loomis.

Lock In - Michael starts stalking high-school girl Laurie Strode (Jamie Lee Curtis) appearing outside her class window at school, and driving past her in the street. But when Laurie tries to warn her friends Annie and Lynda, they dismiss her concerns.

Midpoint - Michael makes his first kill. Laurie and Annie are babysitting their neighbours' kids for Halloween, Tommy Doyle and Lindsey Wallace respectively, whose houses are across the street from each other. After Annie drops off Lindsey with Laurie, she gets into her car to pick up her boyfriend, but Michael slits her throat from the back seat. Although little Tommy Doyle sees him carrying Annie's dead body back into the Wallace's house, when he tries to warn Laurie about the 'boogieman' she ignores him.

Climax - After Laurie's friend Lynda has had sex with her boyfriend, Bob, Michael murders bob and then strangles Lynda with the telephone cord, but not before Lynda can make a distressed call to Laurie. An unnerved Laurie heads over to the Wallace's house to find the bodies of Annie, Lynda and Bob. Michael slashes at Laurie but she falls down the stairs and manages to escape back to the Doyle's house. Michael pursues our heroine into the house where she manages to stab him in the neck with a knitting needle. 

Resolution - While hiding in a closet Laurie stabs Michael in the eye with an uncoiled coat hanger, making him drop his knife, which she picks up and plunges into his stomach. Thinking he's dead Laurie slumps down against the wall, but we see Michael rise to life in the background. Dr Sam Loomis arrives just in time to shoot Michael and send him falling out the bedroom window. But when Dr Loomis checks outside, Michael's body is no where to be seen.

Wednesday, 23 October 2013

Tony Gilroy on Screenwriting



Tony Gilroy, American screenwriter and filmmaker, wrote the screenplays for the Bourne series and directed the fourth installment with Jeremy Renner. He sat down for a chinwag with the Empire Podcast team to talk about screenwriting, the state of movie making today, and George Clooney.

Wednesday, 16 October 2013

Charlie Brooker interviews Vince Gilligan

Breaking Bad is one of the best TV dramas ever made. A black comedy, a Shakespearean morality tale, and a show that epitomizes the current trend in TV drama for unsympathetic protagonists, every episode is an incredible example of high tension storytelling with some of the tightest writing on the screen. At the Edinburgh International TV festival Charlie Brooker interviewed the show's creator Vince Gilligan. They cover everything from the inspiration and development to Vince Gilligan's entry into the industry.



Wednesday, 9 October 2013

Robert McKee - Big Think Interview

This in-depth interview with Robert McKee, one of the original screenwriting gurus, covers a lot of subjects, from the importance of mastering the craft of exposition, to whether the best screenwriting opportunities are in television. In regards to the latter he says, "television without question, is the most creative medium to write in today."


It's also encouraging when he discusses the benefits of failing, about how you have to write a bunch of unproduced screenplays because it's all practice, practice of the craft, as well as practice of life, and building up material and ideas. So we shouldn't get disheartened if we're not that 23 year old writer who got their first screenplay made, because when you finally do get something produced it'll be of real quality.

Tuesday, 24 September 2013

The Other Guys - Plot Point Breakdown

This is the first of a new series of posts breaking down the act structure of popular films, both old and new. All stories, especially but not only films, can be broken down to 5 key plot points; the inciting incident, the lock in, the midpoint, the climax and the resolution.

The Other Guys (2010) is a fantastic take on the buddy cop film. Full of genre jokes, classic Will Ferrell moments and absurdest humour (Michael Keaton's police captain repeatedly quotes TLC songs) the movie is consistently funny, and sharp for an action comedy these days.



Inciting Incident - Cocky detectives Chris Danson and P.K. Highsmith (Dwayne Johnson and Samuel L. Jackson) are the city's top cops, they're The Guys. But while pursuing a gang of jewelry robbers they jump to their deaths. This leaves a hole in the precinct, ready to be filled by mild-mannered forensic accountant Allen Gamble (Will Ferrell) and hot headed Terry Hoitz (Mark Wahlburg) - they're The Other Guys.

Lock In - While investigating a scaffolding violation Allen and Terry uncover a plot by billionaire David Ershon (Steve Coogan) to cover up the losses of his client Lendl Global. They arrest David Ershon but when escorting him back to the station he's kidnapped by a team of mercenaries headed by Roger Wesley (Ray Stevenson) - revealing to Allen and Terry that they're onto something big.

Midpoint - Frustrated with their lack of progress and unwilling to ruffle the feathers of those above him, Captain Gene Mauch (Micheal Keaton) takes Terry and Allen off the case. Terry is assigned to traffic duty and Allen is made a beat cop patrolling the streets. This is when our heroes are at their lowest and furthest from solving the case. 

Climax - After uncovering crucial evidence Allen convinces Terry to return to the case with him, off the books. They attend an investment meeting hosted by Ershon and realise the $32 Billion Ershon needs to cover Lendl Global's losses is coming out of the NYPD's pension fund. They escape with Ershon and the next morning take him to the bank to stop the transfer, evading gangs of Nigerian and Chechen investors as well as Wesley's mercenaries. 

Resolution - Allen and Terry reach the bank with Ershon and successfully halt the transfer but Wesley and his mercenaries arrive, shooting Allen, Terry and Ershon. Captain Mauch then arrives with backup, rescuing our two heroes and arresting Ershon for embezzlement, as well as Wesley for multiple murders. Ershon's arrest leads to a stock market crash and the subsequent federal bailout of Lendl Global.

Wednesday, 14 August 2013

Tetra Vaal - Neill Blomkamp short

'Elysium' opened last week and although it's a more than decent sci-fi actioner with Neill Blomkamp signature social political themes, it doesn't have the incisive prawn bite that 'District 9' did. In the wake of both, 'Chappie' has been green lit for development, and although it sounds like a family movie about a cheeky dog who's sarcastic wit has seen him change owners more times than he's changed food bowl, it's actually about a security robot - the eponymous 'Chappie' - and will be "comedy based."


It's based on his 2003 short called 'Tetra Vaal', a nifty little film framed as a corporate marketing video advertising a law enforcement robot. Although the full feature is said to be comedy based, I'm sure we can expect more intelligent ideas on politics, technology, police, and the trust society invests in them.  

Wednesday, 17 July 2013

Breaking Bad scripts


Discovered this fantastic Tumblr called Cinephelia and Beyond - an amazing resource for any film fan, especially those into development, directing, screenwriting, and the like. They were awesome enough to find and post a few PDFs of Breaking Bad scripts.

Obviously, this made me wet with happiness. I've looked into purchasing some episode scripts but they're as yet unavailable, or at least they were the last time I checked Amazon. Worry not, though, because follow this link and you can read the scripts for the pilot and a few from season 3, including 'No Mas' - one of the tensest episodes in the series, which is saying a lot, coz every episode of Breaking Bad is a nail biting lesson in suspenseful storytelling.

They're not only great, action packed scripts, but they're also beautifully written. Note in the pilot episode how Vince uses the word 'galumphing' to describe the way the RV moves. When was the last time you used the word 'galumphing'? Yeah me neither, until I had read the script, now I try to use it at least once a day.


Friday, 12 July 2013

Into the Woods - John Yorke


Insightful, accessible and totally comprehensive. John Yorke's 'Into the Woods' isn't just a book for aspiring screenwriters, it's for anyone interested in stories, and the psychology behind why we tell them. He doesn't only offer sage advice on how to tell (read - show) better stories, but why we do so in such a frequently recurring form.

John is primarily concerned with structure, and although he mainly references films his theories can be applied to any dramatic form, be they for the screen, stage or page. He successfully argues that the 5 act structure fits perfectly within the 3 act structure. In the traditional 3 act story, act 2 is twice as long as act 1 and act 3, and in John's example he divides this longer act 2 into 3 separate acts, therefore equating 5.

Around this central peg of structure he details how it affects each and every scene, how it influences subtext, characters and even dialogue. It's hard to pick out the most prevalent quote, seriously, at the risk of sounding a kiss ass, there were so many spot on sentences that perfectly articulated an idea, but the importance for every fiction writer to grasp how to show rather than tell, is essential and summed up succinctly.

"Screenwriting is showing not telling; structure is the presentation of images in such a way an audience are forced to work out the relationship between them."

This is where the audience's imagination comes into play, where they have to do a little work and interpret what they're seeing or reading, and this is why films, novels and plays can be so powerful - because good writers encourage their audience to invest some of themselves in the material, to make up their own minds, to form their own conclusions. Rather than shove the exact idea you want your public to take from your work, give them the ingredients, and see what recipe they come up with.

John also pulls no punches, respectfully critiquing gurus such as Robert McKee and Joseph Campbell, as well as some the best screenwriters working today, like Charlie Kauffman. The appendix is full of breakdowns of structural form, and outlines of protagonists' road of change, of some well known movies, from the Godfather to Indiana Jones.

Further Reading
Story - Robert McKee
The Hero with a Thousand Faces - Joseph Campbell
Screenplay - Syd Field
The Writer's Journey - Christopher Vogler
On Screenwriting - Frederick Gaffney




Thursday, 11 April 2013

Spring Breakers

It's not about the narrative, but when is it ever with Harmony Korine's work? Spring Breakers is a sumptuous piece of candy crime cinema that washes over you like a champagne shower. The woozy camera work, hyper-stylized visuals and repetition of key lines of dialogue make it one of the most mesmerizing films of 2013.


The leads are amazing, all four girls are fantastic and James Franco as the bombastic 'Alien' is such a joy to watch. From debauchery on the beach and all the day-glo bikinis to gun fellating and the Britney Spears cover, Spring Breakers is ridiculous in all the right ways.

Thursday, 7 March 2013

Is This Your Life?


“How are the headaches, love?”

Darren Macer’s mother, Eileen, had a habit of pestering him at the most inopportune times. While he was backing his car out of the drive into the busy main road was a prime example.

“Watch this car.”

She was also a typical back seat driver.

“They’re a little better, thanks Mum. The new pills Dr Uberman prescribed seem to be help -

The canary yellow Ranger Rover slammed into the side of Darren’s Fiesta killing his mother instantly, and spraying Darren’s face in her blood.

It’s true that in the moments before you die, your life flashes in front of your eyes. But Darren didn’t recognise any of the memories currently playing before him.

The English countryside. A young boy climbing a silver birch tree with a beautiful older women who felt familiar and safe. The smell of fresh laundry. A Sunday afternoon spent taking an Amstrad computer apart with a handsome and distinguished older gentleman. The beautiful woman arguing with the handsome man. The young boy crying, soon consoled by the older couple. A birthday cake with 10 candles on it. When the boy blows them out there’s nothing but darkness, then the blurred image of an operating table. Surgical equipment. The sound of a woman sobbing in the background. Medical pads leaching his body. A scalpel in the talon-like fingers of a Doctor. The woman’s sobs become screams. The scalpel gets closer, the Doctor removes his face mask. He is the only recognisable character. Dr Uberman.

When Darren came to he knew he was in the country. The birds singing in the trees were something the smog ridden cities hadn’t had in years. Darren couldn’t focus, he could only make out shapes of light and dark. But he knew the blur mopping his forehead was female. She smelt of fresh laundry.

“Wh... where, am... I?”

“Sshhh. Don’t speak, sleep. The answers are coming.”

The cottage was quaint, rundown and full of character. The kitchen was small but adequate, arranged around a central Aga and deep porcelain sink. Over it, washing dishes, was a woman with long mahogany hair flowing down her back. She turned as he entered, wearing a smile as much full of grief as it was relief. It was the woman from his near death images.

“Who, who are you? Where are my parents?”

“Pah!”

The non-word was spat out with venom that didn’t fit her serenely beautiful face.

“They weren’t your parents, Cody. They were well paid, highly trained actors.”

A lightning strike of pain flashed through his head. He staggered to the dining table.

“I need, my pills.”

“Those pills are the cause of your headaches, not the cure.”

“They’re migraines. And what do you know?”

“Considerably more than you.”

“Alright then, Oracle. Enlighten me.”

“Your name is Cody Vegas. You’re the most gifted computer scientist on earth. You’ve experienced agonising migraines for as long as you can remember. They are due to the pills suppressing you mental potential, holding your brain back.”

“Why?”

“Because some very powerful idiots believe that one day, you will destroy the world.”

Friday, 22 February 2013

Brian's Novel - Family Guy

How's that novel coming along, huh?


For anyone who's tried or (fair play to you) still trying to write a novel.

Tuesday, 5 February 2013

Kirby Ferguson's TED Talk - Embrace the Remix

If you haven't watched Kirby's series Everything Is A Remix it's well worth checking out. Here he continues the theme of 21st Century re-appropriation of old ideas, structures and techniques into newer models and formats.



More evidence that there are no new ideas, we're just regurgitating past ones and putting shiny new packaging on them.

The Shining - Jack's Writing Interrupted

Can't help but think of this every time my girlfriend texts me when I'm trying to write.


"Wendy, let me explain something to you..."