I don’t know the context in which Francis Ford Coppola said the below quote, but it offers a contrast to the post where I mentioned that Rod Serling said that be began writing with a theme in mind.
“Sometimes you never really quite understand what the movie’s about until you go into a matinée screening at the Oriental Theater on a Thursday afternoon.”
Francis Ford Coppola
As quoted in Lew Hunter’s Screenwriting 434
Coppola has had an amazing career, but I can’t help but wonder if not quite understanding what kind of movie you’re making is part of the hit and misses he’s had in his career. And perhaps why people are little confused by some of his films. But keep in mind that even the ambiguous Apocalypse Now, Coppola was nominated for an Oscar for his script.
It also seems to me from Coppola’s interviews and film commentaries that it is clear that on his three Oscar-winning scripts (Patton, The Godfather, The Godfather II) that he was aware of themes of the movies he was writing.
“Coppola has had an amazing career, but I can’t help but wonder if not quite understanding what kind of movie you’re making is part of the hit and misses he’s had in his career. And perhaps why people are a little confused by some of his films.”
- Never thought of that before. Interesting. Not knowing the theme in a story reminds me of when you’re listening to someone talk on and on and you’re thinking, “OK, what’s your point?” And the theme in a story is basically the point. Without knowing the point, the story meanders (as do conversations). I think it’s cool when other little sub-themes and deeper meaning that were not intended reveal themselves later but that should just be a bonus. The main point can refine and change but if you’re not aware of it at all, then… what’s your point?
One of the great things about Toastmasters is they teach you to give a five minute talk that grabs people at the start and leads them to a conclusion.
I can’t tell you have many talks (30 minutes, 45 minutes, and even one hour talks) that I’ve listened to where I have thought, like you said—”What’s your point?”
Talks that change lives, and movies that people watch over and over again, tend to be strong on both story and theme.
And if a screenwriter can write a script that is strong on story and theme, and adds interesting characters and a solid structure into that mix, they are well on their way to finding an audience. (But as we all know, that is easier said than done.)