“People have a great need to have their emotions expressed and affirmed by stories.”
Dona Cooper
Writing Great Screenplays for Film and TV, written by Dona Cooper, was first published back in 1994. But it wasn’t until I flipped through it last night that I really connected with her chapter on emotions.
They say when you re-read a book years after the first read through that the book hasn’t changed but you have. That is definitely the case for me in part because last year I wrote the longest thread ever on this blog around one topic: Emotions. Beginning with Filmmaking Quote #25 (David Fincher) where he said, ”Directors make things that you are supposed to get an emotional hit off of. You’re supposed to feel something,” and ending with 40 Days of Emotions, which concluded by a great quote by Karl Iglesias, “Emotion is your screenplay’s lifeblood.”
So this time around, I was better primed when I came upon these words:
“Audiences like stories because stories give them emotional experiences they often can’t have in real life. Just like riding a real roller coaster gives people an opportunity to enjoy experiences that are more exciting than their everyday lives, a captivating story roller coaster provokes the same sense of exhilaration that makes audiences feel truly alive.
Yet most stories are entirely fictional and even those based on fact are still somewhat artificial, so why should a fictionalized story event have such emotional impact on audiences? How can emotions provoked by such an artificial medium be so compelling?
The reason is that people think in stories. Dreams, worries, gossip, religion, myth, and science are all stories that humans have created to give some sense of order and meaning to their lives that they can’t always find in everyday experiences…. In order to be emotionally involving, the pieces of the story eventually have to become personally meaningful, and the more direct the connection, the more power the story has.” Dona Cooper (Former AFI instructor now at UNC School of the Arts) AFI’s Writing Great Screenplays for Film and TV
Pages 14-15
“Find what gave you emotion: what the action was that gave you excitement. Then write it down making it clear the reader can see it too.”
Ernest Hemingway (The Old Man and the Sea)
“For me, it’s about setup and payoff. I try to set things up so that they pay off in a way I hope evokes a strong reaction,”
Eric Roth (Forrest Gump)
“What you are doing is feeling the emotions that your characters are feeling, and finding the best way to expess those emotions in the most powerfully felt, truthful, effective, moving way to yourself.” Ron Bass (Rain Man)
The title 40 Days of Emotions sounds epic and Biblical, so I brought out the big guns (Hemingway, Roth, Bass) to lead off this post that marks the end of 40 consecutive days writing about emotions in regard to screenwriting and filmmaking.
What make emotions so powerful in screenwriting and movie making is they are closely connected to conflict and theme—two areas that are crucial in connecting with an audience. If you wonder how a film can have a good plot, solid structure, and interesting characters, and be totally unremarkable I’d blame it on the writers and filmmakers failing to make an emotional connection with the audience.
Over the years I’ve written about writers who start with plot, character, theme, or a situation. But I had never heard about a writer starting from emotion until I read that’s how Tennessee Williams started his plays.
“Some screenwriters, and many playwrights, begin with the emotional story, or inner story…They layer key dramatic moments between the protagonist and antagonist in conflict with each other, creating heightened emotional moments that serve as climaxes and story beats. By intuiting the depth of character conflict, without emphasizing plot and structure, they work through the unconscious movement of the story by way of external character, revealing ‘story’ as a by-product. Tennessee Williams worked this way.”
Kate Wright Storytelling is Screenwriting
Recently I listened to an old CD (circa 1951) recording of The Glass Menagerie written by Tennessee and featuring Montgomery Clift as Tom. The emotional symbolism Tennessee uses is powerful stuff. Four actors, one apartment, one medicore recording, and it still has plenty of emotional impact.
It’s fitting that I close this post with what I consider the most emotional scene I personally have ever scene on film. It’s from the film Glory that I saw in the theaters when it opened in 1989. While it’s the film where Denzel Washington won his first Oscar, it’s the first time I recalled ever seeing him on screen. Part of what gave the scene below its impact on me was I wasn’t watching a movie star or even an actor. It was like I was in that moment. That’s an emotional connection.
(This You Tube clip doesn’t compare to the experience of seeing it on the big screen. You don’t really see the scars, the twitch, the tear or know the backstory that leads to this powerful moment—but here it is just the same.)
When we use terms like head and heart to separate intellect and emotions it’s really a metaphor. Because emotion really does flow from the brain as well. Perhaps a different part than the logic part, but emotion is not anti-intellectual. Part of what gives that scene from Glory its emotion impact is knowing the history of slavery in the United States and the resulting racism that overflowed into our culture.
In ’65 tension was running high at my high school
There was a lot of fights between the black and white There was nothing you could do…
Bruce Springteen (Graduated in 1967 from Freehold High School in New Jeresy.) My Hometown
Personally it’s growing up in Florida in the 60s & 70s and being well aware of racial tensions. I was aware of the Klu Klux Klan. I remember what a cultural event it was in the pre-internet, pre-cable Tv days of 1977 when Alex Haley’s Roots first aired. It was said that 85% of the homes in the United States saw some of the eight part series and the final episode was watched 100 million viewers. (The Roots finale is still the number #3 watched Tv program in U.S. history.) It won eight Emmy Awards including Best Writing in a Drama Series—Ernest Kinoy and William Blinn (for part II).
I doubt that if Roots aired today that it would be anywhere near the cultural phenomenon it was back in 1977. We live a world a way from there. (Not perfect, but a long way from 1977.) I remember back in the late 70s when the debate around Tampa Bay QB Doug Williams was whether blacks could really be successful playing quarterback. Seriously. Williams went on to be the MVP of Super Bowl XXII with Washington. And also since 1977 we’ve seen the rise of successful and visable African-American leaders like Oprah Winfrey, Michael Jordan and President Obama.
All that to say that emotion is not void of thinking—it’s not disconnected from cognitive knowledge. The opening scene of Saving Private Ryan was emotional for me even though I was never in the military. But I imagine if you were in the military during World War II, or Korea, or Viet Nam, the Gulf War, Afghanistan or Iraq—or really any war in any country—that that scene would have even a deeper emotional impact because of your personal life experiences and the memories and knowledge you have of watching those around you die in battle.
Lastly, the screenplay for Glory was written by Detroit-born Kevin Jarre (who passed away earlier this year) and the movie was directed by Edward Zwick. The script was nominated for a WGA award, but lost to Alfred Uhry/Driving Miss Daisy. Jarre told the L.A. Times of Glory, “I never thought I could interest anybody in it. A Civil War epic, about black people. But I’d got really attached to the story….I’d end up in tears when I got through writing.”
Notice in the scene above how many words it takes for Denzel to communicate a wide range of emotions—zero. There have been enough people over the years pounding “structure-structure-structure” that I think it’s time to balance that with “write visual stories full of emotional meaning.”
So there you have it—from Hitchcock to Hemingway and beyond—40 days on the importance of emotion. For good measure let’s memorize one sentence written by Karl Iglesias; “Emotion is your screenplay’s lifeblood.”
P.S. From the odd connection department—Screenwriter Craig Mazin (The Hangover II) also graduated from Freehold High School where Springteen attended.
“I used to have this inner critic, but I got rid of him a long time ago, A professor once said to me, ‘Remember, no one will ever see what you’re writing until you want them to see it.’ This really freed me up to just write. It’s like playing jazz guitar and you’re just riffing, and the stuff that sounds really good is the stuff you record. The rest of it just floated away into the cosmos. You’ll just be paralyzed if you labor over every sentence because it happens to be perfect. I have friends who take six to eight months to write a script, and I think it’s stupid. First, the chances of selling a script are so ridiculous no matter who you are, why spend so much time? Then, if you don’t sell it, you’ll feel devastated. Second, you’re talking about 120 pages with a lot of white in them. How can it take you six months to write that? Especially if you have an outline. The reality is that if you can write three pages a day, and that’s really low, that’s 40 days, a month and a half. So, to think it has to be perfect is a dangerous habit. It should be vomited out as fast as you can manage to get it out. Nobody ever has to see it. Then finesse it, massage it, sweeten it, and do everything you can to make it better.” Screenwriter Scott Rosenberg (Con Air) The 101 Habits of Highly Successful Screenwriters/Karl Iglesias
“Most creators — and all would-be creators — simply aren’t obsessed enough.” Eric Maisel
A few weeks ago I was talking to a couple filmmakers and we got to talking about a favorite topic of mine; Why are so many artists dysfunctional? Take a handful of painters, writers, musicians and filmmakers and you’ll have more than your share of people who suffer from depression, mental illness or at least some phobia that haunts them. alcoholism and drug abuse appears more common with this tribe.
So the big question is — why?
One of the filmmakers had an easy answer, obsession.
I instantly thought of Jackson Pollock painting in his barn. I thought of Van Gogh’s passion. I thought of Martin Scorsese and his own demons. Obsession may be as good and answer as I’ve heard.
“One hasn’t become a writer until one has distilled writing into a habit, a habit that has been forced into an obsession. Writing has to be an obession. It has to be something as organic, physiological and psychological as speaking or sleeping or eating.”
Niyi Osudare
From the book One Hundred Habits of Highly Successful Screenwriters/Karl Iglesias
Eric Maisel, PhD has written several books that touch on this issue including Creativity for Life, The Creativity Book, and The Van Gogh Blues. I haven’t read his books, but in his article In Praise of Positive Obsessions he does make the distinction between positive and negative obsessions. He writes:
What exactly do I mean by a positive obsession?
A fair working definition is as follows: positive obsessions are insistent, recurrent thoughts or sets of thoughts, pressurized in feel, that are extremely difficult to ignore, that compel one to act, and that connect to one’s goals and values as an active meaning-maker and authentic human being.
For Van Gogh, for a period of time, sunflowers obsessed him. For Doestovshy, for decades, the question of whether an innocent–a “saintly man” –could survive in the real world haunted and obsessed him.
Georgia O’Keeffe obsessed about how to represent the desert, thrilling herself when her imagery of bleached bones satisfied her for a time.
It is no accident or coincidence that effective artists harbor preoccupations that rise to the level of positive obsession.
So maybe we just obsess too much about those creative souls who have negative obsessions. After all those are the ones that tend to fascinate us the most. Those are the ones books are written about and movies made of their lives.
If you have any books and articles that explore the similarities and differences of positive and negative obsessions toss them my way. I don’t think my obsession is going away from thinking about it anytime soon.
And as far as screenwriting obsessions—there are many. Why do people spend so much time and money on something when the odds are so against any meaningful return on investment? Why all the books, CDs, workshops, college degrees, screenwriting expos, script consultants, etc. if there wasn’t a screenwriting obsession in this country? Why do produced screenwriters continue though they often feel less than satisfied with the finished results of their script?
Maybe it has something to do with Van Gogh continuing to paint even though the appreciation for his work would come long after he died. I hope you can find that “positive obsession,” and can continue to work on your craft without losing your mind.
“(Screenwriting is) all pretty much sitting alone in a room staring at a screen. That solitude is interesting to me.” Screenwriter David Koepp (Spider-Man, Jurassic Park)
“Solitude is the school of genius.”
Edward Gibbon (Writer of the classic book, The History of the Decline and Fall of the Roman Empire)
Playing off the quote I heard and wrote about yesterday —“Solitude is creativity’s best friend.”—I thought I’d explore that a bit from the perspective of screenwriting. Of course, there are many layers and definitions of solitude than is fitting to cover here, so this is only meant as a quick overview.
In a happy accident yesterday I stumbled upon Anthony Storr’s book Solitude. I picked it up at a used bookstore years ago but never read it and had it in my car to donate to the library. So I read a chunk of it last night and found it an interesting read on the subject.
“The majority of poets, novelist, composers, and, to a lesser extent, of painters and sculptors, are bound to spend a great deal of time alone.” Anthony Storr
“Something like 20 percent of the general population is introverted, but I think most writers probably fall into that category. They feel very comfortable with solitude. They are probably better in one-on-ne situations rather than dealing with lots of people. I know that when I’m in a room full of peopl, I tend to fall back as an observer.”
Robin Swiscord (co-writer, The Curious Case of Benjamin Button)
“As a screenwriter, you need to be comfortable with that solitude for long periods of time, unless you work in television where’s it’s a more social environment.” Amy Holden Jones (Mystic Pizza)
“You need to create solitude so that you can hear the voices, and you need a willingness to to live in the world of the story for long periods of time, forcing yourself into the world of the story for long periods of time, forcing yourself into the world of the characters so that you can believe they exist. Many spouses understandably complain that we’re not living in the present.” Tom Schulman (Dead Poets Society)
Solitude in the sense they are talking about is working by oneself. But it can also be defined as withdrawing from normal activities for a time as Thoreau did on Walden Pond and wrote about in Walden.
“I never found the companion that was so companionable as solitude.”
Henry David Thoreau
There are many positive aspects this kind of solitude. A spirit of contemplation and reflection.
“Very early in the morning, while it was still dark, Jesus got up. Left the house and went off to a solitary place, where He prayed.” Mark 1:35
“Solitude is painful when one is young, but delightful when one is more mature.”
Albert Einstein
But the other side of solitude has a darker perspective. The former monk and reformer Martin Luther was not fond of solitude for that is when he believed Satan attacked him the most. It could be a place that the Eagles sang about, “Your prison is walking through this world all alone.” We’re talking Howard Hughes territory. And it’s clear if you read many bios or watch many movies on well-known artists, solitude was not always their friend—or even their choice.
“Creative talent of a major kind is not widely bestowed. Those who possess it are often regarded with awe because of their gifts, They also tend to be thought of as peculiar; odd human beings who do not share the pains and pleasures of the average person. Does this difference from the average imply abnormality in the sense of psychopathology? More particularly, is the predilection of the creative person for solitude evidence of some inability to make close relationships?
It is not difficult to point to examples of men and women of genius whose interpersonal relationships have been stormy, and whose personalities have been grossly disturbed by mental illness, alcoholism, or drug abuse. Because of this, it is easy to assume that creative talent, mental instability, and a deficient capacity for making satisfying personal relationships are closely linked.” Anthony Storr Solitude
That is they were forced into a kind of solitude because they either could not stand to be with other people or other people could not stand to be with them. That often freed them to hyper focus on their art. And often to focus on things that led to their demise. Of course, not every creative genius falls into that category—but the list is pretty extensive of those that do.
So I guess like many things, solitude for any of us can be a benefit or a hindrance in life.
“You don’t learn how to write a screenplay by just reading screenplays and watching movies. It’s about developing the kind of mind that sees and makes drama. You can do this in a kind of holistic way by reading history and theology and psychology, reading great fiction and poetry, and plays. You develop an eye for the structures of everything and look for the patterns that help you become a dramatist.”
Robin Swiscord
Oscar-nominated screenwriter, The Curious Case of Benjamin Button The 101 Habits of Highly Successful Screenwriters, Karl Iglesias
page 134
Screenwriter Michael Schiffer is known for writing screenplays that have attracted some of the finest actors of this era; Crimson Tide (which starred Denzel Washington and Gene Hackman), Lean on Me (which starred Morgan Freeman as inner city principal Joe Clark) Colors which starred Robert Duvall and Sean Penn, and The Peacemaker (which starred George Clooney and Nicole Kidman).
Coming off the post Writers Getting Older I thought you’d be interested in hearing from a screenwriter who came to screenwriting later in life.
“I drove to Hollywood when I was 35 to become a screenwriter. Directing theater in college made me want to write stories myself. I gave myself five years and worked really hard, writing 14 specs before I got hired for Colors.”
Michael Schiffer The 101 Habits of Highly successful Screenwriters Karl Iglesias
And Shiffer, who must be around 60-years-old now, is still at it. Though I’m not sure where it is on the production chain,The Hollywood Reporterannounced last year Shiffer had sold his script Speed Boyz to Alcon Entertainment.
“I had no idea what I was going to do after college, so I followed a girl I liked out to California.”
Scott Rosenberg (Boston University grad)
Screenwriter and Massachusetts native Scott Rosenberg over the years has written an eclectic mix of films including indie films (Beautiful Girls), big budget Hollywood action films (Con Air), and the cult classic (High Fidelity). He is also the creator of the current TV show Happy Town.
Rosenberg’s journey to Hollywood success was the long and winding road type of success. He began writing poems in grade school and continued writing all the way through to the creative writing program at Boston University. After moving to LA he began writing screenplays while he worked “every crappy job” that came his way.
Then he decided to go to film school and may be the only person who attended the big three film schools; USC, UCLA & NYU. He settled on the writing program at UCLA and placed third in the Samuel Goldwyn Award. After all that schooling you think then he’d be on the fast track.
“I wrote 10 scripts before I got my first agent, wrote another two before my first sale and another three before anything got made. That’s the most important advise I could give anyone starting out: Write a lot of scripts…I look back at all these 10 scripts I wrote and they suck. Sure, they have moments of great stuff, but who am I at age 22 to think I’m going to write the Great American Screenplay? It’s just wrong. I didn’t have the life experience and I was just learning to crawl, learning my process…The thing I’m most proud of in my process is that I was always writing. When people talk to me about ‘paying your dues’ and I think about those lean years when I had no money, I was sharing a room, sleeping on a mattresses on the floor, driving the worst car, working in the worst jobs, it didn’t feel like I was paying my dues. I was still living my life, going to the movies and having a girlfriend and watching sports, and all of a sudden, I look back at those years and I realize I was living like an animal. But there was a kind of innocence to that time that I long for.” Scott Rosenberg The 101 Habits of Highly Successful Screenwriters
Karl Iglesias
pages 212-213
“Alfred Hitchcock, the undisputed master of suspense drama once said, ‘There is no terror in a bang only in the anticipation of it.’ Anticipation is one of the most important emotions scriptwriters can feel as they look forward to something that will happen in the future, whether it’s positive, like winning a big prize, or negative, like facing off against a superior opponent. Without this forward momentum, the story will drag and fail to hold the readers interest.”
Karl Iglesias
Creative Screenwriting
September/October 2009 The Power of Anticipation, page 48
“If you take the occasional seminar and come away with one great tip you didn’t know before, that’s a good thing. But I’ve come to believe you only learn on your own by doing it, by trying to tell stories that work. When you write 14-20 screenplays, you begin to internalize a sense of timing and movement of the story, structure, and dialogue. It’s not somebody else’s rules that matter, it’s your own. If you do it by trial and error from the inside out, your work will find its own unique storytelling voice.” Michael Schiffer
screenwriter, Crimson Tide, Lean on Me Quoted in The 101 Habits of Highly Successful Screenwriters
by Karl Iglesias
page 32
