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Posts Tagged ‘emotion’

“[When I was in my early 20s] my father told me to read a book called Adventures in the Screen Trade by William Goldman. . . . It was just so insightful about how screenwriting actually works. And I think I imitated Goldman’s style in a pretty thief kind of way. Reading his screenplays really taught me about making scripts readable. Making them feel kind of  breezy. Taking your reader inside the emotional experience of a movie.  That was a huge influence for me. . . .  On the computer monitor on which I’m seeing your face right now, in big block letter across the top, it says WHAT IS THE SIMPLE EMOTIONAL JOURNEY? That’s always the mantra for me. That‘s always the true north. Screenwriting is an intellectual exercise that’s designed to illicit and emotional response.”
—Oscar nominated screenwriter Billy Ray (Captain Phillips)
UCLA’s Story Break podcast interview with Simon Herbert and Chris Kyle

If you missed the movie Richard Jewell last year check it out. It was written by Billy Ray and directed by Clint Eastwood and for various reasons got lost in the shuffle and did not have a good box office run. But it is one finely crafted film including Paul Walter Hauser‘s performance in the lead role which was quite an emotional journey.

”The best advice I ever heard about screenwriting . . . ” —Billy Ray
Billy Ray’s Directing Advice 
Screenwriting Quote #162 (Billy Ray)
Information is the Death of Emotion — Christopher McQuarrie 
40 Days of Emotions 

Scott W. Smith 

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“What I’ve learned to do, probably really in just the last couple of films is to regard music and dialogue as very much one in the same. Dialogue is just as musical as music is a language. And by thinking of dialogue in musical terms, thinking of dialogue in terms of something that  conveys an emotion rather than information. It has changed they way that I write scenes. When I find myself writing something that is purely informational, if I can’t inject it with something like conflict, humor, tension, suspense, drama—especially conflict—then I know that what I’m doing is writing is information. And information is the death of  emotion. The biggest lesson I learned between Rouge Nation and Fallout was how to articulate that.  Somebody asked me about writing exposition and what was the secret to writing exposition and without thinking I said that ‘information is the death of emotion.’” Thinking about dialogue as a delivery device for emotion. That’s not to say it’s a character expressing emotions. There’s nothing less emotional than watching a character experience an emotion. What you want is the audience experiencing emotion through that character. That really changed the way I wrote dialogue. They way that I wrote exposition.”
—Writer/director Christopher McQuarrie  (Top Gun: Maverick)
The Inside Pitch interview with Christopher Lockhart 
(starting at the 1:55:02 mark)

P.S. Starting on August 1, I’m going to begin a string of posts on Hamilton which is a prime example of blending music and dialogue in what I found to be an emotional story.  If you haven’t seen the play or the taped version on Disney+ at least get the 10 day free subscription to check it out.  I look forward to exploring what Lin-Manuel Miranda created what is the best production I’ve seen this year.

Related posts:
40 Days of Emotions
‘Exposition is BORING unless…’
Mysterious Minimal Exposition from ‘A Quiet Place’ and ’Sicario’
Cary Grant & Exposition (Tip # 38)
Screenwriting & Exposition (Tip #10)
Cody on Expo
10 Solid Exposition Examples 
Dialogue as Music (Aaron Sorkin)
‘I’m in the feelings business’—Brian Grazer 
Emotion—Emotion—Emotion

Scott W. Smith 

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“Only emotion endures.”
Ezra Pound
A Retrospect

Terms of Endearment and Broadcast News are two James L. Brooks films that I can just watch over and over again…I strive to make movies like those where you’re laughing and you’re crying. That’s what all of it is for; It’s to experience the range of emotions within and hour and a half or two hours.”
Writer/Director Mike Birbiglia (Don’t Think Twice)
Interview on The Tim Ferriss Show

Check out the Don’t Think Twice website to see when the movie will be playing in your area. Select theaters with include Q&A with cast and/or crew including Mike Birbiglia tonight and tomorrow in Los Angeles. I’ll look forward to seeing it in Central Florida at the Enzian in August.

Related posts:
“It’s all about emotions”—Jamusz Kaminsky
Pity, Fear, Catharsis
Del Close & Emotional Discovery
James L. Brooks on Chayefsky
40 Days of Emotions (The longest single sting of posts on this blog.)

P.S. The posts Finding Authentic Emotions (Part 1) and Part 2 touch on how Alex Blumberg found the emotional core of an interview he did with artist Ann Rea on the CreativeLive class Power Your Podcast with Storytelling.I just watched that class again online and I think Alex’s pre-interview and interview with Rea (and the finished edited results) are the best example discovering and capturing the creative process/emotions in real time that I’ve ever seen. (And a gamble that could have gone wrong in several places since it was recorded live.)

Alex learned a lot about storytelling from Ira Glass when the two worked together producing This American Life. Ira is also one of the producers of Don’t Think Twice.  (Read the post Ira Glass on Storytelling.) 

Scott W. Smith

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“I think all stories are emotionally based. From comedies to action adventures. If you don’t have the emotional center of a piece then you lose everything else.”
Writer/director Paul Haggis

“In L.A. nobody touches you. We’re always behind this metal and glass. I think we miss that touch so much that we crash into each other just so we can feel something.”
Det. Graham Waters (Don Cheadle) in Crash

“I was carjacked in 1991 and we writers don’t react like human beings, rather than rage or anger I became curious about who these kids were that stuck guns in my face. It took a long time, every year I’d ask myself questions about them because they were never caught. I just wondered who they were. Were they best friends? Had they just met each other that night? What was their worldview? I didn’t know. I never  intended to write about them, but about ten years later I woke up in the middle of the night…and I just kept following the characters. So 10 o’clock in the morning I had this entire 30 page outline done. I thought it was a TV series at first and tried to pitch it and no one wanted to buy it. And a year later after writing Million Dollar Baby on spec I was still unemployed, so I called my friend Bobby Moresco and I said, ‘I’ve got these pages and I think it’s a movie,’ and he said,’no it’s not.’ I said, ‘I think it is.’ He said, ‘we can make it into one,’ and two weeks later we had a first draft.”
Writer/ Director Paul Haggis
The Dialogue: Learning from the Masters interview with Mike De Luca

Haggis and Moresco won an Oscar for their Crash (2004) screenplay and the film won the Oscar for Best Film of the Year. And Haggis’ gut was right in the  Crash (2008-2009) was developed by creator Glen Mazzara into a TV series in 2008 starring Dennis Hopper.

Related Posts:

Emotional Archaeology
Emotional Autobiography (2.0)
Goal: Elicit Emotion (Tip #77)
Four Emotional Needs
40 Days of Emotions

Scott W. Smith

 

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“I’m saying you are stuck in Wichita.”
Del Griffith (John Candy)
Planes, Trains and Automobiles

On Thanksgiving Day 2013 I decided to challenge myself to a movie mash-up. Could I take a classic 26 year old Thanksgiving story (Planes, Trains and Automobiles) and somehow connect it with a movie that is currently number one in the box office this Thanksgiving (Hunger Games: Catching Fire). According to Box Office Mojo Planes had a total gross of just under $50 million—Catching Fire made more than that its opening day and has gone on to make more than $300 million worldwide in the first six days of its theatrical release. 

Granted Planes was released in 1987 so you’d have to adjust those numbers to be an equal comparison, but the truth is that John Hughes written and directed film starring Steve Martin and John Candy was far below the box office winner (Three Men and a Baby) the year it was release. But when was the last time you heard anybody talking about Three Men and a Baby or quoting lines from that movie?

Like every year, 1987 had its share of memorable films that have endured. Some did well at the box office (Fatal Attraction) and others didn’t find their audience until later (The Princess Bride). But what makes Planes, Trains and Automobiles continue to entertain and please audiences today?

“Some movies are obviously great. Others gradually thrust their greatness upon us. When ‘Planes, Trains and Automobiles’ was released in 1987, I enjoyed it immensely, gave it a favorable review and moved on. But the movie continued to live in my memory. Like certain other popular entertainments (‘It’s a Wonderful Life,’ ‘E.T. The Extra-Terrestrial,’ ‘Casablanca’) it not only contained a universal theme, but also matched it with the right actors and story, so that it shrugged off the other movies of its kind and stood above them in a kind of perfection. This is the only movie our family watches as a custom, most every Thanksgiving….The buried story engine of ‘Planes, Trains and Automobiles’ is not slowly growing friendship or odd-couple hostility (devices a lesser film might have employed), but empathy. It is about understanding how the other guy feels.”
Roger Ebert
Review for Planes, Trains and Automobiles

What Ebert called a “buried story engine” I would call theme and emotion. Here are two of my favorite questions on those subjects:

“I think what makes a film stick to the brain is the theme.”
Screenwriter Bill Martell

“The goal of every screenplay, every movie, every novel, every story of any kind (and ultimately, every work of art) is identical: to elicit emotion.
Michael Hague
Selling Your Story in 60 seconds

Call it “an understanding how the other guy feels” or “empathy,” but 26 years from now people will still be watching Planes, Trains and Automobiles. I’m not sure the same can be said for Hunger Games: Catching Fire. The studios don’t care about that now, they’re making money. The reviews are good. They’ve done their jobMe? I’ll watch anything with Jennifer Lawrence in it (she had me at Winters Bone), but Catching Fire didn’t warm my bones. I felt like I was watching a middle program in an episodic TV show that was a cross between Survivor, LOST, and The Truman Show. (Please don’t tell me I need to read the books to appreciate the movie. That was never said of The Godfather—or The Wizard of Oz.) 

At first I thought maybe it was just me coming off a long road trip before I saw Catching Fire until I read ScriptShadow’s review of the film.

“The Hunger Games, and movies like it, represents one of the most thankless screenwriting jobs in Hollywood. Sure, you get to write one of the biggest movies of the year, but all the credit will go to the two people who sandwiched you in the process – the author of the original book, and the director who put the movie on the big screen.

To that end, that middle cog, the screenwriter who adapts these huge books, is allowed little to no creativity. His job amounts to that of a translator. Maybe that’s why Catching Fire feels so empty inside. Its two talented screenwriters, Simon Beaufoy and Michael Arndt, weren’t allowed to do anything but translate. And it’s left this movie without a soul.”
Carson Reeves/ScriptShadow
Movie Review—Catching Fire

Even if you really enjoyed the film (which many of its intended audience did) you have to admit it didn’t have what Arndt calls an “insanely great ending”—the credits just come up and you go, “I guess it’s over.” Just one of the problem of sequels.

BTW—Scriptshadow also had a good post this week on 10 Screenwriting Tips from Thanksgiving favorite: Plane Trains and Automobiles! 

P.S. Films released in 1987 worth going back and watching or re-watching include Empire of the Sun (Christian Bale’s first major film), Wall St. (Michael Douglas won an Oscar for his role created by Oliver Stone and Stanley Weiser), Moonstruck, the third Coen Brother film—Raising Arizona, and my personal favorite of that year Broadcast News written and directed by James L. Brooks.

Related Posts:
40 Days of Emotions
Theme: What Your Movie is Really About
Writing from Theme (Tip #20)
Winter’s Bone (Debra Granik)
“The Artists” 3— “Hunger Games” 0
Before John Hughes Became John Hughes (And how Planes was inspired by his day job.)

Scott W. Smith

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