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Posts Tagged ‘Ferris Bueller’s Day Off’

What in the hell is an “objective correlative”? And why do so many movies and plays have one?

There are things in your life that you’ve attached meaning to. When you see them they conjure up memories of people, places and events. If I give my wife Toblerone chocolate it’s a fond reminder of a train trip we took in Switzerland years ago. My office is full of things that remind me of special productions I’ve worked on over the years—a soccer shirt from Brazil, a bottle of wine from South Africa, a poster from Aspen. Just glancing at those objects reminds me of positive life experiences.

I have an emotional connection to those items that is not intrinsic to their being. And it’s not materialistic (total cost of those items was under $50.) but rather symbolic. The chocolate, the shirt, the wine, the poster all point to something beyond the common material itself. (Sometimes items of meaning are free. I have a matchbook from a place called the Beehive, a coffeehouse in Pittsburgh, where I did a video shoot 20 years ago.* I smile everytime I see that matchbook.)

Writers of books, plays and movies tap into that emotion when they give meaning to certain places and objects. It’s what T.S. Eliot called the “objective correlative.”

“The only way of expressing emotion in the form of art is by finding an ‘objective correlative’; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.”
T.S. Eliot/Hamlet and His Problems

In the movie Forrest Gump, when the older Jenny comes upon her childhood home an emotion is immediately evoked—upset, she begins throwing rocks at the house. And in the voice-over Forrest says, “Sometimes I guess they’re just aren’t enough rocks.” The double whammy there is Jenny not only feels that emotion of remembering an abusive childhood, but the audience feels it as well. There’s a connection. An emotion that we feel for Jenny, but also an emotion that we personally know that, “Sometimes I guess they’re just aren’t enough rocks.”

One of my favorite examples of an objective correlative is the volleyball in (another Tom Hanks movie) Cast Away. Hanks’ character, stranded on a deserted island, befriends a volleyball, paints a face on it, names it Wilson and it becomes his companion. Screenwriter William Broyles Jr. and director Robert Zemeckis knew exactly the emotional impact it would have when Wilson is tragically lost at sea. (Another tragedy is Wilson the Volleyball is uncredited in the film.)

Now audiences don’t look at Jenny’s childhood house or Wilson and say, “Oh, look, an objective correlative.” It’s an emotional reaction. Objective correlative is just the technical phrase of something that’s useful to have in your writer’s tool kit.

“Tennessee Williams, The Glass Menagerie. Objective correlative: the glass unicorn whose horn gets broken in the second act by the gentleman caller. Yes, a fragile sensitive little glass unicorn figurine. Fanciful? Beautiful? Tragic? Poignant? Phallic? Call it what you will, but baby, it brings with it a host of emotions. When it happens on stage, it’s damn powerful.”
Richard W. Krevolin
Screenwriting from the Soul
page 71

The more a writer is fond of symbolism (as Tennessee Williams was) the more likely you are to find a objective correlatives in their work. I’m sure there are other writers who’ve gone their entire career without giving a second thought to the concept of  a objective correlative. (Though they probably instinctively had them sprinkled throughout their work.) But if even the basic concept of an objective correlative turns you off as a writer, consider that one of the mostly highly regarded movies in the history of cinema, Citizen Kane, is filled with objective correlatives; the puzzle, the snow globe, and, of course, Rosebud.

It’s the cherry orchard in Chekhov’s The Cherry Orchard, it’s the Ferrari in Ferris Bueller’s Day Off, it’s the compressed air and cattle gun in No Country for Old Men, and the list goes on and on and on. You get the point. Now if you really dig this kind of thing here are some additional thoughts and quotes on the matter:

“I had never understood what Eliot meant by the curious phrase ‘objective correlative’ until the scene in Gatsby where the almost comically sinister Meyer Wolfshiem, who has just been introduced, displays his cuff links and explains that they are ‘the finest specimens of human molars.’ Get it? Got it. That’s what Eliot meant.”
Richard Yate
Some Very Good Masters
New York Times Book Review, April 19,1981

“I borrow the term Objective Correlative from T. S. Eliot and adapt it to mean an external object that represents a character or a state of mind. Rocky’s locker is Rocky’s manhood. When it is taken from him, it is like a castration. In Truly Madly Deeply, the cello is Jamie. In About Schmidt (by Louis Begley and Alexander Payne), when he sees his carefully prepared reports in the garbage, it represents the entirety of his life’s work.”
Hal Ackerman
Write Screenplays That Sell
Page 207

In one episode of the great TV program Northern Exposure Chris (John Corbett) defends his master’s thesis and actually uses the term  ‘objective correlative’ and identifies T. S. Eliot as the source. Which led David Lavery to write,  “Though I cannot be absolutely certain, I would venture to say that this may have been the first, and perhaps the only, time ‘objective correlative’ was ever discussed in prime-time.”

*Quirky fact: The cameraman for that shoot I did in Pittsburgh 20 years ago was related to Geroge Romero who directed the original Night of the Living Dead.
Quirky fact 2: Just went to the Beehive website and learned that according to one of the owners Scott Kramer, “The name Beehive came from a place in France where all the artists were living in the 1930s. Artists can come here and ideas can flow.” Check it out if you’re in Pittsburgh, or the next time you go there.

Update 5/15/13: According to the The Writing Barn post Craft Talk Tuesday with Carol Brender, “Term [objective  correlative] first coined prior to 1850 by Washington Allston , but later given its more literary meaning by T.S. Eliot in an essay about why Hamlet is a failed play.”

Scott W. Smith

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I have no idea how many advertising copywriters have become produced screenwriters, but I have an idea how many would like to make that leap—about 100%. One of the great modern day success stories of an ad writer turning screenwriter was John Hughes.

Just found an article on John Hughes by Robert Nolan who hired Hughes at a well known advertising agency back in the mid-70s. (The Early Ferris Bueller: Remembering John Hughes in Advertising.) He writes that Hughes didn’t have much of a writing portfolio at the time he hired him but that it was Hughes’ hysterical jokes that he had sold to comedians for $5. that got him the job.

“One of the last times I saw John Hughes, he was sitting across my desk at Leo Burnett in Chicago and telling me he was quitting. It was early 1979 and he said he was leaving advertising to write screenplays. His first assignment, he said, was to write a script for a prospective National Lampoon movie called Jaws -3, People- 0. Selfishly, I told him that he was making a big mistake. That he’d never make it as a screenwriter. That he shouldn’t quit his day job. I felt so strongly about this that at the end of his last day at Burnett, I drove him all the way home trying to talk him out of it. But John was unmoved. His mind was made up.”
Robert Nolan

Hughes proved his old boss wrong and went on to write Mr. Mom, The Breakfast Club, Home Alone ,Ferris Bueller’s Day Off and around three dozen more filmsHughes, who passed away earlier this year, would have been 29 in 1979.

Scott W. Smith

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Writing action in a screenplay is not to be confused with car chases (though it could be a car chase). The action, or as it is also called the narrative, is simply what’s supposed to be happening on screen. More often than not it is a few blurbs rather than thick paragraphs. If there is a lot of action it’s best of you can break it down into short paragraphs. Keeping the action to a minimum helps to keep the screenplay vertical, which keeps the reader of your script heading down the page. Here are how some memorable scenes looked like on the page:

INT. GARAGE

Cameron has kicked the Ferrari off the jack. It squeals out the of the garage in a cloud of blue smoke. A $50,000 unmanned investment heading backwards down a driveway.
Ferris Bueller’s Day Off
                                    John Hughes       

EXT. ART MUSEUM STAIRS – DAY

It is twilight and Rocky is alone at the very bottom of a huge flight of steps that seem to stretch into the heavens…Rocky takes a deep breath and sprints up the never ending stairs …Halfway up, his body shows the strain. Nearing the top, Rocky pumps with all his strength and arrives at the very top…He looks down the steep stairs and swells with pride…He is ready.
Rocky
                                    Sylvester Stallone

As ANNIE swings, the sledgehammer makes contact with the ankle. It breaks with a sharp CRACK.
CUT TO:
PAUL: CLOSE UP, shrieking.

                                     Misery
                                     William Goldman 

He wades upstream, ripping his clothes from his body. He gets his shirt off, spins it through the air over his head, flings the shirt away. He raises his arms to the sky, turning slowly, feeling the rain washing him clean. Exultant. Triumphant. A FLASH OF LIGHTNING arcs from horizon to horizon.
                                      The Shawshank Redemption
Frank Darabont

Notice how it doesn’t take many words to convey a lot in a screenplay?

Scott W. Smith

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