Posts Tagged ‘Network’

“I think what I’m trying to say [in Network] is, ‘How do you preserve yourself in a world where life really doesn’t mean much anymore?’ That’s what I was trying to say. The trick is, of course, to say it so that it’s a good movie.”
Paddy Chayefsky
Interview with Dinah Shore

 “It’s impossible to describe what it feels like to be handed the same award that was given to Paddy Chayefsky 35 years ago for another movie with ‘network’ in the title.”
Aaron Sorkin
Oscar acceptance speech for writing The Social Network

In 1977 Paddy Chayefsky won an Academy Award for his Network screenplay. Over the weekend I saw a link to a NY Times piece call The Notes Behind ‘Network.’ Here are a few highlights that give a glmpse into the writing process of Chayefsky:


ACT II of the Network Stogy
The general framework of Act II is to show how the
network becomes successful and powerful. Obviously, one
crazy anchor man isn't enough to make a network success-
ful. A networkfpower comes from the number of affiliates
it has. Affiliates join a network essentially because
their programs are most in demand by the local areas
serviced by the affiliates. So the next step in the
solvency and success of the network is the success of
programming, built on the,lead--in success of the angry
7:00 news program: - What missing here is the satirical
clarity of how one network achieves successful program-
ming. "he only joke we have going for us is the idea of
ANGER - The American people are angry and want; angry shows --
They donlt want jolly, happy family type shows like 
Witness News; they want angry shows -- So they base their
propgramming on ANGER -- At the moment, the successful
sitcom shows are those that make political comments, mild,
bland,liberal political comments - on racism, Watergate,
political corruption, reactionary neighbors, etc. - UBC
decides to go one step better and make genuinely angry
ainx sit--coms, so that they become sit--tragedies -- The
American people seem to be hungering for happier days
like the Depression, note The Waltons -- frogramming sets
up depression shows with happy, starving families -
No matter how much programming satire we use, we still 
afetbasing the success of their programming on unclear
ines. are assuming UBC programming will now
telling business. You're in the
boredom-killing business. You kill
time for two hundred million Americans
who don't know what to do with themselves.
You give them football games and songs
and dances and soap operas and talk shows
Eor people who forgot how to talk to
each other. You 
tell them
news because they've forgotten how to read -
INTERCUT: Reactions of a glacial hostility settling over
the vast room - There is a noticeable movement of the PRESS
and TV Camera erews slowly edging down the aisles toward the
rostrum -
BACK TO: Eddie at the rostrum. FLASHES from press photographers
occasionally fire, punctuating Eddie's speech -
-Why? Because you're not really in
the entertainment business. You're in
the merchandising business. Your job
is to assemble the largest audience of
consumers. You are, in short, shills
for your sponsors. And television, d1e
fountain of truth,
Q, is, in fact, being run, for the
benefit of a few giant corporations -

Related Posts:

Screenwriting Quote #134 (Paddy Chayefsky)
Paddy Chayefsky Interview
“Television used to suck”—Frank Darabont
Starting Your Screenplay (Tip #6) “Who is your hero, what does he want, and what stands in his way?”—Chayefsky
Screenwriting the Pixar Way (Part 5) The best thing that can happen is for the theme to be nice and clear from the beginning.”— Chayefsky

H/T Scott Keiner for the NY Times link (Via the Two Adverbs screenwriting group on Facebook.)

Scott W. Smith

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“The ‘surplus society’ has a surplus of similar companies, employing similar people, with similar educational backgrounds, coming up with similar ideas, producing similar things, with similar prices and similar quality.”
Kjell Nordstrom and Jonas Ridderstrale, Funky Business

We live in a culture that is swimming in “a sea of sameness.” I’m not sure who coined that phrase “a sea of sameness,” but I first heard it from Tom Peters many years ago. The phrase instantly resonated with me because it was so easy to look at the world around me and see that it was true—from fast food restaurants, to automobiles, to Hollywood movies.

The big question is once you notice “the sea of sameness” around you, what do you do about it? If you like the sameness of the life you are living and are surrounded by then there is no dilemma. But if you no longer care to conform to the “sea of sameness” then the only sane thing for you to do is step off the track you’re running on. Rebel. Change.

“If you don’t like change, you’re going to like irrelevance even less.”
General Eric Shinseki, Chief of Staff, U.S. Army

Of course, the courage to change may take years…or something you do today. (Or at least take the first step towards.)

“I’m mad as hell, and I’m not going to take this anymore.”
Howard Beale
Network, written by Paddy Chayefsky

You can apply that where you will, but since this is a blog on screenwriting that’s where we should look. Are the stories you’re writing the stories you are dying to tell? Here’s how screenwriters Gill Dennis and James Mangold laid it out in the script Walk the Line where record producer Sam Phillips gives some advice to a young Johnny Cash who had just performed a lackluster gospel song for him in hopes of landing a recording contract:

“If you was hit by a truck and you were lying out there in the gutter dying and you had time to sing one song. One song people would remember before you’re dirt. One song that would let God know what you felt about your time here on earth—one song that would sum you up, you telling me that’s the song you’d sing? That same Jimmy Davis tune that we hear on the radio all day, about your peace within, and how it’s real, about how you’re going to shout it. Or would you sing something different? Something real. Something you felt.  Cause I’m telling you right now, that’s the kind of song people want to hear. That’s the kind of song that truly saves people. ”
Walk the Line

I hope that’s the kind of script you’re working on now. (Or you at least have a file started.)

Scott W. Smith

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The origins of the classic hand game “Rock, Paper, Scissors” are unknown. But what is known is its popularity is undisputed and universal. There are even RPS contests and leagues around the world.  In fact, the World RPS Society has cash prizes and a world champion every year. Online you can find all kinds of websites, t-shirts, and tips on improving your game.

And, yes, there is a documentary on the subject called Rock Paper Scissors; a geek tragedy.

Though there are variations of the game, the basic rules are the same;
—Paper covers rock
—Rock smashes Scissors
—Scissors cut paper

You gotta love the simplicity. For the sake of this post on screenwriting, let’s explore three popular ways that accomplished writers say they have used as starting points for writing screenplays;


But we’re not really pitting them against each other, just showing three examples of writers who use one as their starting point.


“I always start with story rather than characters. When I write I try to write from the point of view of defining a character through action. That way having the narrative shifts define what we think of the characters. That’s why I love film noir crime fiction because double-crosses, twists and turns… you’re constantly readdressing your opinion of the characters and you’re reassessing who you think those people are. I find that a really interesting and very strong form of characterization, but it means putting story first and then just seeing where that leads the characters.”
Oscar-nominated screenwriter Christopher Nolan
(And writer/director of the #3 all-time (domestic) box office film The Dark Knight)


“I DETEST the word plot. I never, never think of plot. I think only and solely of character. Give me the characters; I’ll tell you a story–maybe a thousand stories. The interaction between and among human beings is the only story worth telling.”
Oscar-winning screenwriter Stirling Silliphant
In the Heat of the Night


“The best thing that can happen is for the theme to be nice and clear from the beginning. Doesn’t always happen. You think you have a theme and you then start telling the story. Pretty soon the characters take over and the story takes over and you realize your theme isn’t being executed by the story, so you start changing the theme.”
Three time Oscar-winning screenwriter Paddy Chayefsky
Network, The Hospital, Marty

Three different writers with three different starting points, but each with successful results. The important thing isn’t to argue or worry over your starting point, but pick which works best for you and start (and, yes, there are other starting points). But just as important, finish what you start. And if you really want to have a hand up on most screenplays write one with a solid story, solid characters, and a solid theme.

Scott W. Smith

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