“When I used to look out at the world, all I could see was its edges, its boundaries, its rules and controls, its leaders and laws. But now, I see another world. A different world where all things are possible. A world of hope. Of peace.”
Neo
The Maxtrix
“It’s all for nothing if you don’t have freedom.”
William Wallace
Braveheart
“You cannot tell a meaningful story without the potential for loss.”
Robert McKee
“A good point of attack is where something vital is at stake at the very beginning of the play.”
Lajos Egri
The Art of Dramatic Writing
I don’t know if Monday’s immigration raid in Postville, Iowa made it on your radar but it was the largest single site raid in the history of this nation. Federal immigration agents arrested 390 people from Mexico, Guatemala, Israel and the Ukraine.
Let’s put the politics aside and look at this from a Screenwriting from Iowa perspective. How you answer the question “What’s at Stake?” has a big impact on your writing.
Recently I wrote about David Lynch being in a small town in Iowa known as a haven for transcendental meditators and I find Postville just as intriguing. The community was founded by those of German and Norwegian decent and they make up half of the town’s 2,500 people. The other half are mostly Hispanics who work for the Hasidic Jews who moved there from New York, so the place is a little surreal.
Yesterday I drove to Postville to shoot some footage and interviews for Univision, the Hispanic Network in Miami, and the first two people I met to were a couple Jewish young men. We talked a little about the town and had a common connection talking about B&H Camera in New York.
The Hasidic Jews are in Postville because they own and run Agriprocessors the world’s largest kosher meatpacking plant and where Monday’s raid occurred. (As a side note, did you know that Coca-Cola makes a kosher Coke available for the Jewish Passover? No high-fructose corn syrup used.) The Mexicans and other immigrants are there to work in the meat packing plant. The Germans and the Norwegians are still in the area running the farms they and their families have been tending for over 100 years.
Stephen Bloom, author of Postville: A Clash of Cultures in Heartland America writes, “I look at Postville as a social laboratory to test the limits of diversity, tolerance, and acceptance.”
When I first pulled into Postville it looked like many small Midwest towns you drive through. But then you notice the Guatemalan restaurant and the Mexican clothing and convenience stores and know that there is something unique about this area. Then you wonder how the Hasidic Jews have adjusted to moving there from New York.
Bloom writes, “When the Hasidic community moved to Postville, they moved their entire ethos with them from Brooklyn to northeastern Iowa. They created immediately a shul or synagogue. They made two mikvehs, or ceremonial bath houses, as well as a yeshiva, or school for their children. They replicated in northeastern Iowa the community they had established in Crown Heights, Brooklyn. So in my mind, they were not suffering any degree of cultural deprivation. They moved their world, lock, stock, and barrel, one thousand miles westward.”
Am I the only one who thinks that setting would be more a fascinating and original setting for a movie than say…”What Happens in Vegas”? In fact, What Happens in Postville sounds like a fine title. Witness meets La Bamba meets The Life and Times of Hank Greenberg with a dash of Ibsen and Wim Wenders.
But what I really want to talk about is the concept in your screenplay of “What’s at Stake?” That is a key question of the stories you tell. Investors and studios long ago learned the secret of that question. Because at the core of the question “What’s at stake?” is the concept of what holds an audiences attention.
Writers are sometimes slow learners and can get caught up in the story, characters and dialogue they are writing. But “What’s at Stake?” is vital to ask when what’s at stake financially is a lot of money. “What’s at stake?” is related to the level of conflict I wrote about in tip #1.
If you take a long look ar AFI’s top 100 films you’ll notice that 70% of the films deal with life or death, or at least significant life and career blows. Great conflict.
Citizen Kane
Casablanca
The Godfather
Gone with the Wind
Lawrence of Arabia
The Wizard of Oz
On the Waterfront
Schindler’s List
When you talk about life and death a lot is at stake.
“I know what you’re thinking. Did he fire six shots or only five? Well, to tell you the truth, in all this excitement I kind of last track myself. Being how this is a 44 Magnum, the most powerful handgun in the world and would blow your head clean off, you have to ask yourself one question, ‘Do I feel lucky?’”
Dirty Harry
If you look at the all time box office hits you’ll find a majority also have life or death, or significant life or career blows.
Titanic
Star Wars
Spider-Man
E.T. (the immigrant from outerspace)
Lord of the Rings
Jurassic Park
Pirates of the Caribbean
No one said all successful movies had or needed to have this element but obviously it increases your odds of having an award winning film as well as one that finds a large audience.
Maybe that’s the simple secret to horror films and super hero films usually doing well at the box office.
As I made the hour and a half drove home from Postville yesterday I thought of all lives involved in Monday’s raid. Certainly surrounded by agents with guns and helicopters overhead was a dramatic and traumatic situation. Now many are separated from family members and facing deportation. Others face charges of identification tampering.
It made me recall my days in Miami when Haitians would risk their lives to come to the United States on overcrowded and poorly constructed boats. And sometimes they died in the process.
The mayor of Postville said if the meat packing plant closed then his town could become a ghost town. There is a lot at stake from many angles in Monday’s raid.
What’s at stake in the script you are now writing?
“What’s at stake?” is a significant question in life as well as drama.
copyright 2008 Scott W. Smith
Screenwriting from Iowa 