Posts Tagged ‘Quentin Tarantino’

“It’s both surprising and fascinating to learn that people are more creative in the shower than they are at work….The relaxing, solitary and non-judgmental shower environment may afford creative thinking by allowing the mind to wander freely, and causing people to be more open to their inner stream of consciousness and daydreams.”
Scott Barry Kaufman, Ph.D.
Co-author, Wired to Create: Unravelling the Mysteries of Creative Mind Psycho

You’ve tried everything, right? Everything to improve your writing. Your creativity.

Well, maybe not EVERYTHING.

“I’ve got plenty of quirks. I go to an office early in the morning. Early in the morning is really good writing time. I take anywhere between six to eight showers a day. I’m not exaggerating. I’m not a germaphobe. It has nothing to do with germs. I’m writing, writing—it’s not going well. Writing, writing—it’s going badly. Take a shower. Put on different clothes and you’ll feel refueled and start again.”
Oscar & Emmy-winning writer Aaron Sorkin
Bloomberg interview with Emily Chang

So while sure concept,  conflict, interesting characters, that Mamet stuff on drama, and an insanely great ending are all important, give that six to eight showers a day a try.

Let me know how it goes.

P.S. If I recall correctly, in one of Julia Cameron’s book (The Artist’s Way or The Right to Write) she mentioned how water (either showers or swimming), walking, and driving all seemed to been means of improving the creative thought process. It not only works for Sorkin, because two time Oscar-winning screenwriter Quentin Tarantino talks about how swimming is part of his creative process (and how instead of spending money on drugs, he has a heated pool at his home). And two time Oscar-winning screenwriter Dalton Trumbo was known to actually write screenplays while sitting in a bathtub.


P.P.S. “In the shower, with the hot water coming down, you’ve left the real world behind, and very frequently things open up for you. It’s the change of venue, the unblocking the attempt to force the ideas that’s crippling you when you’re trying to write.”
Four time Oscar-winning writer/director Woody Allen

Related post:
Professor Aaron Sorkin
Aaron Sorkin on Good vs. Great
Sorkin on Revealing Character 
‘Bird by Bird’

Scott W. Smith

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“I remember when we were doing the press for The Brothers McMullen somebody in Fox Searchlight’s press department kept talking about the thing that’s going to help this movie—it’s the movie, but it’s [also] the story of the movie. They said any time you make a movie you should think about that—the other story you can tell. That way you can get two articles in the New York Times. You can get the review of the film, but then the ‘oh, Brothers McMullen—he made it for $25,000.’ There the other story so you can maybe end up in the business section, or the fashion section, or the sports section.”
Filmmaker Edward Burns
Podcast interview on The Moment with Brian Koppelman 3/17/15

Example of indie movies over the years with other stories include:

Hollywood Shuffle (1987) where Robert Townsend said he used credit cards to fund his movie.
El mariachi (1992) where Robert Rodriguez was said to sell his blood and/or undergo medical experiments to fund his film.
Clerks (1994) Kevin Smith sold a chunk of his comic book collection to fund his first film.
The Blair Witch Project (1999) Here the filmmakers had story after story that helped the movie become the biggest box office hit to date for what it cost to make.
Purple Violets (2007) The first film to be released exclusively on iTunes.
Paranormal Activity (2007) The story of Oren Peli’s self-funded almost no-budget thriller was the film that dethroned Blair Witch at the top movie in the ratio of cost to make and profits.

Oscar-winning screenwriters Quentin Tarantino and Diablo Cody both brought interesting personal backstories to their debut films.

I’m sure there are many other examples, but keep in mind your story’s story as you work on your movie. And you can work on your story’s story before you finish making your film.  While it worked out for him, Burns made the mistake of not arranging any still photos during the filming of The Brothers McMullen. (Maybe because he was acting and directing and the 3 to 5 person crew had their hands full.)

Related links:
The 10 Film Commandments of Edward Burns
“Don’t try and compete with Hollywood”—Ed Burns
Earn Your Ending (Tip #76)
A New Kind of Filmmaker 

Scott W. Smith 

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“To tell you the truth, I try not to get analytical in the writing process. I really try not to do that. I try to just kind of keep the flow from my brain to my hand as far as the pen is concerned and, as I’ve said, go with the moment and go with my guts. It’s different than when you’re playing games or trying to be clever. To me, truth is the big thing. Constantly you’re writing something and you get to a place where your characters could go this way or that and I just can’t lie. The characters have gotta be true to themselves. And that’s something I don’t see in a lot of Hollywood movies. I see characters lying all the time. They can’t do this because it would affect the movie this way or that or this demographic might not like it. To me a character can’t do anything good or bad, they can only do something that’s true or not.”
Two-time Oscar winning screenwriter Quentin Tarantino (Pulp Fiction, Django Unchained)
Creative Screenwriting Magazine interview by Erik Bauer

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Mike Nichols on Comedy, Tragedy & Truth
The Shocking Truth (Tip #84)
Hunting for Truth
Telling the Truth=Humor

Scott W. Smith

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It’s my job to be cleaning up this mess 
And that’s enough reason to go for me
It’s My Job/Mac McAnally

“I kind of like the ring of “Lee Daniels’ The Butler.” I’m thinking about naming everything after Lee Daniels.”
Danny Strong screenwriter of Lee Daniels’ The Butler
Huffington Post article by Christopher Rosen

Following yesterday’s post about Ashton Kutcher’s quote on work, it seems fitting to give a shout-out to Lee Daniels’ The Butler which hits theaters today. Forest Whitaker plays Cecil Gaines, a character based somewhat on Eugene Allen who worked at the White house for eight presidential terms between 1952—1986. The original seed for the movie was inspired by the Wil Haygood 2008 Washington Post article A Butler Well Served by This White House and the screenplay written by two-time Primetime Emmy winner Danny Strong (Game Change).

“I knew pretty early that if we stuck to the absolute truth there would be no movie, because butlers are pretty tight-lipped. I didn’t know how to tell the story. Then I started researching, reading memoirs of people who worked at the White House. I interviewed butlers, house men, engineers, former chief ushers, family members of the first family. Through the course of these interviews, I realized I could create a composite character through which I could utilize different stories from different people. And that’s basically how the Gaines family came to be….There were two big breakthroughs. It was a story that took place over many administrations. As soon as I realized that this was going to be a story about the Civil Rights movement, and that was going to be the spine of the film, that was the first breakthrough. In all these administrations, there will be a common theme going on as we travel through the eras. And then the second breakthrough was [creating] a son who was a Civil Rights activist so that we could actually be in the center of the action while those events were happening. That created this really great triangle of the butler trying to get his son out of the Civil Rights movement and the presidents dealing with the crises that his son is in the middle of as the butler is serving those presidents. It made the story emotional even when the butler wasn’t speaking in the White House, and it created what I thought would be a very interesting generational story between father and son. It keeps everything personal and emotional as opposed to a history lesson.”
Screenwriter Danny Strong (Lee Daniels’ The Butler)
Fact, Fiction, and ‘The Butler’: A Q&A with Danny Strong by Jay Fernandez

Strong says other books that were helpful in giving a glimpse to working in the White House and of the times were My 21 Years in the White House by Alonzo Fields, Upstairs at the White House by J. B. West, Walking With the Wind by John Lewis,  How Ronald Reagan Changed My Life by Peter Robinson, Kennedy by Ted Sorense, and The Years of Lyndon Johnson by Robert A. Caro.

Look for the Lee Daniels’ directed film and screenwriter Strong (and maybe Whitaker and Oprah Winfrey) to pop up again when Oscars are announced next year.

P.S. Love to hear writers talk about characters, theme, and emotions because I think those are the keys of the best writers in command of their craft. Oh, and speaking of great writers and work—Strong became friends with Quentin Tarantino when Tarantino worked as a video clerk at Video Archives in Manhattan Beach, CA.  More on that Monday.

Related Posts:
Writing from Theme (Tip #20)
40 Days of Emotions
Filmmaking Quote #10 (Lee Daniels)
Martin Luther King Jr. & Screenwriting (Tip #7)

Scott W. Smith 

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“Charlie don’t surf.”
Lieutenant Colonel Bill Kilgore (Robert Duvall) in Apocalypse Now
Screenplay by Francis Ford Coppola and John Milius

Hightower Beach
©2013 Scott W. Smith

This morning I took the above photo and decided to make it a challenge to use it as a springboard for a new post. How could I take a sunrise surfer shot and tie it into something useful about screenwriting? Well, to make a long story short I found an interview with Francis Ford Coppola and John Milius talking about Apocalypse Now that they collaborated on together.  I found the You Tube video on a website that is somewhat new to me called Cinephilia and Beyond . The site is a tremendous resource and I believe originates from a filmmaker in Zagreb, Croatia. On Twitter @LaFamiliaFilm. (I see a “Screenwriting from Croatia” post forming.)

So all the way from Croatia via a turn in Satellite Beach, Florida here’s an interview between the filmmaker who made the quintessential Mafia film (The Godfather) and the one who made the quintessential surfer film (Big Wednesday) talking about how they made Apocalypse Now, how George Lucas was the original director on the project, and how the now classic film had a rocky start out of the gate.

“When the movie first came out it was very dicey which way it was going to go. And I really had my life realy based on it— I’d financed it, and it was starting to get a negative buzz. It had gotten horrible reviews. I remember the reviewer Frank Rich wrote in his review, ‘This is the greatest disaster in all of fifty years of Hollywood’..my feelings were so hurt by this pronouncement.”
Francis Ford Coppola

If you’ve never seen Apocalypse Now, definitely put it on your list of films to watch/study. (Will it help add emphasis if I you knew that last year Quentin Tarantino put it on his list of Top 12 Films of All Time?)

“[Robert Duvall] came to me and he wanted to know what all those surfing terms were. Exactly what they were. He wanted to go down to Malibu and look at surfers—see how they walked around, what they did. He wanted to know when he talked about a cutback that he knew what a cutback was.”
John Milius

P.S. File this one under odd connections: In the interview Coppola talks about going to UCLA at the same time as did Jim Morrison of The Doors. Music from the Doors is played in Apocalypse Now. Morrison was born in Melbourne, Florida just a few miles from where I took the above photo of the surfer that started this post in the first place. Apocalypse Now came out when I was a senior in high school and it was by far the most transformational movie experience of my then 18 year existence. And the scene where The Doors’ song The End plays is still mesmerizing (even on You Tube).

Related Posts:
Writing “The Godfather (take 1)
Postcard #22 (Kelly Slater Statue)
Jack Kerouac in Orlando
Surf Movie History 101
Kelly Slater on the Digital Revolution
Off Screen Quote #12 (Kelly Slater)
“Take a Risk”—Coppola

Scott W. Smith

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“Find a strong-willed character with a nothing-will-stand-in-my-way determination to reach his or her goal confronting strong opposition, add a strong action line, keep throwing obstacles (conflicts) in his or her path, and you’re well on your way to a gripping screenplay.”
William Froug


Last week I did something I’ve never done before, I read a screenplay of a film that was just released and then a couple of days later went to the movie. It was a great experience.

The script and movie was Silver Linings Playbook written and directed by David O. Russell from a book by Matthew Quick. Earlier this month the movie, director  and screenplay all received Oscar nominations, along with being the first film in 31 years to be nominated in all for acting categories (Best Actor, Best Actress, Best Supporting Actor, Best Supporting Actress). I’ll write more about the movie Monday, but the great thing about reading the PDF official screenplay at the website of The Weinstein Company who produced the film is regardless of how well the actors performed—the script totally worked on the page.

Of course, you kind of expect that, but we’ve all read scripts where we think “those actors really made that movie better than the script.” Not to take anything away from Bradley Cooper, Jennifer Lawrence, Robert De Niro, and Jackie Weaver, but I believe several top actors would have made an equally compelling movie because the script is so dang strong. I look forward to reading Quick’s novel to see how different it is from Russell’s script.

You can also find the screenplay of other Oscar-nominated film produced by  The Weinstein Company, Quentin Tarantino’s Django Unchained online.  I happened to see Silver Linings Playbook and Django Unchained back to back last weekend and noticed that while they are different genres and take places in different eras, the core stories are the same—men who want to reconnect with their wives. A pretty simple through-line or story spine.

But read both screenplays and watch each movie to see how the filmmakers develop their stories. The originality come from taking a simple (and shared) concept and mixing it with familiar yet unique settings , along with complex characters surrounded by conflict with much at stake.

My writer friend Matthew sent me this link at Film Buff Online that actually has 30 recently Oscar-nominated scripts offered by the studios. I’m not sure  how long these links will be live so if you’re interested check them out before the Oscar ceremonies.

P.S. Anyone else remember the days when you had to save up $15 and head down to Hollywood to buy a script or go to AFI where you had to hand over your driver’s licence to read a script in their library?

Related Posts:
What’s at Stake? (Tip#9)
Descriptive Writing—Characters

Martin Luther King Jr. & Screenwriting (Tip#7)
“Goal. Stakes. Urgency.” (Tip #60)

Scott W. Smith

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“My ancestors didn’t come over on the Mayflower, but they met the boat.”
Cowboy, humorist, actor, Cherokee Will Rogers

“We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among those are Life, Liberty, and the pursuit of Happiness.”
1776 USA Declaration of Independence

Chief Kandiyohi 17-foot tall statue by artist Eben E. Lawson 
Shot while on location in Willmar, Minnesota

What do the following U.S. cities and states have in common?

Minnesota, Tennessee, Oklahoma, Massachusetts, Michigan, North & South Dakota, Utah, Kentucky, Connecticut, Cheyenne, Oklahoma City, Omaha, Tallahassee, Lake Tahoe, Roanoke, Saratoga, Seattle, Chicago, Malibu and Manhattan.

Those are just a few places whose names are rooted (or believed to be rooted) in American Indian culture.  It was in in the movie Wayne’s World that many learned from the great historian (and rocker) Alice Cooper that the city of Milwaukee was an Indian word; “It’s pronounced ‘mill-e-wah-que’ which is Algonquin for ‘the good land.’”(I even don’t know if that’s true, but if it’s in the movies it must be, correct?)

What I do know is one of the great things about America is it is indeed a melting pot of cultures and traditions.  And Native American Indian culture is a huge part of that melting pot.

In some ways, if you grew up in America—black, white, Hispanic, Asian, Indian, whatever—your story is probably similar to mine in some ways. Today I live in Black Hawk County in Iowa, the town I grew up in the South was Seminole County, one of the colleges I attended was the University of Miami, I was born in Ohio—again all names rooted in American Indian culture. You can’t escape it and the mythology that surrounds it.

I grew up seeing old cowboy and Indian westerns on TV and enjoyed playing the Indian as much as the cowboy. What little boy doesn’t want their face painted? (One American Indian actor said he like pretending he was Gary Cooper in old West. Two way street, I guess.)  I liked Tonto as much as the Lone Ranger. But the big American Indian event of my youth was seeing Billy Jack when I was 12.

Forget John Wayne oe Bruce Wayne. I wanted to be Billy Jack. Tom Laughlin played a kind of a peace loving half-Cherokee Indian who could kick ass if needed. And if you couldn’t be Billy Jack you at least wanted him to show up when you were in dire straits, because you knew he could take care of business. Then as Bob Marley sang in Three Little Birds, “every little thing gonna be all right.”

I watched Billy Jack a couple of nights ago to see if it holds up. It does. Low budget to be sure—message driven with some meandering improv scenes— but the emotional theme of standing up to injustice is there along with a Messianic-like Billy Jack to lay down his life for his people. (Like America, the movie is isn’t perfect, but Billy Jack is definitely worth looking today from a filmmaking perspective asking the question why it was such a tremendous box office success and still resonates with people today. I’ll do a post on this later because long before The Blair Witch Project that little indie film helped change the industry.)

I started to put together a list of movies featuring American Indians, but those waters are too deep for me to navigate at this time. (But I welcome you listing your favorite American Indian related films in the comment section—especially if you’re an American Indian. And please tell me what you think is good about the film.) Let me just make this blanket statement for now— that on this land, some incredibly moving pictures have been made. (I feel like I’m running for some political office.)

Since this is a blog on screenwriting let me end this week-long run on about American Indians talking about some high-profile screenwriters with at least some Indian blood.

Quentin Tarantino (Pulp Fiction, Inglorius Basterds) was reportedly not only named after the Indian character Quint on the TV show Gunsmoke (played by Burt Renyold’s (how perfect is that in Tarantino’s legacy?), but Tarantino himself has Cherokee blood on his mother’s side.

Billy Bob Thorton (Sling Blade) is quoted as saying, “Ethically, I was screwed from the beginning, being Italian, Cherokee, and Irish.”

Even this blog as some Cherokee blood running through it. When I did a video shoot last year of a Cherokee artist in Okalahoma (Bill Rabbit, who just past away this year), I told him my grandmother’s grandmother from Kentucky was part-Cherokee, (“way down the line” as Johnny Deep says of his Cherokee roots) the Indian artist told me I was Indian and it didn’t matter what percent or what they looked like. He said he was half-Indian but he knew a blond lady who was more Indian than him. (James Earl Jones is said to be African, Irish, Cherokee.) I have a friend in Florida who also has Cherokee roots in Kentucky whose last name is Rainwater. I told him that Rainwater was a much cooler name than Smith and joked about changing my name to Scott Rainwater, He said “welcome to the Rainwater tribe.”

So there you go— a couple Academy Award winning-screenwriters, a couple of the finest American Actors (Depp & Jones), and the great Will Roger (and even the writer of an Emmy-Award winning screenwriting blog) all with at least a little Cherokee blood.

It may be an unlikely place to end this post, but I just get a kick out of imagining a ten-year old Quentin Tarantino sitting in a movie theater watching the following scene from Billy Jack where he stands up for some American Indian kids from the local reservation who’ve just been bullied trying to buy some ice cream in town. ( A scene that I also believe influenced the “I do not want to fight you” scene in An Officer and a Gentleman.) If Tarantino never saw Billy Jack, I don’t want to know it—it’d ruin my mythology.

P.S. I have a sudden urge to track down one of those hats Billy Jack wore and finally visit Monument Valley in Navajo Indian Nation. (Ouch, just learned those replica Billy Jack hats cost over $500—better start saving for that. Caliqo.com says the hatbands are handmade on a loom at the Kahnawake Indian Reservation and take 30 hours to reproduce.)

P.P.S. By the way, if you’re in the Santa Fe area this week (though August 19, 2012) you can catch the Native Cinema Showcase at the Santa Fe Market which is showing shorts, features, and documentaries that are dedicated “towards advancing knowledge and understanding of the Native cultures in the Western Hemisphere.

Scott W. Smith

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