Somewhere, somehow, somebody must have kicked you around some
Refugee, music and words by Tom Petty, Mike Campbell
“I hated my father long before I knew there was a word for hate…I remember hating him even when I was in diapers…I’ve been writing the story of my own life for over forty years. My own stormy autobiography has been my theme, my dilemma, my obsession, and the fly-by-night dread I bring to the art of fiction.”
Pat Conroy
The Death of Santini: The Story of a Father and His Son
While I could continue with my run of posts centered around rocker Tom Petty who died earlier this month, I found a way to turn the corner listening to the Scriptnotes podcast, Episode 321. And, actually, at the same time this post makes a connection to the roots of much of Tom Petty’s pain throughout his life.
Before we get to the concept of method writing, first let me set the stage by letting Petty recount a traumatic event he had as a youth that involved a slingshot, a Cadillac, and a belt.
“I had this crappy slingshot my father had given me, a plastic thing, the first one I ever had. I was in the yard shooting this slingshot. And cars are driving by. I’m just like, ‘I wonder if I can get a car’. And whack! This big Cadillac. It was going by pretty slowly, and I just nailed the fin on that thing.
“The car came to an immediate stop. The driver got out, and he was so f**king mad. … I felt kind of weird, not knowing what was coming next. But when my father got home later, he came in, took a belt and beat the living s**t out of me.
“He beat me so bad that I was covered in raised welts, from my head to my toes. I mean, you can’t imagine someone hitting a child like that. Five years old. I remember it so well.
“My mother and my grandmother laid me in my bed, stripped me, and they took cotton and alcohol, cleaning these big welts all over my body.”
Tom Petty
Petty: The Biography by Warren Zanes
That may have been the first beating Petty got from his father, but it wasn’t the last one. And I don’t know if that first beating left a physical scar, but I do know it left an emotional scar. Petty knew that his childhood was far from the aspirational Ozzie and Harriet life that he saw on TV, but it would take decades for him to realize that being a successful rock star—or drugs and alcohol— could heal his childhood scars.
You don’t have to look far to see where Petty’s rebel spirit, angst, and bouts with depression came from. Though it would take Petty himself a few decades and some counseling to recognize his scars.
Everyone has scars and on Scriptnotes, Episode 321 screenwriter John August and Grant Faulkner, Executive Director of National Novel Writing Month, have this exchange about using your scars in your writing:
GRANT FAULKNER: I like the method acting approach to writing that you’re really applying your own personal emotional experience to the characters you’re creating. Actually there’s a Shelly Winters quote where she says, ‘Act with your scars.’ And so you can apply your scars to any character. But I do think that requires, like method acting, a lot of introspection.
JOHN AUGUST: When I read writing the feels very real, when the characters seem like they have flesh and blood, I do think that’s because the author has invested a bit of himself or herself into their experience. That author has a very clear sense of that character’s inner emotional life because he or she is using things in their own life to sort of proxy for it. When I was doing the script for Big Fish there is a sequence at the end where Will is going through the story of his father’s death and I knew this was going to be incredibly emotional thing for the character, but also for the audience watching it. So I was incredibly method writing where I’d bring myself to tears and then start writing. It seems crazy and ‘why would you do it that way?’— but I’m pretty sure the only reason I got to those specific words and those specific images was because I was at that emotional state as I was writing it…I would encourage people to try those things, because what’s the harm of trying those things? …Write those feelings that you know. Use the things that are specific and unique to you to help create something specific and unique moments for your story.
GRANT FAULKNER: Yeah, that’s a great point. I think the stories that I connect with most—I agree with you—the writer or creator has done something that is just so personal, he or she has made themselves vulnerable— they’ve gone deeper. I really think vulnerability on the page is more important than any craft advice, or craft tips that you might write with. And that’s where with [the] Shelly Winters [quote] “Act with your scars” is really going deep. Be willing to reveal your scars on the page and go there.
P.S. I don’t always find a direct Iowa connection to these posts, but couldn’t miss on that Scriptnotes podcast that there was a guy from small town Iowa talking to a guy who did went to college in Iowa. Grant Faulkner was born in Oskaloosa, Iowa (and went at Grinnell College in Iowa) and John August did his undergraduate work at Drake University in Des Moines, Iowa.
Related post:
Emotion—Emotion—Emotion
Nostalgia: The Pain from an Old Wound
Screenwriting Quote #182 (Richard Krevolin) “All characters are wounded souls…”
Tom Petty and The Untold Story of Rock & Roll (In a word; scars.)
How to Watch a DVD
Posted in screenwriting, tagged A Place in the Sun, AFI Greatest Films, Annie Spielberg, Barry Levinson, Big, Charles Van Doren, Dustin Hoffman, DVD commentaries, Elizabeth Taylors, entertainment, filmmaking, Finding Nemo, Frank Darabont, George Stevens, How to Read a Book, Mike Nichols, Mortimer J. Adler, movies, Oscars, Rain Man, Rembrand, Ron Bass, screenwriting, Shelly Winters, Steven Spielberg, The Graduate, The Shawshank Redemption, Tom Cruise, Van Gogh on July 2, 2008| 3 Comments »
Years ago, philosophers Mortimer J. Adler and Charles Van Doren wrote a serious book called How to Read a Book. In it, they mentioned that unless you’d read a book three times, you really hadn’t read the book. That is, you hadn’t digested the book. I wonder how many of the estimated 1.7 billion DVDs sold last year were viewed more than once (not counting Finding Nemo).
The best way to watch a movie in order to grow as a screenwriter and filmmaker is to watch it over an over again. Writer/director Frank Darabont admits that, on his days off while making The Shawshank Redemption, “I would just watch Goodfellows again and again…just for inspiration.”
Director Mike Nichols (The Graduate) once commented that anyone wanting to be a film director should watch George Stevens’ classic, A Place in the Sun 50 times. In fact, the single best class I had in film school was taught by a professor who showed us A Place in the Sun and afterwards asked us questions like “what sounds and visuals do you associate with the Shelly Winters’ character?” and “What music is playing whenever Elizabeth Taylors’ character appears?” It was the first time I really saw the intentionality of a filmmaker.
Film school was also the first time I was challenged to watch a film with the sound turned off and then just listening to the audio. Just out of school as VHS machines finally became affordable is when I began to break down movies scene for scene and to time the length of scenes as well.
Repeated viewing take you to a deeper understanding and appreciation of film. And now with DVDs and the like you can easily locate a single memorable scene, allowing you insights on how lighting, editing, pacing, economy of writing, direction, music sound effects and performance all come together for maximum impact.
While many DVDs come with extras, the real gold is in the commentaries. I’m not talking about the ones with film professors and critics, but the real nuggets that come from the writers and directors who made the film.
One DVD that I recommend you invest your time studying is the 15th Anniversary edition of Rain Man. The film, winner of “Best Picture” Oscar in 1988, has been out long enough to stand the test of time and be considered a modern-day classic. One aspect that separates it from the DVD pack is its three commentaries.
The director, Barry Levinson, the original writer Barry Marrow, and the rewrite writer, Ron Bass, offer more than six hours of insights that warrant repeated listening as well as the film itself.
The commentaries on Rain Man expose the collaborative process at its best. At one point, Steven Spielberg was set to direct, and had spent many months working with Dustin Hoffman and Tom Cruise on their characters and mulling over script ideas with Bass. You learn how difficult it was to get the film made even with top talent attached.
Levinson explains how he sought to shoot in a way that would give the audience glimpses of how Hoffman’s autistic savant character saw patterns in the world. And he notes that his direction was designed to show that Cruise was as handicapped (relationally) as his brother, making the film a journey of two broken people connecting.
Rain Man works on so many levels (psychologically, visually, emotionally, and performance-wise) that you can begin to appreciate its depth only by repeated viewings.
So don’t concern yourself with watching films just to check them off your AFI Greatest Films list. Invest in couple DVDs of your favorite movies that you’ve heard good things about the commentary and watch those–study those–repeatedly. And like Van Gogh studying a Rembrandt painting, you will be partaking in a timeless creative tradition.
Here is a short list of my favorite DVD commentaries:
The Godfather; Francis Ford Coppola commentary
Stand by Me; Directing inexperienced actors and using improvisation
Seabiscuit; On adapting a film from a best-selling book
The Shawshank Redemption (15th Anniversary Edition); Frank Darabont and “Happy Accidents”
Pieces of April: On funding falling through and finally making the low-budget movie in 16 days.
Big: Commentary with writers Gary Ross and Annie Spielberg which has original excerpts of when they were writing the original script before they had ever had a script produced. Great stuff.
Copyright ©2008 Scott W. Smith
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