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Posts Tagged ‘The Messenger’

Last week I was asked by Debra Eckerling to do my first ever guest blogging on her excellent Write On Online website. I appreciated the opportunity and wrote the following post after making the observation that there was a heavy dose of films made beyond what is known as the thirty mile zone in L.A. (As a side note, though Eckerling lives in L.A. these days she is part of the Midwest tribe invading Southern California, having been raised in the Chicago area and college educated in Wisconsin and Nebraska.)

The Oscars & Screenwriting East of L.A.

On my blog Screenwriting from Iowa I enjoy writing about screenwriters who come from outside L.A., not because I have anything against L.A., but because I think there are wonderful stories to tell from all over the world. The famous painter Grant Wood (American Gothic) was fond of talking about regionalism in painting. I’d like to think there is a regionalism brewing from a screenwriting and filmmaking perspective.

One thing that jumps out at me about this year’s Oscar nominations in both the original and adapted screenplay categories is every single one of the stories is set outside Los Angeles.

I haven’t seen all of the films, but after a little research I’m not even sure that of the 10 films nominated in the screenplay categories that there is a single scene even set in the state of California. Those are pretty staggering statistics considering that L.A. is the center of the film industry.

Original Screenplay Nominees:

District 9
Written by Neill Blomkamp and Terri Tatchell; set in Johannesburg, South Africa,

An Education
Screenplay by Nick Hornby; set in England

In the Loop
Screenplay by Jesse Armstrong, Simon Blackwell, Armando Iannucci, and Tony Roche; set in England and Washington, D.C.

Precious: Based on the Novel ‘Push’ by Sapphire
Screenplay by Geoffrey Fletcher; set in New York City

Up in the Air
Screenplay by Jason Reitman and Sheldon Turner; set in various airports & airplanes around the county with key scenes set in Nebraska, Wisconsin and in the air over Iowa

Adapted Screenplay

The Hurt Locker
Written by Mark Boal; set primarily in Iraq

Inglourious Basterds
Written by Quentin Tarantino; set in France

The Messenger
Written by Alessandro Camon & Oren Moverman; set in and around New Jersey

A Serious Man
Written by Joel Coen & Ethan Coen; set in Minneapolis

Up
Screenplay by Bob Peterson, Pete Docter. Story by Pete Docter, Bob Peterson, Tom McCarthy; set in South America

Just taking a cursory glance at all the films in every single Academy Award category and I don’t notice a single movie set in Los Angeles. There are films set in places like Michigan, Memphis, China, and of course, Pandora. This year’s films represent a global cinema.

Novelist and musicians have always been able to ply their trade in far away places that over the centuries has brought an original and rich texture to their work. It’s exposed readers and listeners to new worlds and experiences.

But because feature films usually take large crews and a good deal of equipment it has traditionally resulted over the decades in a good amount of stories that are L.A.-centered. And because of that screenwriters from all over have always been drawn to Los Angeles and end up writing more stories about L.A. (Or had their stories changed to be able to be shot in California.)

Perhaps we’re witnessing the end of a cycle that began 100 years ago when the movie industry moved from New York and Chicago to Hollywood. In 2008-2009 there was a lot of talk about L.A.’s runaway production and what to do about the shrinking number of films being shot on the streets of Los Angeles.

People can argue and blame it on the economy, unions, the high cost of shooting in L.A., tax incentives that are available all over the world, reality TV, the fact that people are tired of seeing the Santa Monica Pier, or the downsizing & democratization as the result of digital production, but the one thing this year’s crop of Oscars prove is that the door is wide open (slightly cracked?) for screenwriters who have stories that take place beyond the shadow of the Hollywood sign.

We may not be at that place where Francis Ford Coppola prophesied 20 years ago when he said that, “One day some little fat girl in Ohio is going to be the new Mozart” by making a film on her father’s videocamera. But things are getting very interesting.

Mark Boal who wrote The Hurt Locker is a good example of a screenwriter who did not take a traditional route to break into Hollywood. Though neither fat or a girl he did go to a small college in Ohio where he majored in philosophy. As a journalist embedded in Iraq it led to writing the story that became the film In The Valley of Elah.Then he took the next step by writing his first screenplay (The Hurt Locker) which not only got produced, but has been nominated for a total of nine Academy Awards.

* * *

In a related note, this year’s Oscars will be doing a John Hughes tribute. Hughes was born and raised in Lansing, Michigan until his family moved to the Chicago suburbs when he was a teenager.

You’ll be hard pressed to find a more successful mainstream Hollywood writer/director who was as much of an Hollywood outsider. Hughes, whose films include Ferris Bueller’s Day Off, The Breakfast Club, Pretty in Pink. Planes, Trains & Automobiles, Christmas Vacation, and of course Home Alone, once told film critic Roger Ebert:

“I’m going to do all my movies here in Chicago. The (Chicago) Tribune referred to me as a ‘former Chicagoan.’ As if, to do anything, I had to leave Chicago. I never left. I worked until I was 29 at the Leo Burnett advertising agency, and then I quit to do this. This is a working city, where people go to their jobs and raise their kids and live their lives. In Hollywood, I’d be hanging around with a lot of people who don’t have to pay when they go to the movies.”

Scott W. Smith

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My last post was on Alessandro Camon who was a co-writer on the film The Messenger which is up for an original screenplay Academy Award . The other writer of that script was Oren Moverman, who also directed the film starring Woody Harrleson. I’m always interested in the impetus of an idea. I found this interview with Chase Whale where Moverman talks about how he and Alessamdro developed the idea of The Messenger.

“It came out of a very casual discussion over drinks with Alessandro and we were talking about the war and America in general. We’re both outsiders, I’m from Israel, he’s from Italy. We talked about how we never really get to see the stories about the people who have to live with all the consequences of war, and the people who have to have personal relationships with [those involved in war]. It’s not just about politics, it’s just not about opinions, it’s really about your loved ones or you. So we thought of the Casualty Notification Officer as an amazing dramatic vehicle to go into these small stories of the families who are dealing with these situations right now and then get out and feel the effect of war and military life on these two guys. So that was really the inspiration and we just kept developing it, working it, shaping it… For us, it’s a very hopeful movie with a lot of humor in it that addresses in general how you go through a lot of shit in life, and how do you deal with it? Well, you deal it with through friendship, through love, through humor, through camaraderie, all the good things that make you feel lucky to be alive.”
Oren Moverman
Interview with Chase Whale

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

A couple weeks ago I touched on Mark Boal’s Oscar-nominated script for The Hurt Locker which deals with a group of guys whose job is on a bomb squad during the war in Iraq. It was a fresh angle to cover dramatically.  The Messenger is another Oscar-nominated script that also finds a fresh angle to the war, that of the officers who must report the death of a soldier to the next of kin.

“We quickly learned, by all accounts of the officers we spoke to and read about, that casualty notification is one of the most difficult jobs in the military—more difficult, some of them argued, than going into combat. This makes for rich dramatic territory to explore. If there’s one thing I know as a writer, it’s that you can always tell a story about someone doing a job. It can be a job with built-in conflict and high stakes (that’s why movies and shows about cops, doctors and lawyers keep getting made); it can be a prosaic job, seen in unique ways (taxi driver, mailman, gigolo); and if the job is unusual, thankless and dangerous—delivering death notices, firing other people, defusing bombs—one can immediately engage the audience’s curiosity and dread.
Alessandro Camon (co-screenwriter of The Messenger)
MovieMaker magazine
February 3. 2010

What are some of your favorite movies that show work in a unique way?

Scott W. Smith

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When I was in high school there was a guy who was cut from a different mold and I always wondered what happened to him. I thought of him after seeing The Hurt Locker because to be on a bomb squad one has to come from a different mold.

Daws only weighed 135 pounds and he not only played football, he was a nose guard. (Not the place for little guys.) But he was tough. His helmet actually had the paint scratched off the front of it from hitting other helmets so hard. After one game which we lost we could hear him on the practice field in the dark hitting the blocking sled–which would not have the pads on it. Daws was a warrior and I’d be very surprised if he didn’t end up in the military.

One of the things I like best about The Hurt Locker is it isn’t about the war, but about the warrior. The kind of person that is more comfortable disarming a bomb than grocery shopping or updating his Facebook status.

Movies made in and around the wars in Iraq and Afghanistan (In the Valley of Elah, Rendition, Lions for Lambs, The Kingdom, Brothers , Redacted ,  A Mighty Heart, The Messenger) have one thing in common–they don’t find much of an audience. Unfortunately, The Hurt Locker joins the club.

Unfortunately, because it’s a great film. Time magazine called it “A near-perfect movie” and recently it tied Avatar with nine Academy Award nominations. Perhaps it will find a life on DVD.

While audiences have supported many films about war (including the Civil War, WWI, WWII, Korea, & Viet Nam) Iraq appears to be a different monster. I’m not sure why this is the case, but I can speculate. Time would seem to be the first factor. I seem to recall an interview where screenwriter Douglas Day Stewart said that one of the troubles with getting An Officer and a Gentleman made was the lingering effect of the Viet Nam War.

Keep in mind that An Officer and a Gentleman was not a movie about Viet Nam, just military centered. The movie got made and was a box office hit, but it came out in 1982–eight years after US involvement ended. Granted The Green Berets was released in 1968 (during the war in Viet Nam) but that was because it was a film John Wayne wanted to make. But generally, the war in Viet Nam was avoided by Hollywood at first.

Certainly, The Deer Hunter (1978) dealt with the lingering effects of returning home from Viet Nam, but that is still four years removed from the conflict.  Apocalypse Now is almost its own genre that transcended Viet Nam, but still didn’t come out until 1979.

I think Platoon was the first movie that was a hard look at Viet Nam that found an audience, but that was 1986– a full 12 years after the war.  Then Viet Nam was in vogue in Hollywood, Good Morning Viet Nam (1987), Full Metal Jacket. (1987) , The Hanoi Hilton (1987), Hamburger Hill (1987), Casualties of War (1989) and Born on the Fourth of July(1989).

So I think time is needed for audiences to be comfortable reflecting on Iraq. When I last checked, we were still in Iraq. We’re still in Afghanistan.  And I think we now realize we will always be in a war with terrorism.

The second reason I think audiences aren’t fond of movies about Iraq is the shear politics of the matter. It’s hard for the word propaganda not to come up. People generally don’t like to heavy-handed arguments from either side. (Though I should point out that that Michael Moore’s documnetary Fahrenheit 9/11 made $119 million domestic/$222 million worldwide (on a $6 million budget.)

And thirdly, movies are largely about entertainment. Definitions usually include the words amusement, diversion, and pleasure. That doesn’t mean we don’t make difficult films–just pointing out that it is hard for those films to find an audience no matter how well they are made. We’ll see how Buried does this spring (about a an American contractor in Iraq) –sounds like an interesting twist and was well-received at Sundance.

The Gulf War was short lives and out of that came Three Kings and Jarhead that did find audiences but the expenses were so high that the domestic box office was below their budgets. Courage Under Fire (1996) had a solid cast Denzel Washington, Meg Ryan, and a newcomer named Matt Damon and the budget was estimated to be below $50. million and made $60 million domestic and topped $100 million worldwide.

But with all those statistics there are said to be over  100 Iraq/Afghanistan-centered war movies in development.

How has Dear John been able to have a big box office run? I haven’t seen the film, but words that reviewers are fond of using are “syrupy,” “sentimental” and “schmaltzy.” Not the kind of film my high school friend Daws would be interested in seeing, but enough people were for it to double its money in just two weeks.

Related post: Screenwriting from Hell

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