December 2010
25 posts
Screenwriting Tip #493
So bold everything, right?
screenwritingtips:
When writing a vitally important piece of information (e.g. the gun under the bed, the love note slipped into the wrong jacket) into a large paragraph of action, it might be a good idea to bold it. Your script readers will thank you.
"True Grit"
• I was often the only one laughing in a packed theater.
• which made me feel very weird.
• Great Coen Bro’s film. Only snark: the switching of focus between Cogburn + Matte sometimes made the other character feel like dead weight.
• but every single character on screen was so goddamn interesting
• while the plot itself was no-nonsense and straightforward
• the stylized acting...
“If you don’t live it, it won’t come out of your horn.”
– Charlie Parker (via nightmarebrunette)
Screenwriting Tip #488
Must learn.
screenwritingtips:
You can hide exposition inside an argument. In a fight, two friends or lovers are likely to use intimate knowledge against each other. That way you get back-story that looks like drama.
"A Physicist Solves the City" →
• theory: value of cities is random collisions of people to facilitate sharing ideas -> creativity + productivity
• theory: corporations differ from cities in that cities thrive on growth; corporations kill themselves through expansion
• fun idea
• it might behoove me to cast off my hobo-hermit lifestyle
Screenwriting Tip #486
screenwritingtips:
Most people do not act rationally under pressure. Remember this — it’s one of your biggest sources of drama.
"Deptford Trilogy: Fifth Business & The Manticore...
• why did I not know about Robertson Davies until now?
• book one: a historian’s POV on the life and death of his friend & rival, the tycoon
• book two: the tycoon’s son’s psychological unraveling of his issues with his father
• book three: the son of the woman driven mad by tycoon’s actions as a boy, who becomes the most illustrious magician in the world, and his...
"Scott Pilgrim vs. The World"
• so impressed
• thought the comic was just OK
• but the film accomplished everything it set out to achieve
• in that it not only stayed true to the comic, but improved it, condensed it, while honoring the original spirit of it, trusting in the audience to get it without watering it down or worrying about alienating those it’s not intended for
• I’d like to say it’s a feat in...
"Arrested Development"
• deeply flawed sense of social moors + greed + laziness + controlling parents & consequences on their children as a top-down phenomenon
• but lovable + endearing because well-meaning, as the parents are trying to understand their kids but falling so far off the mark
• setups + reversals using omniscient narrator are masterful
• a pun extravaganza
• love it so much; I don’t think...
Screenwriting Tip #484
screenwritingtips:
When developing a character, it can help to think in terms of ‘fear triggers’ and ‘courage triggers’. In other words, what would make this character curl up whimpering in a corner? And on the other hand, what brings out the very best in her?
"The Bad Lieutenant: Port Of Call: New Orleans"...
• a dark comedy, about a volatile cop who breaks all the rules when they don’t serve his needs (valuing life of innocent people; administering justice; giving hell to those who get in his way; never killing – but don’t test your luck)
• Werner Herzog, he’s the man. William Finklestein, awesome story. As for Nick Cage, this random internet person summed it up best:...
"W."
• trying to figure out who the target audience was, and I’m going to say: not cinephiles or film enthusiasts, and was trying to serve as a veiled critique aimed at fervent Bush supporters
• because the film was very heavy-handed, trying to make W. into a sympathetic character
• who ends up looking like a petulant child (I don’t think this is a good thing for the film itself) who is...
"Cold Souls"
• cool idea, great acting, nice shots
• but the vague rules + boundaries get in the way, making the story suffer
• as it’s an extremely tough + ambitious genre to tackle: rule-establishing must be concise and visually interesting; going inside minds needs to be portrayed in a way that makes logical sense to us and play by its own rules; and dealing with existential crises needs to express...
"30 Rock"
• caricatures of themselves, as seen from Tina Fey’s POV.
• the comedy is mass appeal, kind of saccharine, zero edge, but lots of lighthearted wackiness
• Tracy Morgan is pretty bad when he’s not crass + vulgar, as in he can’t act when he’s contained into something safe. Let him be loud + volatile, and he shines. Worth the result, even if potentially uncontrollable in...
"It's Always Sunny In Philadelphia"
• sociopathic, myopic, incredibly inept + selfish + opportunistic, abusive, racist, amoral, exploitative, misogynistic, egocentric, petty squabblers.
• so damn funny.
"Bruno"
• a mad genius.
• created straight-men out of everyday real life people to bounce his fictional crazy off of.
• I can see how and why he got punched.
• incredible ballsy sketch comedy. wow.
"Duck Soup"
• Can’t believe they made this in 1933.
• Chico is incredible.
• The mirror scene done so many times afterwards. Man is it good.
