Tuesday, 25 September 2012

30 Tips To Get You Writing Your Screenplay

1. Set a timer on your phone. Let's say an hour. Sit and don't do anything for that hour. Don't look at your phone again, don't turn on the TV. Don't tweet. It's just you and the chair. Don't write down ideas that come to you, don't do anything. Sit, think, dream. But no action. 

As creative people we often snap into action the second we feel we have a seed of an idea. So often, it's a false alarm, a restless brain. Take the time to sit with your ideas. If you want to write them down, tough. Not during this hour. 

2. Write a feature film in less than an hour, by outlining it scene by scene as it comes into your brain. Like this:

MARK is at the office, bored and depressed. 
SALLY is working a double shift at the cake shop. She hates it. 
MARK walks into the CAKE shop. He's depressed. SALLY tells him to buy a cake. He does so.
MARK walks out of the store, wishing he'd got her number. 
The cake shop EXPLODES. 
MARK sprints inside, he hunts for SALLY in between the flames. 

The example above is me being silly -- that wouldn't make a good film at all. But a good shortcut with writing is just to outline ideas as they come to you. To throw caution to the wind. Don't write a masterpiece, just find the next sentence. 

Before you know it, you've outlined a whole movie. If it sucks, who cares? You've lost nothing but an hour or two. If it's good? Go back to it and build from it. 

3. Write a bad script. Even if your ideas are AWFUL, or NON-EXISTENT, write it anyway. You'll learn from it. Some people spend five years writing no scripts because their ideas aren't good enough. But in fact, if you wrote 15 bad scripts in that time, you'd learn so much about yourself and your writing. 

4. Quit. Go do something else. Become a shepherd, get into a relationship with a trout. If you quit for good, then it probably wasn't for you -- but if you come back to it some day, then maybe the break is exactly what you needed. Some people write their masterpieces in their 70's. Some people have great talent, but have nothing to say. Rather than sitting in your room trying to force a script out, go volunteer in Africa. Go visit a friend in France. Anything is better than sitting around not writing

5. Be around people who make you laugh. 

6. Do things that make you uncomfortable. Just past your comfort zone is where you have the interesting experiences, and meet people that you didn't think you'd ever come across. 

7. When a friend asks you to do something that you don't want to do --- instead of making the excuse that you're tired, or have work in the morning, say 'yes' to the offer and go and do the thing you don't want to do. 

8. Work on the script that's been circling around your brain since you were 13. You know the one; the script you've been destined to write because it's so personal yet have always stayed away from because you don't have enough clarity. Attack it like you know exactly what to write. And guess what, you do know how to write it, you're just a scaredy cat. That's right. 

9. Realise your inner-critic has absolutely no jurisdiction over your life. What has it ever done? All it does is shout at you from some self-righteous position within your own brain. Tell it to go for a long walk. You can actually train yourself to listen to your inner-critic. You'll actually hear that voice in you that says, "you suck, you're a fraud, you have no talent", or maybe it's worse, maybe it says, "your parents were right, you're a waster, and your girlfriends that dumped you had the right idea too....". 

Stop and think for a minute. With that voice in your head, you'll never get any work done.

You have to understand that the inner-critic is there to save you from perceived threats, from embarrassing yourself. But when you're 89 and dead, you won't regret being embarrassed. But you will regret not writing a script because some bitch on Facebook thought you had no talent, and you'll regret not sending your script to a producer just because an inner voice said you're talentless. 

Get your act together and stop listening to that bullshit. It's nonsense. 

10. Take a moment to look around, breath; and realise that it's only screenwriting. It's make-believe, a bit of fun. 

11. If you're stuck on a particular script, then write some random scenes for fun. For example, if you're writing a tense FBI thriller; write a scene where your characters are at the zoo for no reason. When your FBI agents and detectives are taken out of their context, and find themselves at a zoo for no reason other than to look at penguins, you'll find yourself amused by them, and you'll see them in a different light. 

It doesn't have to be the zoo. It can be anywhere. Just take your characters out of the story and write a random scene for fun. 

12. Stop asking for people's opinions every five minutes. A lot of people out there will stop you from writing. Sometimes it's jealousy or competitiveness, but mostly it's because --- all people have different ideas. Writing is about having your own ideas, your own vision. EVERYONE THINKS THEY KNOW what a good story is, EVERYONE. Why? Nobody knows. But people will talk you out of anything. 

STEPHEN KING 
I want to write a story about two guys in a prison called Shawshank. It's about hope, and friendship.

BOB
I can't see how that would work.

STEPHEN KING
It'll be great. 

BOB 
No Stephen. A story needs something more interesting -- like a love interest, or maybe a conspiracy at the prison --- maybe, I know, maybe one of the inmates is a former boxer with a drug addiction who wants to join the CIA. 


This is what people are like! They're mental! They think your ideas suck. And even when they think they're good, they'll still offer suggestions! And these things throw you -- because some people can speak so authoritatively. 

Stop asking for opinions and get writing, get it done. 

13. Shut up. Sit down. Write. 

14. Write about the personal stuff. The insecurity you feel when you're around people who intimidate you, or the confidence you feel when you're doing what you love, or the heartbreaks you felt when people left you. I know that stuff is painful, but it's where the gold is. It's where you have to mine for insight. Your experiences are PERSONAL. They're YOUR OWN. But they're also universal. 

If you're not sharing who you really are, then you're not doing a good job. 

15. Get dumped. 

16. Dump someone. 

17. Dump someone. Get back with them. Dump them again. Get into an argument. Propose to them. Make them cry. Get beaten up by their family. 

All that stuff helps. Creativity comes from chaos. 

18. But you can't be your most creative in the midst of chaos. You need to find your place. Your room. Your ocean. Your garden. Wherever it is. You need to find your place where the omens are good, where the world says "Write, and be yourself!" Stop making excuses and make sure you go there to do your work. 

19. Come on, get off of Twitter. Leave Facebook alone. 

"@kidinfrontrow is five pages into my screenplay, YAY."

Who cares? No-one. Don't go for short and quick gratification. Save it for when you can say "I WROTE THE WHOLE BLOODY THING! YEAH!"

Social networks are a distraction. They have their purpose, sure, but they don't help you get into your imagination. Study after study has shown that these distractions stop us from focusing. Neuroscience has proved that we can't multitask, that it takes 25 minutes to refocus after a distraction. 

You can be the exception to the rule if you want, but instead I think you should shut out the distractions and focus on your writing. 

20. Think about dying. Will you say "I wish I had tweeted more", or maybe, "I wish I had done more browsing on the internet of a morning". Or will you wish you had spent more time on your passion, writing? 

21. Realise that your script doesn't have to be perfect. People get huge writers block due to perfectionism. Some of the most imperfect things can be perfect. The mistakes can resonate with people. Don't waste your time fearing it's not the best it can be. Just do what you can, then let go. 

22. Reconnect with an old friend. The one you haven't seen in seven years, who six months ago you emailed about catching up. There's something in those old friendships that, when you re-connect with them, they open up parts of you that you forgot about. There's something warm and exciting about rediscovering who you were and where you've come from. Again, this stuff is a Godsend, writing-wise. 

23. Read/Watch/Study your guilty pleasures. Because they're the things you really love. They hold the key to who you are and what you want to write about. 

24. Use a pen and paper. 

25. Go for a run. Do it regularly. It's good for your health, good for your memory, good for creative ideas, good in every single way. 

26. Get a pad and paper and just write. Write nonsense! Write anything. Just make sure words come out. It's like clearing out the trash --- eventually patterns will form, things will link up -- within the randomness, there'll be a message. 

27. Surround yourself with positive influences. Hang out with friends who love that you're a writer, watch YouTube videos of people who inspire you. Watch movies that you love. Have adventures with people who make you laugh. 

Writing is tough. It's hard work. It's gruelling and there will be so many things in the world that say "you're not good enough", and "you'll never make it!" You have to overcome these by yourself, but it helps to be surrounded by good people who believe in you. 

28. Figure out when you write the best. Is it early in the morning? Is it at night after everyone is asleep? Is it in the afternoon when you're fully awake? 

Think about your eating habits too. Does caffeine make you more, or less creative? Does pasta make you tired? Do you keep getting ideas after eating chocolate? 

Don't get too obsessed with this stuff, but look for patterns. 

29. Find your own voice. 

You do this by writing. A lot. 

And don't be afraid of your influences. Embrace them. You'll sound like them at first, but eventually you'll find your own way. It's all part of the journey. 

30. Realise it's a journey. A long and winding road, full of ups and downs. You have scripts you haven't written yet that will ABSOLUTELY SUCK.

But that's what it is to be a writer. 

Sometimes nobody believes in you, and your shitty writing proves them absolutely right. 

Until you get up again, write something new, and improve a little. 

Bit by bit, day by day. You keep writing. 

You keep finding your voice. 

Write, write, write. 

And enjoy it. Because, as I said, it's a journey.


Care to share?

GROUNDHOG DAY: A Masterpiece of PREMISE and CHARACTER

The reason that GROUNDHOG DAY is so funny and has lasted for so long as one of the all-time great comedies, is how intricately it is put together. The problem with most comedies is that the structure and premise are not given due attention. Writers latch on to an idea and use it as a jumping point. But the best films are built around the premise. If you set the film up in the correct way, the structure and rules don't limit you, they free you. 

The first eighteen minutes of the film are not actually particularly funny. In fact, if it wasn't for the charisma and humour of Bill Murray, it's possible you would be bored. What the opening of the film does do - is plant in the key concepts which the film will keep referring to again and again and again. 



The second time Phil Connors (Bill Murray) experiences Groundhog Day is when the film really begins to deliver the laughs. The concept is a funny one, 'what if a guy had to live the same day again and again?' --- the second walk-through of the day delivers on this joke. Most movies peak at this moment-- they have a humorous set-up, play out the joke, and then run out of ideas. It's why most rom-coms, despite sounding clever in a pitch meeting, end up being predictable run of the mill movies. 

When the audience knows the world your film is set in, you can take them anywhere, as long as it stays within the confines of the universe you've created. In 'Groundhog Day', once the audience knows that they're going to be seeing the same day again and again -- the director, Harold Ramis, was free to dive into different scenarios without needing to set them up each time. This is why your premise, and how you deliver it, has to be perfect. This is the difference between great comedy and average-to-poor comedy. It's like when I wrote recently about 'The Watch' and 'Ted' - they're lazy and hacked together. Like the writers thought "Oh, a guy can't get rid of his bear, and a bunch of neighbours protect their hometown from aliens," and thought that would be enough, but it's about so much more than that to produce a stand-out comedy.

Another thing that 'Groundhog Day' has going for it is, of course, Mr Bill Murray, in what is surely the defining performance of his career. The crazy thing about his miserable, angry character, is that we can relate to him! Despite the supernatural thing he is experiencing, of living the same day over and over, we realise that it's not too far from our own experiences. Most of us go through months and months of seeing the same people, having the same conversations, facing the same problems. Despite the ridiculous situation Connors is in, it's also surprisingly normal.


PHIL
What would you do if you were stuck in one place, and every day was exactly the same, and nothing that you did mattered?

GUY IN BAR
That about sums it up for me. 

As Phil grapples with his bizarre situation, he is plagued with concerns about the meaning of his life, or lack thereof. His concerns are specific to his situation, of living the same day again and again, yet miraculously, they are all same issues we all face, day after day. At various points in the film, Phil finds temporary freedom - through driving on train tracks, manipulating dates with Nancy, and eventually -- through killing himself. These troubling yet hilarious moments give us a great insight into Phil's character, and they also strengthen the premise. We realise, this guy really is stuck in a predicament, and nothing he does matters. You could argue that the movie has atheistic undertones--- if life is meaningless, what exactly are we meant to live for? 



The perfect construction of the film's premise allowed for so many delightful moments that wouldn't have been possible without it. A perfect example is the morning after Phil is put in jail. Despite being miserable in his repeated daily existence, he is ecstatic about being a free man again. He comes down the steps and talks to the woman from the bed-and-breakfast place. Before she can offer him coffee or ask about the weather, Connors answers all the questions, because he's heard them countless times before. This joke was set up in the opening stages of the film, and repeated throughout. Comedy is like lego, you have to build the pieces and make sure they fit together perfectly. It's also about repetition. 'Groundhog Day' is pretty much just five or six scenes being repeated again and again, but they're different each time because of the plight of the character. (If you're interested in these elements of comedy, I recommend you read my blog post about Billy Wilder and I.A. L Diamond's 'The Apartment' and also read the screenplay).

Then we have Phil Connors in the coffee house, with a plethora of cakes and pancakes and cigarettes -- throwing caution to the wind. He made the choice, which I must say is an extremely tempting one, to live a life full of eating bad food and not giving a crap about anything. Again, he is forced into this viewpoint by the premise of the film, yet it is also something we relate to in our monotonous, repetitive lives. If I eat a giant cake today, does it matter? If life is meaningless anyway, should I smoke some cigarettes and have another pancake? 

'Groundhog Day' is a fresh take on a tried and tested notion that any day could be our last, and that it's about making the most of life. To quote the title of a new film staring Dakota Fanning, "Now is good". Of course, we all know that now is good, but we need reminders. We need movies to drum it into us. 

The thing about Phil Connors is that he is so unaware. He thinks he's above the work he's doing, being forced to travel to see if a rat sees its shadow. He's dissatisfied. And he sees the repeating of each day as a punishment, as another thing he has to get through. Isn't that how we all see most of our days, as something we have to get through? So he tries to manipulate the situations, by stealing money, manipulating women to go to bed with him, killing the groundhog. 

Come the end, there's only one thing Phil hasn't tried: being genuine. Getting coffee for his colleagues, taking piano lessons, trying to save an old man's life. What makes this so powerful, much like in his miserable moments, is how strongly we relate to it. We want to be people who look out for others and follow our passions and be kind to strangers; yet we always get grumpy and delay it-- we think we'll be the great versions of ourselves tomorrow, or next week, or after a trip to Spain or whenever it is we get enough sleep.


The film asks; what would you do if you had to live the same day again and again and again? Midway through we realise, we already are living the same day again and again and again. The question is, now that you know this, what are you going to do with your life? When are you going to make an effort and put a smile on people's faces? 

Care to share?

Monday, 24 September 2012

Actress with the Sinking Eyes

She was one of those girls, drawn towards the movies because of her mixed up messed up past, all broken promises and visions of places that may or may not have existed.

Something went wrong, back then, and she never got a chance to grow in to who she was, who she wanted to be.

Acting was a chance to be someone else. To be someone else so deeply that maybe underneath it, she'd find out who she really was. There was never anyone around to tell her who to be or where to go. A childhood of guessing and hoping and seeing people wave goodbye, never to return.

Every audition, every rejection, was just like those younger times on foggy country roads that smelled of morning rain, where people waved goodbye from old cars getting ever closer to the distance.

She wanted one role. One chance to stake her claim. To show people her sinking eyes. To prove once and all that she existed. She assumed that, if she could be a movie star, she'd be so famous that someone would be able to explain who she was, and where she was meant to go.

Still she waited, ever hopeful. Everyone thought she wanted fame, but she just wanted to be accepted.

Care to share?

Favourites

Who knows why your favourites are your favourites. 

I was just watching an old episode of 'Louie'. It ended with Louie coming home from a night out. His kids wake up and walk into the lounge, sit with him, then say they wanna go out for breakfast, even though it's 4am. It cuts to them, moments later, in a cafe eating breakfast. It's just Louie and his two girls.

And I love that moment. I can't describe why. It just resonates with me. It's strangely profound and touching.

Doesn't that sound like your favourite moments? I've written over 1000 blog posts, but I'd struggle to give you 100 words about the things I love the most.

We love what we love and we have hardly any clue why.

When you're young, you think it's about taste. You think you know what's great, and everyone else is wrong, or misinformed.

But the feeling that I feel when I hear a recording of Lester Young playing saxophone is not about taste, it's about me. About who I am. Not that I could explain it.

Finding someone who likes the same films or music as you do is a wonderful thing. Why does it happen? Maybe you were both dropped on the exact same part of the head as babies, or maybe you both were brought up by your parents to watch 'Only Fools and Horses', or maybe you both had horrid break-ups and that's why you connect over Joni Mitchell.

The unfortunate thing is that we become conscious of our artistic preferences. We realise we love comedy, so stop watching horrors. We think rap music sucks, then listen only to Dave Matthews for three months. But what are tastes? They're the accumulation of previous tastes and experiences. 

The problem with this is that closely defining your 'tastes' can also kill your senses. Suddenly, everything sucks. You go around hoping for another Lester Young with a saxophone, but it's impossible. It's impossible because you don't know what you're looking for, because you don't consciously know why you love what you love.

You just love it.

A Netflix algorithm can find you a decent movie that matches your tastes, just like a dating website can probably find you another Spielberg fan, but neither of these are likely to capture your heart. There's no way to calculate what things will be favourites.

And I'm talking about REAL favourites. Like those movies you loved as a teenager, the ones that absolutely and completely explained EXACTLY who you are.

Films and music offer small clues about life. Little insights into who you are as a human being on this earth. The film reviewers won't be able to tell you if you'll connect, and the trailers will never capture the magic --- instead, it's about you. It's about where you've been, where you're at and where you're going. If you're extremely lucky, you'll see a piece of you up on the big screen. That's why we go to the movies. It's the hope for insight, for meaning, for a favourite.

When you find a favourite, it becomes a part of your personality, your DNA, you become more you. That's why we keep watching. 

Care to share?

Sunday, 16 September 2012

Cinema Is About Hearing From ALL The Voices: The Lack Of Diversity in Hollywood

If you look at the current top 10 films in the USA Box Office, they are primarily written by white American men, aged between 30-50. Out of curiosity, I looked at the stats for the same time last year, and it was exactly the same. Most movies are written by white 35 year old guys who live in LA. Even, 'The Help', a movie primarily about black people, was written and directed by a white fortysomething male. 

And I'm not meaning to start a discussion about institutional racism within the film industry. It's a much debated topic, and I don't know enough about it. I am here as an artist and as a viewer; saying: I'm pretty bored of what's coming out of Hollywood. Would more diversity, writer-wise and director-wise, not make films more interesting? 

Last night, I watched a wonderful South Korean film called "Spring, Summer, Autumn, Winter.. and Spring". It's a film from 2003, about Buddhism, and the journey of a young man learning from a master. It was beautifully shot, thoroughly engaging, and completely different from what I normally watch, and indeed, totally different to my own experience of life. It reminded me of why I love cinema. At it's best, the movies can take us to places we've never been before. It can take us on unexpected journeys in unique ways. 



But just because I enjoyed it, that doesn't mean everyone who watches Ben Stiller movies would enjoy it as well. World Cinema is enjoyed by the passionate few rather than the mainstream. That's fine, but I feel there's definitely room for some cross-over. 

Most films are produced in LA. And I don't mean to claim any of those over-caffeinated 30 something white guys are undeserving of their writing credits. Indeed, they are a demographic that I am a part of -- and for their perseverance and writing skills, they deserve all of the writing gigs they've been a part of.

But everyone else deserves those opportunities too, . and we're not seeing enough from them. Do black people struggle to understand Final Draft? Are women too busy sitting at home watching the new 'Dallas' episodes? Or does Hollywood, --purposefully or not-- favour the stories of one particular demographic over others? I ask this, not as some activist for equal opportunities, but as a film fan who thinks the movies would be better if more people were invited to the party. 

If Hollywood were to re-make 'Spring, Summer, Autumn, Winter... and Spring", it would almost certainly be written by a 36 year old white guy. 

Here's the pitch meeting. In Starbucks. 


JIM STEIN
So like, my idea, like, for this movie -- is that 
we have these Buddhists, and we see their 
inspiring journey. 

BILL
But we want it to be authentic. 

JIM STEIN
Yeah man. Like, I am so into Buddhism right now. 
I read 'The Secret' and I am going on a four day 
retreat next month. 

BILL
Cool.

JIM STEIN
It is cool dude. We should make the movie.

BILL
Cool.

And then the movie gets made. 

Of all the world's wisdom and intrigue; should all of our stories be coming from a select group of American dudes in LA? Isn't there more to life than that? When you think about the power of cinema - it seems strange that so much of what we see comes from a very specific demographic. It's a demographic that grew up on movies. The modern LA writer can talk to you endlessly about their inspirations and influences --- the end result? Most movies are about other movies. It's hardly a surprise that most movies coming out of Hollywood are remakes and reboots; when that's all anybody has experience in --- other movies. 

I think this is why I am spending most of my time watching foreign films right now. They're far more engaging and thoughtful. When I look at the history of cinema; so many of my favourite writers and directors came from more humble beginnings. Ernst Lubitsch, Billy Wilder, Frank Capra, Charlie Chaplin -- all emigrated to the USA; and the pain and complexity of their lives was woven into their work. Chaplin escaping poverty, Wilder escaping Nazi Germany. And THAT is what made their work so beautiful, the stories behind the stories. The sweet and the sour. 


Now we have privileged white dudes. Film school brats and Starbucks. And they're responsible for everything we see in the cinema.

Within diversity is a plethora of stories. I feel we have milked nearly every drop out of the thirtysomething-white-American experience. What else can we learn about what it is to be a human being? Could movies play a larger part in showing us? Is Hollywood even remotely interested in the world outside of Starbucks? 

Care to share?