Lecture 15 Sacrifices Nothing Wasted Dramatic Power and

Lecture 15: Sacrifices: Nothing Wasted! Dramatic Power and Re-Writing Professor Christopher Bradley 1

Previous Lesson • Crisis and Climax – As the Obligatory Scene – Crisis within the Climax – Filled with Meaning – Settling subplots – Satisfying expectations in a surprising way Carrie (1976) Screenplay by Lawrence D. Cohen Based on the novel by Stephen King 2

Previous Lesson (Continued) • Resolution and its Three Uses: – For the resolution of subplots – Showing the consequences of the climactic moment – As a courtesy to the audience Choose Me (1849) Screenplay by Alan Rudolph 3

This Lesson • Re-writing the Spec Script • Assignments Adaptation (1976) Screenplay by Charlie Kaufman and Donald Kaufman Based on the book The Orchid Thief by Susan Orlean 4

Re-writing the Spec Script Barton Fink (1976) Screenplay by Lawrence D. Cohen Based on the novel by Stephen King Lesson 15: Part I 5

Re-writing the Spec Script (2) • A spec script serves you in several ways: - It’s your calling card to literary agents and managers, to show them what you can do. - You use it to enter contests, arguably the best way to get to film producers and to literary agents and managers. - And, of course, it is a blueprint for a film you want passionately to see made. 6

Re-Writing the Spec Script (3) • We’re going to work on a scene from your screenplay-inprogress together. • Please have your screenplay available to work on. • Have a method to take notes available. You’ll be taking notes you’ll use later. Barton Fink (1976) Screenplay by Lawrence D. Cohen Based on the novel by Stephen King 7

Re-Writing the Spec Script (4) • How does the scene move the characters toward their goal? Or away from their goal? • What is each character’s motivation in the scene? Is it clear enough what they want? Atonement (2007) Screenplay by Christopher Hampton Based on the novel by Ian Mc. Ewan 8

Re-Writing the Spec Script (5) • Is your description spare? Are the few sentences you’re using full of specific, piercing visual details? • Am I asking my audience to mindread? – “Sally quietly decides she’s going to the baby shower with Angie instead of Estelle. ” – “Her expression says she’s decided to return to college and major in Orthopedics. ” 9

Re-Writing the Spec Script (6) • REMEMBER! – Don’t direct the director, cinematographer, editor or titles master! – Don’t direct the actor (though you CAN describe non-verbal communication). 10

Re-Writing the Spec Script (7) • Is your dialog as spare as possible? • Is there any place where you’ve told the audience what’s happening, rather than showing them? – “I’m feeling jealous, Ira. ” – “She’s very clumsy. ” – “We just came back from a huge fire!” Wonder Boys (2000) Screenplay by Steve Kloves Based on the novel by Michael Chabon 11

Re-Writing the Spec Script (8) • Does every dialog exchange build on the last? • Does every dialog exchange build to the scene’s climax? • What is the scene’s climax? • How has power shifted? 12

Re-Writing the Spec Script (9) • Now that you understand how to do this with one scene, you’ll want to do this with each scene in your 30 page assignment. • Then you’ll want to look at your 30 pages (your Act One) in its entirety, and ask: – What is the climax of the act? – Every scene in the act has a climax, but does every scene build to the act climax? – Is every scene necessary? Do some scenes stop the action cold? (If so cut ‘em!) 13

Re-Writing the Spec Script (10) • The title of the lecture is “Sacrifices: Nothing is Wasted”. Remember, nothing you cut is going to waste! It’s all still in the story, even if it’s background. A fully developed background is what makes a film powerful. Anything you cut is still with you, and still with the story. But know the difference between what belongs in the foreground, and what belongs in the background. 14

Re-Writing the Spec Script (11) • Now, using the notes you’ve taken, you can go back and incorporate what you’ve discovered about your scenes and your Act One into your screenplay. • Just these small changes will make an enormous difference in your screenplay’s quality! 15

Assignments Barton Fink (1976) Screenplay by Lawrence D. Cohen Based on the novel by Stephen King Lesson 15: Part II 16

Reading • Read in The Screenwriter’s Bible, Book IV, “Writing and Revising Your Breakthrough Script– a Script Consultant’s View” (Trottier, 2005) • Do the Reading Review to be sure you’re clear on what you’ve read! 17

E-Board Post • Briefly describe the changes you’ve made in your screenplay so far! 18

End of Lecture 15 Thank you for allowing me to be a part of your writing process. It is truly an honor. 19