MONDAY'S SCRIPT TIP:
WHOSE SCENE IS IT ANYWAY?
The theater lights fade. The movie begins.
On screen are five
characters. We want to jump into the story, but that requires
jumping into a character. Walking in their shoes and seeing the
world from their point of view. We're like Navajo skin walker
spirits - looking for a body to occupy... a life to live. Until
we can find a body to jump into, we are outsiders - WATCHING the
movie but not EXPERIENCING it.
Outsiders.
That means we will have to pick one of those five characters
to
be our "host"... but here's the problem: This is the opening of
the movie and none of these guys is the lead character. It's a
scene setting up the problem that our hero will have to solve.
Let's say we have five Army Rangers in a helicopter that's going
to be shot down behind enemy lines... Or five Boy Scouts who are
going to discover a murder victim on a nature hike... Or five
archaeologists who discover an ancient Inca burial site and
unleash an evil spirit. None of these five characters may survive
the opening ten minutes of the movie!
But the audience doesn't know that. They are looking for a
host
body to jump into. They can't experience the movie until they
make that jump.
So you'll have to pick ONE of those five to be the "lead
character" for that scene. One of the five to "host" the
audience. We will see the entire scene through that character's
eyes, we will experience the scene from their point of view.
Though this may be a largely arbitrary choice on your part; pick
the one of the five that struggles with the most conflict, the
one the scene will have the most emotional impact on, the one who
is in the center of the action. That character will be our "host
body" for the scene. We will experience the scene through them -
if one of the other four gets in trouble, we will see it from our
host's perspective. Our host may try to help them, or leave them
behind in order to save themselves. But those other four
characters are now supporting parts to our host's story (even if
that story ends in 4 pages when all five are killed by the evil
spirit).
There's a great film from the early 1980s starring a fresh from MAD MAX Mel Gibson and fresh from ALIEN
Sigourney Weaver called THE YEAR OF LIVING DANGEROUSLY. It's in that strange genre of "foreign correspondent
romance" - sounds like a one film genre, but there are dozens of them (including another great film from the
same era UNDER FIRE). Story has Australian radio reporter Guy Hamilton (Mel) sent to Jakarta, Indonesia on his
first assignment. The country is on the verge of civil war. Mel's predecessor bailed without showing him the
ropes, so he's alone in a strange country. He's befriended by dwarf news photographer Billy Kwan (Linda Hunt
in an Oscar winning performance as a man) who sets him up with several key interviews and shows him what is
*really* going on in the country. Billy also introduces him to Jilly (Signourney), an assistant in the
British Embassy... and maybe a spy.
Many of the scenes take place in a local bar where all of the journalists hang out. There's pudgy Wally
(Noel Ferrier) who is renting a bungalow because he has a secret he doesn't want to share with everyone else -
he's gay. There's Kevin (Paul Sonkkila), photo journalist for an Australian magazine who does his job and tries
to keep a low profile - he's getting married in December. And then there's Curtis (Michael Murphy), the symbolic
villain of the piece. Where Billy is all about helping the locals while he's there doing his job, Curtis believes
in exploiting them. He's a savage user, who calls the local women "The best value-for-your-money ass in Asia."
To which Billy replies,"Starvation is a great aphrodisiac." After Guy breaks a big story, the journalists celebrate
with food and drink... and Curtis surprises Guy with a gift... he *buys* a dancing midget for him. When the
midget dances around Guy, singing, all of our main journalists are in the scene along with a bunch of "supporting
journalists"... but who is this scene *about*? Who is the focus of the scene? Is it Guy (Mel Gibson - the star)?
Is it Curtis (Michael Murphy - the antagonist)? Is it that dancing and singing midget? Nope - the focus of the
scene is Billy, the dwarf, as everyone laughs at the dancing midget. Curtis isn't just exploiting the midget,
he is also making fun of Billy. This scene is more uncomfortable for Billy than any other character in the scene.
His POV is more dramatic and emotional than any other character is the scene. Of the dozen characters in that
scene, the one who view makes it most effective is Billy, so that scene is taken from his perspective. He is the
center of the scene, not the star or the antagonist. It's a juicier scene that way.
On film, the camera is on Billy while the midget dances around Guy and Curtis and Wally laugh in the background.
When you have a scene with more than one character, usually the scene will be from the protagonist's
perspective (it's their story) but sometimes another character's perspective is more dramatic and emotional.
Who is the best character to focus on in your scene?
Every scene in your script has a lead character - a "host
body"
that the audience will occupy for that scene. For most of your
script the "host body" will be your script's protagonist - that's
who you want the audience to identify with. In scenes that don't
feature your protagonist, decide which character makes the best
"host body" for the audience and show the scene from their point
of view. Don't make the audience feel like outsiders, let them
experience the scene just as one of the characters does. Let us
walk through the scene in someone's shoes... even if it's only a
short walk.
FAQ
NEW!
*** CREATING STRONG PROTAGONISTS *** - For Kindle!
*** CREATING STRONG PROTAGONISTS *** - For Nook!
Expanded version with more ways to create interesting protagonists! Print version is 48 pages, Kindle/Nook version is once again around 155 pages!
Only $2.99 - and no postage!
MY BLOG!
SCRIPT SECRETS STORE - Do you have a monkey mug yet?
NEW CLASS!
NOIR & MYSTERY80 minute CD packed with information on writing Film Noir and Mystery scripts. Using examples from CHINATOWN to OUT OF THE PAST to DOUBLE INDEMNITY you'll learn how to create stories in this dark, twisted genre. How to plant clues, red herrings, suspects, victims, spider women, fallen heroes, the funhouse mirror world of noir supporting characters... and the origins of Film Noir in literature Noir dialogue and how noir endings are different than any other genre. All of the critical elements necessary to write in this critically popular genre.
The Noir & Mystery Class is only $15 (plus $5 S&H). First 20 on Limited Black Disk!
RECESSION SALE! $5 OFF!
IDEAS AND CREATIVITY - 80 minute CD packed with information. Tools to find ideas that are both personal *and* commercial. Hollywood wants scripts with High Concept stories... but not stupid scripts. Developing *intelligent* high concept ideas. How to turn your personal story into a blockbuster - or find your personal story in a high concept idea. Brainstorming and being creative. Ideas and Creativity is $10.00 (plus $5 S&H)
WRITING INDIES - Writing an Indie film? This class covers everything you need to know - from Central Locations to Confined Cameos. Using examples from SWINGERS, THE COOLER, STATION AGENT and others, this 80 minute CD is packed with information. How Indoe films challenge the audience (while mainstream films reassure the audience). Structures, using BOYS DON'T CRY, RUN LOLA RUN, HILARY & JACKIE, and others as example. Writing for a budget, writing for non-actors, getting the most production value out of your budget. Writing Indies is $10.00 (plus $5 S&H)
WRITING HORROR - The essentials of a horror screenplay - what do ROSEMARY'S BABY, NIGHT OF THE LIVING DEAD, THE EXORCIST, BRIDE OF FRANKENSTEIN, THE OTHERS and OPEN WATER have in common? This class will tell you! All of the critical elements necessary to write a script that scares the pants off the audience. Writing Horror is $10.00 (plus $5 S&H).
Click here for more information on CLASS CDs!
