THURSDAY'S SCRIPT TIP:

WHEN PEOPLE BLOW UP

As the latest TRANSFORMRERS hits the discount cinemas, I thought we should discuss explosions. Big, cool, fiery explosions.

There are these two characters on SECOND CITY TV who do film reviews for the Morning Farm Report... according to them the key to a great film is stuff blowing up. They hated Antonioni's BLOW UP because nothing blew up. "That stuff blowed up real good!" was their catch phrase... The late Roger Ebert used it in reviews every once in a while. You may think these guys are silly, but I think they really know what they're talking about.

In a good movie something always explodes...

It just doesn't have to be a truck or a building or whatever else explodes in BATTLESHIP. Most likely a really good explosion will be emotional - Sissy will break a plate or someone will slap their mother's face or Jim Carrey will admit he's a bad father or Angie Dickenson will punch the crap out of Lee Marvin... the entire story has been leading to this big emotional explosion! The script is like a pot left too long on the stove which eventually boils over into a big dramatic situation. Story is conflict and drama is conflict brought to the surface. Our job is to create big, meaty, dramatic situations. The kind of juicy dramatic scenes that win actors Oscars and give the audience an emotional response.

My friend John Hill calls movies "emotion pictures" - we want to create an emotional experience for the audience. In real life we have to repress our emotions, so those big dramatic scenes in films become cathartic for the audience. A movie theater is a safe place to express our emotions - it's the one place where a really macho man can cry. They killed Bambi's mom! We go to the movies to laugh, to cry, to kiss $11 goodbye. The big emotional scenes are the one place we can FEEL without fear.

The writer sets up the story situation - puts that pot on the stove - and the audience watches as the water begins to boil... then boils out of control. We can't wait for the big dramatic explosion that we know is coming. Hey, that's why we paid our $11!

DRAMATIC SITUATIONS

So here's the situation: A little girl who is daddy's second favorite daughter grows up to become a completely self-centered TV News reporter (Angelina Jolie). Everything she is today is a reaction to her childhood... and her anger at her sister and father. She is still competing with her sister for her father's love - still fighting her sister and still angry at her father for "not loving her enough". The bigger problem is - the more she competes with her sister and fights for her father's love... the more she pushes her father and sister away from her. The more she tries to prove how important she is, the more she isolates herself from the very people whose love she craves. That's a big unresolved family issue that's been boiling for a while... and now we're going to turn up the heat.

While interviewing a homeless psychic (Tony Shaloub) about who will win the big game this weekend he tells her that she will die in seven days. Now she has one week to resolve these family issues which have been boiling on the stove for her entire life. The audience is waiting for the big dramatic scene... we want to stuff blow up!

Okay, here comes the big scene where Angelina goes to confront her sister. We know this is going to backfire, because the sister hasn't done anything. Her sister was just living her life - it was Angelina who was jealous and competitive and angry. We know this conflict can not be resolved by Angelina blowing up at her sister but by Angelina apologizing to her sister. That means they are going to have to hash out their whole relationship - battle until Angelina realizes she's wrong.

In any good conflict there is no obvious right answer and neither party is 100% right... that would make the conflict too easy to resolve. We want a messy conflict - where our protagonist is just as wrong as the person they are battling... and maybe even MORE wrong. That creates a good meaty conflict that can explode into drama. That kind of drama we pay $11 to witness. The kind of drama we want to live vicariously, because we work to avoid it in real life. Drama like this HURTS, but the resolution FELLS GOOD. We crave that resolution on screen, because in real life we seldom have the guts to deal with it in real life.

WHY AVOID DRAMA?

LIFE OR SOMETHING LIKE IT has set up a good meaty dramatic scene... we're watching that pot boil like crazy... and it's about to boil over! Angelina goes to confront her sister and... nothing happens. Her sister cuts her off before she blows up and tells Angelina how much she admires her. Diffusing the entire conflict before it begins! Hey, we paid $11 for this... where's the explosion? What a rip off!

This also creates an enormous problem for the story because we need the big emotional explosion in order to resolve the conflict. Because the situation is diffused Angelina never reaches the point where she apologizes to her sister... so big conflict in Angelina's life is NEVER RESOLVED!

Then we go to a scene with her father that follows the same pattern - conflict diffused instead of boiling over into resolution. No big emotional explosion! Those SCTV Farm Report guys would be disappointed!

Moral of the story? Don't cheat the audience out of the big emotional moments in your script by diffusing them. Let them boil over and get messy. Let them explode into a big emotionally painful scene. That scene may be difficult for you to write, but you NEED to write it in order to resolve the story in a satisfactory way. If the story doesn't boil over, if it doesn't explode... the audience will probably think your story isn't so hot. That's what they thought about LIFE OR SOMETHING LIKE IT.

Side note: In an article in the Los Angeles Times when the film came out the writer of LIFE OF SOMETHING LIKE IT openly complained about how his script was destroyed by the development process - they tried to make Angelina's character nicer - not realizing that would lower the heat under the pot! So here's the second moral to the story - people without problems are BORING! People who are always nice are BORING! People who avoid big ugly dramatic situations are BORING! Audiences don't like boring films... which is why LIFE OR SOMETHING LIKE IT flopped. The big screen needs characters with big emotional problems. We want to watch that pot boil over! We want to watch people explode real good!

Checklist for your screenplay:

* Did you create a messy emotional conflict, not easily resolved?
* Did you let the conflict simmer with dramatic tension until it almost boils over?
* Does the conflict boil over into drama? (Don't avoid the conflict!)
* No "Easy Outs" - No easy forgives or story diversions. Make sure the characters battle it out!
* Get Nasty! Don't hold back! Let them have it! Take it to the limit!
* You can't go too far when you're dealing with emotional truths - don't pull your punches!
* Have you fully resolved the emotional conflict? Once it explodes, does it result in closure?

Every movie needs explosions... especially dramas! Make sure you have some people exploding real good in your script!



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