You must watch..."Awkward."

For someone who claims not to follow comedy, here comes another half hour show I’m pushing to the masses.

While MTV is more known lately for shows of the Jersey Shore variety, they do have original scripted programming, and I think they’ve really scored with Awkward.

I love this show!  I watched all of season 1 in 2 days (granted, each episode besides the finale is only a half hour long and there are only 10 of them).  But yeah, clearly I really enjoyed it!  The dialogue has a fast talking Gilmore Girlsy vibe…which I like, mixed with a wacky Diablo Codyish teen slang thing (think Juno…which I’m not quite as into).  Overall, I think too much of either of these things might be irritating, but the writing never feels forced or strained.  Likewise, the actors are really exceptional and always do a great job.

Major props to Ashley Rickards who plays the lead, Jenna.  This young woman is really a star.  She’s one part snarky Ellen Page/Juno and one part wise beyond her years Claire Danes/Angela Chase.   I expect to see her in tons of things beyond this show in the future.

From a writing standpoint, I think the most important thing a writer can take away from this show is to craft three dimensional characters.  This is key on every show, but especially one with familiar character constructs (the awkward teen girl, the bitchy popular cheerleader, the popular hot jock, etc.).  I think this show just goes to show that no matter how high or low concept your show idea may be, excellent writing can shine no matter what and admittedly, Awkward. isn't really covering any new ground and yet, it always feels fresh.

Speaking of the characters, one character that stands out in particular for me is the main antagonist, Sadie Saxton, the bitchy rich popular cheerleader.  On paper she sounds pretty generic, but Sadie isn’t just some cardboard mean girl you've seen a million times before.  Sadie has issues of her own...she struggles with her weight, her mother, she likes a guy who doesn’t reciprocate her advances.  Sadie is also very smart, conniving, and does some pretty bad stuff.  Sadie always keeps me on my toes...I never know whether a scene is going to show her being horrible, or flip the script and put her in a situation that actually makes me feel bad for her...she's really fun to watch.

Anyway, the show is like this with pretty much every character and when you get to see the good and bad in everyone, it's hard to get bored.  Plus, there’s the whole fast/wacky dialogue thing which if you’re into, makes the show even more fun.

Speaking of good and bad (or pros and cons) the show also has a solid love triangle that’s really well done.  I’ve mentioned the importance of love triangles on teen shows before.  This show has one and neither guy is clearly better than the other...both have their pros and cons, which is great, interesting, and really keeps you guessing.

In a word, Awkward. is awesome…and if you missed it over the summer (like me) you can catch up on MTV.com where full episodes for the whole season are currently available.

You must watch..."Louie"

If you read this blog at all, you know I love TV, but that I focus on drama more than comedy.  Nevertheless, I still likes me a good TV comedy and so I wanted to write this post plugging one of my latest addictions, Louis C.K.’s brilliant FX show, Louie.

Why is Louie such a great show?  Honestly, the reasons are kind of inexplicable (sort of like the show itself).  While Louie stars a stand up comedian playing a version of himself, just like Seinfeld, and usually opens with Louis C.K. doing his standup routine, the similarities between the two shows end there (not that there's anything wrong with Seinfeld).  Louie is far from a sitcom, in fact, the episodes are essentially 1 or 2 indie looking short films about all manner of things.  While comedic moments abound, some episodes are actually very dramatic.  In recent episodes, Louis dealt with a down and out friend from his early standup days, creepy NYC thugs scaring his daughters on Halloween, and a USO trip to Afghanistan (a truly amazing episode of TV).  Don't get me wrong though, when the show is being funny, I think it's absolutely hysterical.

This video's kinda not safe for work...or for babies.

Just as Curb Your Enthusiasm takes a viewer into Larry David’s insane and twisted world of faux pas and people (usually Larry) behaving badly, Louie takes its audience into the funny, cynical, and sometimes mundane world of Louis C.K.  It can be extremely funny one moment and bittersweet (even sad) the next.  It’s really not like any other half hour comedy on TV.

I’m not sure what big lessons a writer can take from it, except that like Curb, Louie has a strong voice and Louie's point of view/way he sees the world really shines through in every episode.  Besides the distinct voice, the show is also full of surprises and can be incredibly disarming, so I always keep watching to see what happens next.  I’ve read on the internets that some people hate this show because it's so unusual for a comedy or they don’t like the Woody Allenish short film format, but I say...give it a chance!  Let it grow on you!  I think this is one of those show that once you like it, you’ll really really like it.

Speaking of liking the show, Louie is nominated for 2 Emmys this year (for lead actor in a comedy and for writing).  The show airs Thursday nights on FX...there are only 2 new episodes left this season, but if you like what you see a few others are up on Hulu (and feel free to watch the episodes out of order, with the format the way it is, continuity isn't really an issue).

You must watch..."Switched at Birth"

Sooo...I’ve been enjoying the new ABC Family summer drama Switched at Birth.  Like…really enjoying.  This is a concept that could have gone SO wrong and SO bad/cheesy.  But honestly, when the show is at its best it reminds me of Gilmore Girls (an old favorite of mine).  Especially Bay, one of the main characters (the actress actually WAS on Gilmore Girls).  She is full of witty little one liners/references like “You’re not a plot twist in a Mark Twain novel.”  Ah, so Gilmore Girls…it’s not for everyone, but I think it’s funny and I love it.

On that note, I think one of the best things the show does is use humor heavily.  Let’s face it, the show is dealing with some heavy issues – having your child switched at birth, your child going deaf, alcohol/gambling addictions, and (of course) typical teen/dating/sex stuff.  Without humor to even out all these things, I would probably be gagging every other scene.  Instead, this show legitimately makes me laugh out loud (and yes, get a little misty eyed at some points).  Something to remember if you’re writing your own family drama with some serious stuff in it…don’t skimp on the humor!

I also think, the show avoids the melodrama by pulling back and trying to show instead of tell or skipping conversations that would likely be long winded and overly dramatic.  Sure, there are still some big emotional scenes and monologues, but not every scene is like that which is such a relief.  I think the fact that many of the characters are signing while talking (or sometimes only signing) helps to add a little distance between the characters and the drama.  If one character only signs and the other doesn’t understand the signs, that buries the super serious moments a little by adding another layer to the scene.  Instead of just: two characters fight, the scene might be...two characters try to fight, but they can’t completely understand each other.  This definitely makes for more interesting viewing.

Another thing I love is the way teens are portrayed.  This is a show where teens are intelligent…in a realistic way.  Sure, they sometimes fight/care about dumb high school issues/boyfriends/petty things, but they’re smart, they do homework, they like art and music and have well thought out things to say.  It’s just so nice and refreshing to see a show that focuses on a couple high school girls that isn’t all catty fights and dumb boy problems.

I think a lot of the credit goes to the writers and especially to Vanessa Marano who plays Bay and Katie Leclerc who plays Daphne.  All I can say is…WOW, these ladies are both outstanding…seriously, two stars in the making.

I think my only criticism of the show would be that the glossy ABC Family look kinda negates the economic clash that’s supposed to be going on.  It’s hard to see one family as poor and the other as incredibly rich when everyone dresses nicely and even the “bad” neighborhood doesn’t look so “bad.”  Also, I don’t think I’ve seen any show that really nails teasing/bullying by teens in a totally believable way that doesn’t make me roll my eyes/doesn’t feel super on the nose.  But, whatevs, I can tell the show tries hard to make the point but also pull back a little.

Overall, Switched at Birth is really doing something right, and I’d love to see more family dramas written like it on TV.  You can catch the latest episode tonight (Monday) on ABC Family, or catch up on Hulu.

You must watch..."Game of Thrones"

Hello all.  Wish I could say I’ve been busy doing something new and awesome and that’s the reason I haven’t been posting, but the real reason is just the usual stuff.  I’ve been plugging away on my writing and using the wasteland of summer TV repeats time to catch up on everything I missed the rest of the year…and well, I just finished watching the best new show I’ve seen in…a long time.

I prefer a less "pokey" chair myself.

If you don’t have HBO or if you do have HBO and you’ve just been living under a rock (like I was) you might have missed Game of Thrones when it originally aired this spring.  Not to fear, if you have HBO it’s still on, “on demand” for just under a week (till the 18th).  This might not seem like much time but trust me, if you like the show, you will finish all 10 episodes very quickly.  Also, I'm sure there will be cool legal ways for non HBOers to watch it soon/when it becomes available on DVD (like Netflix).

So, what makes Game of Thrones so great?  Is it all the naked ladies (and men), the occasional fighting/bloody violence, the excellent production values, or simply the Lord of the Ringsness of it all?  To tell the truth, I’m not a huge fan of fantasy or worlds where vaguely medieval knights gallop around on horses and live in realms where there are dungeons and dragons and those sorts of things.  I appreciate the detail in the world building, but I tend to be drawn more to family dramas and shows about the world I live in, even if they’re still totally unrealistic (like Desperate Housewives) or way outside the scope of my ordinary life (like The Good Wife).  I just feel like I can relate more to the familiar character dynamics of those types of shows (modern day parent/child, sibling, and couple relationships) which helps me in turn care about the shows' characters and their stories.  To me, fantasy or stories that happen in pseudo fantasy worlds are more about that world and therefore usually feel a little alienating to me, even if the worlds are cool.

But that’s the beauty of Game of Thrones.  The shows gets to have it both ways.  Even though the show definitely has a fantasylike world, at its core, this show is a family drama (or several family dramas as it were) and the show's focus on family relationships is just one reason I got hooked.

Another big reason has to do with the complexity of characters.  Fantasy to me usually means pretty clear GOOD and EVIL characters/creatures/giant burning eyes.  Game of Thrones is a lot more ambiguous.  Characters will surprise you, or you will find yourself loving them one moment and being angry at them for the way they act the next.  You might also find yourself rooting for two separate families or characters whose goals you know will ultimately be at odds with one another.  This complexity is great and with stakes so high (life and death) the show is exciting to watch and will hook you and keep you guessing where the story is going to go.

The show, based on a series of popular books (the newest of which is being released today, I guess) also does some craaaaazy stuff that I don’t think I’ve ever seen a show do before in season one (no spoilers here, you’ll just have to watch to see what I mean, and if you have watched, then you already know).  Also, keep your eye on the oh so talented Peter Dinklage as Tyrion Lannister.  Seriously, he steals every scene he's in and yeah, I’ll call it right now…Emmy nominations are announced later this week (7/14) and I think Dinklage will not only get a nom, but will win this year.

So yeah, even if you’re like me and fantasy isn’t your cup of tea, put that aside and watch Game of Thrones already.  It’s just that good.

You must listen to...Jen Grisanti's interviews with writers!

So, I'm plugging away on the next big thing I'm up to (and yeah, maybe doing a little internet surfing procrastination) when I ran across something cool...

Half off blankets and pacifiers...kidding.

I’ve heard of Jen Grisanti and think I’ve even mentioned her somewhere on this blog before...but somehow I only just checked out her awesome blog and all the sweet podcast interviews she has posted with various writers.  Anyway, now I’m addicted and I’d highly recommend listening to them.  I’ve added the blog to my links on the right (under YOU MUST READ).

I especially recommend listening to her latest interview…it’s with FNL and Parenthood writer David Hudgins (Hudgins also created/ran the show Past Life…which he talks about).  The whole interview was really cool, but one of the best parts was when Hudgins (and Grisanti) recommended writing specs.  While I just finished a spec and am working on a pilot right now (because I want to and yeah, because pilots are supposedly hotter to have than specs) it was great to hear a couple pros advocate for specs.  After putting so much darn time into them for contest season, it’s nice to know that a former (and likely future) showrunner like Hudgins would like to read them.

I think Hudgins makes the excellent point that while reading original work is great and can show how amazing and creative you are (like a script about a man with pork chop hands) a spec can show your ability to capture the voice of a character…something pretty much impossible to judge in a pilot since...you know...you don't know these characters the way you know the characters on a show you like and watch.

So yeah, huge recommend…what are you waiting for?  Check out the site/interviews, already!

The Man with the Pork Chop Hands

In exploring the internets a little while back, I ran across an old interview on Televisionary with showrunner Bryan Fuller where he talks about staffing Pushing Daisies (ah, too short lived).  The part of the interview that struck me the most was where Fuller mentions hiring writer Kath Lingenfelter because of a script she wrote about…wait for it…a man with pork chops for hands!  Now, this sort of script may not be for everybody/the best sample for every show, but I’ve gotta tell you…if I was a showrunner looking to staff my show, I’d sure like to read the script about the man with pork chop hands….and I bet you would, too!

There you are, righty and lefty!  I thought I lost you guys!

At any rate, this little anecdote really blew me away and was a wake up call of sorts.  I always strive to have my writing be top notch and to come up with unique and compelling ideas, but this just showed me how some pros are on a whole other level (pork chops...for hands...okay clearly I'm obsessed).

I’ve gotta say, the last pilot I wrote was…well…let’s just say, I wouldn’t have written it if I didn’t think it was an interesting and unique idea, but it’s also fairly “network” and “mainstream”…and yeah, it’s no man with freakin' pork chops for hands!

Anyway, I’ve been stuck on this whole pork chop thing ever since I finished my last spec and decided the next thing I wanted to write was another pilot.  Now, I was going to write another idea I’ve had for a while, a show that I thought was pretty cool and has a crime procedural element and yeah...it's also very “network” and “mainstream” in certain ways.  Buuuuut...I’ve put it on the back burner for a while, while I brainstorm coming up with something new that will hopefully be more...outside the box…we’ll see how I do.

So thanks, man with pork chop hands, for inspiring me to try something different…I hope reading about this inspires other baby writers to try writing something really different, too.  Oh, and if anyone knows where I can find or read that pork chop hands script…let me know!

Interview with the 5-Year-Old Screenwriter of “Fast Five”

Ahahaha...this cracked me up and it gives a whole new meaning to the term “baby writer."

Today Now! Interviews The 5-Year-Old Screenwriter Of "Fast Five"

On narration and kitten mittons

Happy Friday, all!  Let's see...what have I been up to...I did more revisions on my pilot, caught up a little on watching the show I want to spec this year, picked up a screenplay I set down ages ago because I was hating it (only to realize it's actually pretty finishable...if I cut about 20 pages out of it).

Besides that, I watched my Idol, squealed over THE KISS on Glee, kept tabs on my NCAA brackets (my significant other is kicking my ass so far) oh, and I finally watched Stranger Than Fiction, which I thought was great...nicely made, great acting (especially Emma Thompson) and the writing...oh, the writing...everything felt tight, nothing extraneous, and just...tremendous.

I admit, though I try to avoid it, I've written a thing or two with narration (not the best habit for a baby writer) but I just can't help it.  I'm a sucker for too many good movies (Shawshank, Goodfellas, Election, etc.) that use narration.  Anyway, because I like narration but I know it can be a crutch for bad writing, I loved the twist on the typical narrator that the film presents.  I was actually interested in watching the movie because that long suffering screenplay I referred to earlier has its own twist on a narrator.  Of course, seeing it made me totally jealous that my idea wasn't nearly as cool, but for now, I'll just focus on finishing the thing I did write and not the one I didn't, ha.

Anyway, that's all, I'm sure everyone is recovering from St. Paddy's Day...which reminds me, if you aren't watching It's Always Sunny in Philadelphia, you should be.

I want to read...Tina Fey's "Bossypants"

And now, a break from all of my downer posts this week to talk about something more pleasant…Tina Fey’s new book!  

When does this come out?  I want to read it NOW!!!

Oh, I see…April  5, 2011...thanks, Amazon.com for clearing that up.  Just reading the “Editorial Reviews” tells me this is gonna be pretty fantastic:

ADVANCE PRAISE FOR BOSSYPANTS: 

"Absolutely delicious!" (A Guy Who Eats Books ) 

"Totally worth it." (Trees ) 

Yes!  Can't wait!

You must watch..."The Good Wife"

I suppose I shouldn’t feel bad for a show like The Good Wife.  It has great ratings, great reviews, and has picked up several nominations and awards in the 2 short years it has been on the air.  Nevertheless, I feel like a lot of baby writers don’t give shows like The Good Wife much respect, and that’s truly a shame.  I think most of them think this is a show for older audiences, not young hip people such as themselves, or they hear “lawyer show” or “legal procedural” and say: “yeah, maybe for my grandpa” (then, they go watch Mad Men and fantasize about living their grandpa's life...ironic).

I challenge you, baby writers, to watch this show and let it prove you wrong.  I think the characters are all really interesting and extremely complex, sometimes they do right, sometimes they do wrong, but they never do stupid just because it's convenient for the story.  I also think the writing in general and especially the dialogue is smart and sophisticated.  The show doesn’t talk down to its audience or dumb itself down for viewers.  Sometimes you won’t know what’s happening because of all the legalese or political jargon, and you just have to keep up.  That reminds me of The West Wing, another show I really loved, back in the day.

The show also doesn’t shy away from controversial subjects or taking on the not so heroic side of law (it's not all catching the bad guy/helping the innocent guy stuff, there’s lots of moral ambiguity, money making, and juicy back room deals going on).

Anyway, The Good Wife is really good, if you haven’t already, give it a chance (and if you’re looking for a hot new drama to spec this year, I think this is an excellent choice). 

Where's the best place to write?

Okay, here’s a question without a correct answer and honestly it’s something I’m always curious to know about other writers.  My favorite place is on my couch with my feet up, and a nice cushy pillow at my back and another under my laptop (so I don’t get that red burned leg thing).

I know some people (like JK Rowling) swear by coffee shops but I honestly could never do them.  I feel like I can’t relax with a bunch of people talking around me or watching me (also, I hear Starbucks frowns upon you taking your socks off and putting your feet up on the furniture).  

The real reason I don't write in coffee shops...so tempting.

By the same token, I’m pretty bad at the whole sit at a desk and write thing.  I know people say it promotes discipline and the idea that writing is a JOB, but I think that’s what I DON’T like about it.  Don’t get me wrong, if it was a choice between a coffee shop and alone in an office I’d totally pick the office, but sitting at a desk and staring at a screen usually feels too uptight for me.

Beyond that, as much as I like to be comfortable when I write, I try not to have music playing or the TV going because I'm too easily distracted (and frankly the Internet/Facebook/Email is about as much distraction as I can afford).  Not saying I don’t do it (bad habits are hard to break) but I’ve been trying to cut back…aren't there studies out there that say people can’t multitask and background music/TV when you’re studying is bad?  So yeah, it’s probably the same when you write.  Or not.  I hear some writers enjoy making playlists for their scripts and get pumped by playing them when they write.  Sounds cool, maybe I’ll try it someday.  Did I miss any popular places to write/popular writing rituals?  Let me know!

You must read..."What the Dog Saw"

Alright, confession, I’m recommending this book before finishing it, but I’m enjoying it quite a bit so I figured there wasn’t much harm in passing it along.  As mentioned before, I’m a total junkie for Malcolm Gladwell, especially his book, Outliers.  Also, I have jury duty this upcoming week, so I’m totally going to finish this book while I’m waiting to see if I get selected.

Tell me what the dog saw!  Tell me!

Speaking of jury duty, I know most people dread being summoned and want to get out of the whole ordeal, but I’m kind of hoping I get picked just for the experience.  As a baby writer living in LA, I don’t get many opportunities to go outside of the typical things I experience or to see how people doing non-Hollywood careers work (medical, legal, etc.) and considering so many TV shows are about people in these non-Hollywood careers, I welcome the chance to see some of that first hand.

And, that’s another reason I recommend What the Dog Saw.  Like all of Gladwell books, it’s non-fiction, in this case a diverse collection of articles he has written.  While it’s awesome to read novels and scripts to learn how great writers write and tell stories, I think it’s also important to try new things (like jury duty) and read non-fiction and news articles to get inspired/get ideas for all those awesome scripts you're going to write.

You must watch..."Citizen Kane"

Today, an endorsement for the “greatest movie ever made” according to a bunch of critics, like the people who make the AFI 100 list, and such.

Rosebud...

What’s so great about Citizen Kane?  I watched it for the first time in film school and not knowing much about it, I went in expecting it to be boring.  Needless to say, I was surprised by how impressed and engaged I was with the film.  The way the film is photographed really grabbed me.  Many of the angles and camera movements felt very ahead of their time.  Other than Hitchcock, I can’t think of many other filmmakers doing that sort of work in the early 40s.

As far as the screenplay, I can’t say much.  It’s very good but also very epic.  I’m not sure there are many things  a baby writer can learn from it other than to create an extremely engaging main character.  Beyond that, the film does a lot of stuff I’m sure baby writers would LOVE to do (like tell a story completely in flashbacks) stuff that might not work for everyone. 

Funny enough, of all the Oscars Citizen Kane was nominated for (including Best Picture) Screenplay was the only one the film won.  But, that’s probably the best reason to watch Citizen Kane right now, post Oscars.  If you’re feeling like the wrong films, actors, sound editors, make up artists, or any of your favorites lost out last night (especially because of Hollywood politics) you can take solace in knowing the “greatest movie of all time” didn't even win Best Picture the year it was nominated.


EDIT: So I write this post, go off and watch the Oscars, and Steven Spielberg up and says basically the same thing before he introduces Best Picture.  Ha, love it!

The difference between an Oscar and a Razzie

Happy Friday!  Today is the day I usually talk about my own writing, but who cares, it’s OSCAR WEEKEND!  I’ve always enjoyed the Oscars though as I’ve gotten older, I’ve gotten more jaded about them and the fact that the nominations/wins often reward a person more for their career or their last project than their current project, but hey, whatever, it’s the OSCARS.

One good thing about being a little jaded now is that I’m pretty good with an Oscar ballot.  Not to toot my own horn too much, but in the past few years I’ve won several Oscar pools.  My secret?  Honestly, the thing that clinches it is usually the shorts, docs, and technical awards.  If you just look these up beforehand or go with who won the guild awards, you can usually pick correctly, otherwise pick the movie with the coolest name, that works too.

Anyway, I’m clearly excited to see the show.  Also, for the first time ever, I worked on a movie that was nominated for a couple things, so I've got people to root for (actually I’ve worked with people who were nominated in previous years because Hollywood is such a small world, but I feel closer this time).  On the downside, I will probably be less objective with my ballot picks, but on the upside, it’s a nice change to tell people you worked on an Oscar nominated movie instead of a Razzie nominated movie (yep, I worked on one of those, too).  The funny thing is, from my perspective, the people I work with are always working hard and doing excellent and professional jobs.  I’ve worked on a couple “bad” movies, and their sets and costumes totally blew me away.

Now, I’m not saying I couldn’t tell the difference between working on an Oscar movie and a Razzie movie...in hindsight there was definitely a difference.  But in what areas?  Well, I’d say the biggest differences were at the script level, followed by the higher ups level (Director, Producers, etc.).   Now, maybe that’s just me being biased as a writer, but it makes sense doesn’t it?  All other technical quality factors being fairly equal, a better script with a stronger vision/direction, equals a better movie.

And on that note, I'll leave you with this video that cracked my up and made me think of all us baby writers out there.  

While I wouldn't recommend copying Seinfeld word for word if you want to be a comedy writer like this little girl, I think watching shows you love or exposing yourself to anything written by a writer you like can only help you be a better writer (plus, you've gotta watch a bunch of shows anyway if you're planning to write a new TV spec this year).  Speaking of exposing yourself (ha) to good work, here is a link posted by ScriptShadow yesterday to all the 2011 Oscar nominated scripts.  Enjoy, and happy Oscar watching/happy writing (whether you're penning a future Oscar winner, or just your latest TV spec, like me).  

You must watch..."Mr. Smith Goes to Washington"

In honor of Presidents’ Day, here’s a classic everyone should watch again.  It’s hard not to watch this film without feeling pretty patriotic, I mean, the film has an extended montage of DC landmarks, particularly the Lincoln Memorial.  But beyond that, what makes "Mr. Smith" so good?

Well, I think the protagonist, Jeff. Smith, is pretty great.  While a tad bumbling at first, he is probably one of the most eloquent, kind, and idealistic characters I have ever seen in a film, especially in contrast with all the jaded backroom DC types who surround him.  I found him very refreshing, I can’t remember the last time I saw a protagonist like Jeff Smith in a modern film…I’m sure a lot of writers think it’s “cheesy” to write a character like this, but in a sea of cynical and snarky characters, writing a Mr. Smith, might make you stand out…think about it.

Of course, Mr. Smith isn’t the only stand out character.  The wise cracking Saunders is also delightful to watch, especially when she goes back and forth with Jeff.  I loved all the snappy dialogue in her scenes and I think all the political banter in the film would be enjoyed by today’s lovers of Aaron Sorkin.

Probably my favorite thing about "Mr. Smith," though, is how passionately Jeff pursues his goal to create a National Boys Camp, which eventually becomes a crusade to clear his name and take down a corrupt media syndicate that is essentially controlling the politicians from his state.  I think showing a passionate protagonist is hard for a lot of baby writers, especially depending on the genre you’re writing.  I always thought it was so easy in action/adventure movies…your protagonist needs to get the special object, save the love interest, collect all the clues...so, they go on a quest!  But when your protagonist wants something more mundane, it can be dull to watch them pursue it.  

Take "Mr. Smith," how exciting can a guy standing in a room talking to a bunch of other guys be?  Well, “Mr. Smith” does it, and every moment is extremely compelling because the stakes are so high and the rules behind what he’s doing are so well defined.  Jeff's about to be kicked out of the Senate, disgraced forever, if he wants to be heard he has to filibuster, in other words, he has to stand on his feet and talk for as long as he can.  I can’t help thinking it’s like Speed and Jimmy Stewart’s driving the bus, unable to go less than 50 or he’ll explode…in other words, scenes of a guy talking his head off become just as exciting as any action/adventure film.

You've probably seen this famous scene already in some Oscar montage...it comes near the end of the movie (if you haven't seen the movie yet, watch the whole thing first and enjoy it in context) otherwise, watch it again here and relive the magic of "Mr. Smith Goes to Washington."

You must watch..."Love Actually"

Happy Valentine’s Day!  Gotta show some love to one of my favorite films about love, Love Actually.  You should watch it again if you haven't recently, and if you haven't seen it yet, watch it first then read this because...SPOILERS!

I think Love Actually is the type of film that interests lots of baby writers because so many want to write movies with big intertwining casts of characters (easy to screw up).  I caught Valentine’s Day on TV the other day.  At first glance it’s very similar to Love Actually...a whole bunch of interwoven stories about a single (and similar) subject (even the posters look the same).

Faces of Famous Actors: The Movie

So, why do I love Love Actually but only felt lukewarm about Valentine’s Day?  Was I simply charmed by British accents?  Maybe...but I think it goes deeper than that.  One problem I had with Valentine's Day was that it often felt too on the nose.  Too many people just talk talk talking and saying just what they're feeling and blah blah blah…just blah.  Love Actually does a nice job burying potentially on the nose moments.  For example, the scene where Juliet discovers Mark loves her, the movies SHOWS instead of TELLS (Juliet sees the video Mark has taken of her wedding, and it's all of her).

Also, when people do tell someone exactly how they feel, Love Actually often buries the moment with humor or other obstacles.  For example, in the scene where Jamie proposes to Aurelia, he has to speak a foreign language to her riddled with funny subtitled errors.  So, instead of the audience groaning while he says all those sappy things, we’re laughing and completely charmed.  Next time you want to write a scene where someone has to do/say something on the nose (like confess their love) find a way to bury the moment.

Another good example of this is the ending of When Harry Met Sally.  First, the movie keeps Harry's on the nose dialogue short and sweet ("The thing is, I love you") then, when Harry has more in depth/sentimental things to say (all the things he loves about Sally) those words are buried by making Harry say them in anger.  In turn, Sally is pissed and crying when she responds.  The characters are basically acting the opposite of what they're feeling.  The result is a scene that could have been overly sappy or cringe worthy but is instead,  funny, romantic, and simply lovely.

You must watch..."Marty"

TCM has been playing tons of awesome movies in their countdown to the Oscars.  Seriously, my DVR is busting.  Anyway, last week I caught the lovely film, Marty.  I saw the movie for the first time several years ago, but I think my first introduction to it was that scene in Quiz Show where Marty is the right answer to the question “What movie won Best Picture 1955?” and the guy has to throw it and say On The Waterfront, which won in 1954…yeah…now I’ll never forget what year both of those films won Best Picture.

Marty was written by the much celebrated Paddy Chayefsky…perhaps most well known for writing this famous scene/line in the movie Network:

But back to Marty, I think lots of baby writers turn away from “classic” movies thinking they’re too old/stuffy/epic and the storylines don’t connect with the types of movies they want to write (often smaller, “indie” movies).  The funny thing is that I think Marty fits in that indie film aesthetic.  The movie is beautifully simple - just two days in the life of a single working class everyman who goes on a "date" with a plain woman who he connects with emotionally.  A guy goes on a date...that’s it.  Most of it is just people talking about life and hanging out around the city...sounds pretty "indie" to me.  So yeah, don’t let the age of the film deter you…just go see it, and try to not to get invested in the lives of these characters.

Speaking of which…I think there’s so much a writer can learn from Marty (basic structure, dialogue) but I think the biggest thing I took away from it was the characters…all of the characters.  Chayefsky not only writes a protagonist who I cared deeply about, but he gives each character their due, even the small ones.  I think lots of baby writers use or throw in smaller characters to help spread out exposition or to be small foils for their protagonist, but the small characters in Marty aren’t puppets and don’t get the shaft like that.  In a movie so dominated by one character and one actor (Marty) we still get several scenes where we see smaller characters (like Marty’s cousin, his cousin’s wife, his aunt) living their own lives and having their own problems and dramas and opinions…these are all three dimensional characters.  I think having richly written small characters makes for a richer world in your script, one that feels "real" which in turn makes your audience care what happens to all of these people...I mean characters (see, Chayefsky wrote them so well, I think of them as real people).

Comedy comes from pain

To conclude the whole unlikable protagonist/Groundhog Day kick I've been on this week, I thought I'd talk just a little about one big reason why I think Groundhog Day is so darn funny.

There's this saying that comedy comes from pain.  I googled to see who said it first, but it has been passed around so much it's hard to say (maybe Plato?).  I think the idea is clearest when you think about the old gag of the man and the banana peel.  Watching a guy fall on a banana peel = funny...i.e. comedy comes from pain.  But, it's even BETTER when you take it one step further.  What's funnier than a simple banana peel slip (or a kick in the balls)?  Why, a banana peel slip that happens to someone who will experience the MOST pain from it.  Think about it, what's funnier: a clumsy clown slipping on a banana peel or a well dressed and proper gentleman slipping on a banana peel?  What if that gentleman is also arrogant about how prim and proper he is?  I think that's kind of the idea at work in Groundhog Day.  A fairly nice guy being forced into a frustrating time loop might be funny, but it's WAY funnier when that guy is like Phil, a slightly arrogant and easily annoyed jerk.

I think Judd Apatow has done this well quite a few times.  Look at The 40 Year Old Virgin.  There's the pain: being single/trying to date...then make it WORSE by making your protagonist a virgin...and WORST because they happen to be 40 years old.  Knocked Up is the same.  There's the pain: dealing with an unexpected pregnancy...then make it WORSE by making the couple a one night stand...and WORST when the guy is an irresponsible schlub like Seth Rogan (and the woman is a control freak like Katherine Heigl).

So there you have it, a way to put your likable OR unlikable protagonist to use...imagine them getting into the situation that will cause them the absolute most pain/awkwardness/whatever, and you might just have the makings of a really funny comedy.

Groundhog Day!

Yay!  It's Groundhog Day today which means it's time to roll out one of my favorite movies of all time. Wanting to write this post actually gave me the idea for yesterday's post about unlikable protagonists (though I would call Phil a charming asshole way before I'd say he's "unlikable").  Still, while he changes some of his attitudes drastically in the movie I think he maintains a charming ass quality throughout.  I would say this is due to Bill Murray's performance in the role, which even when he's being sentimental (as he does in the scene below when he tells Rita goodbye) is always tinged with...I don't know...comedic self awareness (or just Bill Murray being Bill Murray).  

There are tons of hilarious dialogue scenes in the film, especially those where Phil adjusts what he's doing to try to win over Rita, but I always remember this great little car chase.  For one, it has the line, "Don't drive angry" addressed to the groundhog...and animals are funny.  Sometimes animals get stuck in movies where they don't belong (in a lame attempt at humor) but here, the groundhog is obviously essential to the car chase even happening.  Also, there is a nice that's good, that's bad moment near the end -- the car goes off the cliff (that's bad), but the way it lands, maybe Phil survived (that's good) until it explodes (that's bad).  And finally, how many movies can kill off the protagonist halfway through the movie and make me laugh at the same time?

If you haven't seen this amazing and hilarious movie, what the heck are you waiting for?

You must read...the "Memento" beat sheet

I mentioned Save The Cat and beat sheets and the importance of outlining in my last post AND I’ve also mentioned Christopher Nolan once before on this blog.  I wouldn’t call myself a die hard Nolan fan, but I really enjoyed Memento, the movie he directed and co-wrote that got Hollywood to take notice (hey, his screenplay got nominated for an Oscar).  I’ve gotta say, I didn’t remember much about the movie except some of the actors, a few key scenes, and most importantly...spoiler alert…that the movie happens in reverse.

I bring up Memento because I think it’s the type of movie lots of baby writers are dying to write – something indie and something that has a really unusual or unique hook (like being told in reverse).  One problem though, is that writing these sorts of scripts divides a lot of people.  Some, including the late great Save The Cat creator himself, Blake Snyder, point out that while these types of scripts can be calling cards, they aren't the sort of specs that sell.  And so, I see writers who want to write these types of scripts saying “screw beat sheets, screw Save The Cat”  OR giving up on their original idea to write something mediocre that they think is “commercial."

That’s why I think it would surprise certain baby writers to read this entry that appeared last year on the Save The Cat  blog…why look, it’s a beat sheet for Memento.  Ha.  I know there are some people that would say it’s easy to try and make any completed movie fit into a box or beat sheet, but I think the beat sheet is right on...annnnd...as out there as the movie/script might seem, Memento is surprisingly simple and can be viewed as hitting all the usual beats.

So yeah, read that beat sheet, watch the movie again, and know that maybe, just maybe, the world of Save The Cat beat sheets and the world of unusual indie screenplays don’t have to be mutually exclusive.