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November 12 2010
A Return To Storytelling Fundamentals
I have had several conversations with fellow filmmakers in the last six months around the idea that most American independent films are severely underdeveloped and suffer from extensive pacing issues. I include my own work in that and have turned my focus from issues of discovery and distribution to that of creative development (and financing). It’s my humble opinion that less discussion is needed around (effectively) coercing an audience toward your film and more is needed on crafting good, solid, innovative stories that are irresistible to an audience.
I’m a moderator over at popular filmmaking discussion board called DVXuser.com and help facilitate a free and open short film online festival there three times a year. Each fest is defined by a theme or genre: from loss and love to thrillers and westerns. This time, we’ve decided to renew the focus on good solid storytelling technique so our members can exercise those muscles a bit. We recently decided on a genreless and themeless turn as FictionFEST.
In writing the rules and guidelines, we included some principles that I wanted to share with you. I looked back at some of the principles that serve as a foundation for my writing and find a lot of value in revisiting them form time to time.
THE PRINCIPLES OF FICTIONFEST
FOUR QUESTIONS – Does your story acknowledge the following questions: Who is your Protagonist? What are they after? Who or what is in their way? And what are the consequences if they fail?
IS IT HIGH CONCEPT? – Without famous actors and the luxury of a 90 minute running time, short films benefit greatly from placing the concept first. If it were pitched as a feature, would it attract a star and name director? If someone else made this, would you watch it based on the logline alone? In short, is your story the star?
WHO DRIVES THE PLOT? – The Antagonist typically steers the plot and the Protagonist reacts to increasing levels of threat. When searching for a story, consider defining the person or force working against your main character as a foundation to build the rest of the story upon.
A CLEAR MOTIVATION – Do we know what your Protagonist wants from the beginning? And are we on board with him/her? Do we care?
THEME – What is the central question of your story? A definitive answer to that question with a “yes” or “no” will conclude it. In a short film about a dirty cop, your theme could be: can justice prevail untarnished?
GET IN LATE AND GET OUT EARLY – To avoid pacing issues, in each scene ask yourself what point is the absolute latest I can jump into the scene and the earliest I should leave it. Do we need to see the character walk into or leave the room, or introduce themselves to the other characters in the scene? What happens if they are already underway by the time we join them? Is anything lost? Look at the beginning and ending of your scenes and ask: Is it essential? Is it dramatic?
UNIFY INTERNAL & EXTERNAL CONFLICT – Does your protagonist have to confront an internal issue in order to solve an external problem? For example, must your main character learn the meaning of love before he’s willing to fist fight his girlfriend’s ex-boyfriend? Must the cyborg rediscover what it means to be human before he can save all of humanity? Unify the internal and external.
PRIVATE, PERSONAL & PROFESSIONAL THREADS – A fully-realized Protagonist can be illustrated by three levels of problems: private, personal and professional.
PRIVATE: Conflict known only to your main character.
PERSONAL: Conflict known only to characters close to your main character.
PROFESSIONAL: Conflict known to all or most characters in the story.In a work of short fiction two of the three may be greatly minimized, but consider the value in a set of obstacles that confront your Protagonist on multiple levels. For example, say that your superhero must defeat the plans of the villain (professional), keep his love interest safe from harm (personal), AND avenge the death of his parents (private).
AVOID CLICHE ACTION & EXPOSITORY DIALOGUE – Have we seen this before? If so, consider doing the reverse. When you find yourself faced with a cliche, re-consider the following questions for each scene: Who wants what? What happens if they don’t get it? And why now? If you find yourself writing dialogue between two characters about an off-screen third, consider dramatizing that information instead. How can we show that rather than tell it? As an exercise, if you deprive your characters of speech, how would the scenes play out dramatically? Now knowing that, how would dialogue elevate it?
Certainly, there is much more that could have been considered and included. But I think this serves as a pretty good foundation to build upon. I suspect many would acknowledge these as fairly obvious points for “a good story, well told”, but frankly, it’s not showing up in a lot of the work I see out there. If you’d like to flex your storytelling muscles, please join us over at FictionFEST, read the rules and start a discussion thread for your film. The deadline isn’t until mid-March 2011 and you’ll find the community there to be engaging and supportive. It’s a filmmaking community unlike any I’ve been able to find online.
May 24 2010
TCIBR: Four Boxes a DIY thriller [audio]
With 40k in hand Wyatt McDill and Megan Huber set out to make a first feature on their own terms. Having spent a few years pushing a script through development hell they came out on the other side wanting to “just make a movie.” The end result is a DIY voyeuristic web thriller entitled Four Boxes
THE STORY: Trevor, Amber and Rob run Go Time Liquidators – an ambulance-chasing eBay auction business. In a dead man’s destroyed suburban house they start watching a bookmarked surveillance-cam website:fourboxes.tv. If fourboxes.tv isn’t just more internet BS, then a crazed creep they call Havoc is building enough bombs to, like, kill everybody in the U.S.
Designed to embrace and work within the confines of an internet experience the films stars Justin Kirk from (Weeds). Four Boxes enjoyed a festival run with stops at SXSW in 09 and has just recently returned from the Cannes Market. This fall Wyatt and Megan will stage a hybrid release of Four Boxes with a mix of touring, VOD, along with few special internet surprises. We caught up with the husband and wife filmmaking team to discuss the project and the freedom that can be found by working within your limitations.
Step into the world of Four Boxes
TCIBR: Four Boxes a DIY thriller [audio]
With 40k in hand Wyatt McDill and Megan Huber set out to make a first feature on their own terms. Having spent a few years pushing a script through development hell they came out on the other side wanting to “just make a movie.” The end result is a DIY voyeuristic web thriller entitled Four Boxes
THE STORY: Trevor, Amber and Rob run Go Time Liquidators – an ambulance-chasing eBay auction business. In a dead man’s destroyed suburban house they start watching a bookmarked surveillance-cam website:fourboxes.tv. If fourboxes.tv isn’t just more internet BS, then a crazed creep they call Havoc is building enough bombs to, like, kill everybody in the U.S.
Designed to embrace and work within the confines of an internet experience the films stars Justin Kirk from (Weeds). Four Boxes enjoyed a festival run with stops at SXSW in 09 and has just recently returned from the Cannes Market. This fall Wyatt and Megan will stage a hybrid release of Four Boxes with a mix of touring, VOD, along with few special internet surprises. We caught up with the husband and wife filmmaking team to discuss the project and the freedom that can be found by working within your limitations.
Step into the world of Four Boxes
May 10 2010
Where pain meets fun: the creative process
“What the hell am I doing? I can’t write. How do people fucking do this for a living?” These are the poisonous phrases of defeat that loop inside my brain prior to my turning into a robot and heading toward the refrigerator to binge on cheese even though I’m a vegan.
I’m a firm believer in rolling up your sleeves and jumping into whatever project moves you. Passion can be an immense driving force, even if you don’t have any formal training in a particular endeavor. This obviously precludes any dangerous stuff. I’m speaking creatively. I don’t want to get all ‘Life Coach’ on you guys, but I feel pretty strongly that anyone can go as far as their passion leads them. The only obstacle is self-doubt.
Jeff and I are writing a screenplay, a narrative based on my mom and dad’s life story. We’ve read the books we’re ’supposed’ to, we’ve brainstormed, we’ve nitpicked over tiny grammatical stuff to avoid the larger issues of structure, character development and figuring out the intricate puzzle of Act II. To all of the countless souls who have been down this path, we feel your pain.
The creative cycle is as predictable as the seasons. You settle down to write, you get distracted, you procrastinate. Then you hear weird noises coming from next door, you’re thrown off balance, you lose focus. So you go eat some more cheese, walk the dog, make some coffee, sit down and force yourself to write a little bit, you gain confidence, not too much…oh no, here it comes…”What am I doing? I can’t fucking write!” Writer’s block is back.
Jeff and I take turns writing. We rely on one another. He is definitely alpha when it comes to making the larger decisions, because he is the one who started this project. It’s his baby and I don’t want to tamper with a direction or vision he may have. But having said this, if he were to bear the entire burden alone, it would be incredibly overwhelming. Not all artists want to work with others, but I’ve come to learn the value in partnering with someone you respect and admire. There are times when Jeff comes up with an idea, incorporates it into the script and I read it and get goosebumps. This is when I know it’s exactly what belongs there and how the story should go.
I think that Jeff and I make a good team because of our ability to communicate with one another. Again, we’re learning as we write. Since he and I are pretty green, the writing journey has been an especially slow process. We’ve been locked in our cave for the past year-and-a-half, not having shown a word of the first draft to a soul. We’re almost ready for a select group of writing friends to have a look. We’re both a little nervous. It’s going to be like standing up before a crowded room to make an announcement and then dropping your drawers…and there you are with all of your pimples and sagging parts, getting gawked at by critical eyes.
Some might argue that working in a vacuum is dangerous. I think that when you’re ready to let someone see your ‘creation’ it should never be a half-finished work or something that starts out solid and peters out because you’ve rushed to complete it. You cannot go out onto the stage without practicing first. Always put your best foot forward. Whatever the end product is that you’ve created, it has to be something that you are totally proud of…not something you half-assed in a half-baked state.
Our project started out as a 10-page treatment that grew to 40 pages over the course of several months and then the realization set in that, instead of trying to tell someone else how the story should go, we might as well just write the script ourselves. Jeff and I didn’t know what the hell we got ourselves into when we started working together on the documentary, but that film is still out and about and maintaining a steady momentum fed by word-of-mouth. So it’s not a totally radical concept for us to take it a step further and fictionalize my dad’s life story for the big screen.
Whatever it is that you want to create, study what others have done before you, not to mimic, but to be shown the light. Jeff and I watched hundreds of documentaries before we set out on the journey to make our own first film. And for our current writing project, we try to study as many screenplays as possible. When they’re written well, you can’t wait to get your hands on another one. It’s a total addiction. Honing in on certain styles, subject matter and writers we like, we’ve read screenplays like ‘Man on the Moon,’ ‘Hudsucker Proxy,’ ‘Adaptation,’ ‘Confessions of a Dangerous Mind,’ etc.
Recently, I’ve become fascinated with articles detailing how long it takes other writers to pump out their screenplays. I was giddy over the fact that some professional writers take years to complete their first draft. This means there truly is hope for us!
Where pain meets fun: the creative process
“What the hell am I doing? I can’t write. How do people fucking do this for a living?” These are the poisonous phrases of defeat that loop inside my brain prior to my turning into a robot and heading toward the refrigerator to binge on cheese even though I’m a vegan.
I’m a firm believer in rolling up your sleeves and jumping into whatever project moves you. Passion can be an immense driving force, even if you don’t have any formal training in a particular endeavor. This obviously precludes any dangerous stuff. I’m speaking creatively. I don’t want to get all ‘Life Coach’ on you guys, but I feel pretty strongly that anyone can go as far as their passion leads them. The only obstacle is self-doubt.
Jeff and I are writing a screenplay, a narrative based on my mom and dad’s life story. We’ve read the books we’re ’supposed’ to, we’ve brainstormed, we’ve nitpicked over tiny grammatical stuff to avoid the larger issues of structure, character development and figuring out the intricate puzzle of Act II. To all of the countless souls who have been down this path, we feel your pain.
The creative cycle is as predictable as the seasons. You settle down to write, you get distracted, you procrastinate. Then you hear weird noises coming from next door, you’re thrown off balance, you lose focus. So you go eat some more cheese, walk the dog, make some coffee, sit down and force yourself to write a little bit, you gain confidence, not too much…oh no, here it comes…”What am I doing? I can’t fucking write!” Writer’s block is back.
Jeff and I take turns writing. We rely on one another. He is definitely alpha when it comes to making the larger decisions, because he is the one who started this project. It’s his baby and I don’t want to tamper with a direction or vision he may have. But having said this, if he were to bear the entire burden alone, it would be incredibly overwhelming. Not all artists want to work with others, but I’ve come to learn the value in partnering with someone you respect and admire. There are times when Jeff comes up with an idea, incorporates it into the script and I read it and get goosebumps. This is when I know it’s exactly what belongs there and how the story should go.
I think that Jeff and I make a good team because of our ability to communicate with one another. Again, we’re learning as we write. Since he and I are pretty green, the writing journey has been an especially slow process. We’ve been locked in our cave for the past year-and-a-half, not having shown a word of the first draft to a soul. We’re almost ready for a select group of writing friends to have a look. We’re both a little nervous. It’s going to be like standing up before a crowded room to make an announcement and then dropping your drawers…and there you are with all of your pimples and sagging parts, getting gawked at by critical eyes.
Some might argue that working in a vacuum is dangerous. I think that when you’re ready to let someone see your ‘creation’ it should never be a half-finished work or something that starts out solid and peters out because you’ve rushed to complete it. You cannot go out onto the stage without practicing first. Always put your best foot forward. Whatever the end product is that you’ve created, it has to be something that you are totally proud of…not something you half-assed in a half-baked state.
Our project started out as a 10-page treatment that grew to 40 pages over the course of several months and then the realization set in that, instead of trying to tell someone else how the story should go, we might as well just write the script ourselves. Jeff and I didn’t know what the hell we got ourselves into when we started working together on the documentary, but that film is still out and about and maintaining a steady momentum fed by word-of-mouth. So it’s not a totally radical concept for us to take it a step further and fictionalize my dad’s life story for the big screen.
Whatever it is that you want to create, study what others have done before you, not to mimic, but to be shown the light. Jeff and I watched hundreds of documentaries before we set out on the journey to make our own first film. And for our current writing project, we try to study as many screenplays as possible. When they’re written well, you can’t wait to get your hands on another one. It’s a total addiction. Honing in on certain styles, subject matter and writers we like, we’ve read screenplays like ‘Man on the Moon,’ ‘Hudsucker Proxy,’ ‘Adaptation,’ ‘Confessions of a Dangerous Mind,’ etc.
Recently, I’ve become fascinated with articles detailing how long it takes other writers to pump out their screenplays. I was giddy over the fact that some professional writers take years to complete their first draft. This means there truly is hope for us!
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