7 Responses to “So many screenplays… SO LITTLE CONFLICT…”

1. Jonathan on Tuesday: 22 August 2006|0859

   Great post. You have a knack for explaining complex structural points, and I always learn a lot. Keep it coming!

   Regarding conflict, it seems like you could graph a line of escalating tension, with little peaks and valleys each time a bit of tension is released, then built up again. By the major conflict, the line should peak like Mt. Everest, then only drop way down in the final resolution.

   So many scripts I read are like a horizontal line, with a few small peaks and valleys of tension and resolution. But the conflict is no greater at the climax than it was in the beginning. This is fatal. The protagonist must hit a point so low, with such great conflict, that the audience can’t figure out how the problem will ever be resolved. Then the screenwriter waves their wand of wit, and the protagonist (usually) solves the conflict to the audience’s delight.

   I think most scripts fail to achieve the necessary conflict late in Act 3 because the screenwriter can’t figure out how to get the protagonist out of a situation that seems so hopeless. So the writer takes the easy way out. Whenever I feel like I’m taking the easy way out, I know I need to back away from the keyboard and do some more thinking.

2. Unknown Screenwriter on Wednesday: 23 August 2006|0224

   Jonathan,

   You’re exactly right… And I call it, SHIT MOUNTAIN. LOL.

   Unk

3. Make A Great Movie For $1000 at $1000 Spielberg on Saturday: 4 November 2006|1648

   [...] Even though I’ve given the core principles of $1000 movie production, it occurred to me that I’ve never laid out the process whereby it could happen — you have to believe that I have a plan! Today I’m going to lay it the process as I see it. Step One is probably the hardest to achieve — because it’s to find an idea for a film that exceeds high concept, one that you can sell via viral marketing. In film the model to look at is Blair Witch, an almost perfect example of guerilla film marketing — (pity the film didn’t live up to the hype). I think the key test for a good viral idea is when you tell a friend about it, their eyes light up and they say “Oh, my God! That’s incredible.” This is a pretty rare reaction and if you get the same “Oh, my God!” reaction from ten different people, then chances are you have a viral idea. The key to this stage of the process is to not run away with the first idea you have — sit on it for a few weeks — if it’s still a red hot idea two weeks later — then move to stage two. The other way to test your idea is this — ask yourself, if you posted a clip from your film on YouTube and then sent it to your top ten Myspace buddies, would they each immediately be compelled to pass it on to all their mates? Not as a favour to you, but because they are so excited about the idea. Step Two Once you’ve got the viral idea for your film (we’ve got ours, but we’re keeping it quiet at this point) the next stage is to write a script that exceeds the Hollywood baseline. In real terms this means that it has to be in the top 2% of scripts currently in circulation. This is a massive task and the first thing I’d suggest is that you flip over to Unknown Screenwriter, read every single posting and do everything he suggests! However, in the short term here’s a process that will carry you though the first draft: a) Do masses of character development — by this I mean write the history of the character, understand why they do the things that they do — understand where they come from — how they talk — what their fears are and most importantly — establish what their most important secrets are — the secrets that they would die over, before ever giving up. You are going to be looking for a protagonist, an antagonist and possibly a character who stands between them, usually called the stakes character. Once you know these people inside out, you’re ready to plot the film. To do this you need to find a structure, three act, four act, nine act — personally I favour the four act structure, but the key point is to find one that allows you to make sense of what you’re doing when constructing your plot. Now, because you’ve done your character research and development, plotting should be simple, because a plot is what happens when you put characters together in particular situations. If you put a Roadrunner and a hungry Coyote in a desert, they aren’t going to discuss Proust! That Coyote is going to chase that Roadrunner. If the characters were different, a tortoise and a Coyote, then the film is going to be very different (and a lot shorter! LOL). Once you’ve got a list of sequences — now you start to write your script. The basics are, use active verbs and not passive, describe what’s happening in the scene clearly and dynamically, show me the story rather than tell me. Beyond that it’s just about making sure that there is plenty of conflict. Now, so far, everything we’ve done is only the same that you’d do to write a successful spec script — however, the other consideration that has to come into the mix at this point is this: CAN YOU MAKE THIS FILM FOR $1000? The kind of film you can make for $1000 depends on what resources you have — if for instance you have a relative who runs a film processing and telecine company, you might be able to shoot a 35mm feature film for $1000 — it’s amazing what you can get for free, if you’re just prepared to ask. But, for most of us the most likely option of creating a successful $1000 film means working digitally and doing without the things that cost lots of money — basically firearms, stunt work, car chases, explosions and international travel. Of course it’s possible to recreate all of these digitally — but the bottom line is that cheap digital effects make movies look cheap and tacky. So, in the script we need to play to the strenghts of both out format and our budget — if all you have is a camcorder, then make it an asset within the script (Blair Witch) instead of trying to make it look like an ARRI. One way to doing this is to use an pseudo ENG approach to shooting. It’s not the only way, be creative. Anyhow, the bottom line is if you pick the right viral idea, write a good script that uses your resources as creatively as possible you have every chance of making a successful movie. tags: digital film making low budget movies indie film making screenwriting [...]

4. Interrogate Your NPCs — NPCs Need to be Needy « My Play on Sunday: 10 June 2007|2113

   [...] fun in any role-playing game comes from drawing the PCs into a conflict, and then watching them PCs fight to return to safety or normality. You can even look at the iconic [...]

5. Tom on Wednesday: 5 December 2007|1149

   “Now for my definition…

   conflict: The Protagonist’s success versus the Protagonist’s failure of attaining his or her story goal. The goal of course can be within a beat, scene, act, or the screenplay.”

   Could you give an action and dialogue based example please?

6. Unk on Wednesday: 5 December 2007|1257

   Tom,

   This stuff is in every pro screenplay but sure…

   Tom enters the bookstore — wanders up and down every aisle searching for books on screenwriting.

   Success! He stops, quickly scans the top shelf for: SAVE THE CAT BY BLAKE SNYDER — not there.

   SECOND SHELF

   Tom scans from left to right… VOILA!

   He finds the book — reaches out but a WOMAN standing next to him grabs it before him:

   TOM
   I wanted to buy that book.

   WOMAN
   Snooze, you lose.

   TOM
   You don’t understand, I need it
   to finish my screenplay.

   WOMAN
   No, YOU don’t understand. I need
   it for a birthday gift.

   She turns to leave — Tom grabs her by the shoulder:

   TOM
   You really don’t understand. I
   gotta have that book.

   The Woman knees Tom in the balls — he falls to his own knees — mouth gaping open — gasping for air.

   WOMAN
   Order another, asshole.

   She turns, walks away.

   –Not a great example but hopefully you get the idea…

   Unk

7. Ray Payne on Monday: 1 September 2008|1530

   Does every scene have to have conflict? I can’t find any in these scenes from the Bourne Identity by Tony Gilroy:

   EXT. FISHING BOAT — DAY

   SAILORS hauling in the nets. THE MAN — still bandaged, but
   healing — working beside them. Earning his keep. Getting
   healthy.

   EXT. ITALIAN COASTLINE — DAWN

   A small, colorful fishing village. The trawler motoring in.

   INT. THE FISHING BOAT BUNK ROOM — SAME TIME

   THE MAN buttoning up borrowed clothes. GIANCARLO pulling
   some cash from his pocket –

   GIANCARLO
   (offering the money)
   It’s not much, but it should get
   you to Switzerland.

   THE MAN
   I won’t forget this.

   GIANCARLO gives him a look. Shakes his head, and –

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