Su-City Pictures East, LLC

Screenplay & Film Consulting By Susan Kouguell

Category: THE SCRIPT LAB (page 2 of 2)

Susan’s: Grief and Plot Choices in ‘The Disappearance of Eleanor Rigby: Them’

September 16, 2014 / / Comments Off on Susan’s: Grief and Plot Choices in ‘The Disappearance of Eleanor Rigby: Them’

The theme of grief prevails in this love story about the once happily married couple Conor (James McAvoy) and Eleanor (Jessica Chastain) in The Disappearance of Eleanor Rigby: Them. The disparate ways in which Conor and Eleanor handle their bereavement after a tragedy is the central conflict of the story; their grief tears them apart and the couple separates. This grief is the catalyst that drives the narrative forward, and it is also the elephant in the room.  The tragedy is unspeakable — literally — neither Conor nor Eleanor are able to speak about the death of their young child.

It is never revealed exactly how or when their child died, or if anyone was at fault. This was a deliberate choice writer/director Ned Benson made when developing this story.

Not detailing the when, how or why, in a screenplay can be risky. There are pros and cons to this type of choice; some readers might feel that they have been cheated while others might feel satisfied. The bottom line is this: The risk can be lessened if your characters are well-developed and their motivations for their actions and attitudes towards each other are clear.

Following the screening of The Disappearance of Eleanor Rigby: Them at the Paris Theater in New York City on September 13, there was a Q & A with the two leads, James McAvoy and Jessica Chastain, moderated by film critic Thelma Adams.

I asked Jessica Chastain and James McAvoy about Ned Benson’s choice not to reveal what happened to the couple’s child.

McAvoy: “Benson wanted the film to be about two people healing and carrying on after a tragedy. The film would not be any greater knowing the cause of death.”

Chastain: “I’m grateful Ned Benson didn’t expand upon it. I saw Eleanor as a wounded animal; if the animal is hurt they’re going to bite you. For Eleanor, the only way she can survive is to move forward. Sometimes you just can’t talk about the grief. For her, if she talks about it, she’s back in the water.”

Leaving the question to what happened to their son unanswered, was a thought-provoking decision for writer/director Ned Benson, but a satisfying choice for both Jessica Chastain and James McAvoy, who concluded his response to my question, “Life happens in life.”

 

 

 

 

Modern Times, Metaphor and Visual Storytelling (The Script Lab)

August 26, 2014 / / Comments Off on Modern Times, Metaphor and Visual Storytelling (The Script Lab)

At the 2014 Locarno International Film Festival, Charlie Chaplin’s Modern Times was shown accompanied by a live orchestra, the Orchestra della Svizzera Italiana.  I had not seen the film for many years and was particularly struck by the visual storytelling and the use of metaphor; two points I detail in my book Savvy Characters Sell Screenplays!

Use visual storytelling to establish the setting and mood. Opening with a significant image will also help to grab the reader’s attention. The reader must be able to step into the world that you have created and have a complete understanding of it.

The first four shots of Modern Times:

1)    Title card: “Modern Times” A story of industry, of individual enterprise – humanity crusading in the pursuit of happiness”

2)    An image of the second hand of a large-faced clock moving forward

3)    A herd of sheep rushing forward

4)    A mass of rushing workers ascending subway stairs.

In these four shots the audience is informed what the story is about from the opening title card, and the three separate shots that follow – the clock, the sheep, and rushing workers. All of this vital information is conveyed in less than 30 seconds.

Characters’ intentions, agendas, beliefs, feelings, behaviors, and so on, can be conveyed through the careful use of metaphors. In visual storytelling, metaphors can be used to illustrate the theme or themes of your script, a plot point, or a character’s action or behavior.

In Modern Times, the sheep serve as a metaphor of the rushing workers; they are the masses – the humanity.

In a more contemporary example, let’s look at Little Miss Sunshine, directed by Jonathan Dayton and Valerie Faris, screenplay by Michael Arndt. The 1960’s Volkswagen van in which the Hoover family travels to the children’s beauty pageant, is a metaphor for the 60’s era of rebellion and freedom, and signifies the various family members’ desires and actions. The only way to get the van running is for the family to push it and then jump inside while it’s moving. This van-pushing routine symbolizes the family needing to work together in order to reconcile their differences. The open road, the pageant, and Richard’s get-rich schemes, are metaphors of the American dream.

In Frank S. Nugent’s 1936 review of Modern Times in the New York Times, Nugent writes:

TO READ MORE:

http://thescriptlab.com/features/screenwriting-101/2829-modern-times-metaphor-and-visual-storytelling

 

 

Susan’s ‘Indiana Jones and the Powerful Protagonist’ for The Script Lab

August 7, 2014 / / Comments Off on Susan’s ‘Indiana Jones and the Powerful Protagonist’ for The Script Lab

 

INT. JOCK’S PLANE – DUSK

Indy relaxes and lies across the seat, a big smile on his face. One hand drops to the floor of the cabin and Indy jumps, hitting his head. On the floor of the cabin is a

huge boa constrictor. Indy tries to get his whole body onto the seat. Jock sees what’s happening.

JOCK

Don’t mind him. That’s Reggie. Wouldn’t hurt a soul.

INDY

I can’t stand snakes.

JOCK

The world’s full of them, you know.

INDY

I hate them.

JOCK

Come on now, Sport. Show a little of the old backbone.

Raiders of the Lost Ark (directed by Stephen Spielberg, screenplay by Lawrence Kasdan) was shot by Oscar-winning cameraman Garrett Brown, (inventor of the Steadicam), and who is receiving the Vision Award at the 2014 Locarno International Film Festival.

Seeing Raiders of the Lost Ark again — most recently at the pre-festival outdoor screening at the 8,000-seat Piazza Grande at the Locarno International Film Festival, I was reminded about the strength of this iconic protagonist who has launched sequel after sequel. Indy has weaknesses and vulnerabilities – all of which make him an identifiable protagonist for the audience.

In the chapter entitled ‘Your Unforgettable Characters Come Alive’ in my book Savvy Characters Sell Screenplays! I write:

Characters must be complex, fully defined, multifaceted, and distinct. Readers must understand who your characters are, their motivations, behaviors, needs and goals, and feel empathy for them.

To read more…

http://thescriptlab.com/features/screenwriting-101/2795-indiana-jones-and-the-powerful-protagonist

 

 

Susan’s ScriptLab article: The 14 Vital Points for Outlining Characters

July 26, 2014 / / Comments Off on Susan’s ScriptLab article: The 14 Vital Points for Outlining Characters

 

Readers must have a clear understanding of who your characters are and the reasons why they take the actions they do in your screenplay; otherwise your script will be rejected.

Successful characters are multi-dimensional with distinctive physical attributes, emotional traits, appearances, personalities, intelligence, vulnerabilities, emotions, attitudes, idiosyncrasies, a sense of humor or prevailing despair, secrets, and hopes and dreams. Writing solid and memorable characters also means digging deep into their past and present.

There are several ways in which to delve into characters, such as writing character bios in the character’s voice.  (I offer various templates and examples in my book Savvy Characters Sell Screenplays!).  Use whichever exercise works best for you.  The bottom line is that you must know your characters inside and out.

The 14 Vital Points to Address in Your Character Outline

The following points to address for each of your main characters and for your significant supporting characters:

1.     Character Arcs:  How do my characters evolve in the beginning, middle, and end of the script, as they attempt to achieve their goals?

2.     Journeys:  What do my characters learn about themselves and others, and what do my characters gain or lose, as the plot unfolds?

3.     Multi-dimensional:  What are my characters specific emotional, mental, physical, and/or social behaviors and traits? How do my characters see themselves and how do they relate to others?

4.     Empathy: What elements make my characters likeable and unlikable?

5.     Goals: What are my characters main goals and why are these goals important? How do my characters plan to achieve these goals?

To read more:

http://thescriptlab.com/features/screenwriting-101/2773-the-14-vital-points-for-outlining-characters

Susan’s The Script Lab article: Top Five Scene Pacing Tips

June 30, 2014 / / Comments Off on Susan’s The Script Lab article: Top Five Scene Pacing Tips

Top Five Scene Pacing Tips: How to Pace the Scene

Whether you are writing a commercial or independent film and regardless of the genre, a successful screenplay requires good scene pacing. An attention-grabbing screenplay contains a solid ticking clock that will inspire the reader to want to turn the pages to find out what’s going to happen next.

Scene Arcs
Scenes must have a complete arc—a solid beginning, middle, and end. Characters’ journeys drive the script’s narrative, and each scene must steer their journey forward.

Scene Objective
Scenes must have a reason to exist. Each scene must somehow advance the narrative through both dialogue and visual storytelling.

Sleepless in Seattle Example

In the romantic comedy Sleepless in Seattle (directed by Nora Ephron, screenplay by Nora Ephron, David S. Ward, and Jeff Arch) reporter Annie Reed crosses the country to meet a man she has never met after hearing his young son on a call-in radio show, seeking help to find a new wife for his widowed father.

In this scene example we find Annie and Barbara, having a warm mother/daughter talk in the attic.

The Scene Objective: Annie starts reexamining her feelings about her fiancé Walter.

Here’s the scene:

While trying on her grandmother’s wedding dress, the newly engaged Annie tells her mother, Barbara, about how she and her fiancé, Walter, met. Mother and daughter differ when it comes to believing in destiny, signs, and magic in a relationship—Barbara is a believer while Annie is a pragmatist. The scene concludes as Annie, wearing her grandmother’s wedding dress, hugs her mother and the dress rips. Annie now believes in signs.

Scene Arc

In the beginning of the scene, Annie doesn’t believe in destiny and expresses her certainty about her upcoming marriage to Walter. By the end of the scene, Annie is having some subtle doubts when she realizes that she doesn’t have the same type of magic with Walter that her mother felt for her father when they met, and Annie is beginning to believe in destiny.

Top Five Scene Pacing Tips

1. Get to the objective of each scene quickly and then cut out of the scene as close to the action as possible; this does not mean that your script needs to be fast-paced — be true to your story and style.

2. Examine the objective of each scene in your screenplay and use this as your guidepost for pacing.

To read more:

http://thescriptlab.com/features/screenwriting-101/2718-top-five-scene-pacing-tips-how-to-pace-the-scene

Writing Diligence: Making Time To Write And Sticking To A Plan

May 29, 2014 / / Comments Off on Writing Diligence: Making Time To Write And Sticking To A Plan

Susan’s article for The Script Lab

 

Let’s face it — life can get in the way of writing.  But when life isn’t getting in the way, sometimes writers are the ones getting in their own way.

Whether it’s fear of success or fear of failure — or not knowing where to start, continue, or end a screenplay — or feeling overwhelmed or underwhelmed — it can all be rather daunting.

There is no magic answer to making time and sticking to a writing plan, but the following are suggestions to step out of your own way and back onto the screenwriting page.

TOP TEN TIPS

1. Be nice to yourself. If you don’t achieve your specific writing goals — that’s fine, just keep writing. Don’t use this as an excuse that you have failed and therefore stop writing.

2. Find an environment that’s conducive to your writing. Maybe you work best in complete silence or listening to music, or sitting at a café eavesdropping on conversations. Perhaps visual prompts might help you stay on track; tack up inspiring photos and postcards on your corkboard.

3. Rid your distractions. Clear off your desk or at least organize the piles.

4. Unplug. This means turn off your phone and all social media during your writing time.

5. Write down your goals. For example: “I want to write one scene per week.”

To read more: http://thescriptlab.com/features/screenwriting-101/2673-writing-diligence-making-time-to-write-and-sticking-to-a-plan

Susan’s Ten Top Tips On Marketing Your Screenplay – The Script Lab

May 6, 2014 / / Comments Off on Susan’s Ten Top Tips On Marketing Your Screenplay – The Script Lab

 

Ten Top Tips On Marketing Your Screenplay

 

QUESTION: How do you capture a film executive’s attention?

ANSWER: Write a brilliant screenplay.

QUESTION: I wrote a brilliant screenplay.  Now what?

ANSWER: Gain entry past the film industry gatekeepers.  Here’s how…

1.     Only submit your screenplay to a company when it has been requested.

2.     Research companies producing in your genre and query them.

3.     Learn the company’s script submission guidelines and follow them closely.

4.     Use up-to-date resource directories. Development executives come and go; someone who is working at a company today may be gone tomorrow or may have a new position and title.

5.     Write an attention-grabbing query letter that has the executive’s name and correct spelling. Do not address your query: To Whom It May Concern.

6.     Write a scintillating one-page synopsis that accurately reflects your screenplay.

To read more go to: http://thescriptlab.com/features/screenwriting-101/2635-top-tips-on-marketing-your-screenplay

 

Susan’s The Script Lab article: The Pros, Cons, and Tips about Screenplay Competitions

April 3, 2014 / / Comments Off on Susan’s The Script Lab article: The Pros, Cons, and Tips about Screenplay Competitions

The Pros, Cons, and Tips about Screenplay Competitions

Whether your goal is to sell your script to Hollywood or to have your work considered for production by an independent film company, getting your screenplay read and into the right hands is just one step of the journey to seeing your vision on the silver screen.  There is no right or wrong way to embark on this voyage — it all depends on you as a writer (your style, your voice), your screenplay, perseverance and luck.  What is an absolute — and there are no shortcuts to this — you must only submit your screenplay when it is absolutely the best it can be.  Submitting a draft that is not truly ready to be considered is a sure way to get rejected.

Winning or placing as a finalist in a screenplay competition is a good way to open the doors to the film industry.  Getting your writing recognized and drawing attention to you as a writer is imperative in this highly competitive field.  However — you must be realistic and examine the pros and cons of what you are (literally) about to enter. Some contest winners receive interest from the film industry, which has helped them to launch their careers, while others receive little or no attention from winning.  Sometimes it is just the luck of the draw, but you can take some control into your own hands.

There are hundreds of script competitions — and it seems more and more each day — that offer a variety of enticements to attract screenwriters.

Be discriminating and do your research:

·      Submit to a contest that is respected by the industry and has been around for several years. The more established the contest, the more attention you’ll get if you win or place as a finalist.

·      Reputable script competitions must have judges who work in the film industry otherwise there is no point in entering.

·      Find out what types of prizes the contests are offering and make sure these are legitimate. These offerings can include agent representation, meetings with film industry folks, announcements in the trades, and prize money.

In my experience as a screenplay competition judge and when I interviewed colleagues for my books (The Savvy Screenwriter and Savvy Characters Sell Screenplays!), the consensus is that judges are not necessarily looking for scripts that have the potential to be blockbusters or even have commercial appeal; they are looking for the best written screenplay. Specifically, judges look for scripts that are well-crafted and attention-grabbing, demonstrate a strong and unique voice and writing style, and a screenplay without formatting errors, typos, or grammatical mistakes.

SUBMISSION TIPS

1.     Always register your screenplay with the Writers Guild of America before submitting it to a contest.

2.     Submit to contests that are the right fit for your project, such as. genre and subject matter.

To read more:  http://thescriptlab.com/features/screenwriting-101/2571-the-pros-cons-and-tips-about-screenplay-competitions

 

 

 

 

 

Susan’s Script Lab article: Rejected: Top 10 Screenwriting Pet Peeves

April 3, 2014 / / Comments Off on Susan’s Script Lab article: Rejected: Top 10 Screenwriting Pet Peeves

 

Rejected: Top 10 Screenwriting Pet Peeves

Why Your Script is Getting Rejected

There are many reasons why a script is rejected by industry folks — often the script is just not a match for the company in terms of budget or genre, or it’s not a fit for what the producer or director is seeking at that very moment.  Sometimes it’s just a matter of luck.  But sometimes, well very often, if not most of the time, it’s because screenwriters are not taking the needed time to fine-tune their scripts and submitting screenplays before they are truly ready to be considered for production.

Here are ten universal pet peeves from film industry executives and story analysts, with whom I have interviewed for various screenwriting and film publications, and for my book The Savvy Screenwriter: How to Sell Your Screenplay (and Yourself) Without Selling Out!  This list is in no particular order — however I do admit that I share all these pet peeves with my colleagues.

Screenwriting Pet Peeves

1.     Incorrect industry screenplay formatting loudly demonstrates to the reader that the screenwriter is an amateur, and doesn’t have respect for his or her work — or for the reader’s time.

2.     Inclusion of camera angles.  Directors do not want to be told how to shoot their movie. Period.

3.     Overuse and/or unnecessary usage of voiceovers, dream sequences, and flashbacks.  This is a red flag for story analysts because these devices are often included when the writer does not know how to craft a screenplay.

4.     Typos, grammatical errors, photocopying lines, smudges, coffee stains, and blank and/or missing pages.  This type of carelessness and sloppiness is a clear strike against the writer.

To read more: http://thescriptlab.com/features/screenwriting-101/2604-rejected-top-10-screenwriting-pet-peeves

 

 

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