Wednesday, May 30, 2018

Film Courage Plus: First Time I Got Paid To "Do It".

FILM COURAGE did a series of interviews with me at the end of 2014, and then again at the end of 2015. As they have been releasing the interview segments from 2015 every week or so, I have dug back into their archives and tweeted some of the segments from 2014... so they won't be forgotten. There were something like 12 segments from 2014, and probably around 24 segments for 2015... and that's 36 (or more) segments total. That's almost a year's worth of material! So why not add a new craft article and make it a weekly blog entry? All I have to do is write that new article, right?

So here is the fourth one. I'm still not sure whether the article should come before or after the clip, so this time around it's *before* the clip - you can tell me which way you think would work best in the comments section.

The First Time I Got Paid To "Do It":

This piece was from an interview in 2014, when my first produced film NINJA BUSTERS was a lost movie that could never be seen by an audience. As far as I knew, no prints of it existed. My skeletons were safely hidden in the closet. No one could ever see my baby steps as a screenwriter where I fell on my face *and* pooped my pants.

What a difference a year makes! In some weird version of STORAGE WARS, a film collector bought a warehouse full of old film cans, and one set of cans contained the only 35mm print of NINJA BUSTERS. More about that in this article by the director, Paul Kyriazi - the "official story". So now the masochistic among you can see my first paid gig as a screenwriter, which has become a cult film playing around the country at Alamo Drafthouse Cinemas. Yikes! I was hoping this film would remain missing!

But since it’s out there, baby, it's out there! (as Kramer on SEINFELD would say) let’s talk about first films and breaking in to the business.

If you were to ask 100 screenwriters how they broke in you would get 100 different answers. There is no one way, and there are so many variables the best thing that you can do is try as many different ways as you can and eventually one will work for you. In the clip I tell the story of NINJA BUSTERS - giving a screenplay to one of the “success stories” from my community college film appreciation class who had gone on to make kung fu movies for the drive in circuit, and how that lead to my working on the set of one of his films and eventually getting the job of doing a page one rewrite on a film for him. The challenge of NINJA BUSTERS (called FALCON CLAW when I was hired to rewrite it) was that the cast and locations and even many of the props had already been locked down, and my job was to write a screenplay that used all of those things... differently.

The original screenplay was about a pair of guys who land a job at a warehouse and discover that all of the warehouse workers are hypnotized so that they work for free and don’t ask any questions. They are some form of “zombie”. Our heroes somehow break out of the hypnosis and realize they are working for evil smugglers, and end up fighting the hypnotized warehouse workers and breaking up the evil smuggling ring.



When you are trying to land an assignment, be it for a studio based producer or some guys making kung fu movies in Oakland, CA; the first thing you do is “pitch your take” - come up with a different way to tell that story and pitch it to the producer. Sometimes it’s just finding the different angle to tell the same story, sometimes it’s finding a different story. In this case, I couldn’t find a way to make the “hypnotized dock workers” story interesting, so I had to come up with something similar... that also added more action scenes... that also used all of the same locations and actors and props they had already locked down. My story was about a pair of goofy guys who join a women’s self defense class to pick up girls and instead pick up trouble when they witness a mob murder by someone they know from their day job at a warehouse. The lead mobster uses ninjas to deal with big problems, and soon our two goofy guys and their dates are on the run from *ninjas*! The ninjas could be anywhere! I was a huge fan of SILVER STREAK, the Gene Wilder / Richard Pryor comedy chase film (a Hitchcock homage) and thought that would be a fun “model” for this page one rewrite. What if the story was a chase action film with these two guys racing across town one night to escape ninjas and rescue the women they love? Using all of the cast members, locations, props and anything else - I wrote a script in a couple of weeks I took off from my day job. And that was my first paid gig.

Which lead to...

Nothing.

Sure, I wrote a couple more screenplays for local producers, but none of those got made. So I went back to working the day job. And eventually broke in again.

Now here’s the thing they never tell you: you will *always* be breaking in. You don’t just break in once, and you’re in... you break in just about every time you sell a screenplay or land an assignment. Because unlike working at my day job where I’d clock in every morning, work my shift, then clock out and go home; a movie is a “one off”. They make one movie at a time, and that movie is the job and when the job is over you are unemployed and need to look for work again. You need to break in again. Sure, there are times when you get some momentum going - and one job leads to the next. But eventually the momentum ends and you need to break in all over again.

You will always be breaking in. Get used to that idea.

After selling COURTING DEATH to a company who had a deal with Paramount for a couple of years worth of day job money, I quit the day job and moved to Los Angeles where I holed up in an apartment and wrote a stack of screenplays. Writers write! No longer strangled by that day job, I had enough time to do what I loved - and I wrote and wrote and wrote! Sometimes never leaving my apartment for days! Heaven!

But when COURTING DEATH was never made, I found myself out of money and out of work and I needed to break in all over again. And that’s the dirty little secret of this business - when this script job ends you have no job... and must find another screenwriting job. And that’s basically breaking in all over again. You send out screenplays and take meetings (job interviews) and do everything possible to land another job. Hollywood is both a small town and a vast town - and when you are looking for your next screenwriting job you are likely to be meeting with people and companies who don’t know you. The companies that do know you are the first places you go, and after that it’s all of those other companies... and that’s breaking in again.

There is also a lot of turnover in this town, so that great connection you had with production company A, may no longer be working there. Sometimes that’s a good thing, because they move to another production company and now you have connections at two places... but sometimes they just leave the business and you have no connections at all. You have to break in all over again as if you were that writer living in your home town dreaming of a Hollywood career. Except now you are in Hollywood and you’ve even had a career for a film or maybe two (or maybe ten). A friend of mine who had a great ten year run as a screenwriter found himself in trouble when a bunch of the projects he had been working on did not go to screen (only 10% of what you write will make it to screen, the rest will just collect dust on studio shelves), and a bunch of his great connections at production companies all retired at the same time. Oh, and so did his agent, and he was passed off to a new agent who didn’t know him. Suddenly, this guy had to break in all over again! And that is *common*. Screenwriting is not like a day job, there are no regular paychecks, there is no time clock, there is no job security at all! Once you finish your “day’s work” you need to find a new job! You need to break in again and again and again.

So when you read how some successful writer sold their first screenplay, that’s how they broke in the first time.

But the first time you break in will not be the last!

Good luck and keep writing!

- Bill



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Friday, May 25, 2018

Creating Suspense & Dread:
The Leopard Man

When I first moved to Los Angeles, I had this ugly 2 bedroom apartment in Van Nuys that ended up being the crash pad for all of my Bay Area friends. The sofa bed in my office was mostly used by the DEAD BEAT gang - we made this behind the scenes of horror movie show on VHS and sold them at Fango conventions. So I was hanging out with horror movie people and going to horror conventions since coming to Los Angeles, and was making little horror movies along with those private eye movies and Hitchcockian thrillers and cop action flicks and parody films on super 8mm film Though it’s a parody of PSYCHO, my film PSICKO! was still designed to be a horror film about the incorrect use of electric carving knives. I’m a longtime horror fan, and even though I can appreciate some gorefest like MARTYRS, the films I really love are the spooky ones like the original THE HAUNTING and those great Val Lewton low budget horror flicks for RKO. The ones that used suspense and dread. The ones that were evocative and creepy and used the darkness within our imaginations to fill in the gore.



For a completely fictionalized version of the Val Lewton story, check out THE BAD AND THE BEAUTIFUL where low budget film producer Kirk Douglas gets a job making a movie about cat-men for a studio... and realizes the best man in a cat suit still looks stupid, so he decides to use suspense and dread instead of dudes in costumes and ends up with a hit. Lewton had the same thing happen at RKO - he got a job making horror movies in the low budget division and ended up making a bunch of classic horror films like CAT PEOPLE and ISLE OF THE DEAD and LEOPARD MAN. These films played on Bob Wilkins Creature Features when I was a kid and on the Saturday afternoon movies sometimes, and they scared me. Scared me deeper than any of the other fright-fest movies. They played on my secrets fears, and touched me on some primitive level that caused them to live on in my childhood nightmares. As a jaded teenager when I watched these films, they still scared me. As an adult watching these films at the UC Theater in Berkeley, they still scared me. I bought the box set on DVD a couple of years ago, and they still scare me. Okay, I know that it’s a movie and I know that there’s no such thing as women who turn into panthers when they get horny and these movies are in black and white and shot on sound stages and are fake... but they still work just like that original version of THE HAUNTING works and the remake does not. Robert Wise directed THE HAUNTING... and was one of Val Lewton’s three “staff directors” in his horror division at RKO.



THE LEOPARD MAN is one of those trifecta movies for me like REAR WINDOW - produced by Val Lewton, directed by the great Jacques Tourneur (OUT OF THE PAST) and based on a novel by Cornel Woolrich (REAR WINDOW). A bunch of my favorite people working together! The Woolrich novel is one of his “Black” series, where noir gets its name (Noir was a fiction genre in the 1800s, but it's resurgence in the 30s and 40s was due to the publication of novels and stories by the three fathers of modern noir: Woolrich, McCoy and James. M. Cain), and the novel BLACK ALIBI is an intense page turner. The book and movie have different endings, take place in different cities, and have some other minor differences, but the film is pretty faithful to the book. The main way it is faithful is the use of suspense and dread, which are really why all of the Lewton movies work so well. They all have these great suspense sequences that build and build and build...

So let’s take a look at one of those great scenes from LEOPARD MAN, tear it apart and see how it ticks. This scene is almost word-for-word from the novel. Oh, I guess it needs some set up...

Kiki Walker (Jean Brooks) is a night club singer stuck in New Mexico with her promoter Jerry Manning (the great Dennis O’Keefe) where the big star is flamenco dancer Clo-Clo (exotic one-named actress Margo). In order to steal the show from Clo-Clo, Jerry comes up with this great stunt - a rented leopard on a leash that Kiki will walk in with during Clo-Clo’s performance... then Kiki will go on and become the big star. Only things don’t go exactly as planned and the leopard escapes into the night. Now, the leopard is on the loose in the New Mexico town... waiting to attack anyone who ventures out at night. Both the novel and film have an interesting structure, which has Jerry and Kiki as the leads - but often in the background of a sequence. This is the first leopard attack, and it goes from the panic after the leopard escapes to Clo-Clo walking home at night and townspeople saying hello to her along the way... one of whom is Teresa Delgado, who becomes the lead character in this sequence.



Now let’s take a look at how that sequence works...

1) SUSPENSE is the anticipation of a known action. It is *not* the action - and the longer the anticipation is stretched out, the greater the suspense. A *known* action means the audience knows what is (probably) going to happen and that creates the suspense. Hitchcock’s examples were the two men discussing baseball statistics while a bomb with a timer ticks away under the table - and he directed a TV episode based on a Woolrich short story called 4 O’CLOCK about a man who rigs a bomb to kill his cheating wife and her lover at 4pm... then his house gets robbed and the robbers tie him up in the basement across from that ticking bomb. As each minute passes, the suspense builds. We *know* what will happen at 4pm, and the anticipation of that explosion is what creates the suspense. Hitch’s other example was similar to a scene from REAR WINDOW, where someone is searching an apartment and does not know that the apartment resident is climbing the stairs and will soon discover the searcher. This version of suspense has two things we do not want to see in the same shot getting closer and closer - like two trains on the same tracks hurtling toward each other. Even though the searcher does not know about the resident getting closer, the *audience knows*, and that’s where the suspense comes from. It’s Dramatic Irony - the audience knows what the character does not. Suspense is created by the anticipation of the resident discovering the searcher in his apartment... what will Grace Kelly do?

2) DREAD is the anticipation of an *unknown* action. We know that something bad is going to happen, but are not sure exactly what is going to happen or where the threat is coming from. Dread is usually the version of suspense that we find in a horror movie, because a major element in horror is *fear of the unknown*. For dread to work, we need to create a situation where a bad action of some sort might happen...

3) Like an escaped leopard in the town. That is the HORROR SITUATION, the same way Jason wandering around Camp Crystal Lake with his machete is a horror situation. This is the first requirement for a scene of dread - what the heck are we dreading? It must be established in some early scene, and like Jason wandering around with his machete, the escaped leopard will create the horror situation for the entire movie.



4) The SEQUENCE SITUATION. Okay, we know the leopard is out there waiting to kill someone, now we have to get some tasty someone out there to be killed. This is where horror movies often stumble - the stupid teens go into the house where the crazy old lady with the knitting needles is supposed to be hiding, and the last people who went into that house had their eyes needled out and died... so let’s just go in and look around, okay? You need some *good reason* to go into that house... or out into the town after dark when there’s a hungry leopard roaming the streets. So we have Mrs. Delgado run out of cornmeal while making dinner, and sending Teresa out into the night to buy some. The further motivation is that this is *Mr. Delgado’s* dinner, and mom doesn’t want her hard working husband to come home and not have the dinner he deserves. So Teresa will have to go to the store - simple as that.

5) REMIND US WHY. That escaped leopard was, like, ten minutes ago. We need to remind the audience why Teresa doesn’t want to go to the store. This isn’t done because the audience is stupid or forgetful - the title has “Leopard” in it - but to “poke the tiger”. Let’s say we have that bomb under the table while the two guys discuss baseball statistics from the Hitchcock example - if we never show the ticking bomb, we have lost the suspense. Even though the audience knows the bomb is under the table, we need to keep showing it to keep that fear in the forefront of their minds... so that they don’t get interested in those baseball stats. Every time we show that bomb, we are poking the tiger - and poking the audience’s fear. So when Teresa’s little brother makes the hand-shadow on the wall of the tiger, it reminds us what is out there. It puts it back in the front of our minds. Yes, we knew it was there, but the reminder pokes us.

6) TWO-FERS! Why the hand-shadow thing is genius - the leopard will be hiding in the shadows! So turning the leopard into a shadow in this scene makes us fear the shadows. Any time you have several ways to do something, look for one that is a “two-fer” - that manages to do two or more things at the same time.

7) MAKE US SYMPATHIZE. Okay, we have a teenaged girl about to go outside where a vicious leopard may be waiting, you’d think that was enough to make us sympathize with her, right? Well, probably... but why not do a little more? Why not show her fear? The problem with those stupid teens that waltz into the crazy knitting needle house is that they don’t show the basic fear anyone with an IQ over 70 would have. So let’s make Teresa smart enough to know she might get killed by that leopard, and try everything to get back into the house. This shows us that she’s afraid, and also shows us that she isn’t stupid - and both things make us sympathize with her. Of course if she is allowed to stay in the house we lose all of the dread... so her mean mom sends her back outside to get the cornmeal and tells her not to come back without it... and then does something that seems like part of this scene, but is actually a set up for a later scene: she bolts the door closed so Teresa can not sneak back in. Now Teresa has NO CHOICE but to go out into the night and get that corn meal.



8) NO EASY OUTS. One of the great ways to ratchet up suspense and dread is to create an easy solution to the problem... then yank it away. This knocks the audience off balance, and also tells them that there will not be an easy solution here - things are going to get worse. Because dread is the anticipation of an unknown event, we need to find ways to make things worse without tipping our hand to what, exactly, is going to happen. By having Teresa go to the “Provisions” market close to home, and have them closed, and the owner unwilling to reopen just for her; we have just made things worse without actually doing anything. No leopard has attacked her, yet. She isn’t even far from home... but she has already hit a roadblock. There has already been a reversal of fortune that has popped Teresa deeper into trouble. If she had just gone straight across the arroyo to the other market without going to the “Provisions” market, she would not have seemed as if she were in as much danger. This set back makes the trip to the other market a larger problem. Oh, and I love the situational irony that if Teresa had not fought with her mother for so long about going out, she would probably have made it to the “Provisions” market before it closed.

9) SPOOKY SETTINGS. To get to the other market before it closes, Teresa takes a short cut through the arroyo and under the rail road trestle. This scene is wall-to-wall dread. The location is unpopulated - no one there to help her. She is *alone*, and that makes her vulnerable. It is dark and spooky and bathed in shadows - and we have already been tipped to the black leopard hiding in shadows by the brother’s shadow-puppet. Under the train trestle is all shadows. When you are creating dread, find the spooky location that’s frightening even before you tell us there may be a hungry leopard roaming around in there. In CAT PEOPLE there is a great dread scene in an indoor swimming pool at night - one of the characters is stealing a swim, so there are very few lights on. The combination of darkness and water and being indoors all makes that location somewhere you wouldn’t want to be... then add that cat woman with her claws and... The dark train trestle is a spooky location - and the scene where Teresa walks under it is stretched out for maximum dread. Oh, but there are two more things about Teresa and the Train Trestle...



10) SCHLOCK SHOCK. You know those damned cats that jump out of cupboards in horror movies? Those hands that suddenly grab the lead’s shoulder, and turn out to be their friend? That stuff is what I call schlock shock. Schlock is poorly made, shoddy, merchandise. So Schlock Shock is a cheap jump moment. But it serves a couple of purposes - it is usually a diversion followed by the *real* shock moment. The cat jumps out of the cupboard, the audience screams for a moment, then realizes it is just a cat... and let’s their guard down... and then the killer crashes through the window! Because the audience has let their guard down the killer crashing through the window is a bigger scare. The other purpose for schlock shock is to “poke the tiger” some more. To remind us that bad things could happen at any minute. After an excruciating walk through that darkness (where there is standing water) she comes out the other side without encountering any leopards. Then that tumble weed comes skittering out from the darkness under the train trestle, we jump out of our skin for a moment... then realize it’s just a tumbleweed... then realize there could easily be a leopard in that darkness, too. We are reminded of the reason for our terror... Now, that has been one great bit of dread... but it was *really* just the set up for the return trip!

11) BREAKING THE TENSION. A good screenplay is peaks and valleys. Too much action, too much suspense, too much tension... dissipates the effectiveness. So to keep that dread strong, we need to mix it up a little. After that schlock shock tumbleweed, we get to the bright, well lighted market with the kind old man behind the counter. Guess what? Teresa has made it to her goal! She has made it to the market to buy the cornmeal. We can breath a sigh of relief, right? All of the elements here tell us that she is safe, that the leopard is not going to get her, that she will get that cornmeal home to mom and dad will have that dinner he deserves after his long day at work. The store keeper is paternal and funny and jokes with Teresa. And they have a conversation about being afraid of the dark, which is a great two-fer because it makes us think this might all be about Teresa having this silly childhood fear which puts us at ease... but also poke that tiger a little because it is still dark outside and there is still a leopard out there. Hmmm, I wonder which it will be? All just her imagination? Or a serious threat of leopard attack? This two-fer manages to keep us in unknown territory! When Teresa says she’s not really afraid of the dark, what could happen to her? We think “Leopard attack!” She prompts our thoughts of the danger in this situation.

And when she says that she is not afraid of the dark, that is not the truth, it is what she wishes were true. The safety of the market has allowed her to push her fears back into her subconscious and pretend they do not exist. She *says* that she is not afraid, but moments later she wil be back in the darkness, surrounded by shadows, and we will see that her actions speak louder than her words.

12) Though this has nothing to do with dread or horror or suspense, I love this line from screenwriter Ardel Wray, “The poor don’t cheat one another, we’re all poor together.”

13) SECOND TIME TERROR. Okay, the last time Teresa was at this train trestle the only danger came from a tumble weed, so it’s safe, right? Here’s the great thing about going back to the train trestle - we already know it is spooky, and the audience secretly knows we wouldn’t be going back there unless something was going to happen this time. It can’t just be another tumble weed. If it was just the spooky location again and nothing happens it’s a waste of time... so our dread grows because this is a *known* location, and horror is fear of the *unknown*, so if nothing was going to happen she’d have to walk through some *unknown* spooky place. Our subconscious tells us that you don’t go back to a spooky location where nothing happens twice - so something is going to happen this time... but what? Unknown. Teresa creeps to the dark trestle, shadows, dripping water, darkness...



14) TRIPLE SHOCK. Remember how I said Schlock Shock was a great way to make the audience lower their guard so that you can get ‘em with real shock? LEOPARD MAN has a great twist on that method - and any time you can break the pattern in a way that works better than the pattern is great. Here, we have Teresa see what appear to be a pair of glowing eyes in the darkness under the trestle... the leopard? Then the eyes disappear - was it just her imagination? Teresa takes a few steps deeper into the darkness under the train trestle, and we *know* those were the eyes of a leopard and it is now about to pounce on her! Just when the audience thinks this is going to be a real leopard attack... a train ROARS over the trestle - schlock shock! We jump out of our skins, then relax when we realize it was just a train, then remember those eyes in the darkness - we should not have relaxed! When Teresa recovers from the train scare and makes it all of the way through the darkness under the train trestle - which is stretched out to our breaking point, she doesn’t make it through quickly because that would kill the building dread - she looks up and sees the leopard! Waiting for her. The killer she has spent the entire sequence trying to avoid is now RIGHT THERE. And she is in serious trouble. Instead of the schlock shock/relax/real shock rhythm we get a possible real/relax/schlock shock/relax/real shock rhythm that we don’t expect.

15) RUN FOR YOUR LIFE! The leopard pounces! Now that we have seen the leopard, we no longer have fear of the unknown and no longer have dread - so we switch to suspense and suspense techniques. A chase where the antagonist is getting closer and closer and closer is a basic way to create suspense - you’ve seen it in hundreds of movies, at least one with Cary Grant and a crop duster where there ain’t no crops. You have also seen it in a hundred horror movies, at least one with Michael Myers chasing Jamie Lee Curtis in Haddonfield on Halloween. And we get that chase here as well, including the typical heroine trip. What saves this trip from cliche country is that she spills the cornmeal all over the place - the very reason she was out in this dangerous situation in the first place! Ironic, isn’t it? Teresa trips, falls, spills the cornmeal, then scrambles to her feet and runs home with that hungry leopard in hot pursuit!



16) DRAMATIC IRONY = SUSPENSE. For reasons we will get to in our next section, instead of showing the end of this chase scene, we go back inside the Delgado house. This allows some more of that wonderful dramatic irony, plus some great suspense. You may have noticed that two are often connected - if the audience knows something that the characters do not, we want to yell at the screen that the characters are making a mistake. That’s what happens here - I don’t know if this scene was gut wrenching for you or not, but it was for me. We start out with mom drying dishes and the brother reading the comics when there is POUNDING on the front door and Teresa yells “Let me in, let me in! If you love me, let me in!” And mom turns to the brother and says something about Teresa dilly-dallying and spending half the night just to get cornmeal. Not taking the threat we know is real seriously. We know Teresa has just outrun a freakin’ leopard to get to the front door - which is bolted - and her mom thinks she is just being pushy like a typical teenager. And the more the mom says pointless and unnecessary things, the more the suspense grows - it’s like those guys discussing baseball statistics! The less mom seems to care about Teresa’s problems outside the door, the more WE care... and the more we want to scream at her to shut the eff up and get that door open before the leopard attacks! The more mom says things that are mundane or boring or do not matter, the greater the suspense - due to the dramatic irony of the situation. We know Teresa is going to be *killed* if mom doesn’t do something right now, but mom doesn’t know this.

17) EVEN MORE SUSPENSE. Mom figures out something might be wrong when Teresa SCREAMS, and now she runs to the door to open it. But remember when she bolted the door at the beginning of this sequence so that Teresa couldn’t sneak back in? I’ll bet your forgot up until now - there’s been so much dread and suspense and fear, how could you remember a locked door? Well, that bolt is *stuck* and no matter how hard mom tries to shoot it open, it just won’t budge. Which creates suspense - will she get the bolt open and the door open before the leopard rips her daughter to shreds? The brother runs to get a block of wood to use as a hammer to POUND that bolt open. Suspense isn’t just that main thing, it is all of the details and actions that are part of the main thing. Each one of those details, like running to get that block of wood, extends and strengthens the suspense - in a way, those are tiger pokes. Just trying to loosen the bolt isn’t enough action to keep the suspense going, we need plans and possibilities. We need things that do not work - which are similar to that “provisions” market in that the failure builds our dread, builds our fear, escalates the terror.



18) VIOLENT ACTION. Since dread is the anticipation of an *unknown* action, we eventually have to get to the action or it has all been a tease. The difference between these Val Lewton movies and today’s gorefests is how they show the action. Not whether there is action or not, not whether the action is bloody and gory or not - but what they decide to show and what they leave up to your imagination. So the decision is made *not* to show cute little Teresa being ripped to shreds, which is one of the reasons we go inside the Delgado house instead of stay outside that door with Teresa and the leopard. We get that nice suspense bonus from being inside the house, but I doubt the censors would have allowed them to show Teresa being killed back in 1943. But if you think by not showing it the action is not violent, you are dead wrong. This is a horror movie. The level of violence is horrific. We just don’t see it. Teresa screams, the leopard growls, there are the sounds of a vicious and violent attack... and then... that pool of blood practically pours from under the door! That pool of blood is visual proof of the carnage on the other side of that door - and we need that proof to fill in all of the ugly details with our imagination. That blood tells us Teresa is dead. Without that blood, she may still be okay, just in need of a doctor. But the blood is a coda to the scene. Gotta have it.

19) EMOTION PICTURES. Movies are about emotions. Creating the emotions in the viewer, like dread and fear and suspense... but also allowing the viewer to feel the emotions of characters. One of the greatest parts of this sequence is when Teresa’s mom realizes that her daughter is in real danger and she has not believed her. And that whatever happens to her daughter, she bares some of the responsibility... and will feel as if it is all her fault. This is a gut wrenching emotional scene - Teresa’s mom realizes that she has doubted her daughter, and that doubt has lead to her daughter’s death. It is only a line, a moment, in the scene - but that moment is powerful emotions that will haunt us. Look for moments of emotion in your scenes, and remember that the most powerful emotions are the ones that make us uncomfortable. A mother realizing she may have killed her own daughter is more powerful than all of those scream moments in the film. Those are the emotions of great tragedy... and that is why LEOPARD MAN is more than just a cheapo horror movie from the 1940s... it is a work of art, and one of Martin Scorsese’s favorite films.

20) You may have noticed that this sequence works in the basic three act structure: introduce the conflict, the conflict escalates, a midpoint (the market), the conflict escalates further, then the resolution of the conflict. Hard to avoid something so basic. This sequence seems like a stand-alone, but it is actually one of several sequences where the leopard attacks again and again, escalating the conflict for Jerry and Kiki who are responsible for the leopard’s escape. With every new victim, they get into more trouble with the town and the police and it becomes more apparent that Jerry will have to capture or kill the leopard himself. He is pulled deeper and deeper into the quicksand with every new victim, and must find a way out. Each sequence ends by tying Jerry and Kiki back into the story - with their problems worse than before.

Okay, that is one of a handful of sequences in LEOPARD MAN where people and leopards eventually meet without a pleasant outcome. It’s a good example of how to build dread and also how to create gory bloody violent deaths - that are not graphic. Just because the death is not shown doesn’t mean that it is pleasant and doesn’t mean that the audience doesn’t experience it. We want to make sure there is horror in the horror! If we can’t see it, you need to make sure we imagine it. This scene is a great example of how to make a scene scary and keep the fear and dread building until the violent pay off. Things to consider if you are writing a horror or suspense script.

Hey, what does that look like on that page? Do we just write “scary things happen” and the director makes up all of the details? Nope! Below is this sequence from the shooting script of LEOPARD MAN by Ardel Wray - and all of the thrills and chills are there on the page. Check it out!



INT. DELGADO HOUSE - NIGHT

The Delgado house is typical of the poorer Mexican homes in New Mexico. This main room, which is small, serves as living room, bedroom and kitchen. An Indian blanket covers the doorway into the only other room. The adobe walls are plastered with pictures of religious subjects.

The wooden floor is bare. There is a charcoal-burning brasero in one corner. Pots and pans on the hearth of the fireplace show that it is a supplementary stove, The rest of the furniture consists of an iron bedstead, a large and hideous oak table and an open-faced china cabinet which contains the Delgado treasures.

Pedro, Teresa's nine-year-old brother is seated at the oak table, eating from a bowl of frijoles. He is, and looks like, an imp. Teresa is backing away from her mother, who turns away from the window to face her angrily.

TERESA
(evidently resuming a discussion)
But, Mamacita -- why can't Pedro go this time? I'm so tired...

PEDRO
(complacently)
I'm too young.

SRA. DELGADO
If your father comes home and there are no tortillas, he will shout and tomorrow it will be all over town: the family of Juan Delgado is too poor to buy corn meal! Do you wish we should be so disgraced?

Teresa shakes her head, but makes no move to go. Exasperated, Sra. Delgado reaches for the nearest weapon -- the broom.

SRA. DELGADO
Then go!

Sra. Delgado brandishes the broom toward Teresa, who backs up again.

PEDRO
I know what she's afraid of...

Pedro lifts his hand. It casts a sharp shadow on the wall behind him. Watching the shadow, he manipulates his fingers so as to create the shadow of a leopard's head in miniature.

PEDRO (CONT'D)
This!

SRA. DELGADO
And what, por todos los santos, is "this"?

Teresa braves the threatening broom and moves a step toward her mother.

TERESA
(eager to be believed)
The leopard, Mamacita. They say a lady at the El Pueblo had it on a string and it ran away. It hasn't been found yet...

SRA. DELGADO
A leopard?

PEDRO
(gleefully)
They're big -- and they jump on you!

Pedro jumps the shadow on the wall, to simulate the leap of a leopard.

SRA. DELGADO
(furiously)
Did you ever meet one of those things yet when you went to the store for me?

Teresa swallows, shakes her head mutely.

SRA. DELGADO
(bellowing)
Then you won't meet one this time either! Now get out! Do as I told you!

Sra. Delgado gives the broom such a backward swing of final purpose that Teresa hurriedly opens the door behind her and slinks out backwards -- her big liquid dark eyes, still futilely pleading, the last to disappear. Sra. Delgado moves after her, pushing the door closed.

She puts the broom in the corner and goes to where Pedro is seated. Here she stands a moment, fondly watching him as he masticates his beans. Behind her the door stealthily opens.

Teresa tries to sneak back into the room. Mamacita sees the movement and makes a tempestuous rush toward her, but Teresa sidles out of the door before she can be caught. Mamacita, muttering, slams the door shut and with difficulty pushes the heavy, rust-covered iron bolt into place.

EXT. DOORWAY DELGADO HOUSE - NIGHT

Teresa stands outside the door. We hear the heavy bolt inside driven home forcibly.

SRA. DELGADO (V.O.)
Now you will not come in again, not until you bring the corn meal with you!

EXT. STREET OUTSIDE DELGADO HOUSE - NIGHT

Teresa steps down from the single doorstep outside her house.

She crosses her arms and pulls her shoulders together in a gesture of fear. She looks once, despairingly, at the closed door behind her and then reluctantly steps out into the dirt road and starts walking.

EXT. CALDERON GROCERY - NIGHT

Only a large corner window, with the word. "Provisiones" printed on it shows that this ordinary house is a grocery store. In the moonlight, one can see a few boxes of groceries stacked on shelves inside. Teresa comes up to the window and peers in. She knocks on the window.

TERESA
Senora Calderon It is Teresa, Senor. Teresa Delgado.

Over Teresa's shoulder, we see the interior of the little store light up dimly as a curtain is pulled at the back of the room.

Beyond the curtain is revealed another room, brightly lit by a bare electric globe hanging from the ceiling on a cord. Under the light, a man sits at a table, heartily eating from a plate heaped with food.

The curtain has been pulled back by Senora Calderon. We see her only in silhouette and the details of her face and figure are indistinguishable. We do see, however, that her long black hair is down her back and she is braiding it. She walks a little ways into the darkened store.

SRA. CALDERON
(speaking loudly to be heard through the window)
The store is closed.

TERESA
I just want a sack of corn meal for my father's supper!

SRA. CALDERON
Tomorrow.

TERESA
(imploringly)
It'll just take a second. ..Please or I must go clear across the

Arroyo to the big grocery --

Teresa taps against the window hopefully. But Sra. Calderon turns back toward the doorway into the inner room, where the solitary feaster hasn't even bothered to look up during this exchange.

SRA. CALDERON
(as she goes)
It means taking off the lock again, putting on the light, measuring the meal. It's too much trouble. Once I close, I close!

Sm. Calderon steps into the inner room and draws the curtain closed behind her, as she speaks the last words. Again the store is in darkness -- only a rim of light showing around the edges of the curtained doorway.

TERESA
(quietly, hopelessly)
Senora...

There is no reply. Teresa turns away.

DISSOLVE TO:

EXT. EDGE OF ARROYO - NIGHT

The Arroyo is a deep narrow cut in the mesa, bone dry in this season. Its floor of bleached sand and weeds stretches desolately wider a vast moonlit sky. Here and there, children's feet have scuffed steep little trails down the banks.

Teresa appears at the top of one of these trails. She looks down into the Arroyo -- and then off to the right.

A distance down the Arroyo is a bridge which carries a train track across the dry river bed. To divert the rush of rain water in winter and spring, the bridge is underpropped by two slanting stone piers. They stand out like ribs against the blackness of the underpass, which they divide into three tunnels.

Teresa's face shows her dread of the Arroyo. She turns back the way she came, takes a step away, hesitates and then returns to the edge of the bank.

She starts down the little trail, her feet sliding in the loose sand and a shower of pebbles bouncing down ahead of her.

EXT. ARROYO FLOOR - NIGHT

Teresa stands at the bottom of the bank. She looks off to the bridge again. Then she starts walking forward slowly, a very little figure in the large loneliness of the night.

EXT. EAST SIDE OF BRIDGE - NIGHT

Teresa comes up to the face of the underpass with its three openings. She stares from one black tunnel mouth to another.

She glances behind her, then looks at the underpass again.

Teresa goes forward again, toward the middle tunnel.

EXT. EAST ENTRANCE OF MIDDLE TUNNEL - NIGHT

The roof of the underpass is only a little higher than Teresa's head and the passage is not more than ten feet wide.

The opening is dimly lit by the moonlight, but beyond it is dense blackness. Teresa enters slowly. She takes a few steps toward the blackness - and stops. She listens. Teresa moves forward again, walking as lightly as possible. The light dims rapidly, so that after Teresa has taken a half dozen steps, she is swallowed up in complete blackness.

The CAMERA HOLDS for a moment on the dark underpass before Teresa emerges from the blackness on the West side. A light scratching sound is heard. Teresa's eyes widen in panic as she hears it and she hurries out of the tunnel, watching fearfully ever her left shoulder. She must cut across in front of this other tunnel in order to get to the south bank.

She starts across, never taking her eyes off the black tunnel mouth. Suddenly she gives a convulsive start and a little cry escapes before she can control it. A shadowy shape, low to the ground, detaches itself from the dimness of the tunnel opening and moves toward her. Almost at once, we see that it is a large tumbleweed, blowing clown the Arroyo in the wind.

Teresa sighs soundlessly and goes on to the foot of the bank.

She starts scrambling up another steep little path.

DISSOLVE

INT. BIG GROCERY STORE - NIGHT

This is a fairly good sized room, lined with shelves and counters. A tall, Indian-type Mexican with iron-grey hair puts a paper sack of cornmeal on the counter in front of Teresa.

She starts toward the door, but noticing a bronze cage with two toy birds in it, a mechanical device which has stood there for years, she goes toward it, puts down her sack of corn meal and goes up close.

TERESA
Oh, the toy birds!

MANUEL
You've seen them before. I couldn't chase you away from the counter when you were a little girl.

She winds up the bird cage.

TERESA
I'd forgotten them.

MANUEL
(smiling, good humoredly, skeptical)
Every day you see them --and you have forgotten them? Oh, I remember my little Teresita -- I remember the little girl who was afraid of the dark. They shouldn't send you.

The birds have begun to sing, a highly mechanical rendering of a bird song.

TERESA
I'm not afraid. What could happen to me?

The birds sing and she pretends to listen. Manuel leans against the inner door of the grocery watching her, smiling and amused. Finally his smiling irks her into action. She picks up her sack of corn meal.

TERESA (CONT'D)
(as she starts off)
I'll pay you tomorrow.

MANUEL
Never fear - - next time you come.
The poor don't cheat one another.
We're all poor together.

In the bronze cage the two birds continue to sing their mechanical song. Their heads turn from side to side.

We hear the door close behind Teresa. The birds are still singing as we...

DISSOLVE TO:

EXT. CORNER WEST SIDE OF BRIDGE - NIGHT

There is a sound of slow, measured dripping. It comes from water seeping out between two rocks and dropping onto another rock below. These rocks are piled up at the juncture of the bridge and the left bank and the water is evidently leaking from some water main or sews go pipe running under the highway overhead.

EXT. WEST SIDE OF BRIDGE - NIGHT

Teresa is approaching the entrance of the middle tunnel, She is evidently scared - her footsteps are lagging and she holds the sack of corn meal in both hands, as if feeling its weight. She looks fearfully at the black tunnel before her and comes to a standstill, trying to peer into the blackness.

In the silence, the dripping of the water can be heard.

Teresa looks up and to the left to locate the sound. She sees the shining dampness on the rocks.

She turns back to the middle tunnel before her -- and, drawing a deep breath of resolution, starts to enter it. But she hesitates and then, suddenly, veers over to the left. She peers into the opening of that tunnel.

INT. OPENING OF NORTH TUNNEL - NIGHT

The wall of the tunnel is also damp with the seepage from above. It reflects the outer moonlight in glistening streaks, so that the blackness here is not so complete as in the other tunnel..

EXT. WEST SIDE OF BRIDGE - NIGHT

Teresa gets a fresh grip on the bag of corn meal by shifting her hands under it -- and walks into the entrance of the north tunnel.

INT. NORTH TUNNEL - NIGHT

Again, the crunching sound of Teresa's footsteps are magnified in the enclosure of the tunnel walls. It is very dim, but the luminosity of the damp wall casts a faint light on Teresa, reflecting in her wide, frightened eyes.

She walks slowly and lightly, her eyes going from side to side in the darkness, her neck and head held rigidly. Suddenly she stops with a sharp intake of breath, Ahead of her and to her left are two tiny gleams of light. Teresa backs away from them. As she does so, they seem to fall and vanish.

Slowly Teresa moves forward again, staring at the place where the lights had been. As she moves parallel to the spot, they appear again. A half-cry dies away in her throat --she sees that the gleams are two drops of seepage, trickling down the side of the tunnel wall.

Teresa half closes her eyes and sways a little, faint with fear. Then she forces herself to move forward again. She takes one -- two fearful steps -- and then the underpass reverberates with a sudden tremendous shock of sound - more a giant vibration than actual noise.

It is a train passing overhead.

INT. NORTH TUNNEL - NIGHT

As Teresa stands transfixed, the terrific roar continues.

Second after second, flashes of light as brilliant as lightning illuminate the interior of the tunnel the reflections thrown into the Arroyo by the train windows.

And then, as abruptly as it began, the noise ceases. It is cavernously dark in the tunnel again. In this thick stillness, Teresa walks forward once more.

EXT. EAST SIDE OF BRIDGE - NIGHT

In the frame of the tunnel opening, Teresa stands for a moment. Behind her, there is a new sound -- a mere whisper of sound carried forward on the light wind. A little shower of rubble falls from the top of the concrete pier. Teresa turns to look behind her.

Crouched on one of the piers of the trestle - and seen only very dimly in the darkness -- is the leopard, looking down into the Arroyo.

An enormous big HEAD CLOSE UP of Teresa.

An enormous big HEAD CLOSE UP of the leopard, its clear golden eyes fixed and staring.

EXT. ARROYO FLOOR - NIGHT

Teresa's nails dig into the paper sack of corn meal and little trickles of the meal start spilling from the slits.

Her eyes widen and her face falls slack from the horrible shock of what she sees. She turns and runs.

EXT EDGE OF ARROYO - NIGHT

Teresa scrambles frantically up over the edge of the bank.

She stumbles and falls and the sack of corn meal drops from her hands and spills onto the ground. In a single move, Teresa is on her feet and running again. A shadow flashes over the spilled meal and we hear a heavy, ripping snarl.

INT. DELGADO HOUSE - NIGHT

It is quiet and peaceful in the Delgado home. Senora Delgado is puttering about the brasero. Pedro, on all fours, is reading a comic book, his rump high in the air, his chin two inches from the book. Suddenly, a wild rain of knocks on the door fill the little room. Sonora Delgado, at the brasero, drops a spoon with a clatter and Pedro springs up.

TERESA'S VOICE
(screaming)
Mamacita, let me in! Let me in, let me in!

SENORA DELGADO
Hah!

Sonora Delgado smirks knowingly and puts her hands on her hips.

TERESA'S VOICE
If you love me, let me in -- !

SENORA DELGADO
(mimicking Teresa)
Mamacita -- let me in. Let me in, now that I've spent half the night getting the corn meal!

TERESA'S VOICE
It's coming - it's coming closer.
I can see it...

PEDRO
She is afraid of the leopard.

SENORA DELGADO
Just what she needs -- something to

NIP AT HER HEELS AND HURRY HER UP -

She is interrupted by a scream so high, of such agonized finality, that it makes the others before it seem like nothing at all. Mingled with the scream and blurring the end of it comes an impact of such violence that the whole door structure shakes with it from top to bottom. A puff of dust wells up around the door from the impact of the blow.

REPRO
(his voice high with fear)
Madre do Dolores, she isn't fooling!

Pedro jumps to his feet. An instant change has come over the face of Senora Delgado. She hurls herself forward.

SENORA DELGADO
(beseechingly)
Wait, Teresa! I come! I will let you in...

Senora Delgado tugs at the rusty bolt.

SEN0RA DELGADO
Only a moment, querida, hija do mi
alma -- your mother is here --

As Senora Delgado tugs vainly at the bolt, Pedro darts over to the fireplace and grabs up a stone from the hearth.

SENORA DELGADO
Your mother will let you in - -

Pedro rushes to the door and pushes his mother's hands aside.

He hammers the unruly bar back with the stone.

Then, he draws back and looks down at his feet. Senora Delgado's horrified eyes follow his glance.

Under the crack of the door seeps a dark tongue of blood, widening and lengthening on the rough wooden floor.



And here is a link to the entire script:
LEOPARD MAN screenplay by Ardel Wray.

- Bill
IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Writing Over 40 - how to sell a script or land an assignment in age conscious Hollywood.
Dinner: Salad with some dead chickens in it.
Pages: Yikes! This article was the one I wrote *after* the one that I was going to run on the blog today. The other one got pushed back.
Bicycle: Yes - a NoHo ride on both Sat & Sun. I feel better, but there is still some pain in the wrist if I twist it in unusual ways, so I'm thinking about going to the doctor (which I fear, because I do not want a cast on my arm - I can take the brace off to type, but a cast?)
Movies: MACHETE and TAKERS...


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Wednesday, May 23, 2018

Film Courage Plus: Creating Suspense

FILM COURAGE did a series of interviews with me at the end of 2014, and then again at the end of 2015. As they have been releasing the interview segments from 2015 every week or so, I have dug back into their archives and tweeted some of the segments from 2014... so they won't be forgotten. There were something like 12 segments from 2014, and probably around 24 segments for 2015... and that's 36 (or more) segments total. That's almost a year's worth of material! So why not add a new craft article and make it a weekly blog entry? All I have to do is write that new article, right?

So here is the second one. I'm still not sure whether the article should come before or after the clip, so this time around it's *before* the clip - you can tell me which way you think would work best in the comments section.

Creating suspense on screen:

Keeping the audience on the edge of their seat is the function of SUSPENSE. Suspense is not the same as action, nor is it the same as surprise, nor is it the same as mystery. Suspense is the *anticipation* of an action. The longer you draw out the anticipation, the greater the suspense. Hitchcock explained; "Two men are having an innocent little chat. Let us suppose that there is a bomb underneath the table between them. Nothing happens, then all of the sudden, BOOM! There is an explosion. The audience is surprised, but prior to this surprise, it has been an absolutely ordinary scene, of no special consequence. Now let us take a SUSPENSE situation. The bomb is underneath the table, but the audience knows it... Probably because they have seen the villain place it there. The audience is aware that the bomb is going to explode at one O'clock, and there is a clock in the decor. It is a quarter to one. In this situation, the same innocuous conversation becomes fascinating, because the audience is longing to warn the characters on the screen: 'There's a bomb beneath you, and it's about to explode!' In the first case, we have given the audience fifteen seconds of SURPRISE at the moment of the explosion. In the second case, we have provided them with fifteen MINUTES of SUSPENSE."

It’s no secret that I love thriller films and Hitchcock movies - my upcoming book is HITCHCOCK: MASTERING SUSPENSE which uses seventeen of Hitchcock’s films to illustrate different principles of suspense. But suspense isn’t confined to the thriller genre, it’s used in *every* genre to create tension. That romantic comedy where we know that one of the pair has that secret that will ruin the budding relationship if discovered... suspense is built around the anticipation of that discovery. In a movie of survival, be it THE MARTIAN or THE REVENANT suspense is built around situations where we anticipate the worst possible thing happening... and then the scene builds around that anticipation until it is resolved by the action. In REVENANT we know that bigoted fur trapper Fitzgerald (Tom Hardy) plans on harming Glass (Leonardo DiCaprio)’s son - and that scene builds tension until we get the action. Instead of the action being over in a flash, the audience has been given the information that it will happen and that makes us squirm in our seats as we see Fitzgerald’s plan unfolding. Instead of a couple of seconds of surprise we have a whole scene of tension and suspense. In dramas we often have suspense built around a secret that our protagonist doesn’t want discovered. Every genre uses suspense to build emotions before the action.

There are Four basic kinds of suspense: the "ticking clock" (or time lock) and "cross cutting" and “secrets” and “focus objects”. The Hitchcock example above is a ticking clock. We are given an event which will occur at a certain time, and our suspense builds as we get closer and closer to the time of the event. Cross Cutting takes two things we don’t want to see in the same place and gets them progressively closer to each other - like two trains hurtling towards each other on the same track. The closer they get to each other, the more suspense. A good example of this method is in Hitchcock’s REAR WINDOW where our protagonist Jeffries sends his fiancĂ© Lisa to search the apartment of suspected murdered Lars Thorwald. Jeffries has gotten Thorwald out of the apartment on the pretext of meeting him at a restaurant down the street, but when he doesn’t show Thorwald becomes impatient and returns home. Jeffries watches through the rear window of his apartment as Lisa searches the apartment as Thorwald returns - entering the building, climbing the stairs, walking down the hallway to his front door, unlocking the door, and...

Secrets are another form of suspense which is often used in dramas and comedies and romances. A character has a secret which they do not want to have discovered, and another character gets closer and closer to discovering it. In YOU’VE GOT MAIL we know the secret of Tom Hanks’ character - he’s the big corporate bookstore owner who is putting the small independent bookstore owned by Meg Ryan out of business... but the two meet and fall in love, and now he must keep that true identity secret from her because it will kill the relationship. The audience knows that secret exists, so we are in suspense that it will be discovered. Another type of secret suspense can be found in Hitchcock’s ROPE (an experimental film which we look at in my HITCHCOCK: EXPERIMENTS IN TERROR book) - two men have murdered a friend and placed his body in a giant trunk in their livingroom... moments before having a party in that same livingroom in honor of the now dead friend. Everyone wonders where David is... but we know that he’s inside the trunk they are serving a buffet dinner from. Suspense builds as things happen which get some of the party guests looking closer at the trunk than the killers would like. Will their secret be discovered or will they get away with murder?

FOCUS OBJECTS


That trunk is what I call a “focus object”, and in the Film Courage clip I mention the middle ages sword and sex flick FLESH + BLOOD, where Princess Jennifer Jason Leigh has been kidnaped by Mercenary Rurger Hauer, and eventually becomes his mistress. Hauer is leader of a band of Mercenary soldiers - knights in rusted armor - who are raping and pillaging their way across Europe. They were double crossed by the evil Prince who Jennifer was engaged to, and now they are doing everything possible to make that Prince's life hell on earth. Eventually they capture the Prince, and chain him up near a well. Princess Jennifer, Hauer's mistress and the Prince's finace, is about to have a meal with all of the other mercenaries celebrating the capture of the Prince.

Before the other mercenaries reach the table, the Prince grabs a piece of plague infested meat from the trash and drops it in the well, poisoning the drinking water.

Jennifer sees this, and the question is - will she tell anyone? As the water is brought from the well to the table, tension builds. The water in the jug becomes the "focus object". Water is poured into glasses of several mercenaries who were not kind to her when she was kidnaped. She wants revenge against them, so she says nothing.

The Prince watches her, waiting for her to tell them that the water is poisoned. She sees the shackled Prince watching her, and she watches the mean mercenaries drink the poisoned water one-by-one.

That jug of poisoned water goes from mean mercenaries... to women and children. The poisoned water is poured into their glasses and they start to drink it... will Jennifer tell them it is poisoned? Suspense builds.

The Prince watches her, waiting for her to stop them from drinking. But both of them watch as the women and children drink the poisoned water.

Then the jug of poisoned water is passed to Rutger Hauer, her lover. He pours a glass of water. Will she let him drink it? She is torn between the man she was engaged to and the man she sleeps with every night. What will she do? Hauer is having a conversation with some of the others, and every time he grabs the glass to drink, someone says something and he responds instead of drinks. Suspense builds.

The Prince, shackled by the well smiles at her. What will she do?

As Hauer lifts the glass to his lips, she...

See how focus objects work? They create suspense by giving the protagonist and the audience the same secret information that is tied to an object... and then places that object where the secret can be discovered by characters who can not know that secret.

All of these techniques rely on *dramatic irony* - giving information to the audience that one or more characters do not have. The key is letting the audience know that the water is poisoned or that the body is in the trunk or that Tom Hanks is also that bastard with the big chain bookstore that is putting Meg Ryan out of business. If the audience is not given this information, there can be no suspense or tension... and the story is flat and dull. Our job as writers is to *lead the audience* - to use information to control what they think and feel. Hitchcock called it playing the audience like an instrument. By giving them specific story information at the perfect time we bring them inside the story - they know the secret that some other character does not and now they have a stake in the story. The audience wants that secret to remain a secret. The audience wants to warn the characters that there is a bomb under the table. The audience participates in the story and feels what the characters feel. Our job as writers is not just to tell the story, but to use techniques like suspense in order to tell that story well. To involve the reader and viewer so that it becomes their story as well.

Always be leading the audience. Always be in control of your story and when the information is given to the audience. What do you want them to know and when do you want them to know it? And *why* do you want them to know this information at this specific time in your tale?

- Bill






HITCHCOCK: EXPERIMENTS IN TERROR



Click here for more info!

HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.

Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

- Bill

Wednesday, May 16, 2018

Film Courage Plus: The 100 Idea Theory

FILM COURAGE did a series of interviews with me at the end of 2014, and then again at the end of 2015. As they have been releasing the interview segments from 2015 every week or so, I have dug back into their archives and tweeted some of the segments from 2014... so they won't be forgotten. There were something like 12 segments from 2014, and probably around 24 segments for 2015... and that's 36 (or more) segments total. That's almost a year's worth of material! So why not add a new craft article and make it a weekly blog entry? All I have to do is write that new article, right?

So here is the third one. I'm still not sure whether the article should come before or after the clip, so this time around it's *before* the clip - you can tell me which way you think would work best in the comments section.

The 100 Idea Theory:



I never tell anyone that I’m a screenwriter, because the first thing that will happen is they will say they have this great idea for a movie and then spend a couple of hours telling me that idea and then offer to let me write their idea for 50% of whatever the script sells for. Awesome deal! My friend John has gone so far as to have fake business cards printed up for parties & social events where this might happen that say he builds custom septic tanks to fit your unique personality - no one wants to tell him their ideas or make him that 50% deal. *Everyone* has an idea for a screenplay. How many billions of people are there on Earth right now? They all have an idea for a screenplay.

It isn’t enough just to have an idea, or even have a good idea, you need a *great* idea.

One of the things we look at in the IDEAS Blue Book is not just how to find an endless number of ideas, but how to find the good ones... and the great ones. The gold. Because finding movie ideas is a lot like panning for gold - it’s 99% dirt and mud and 1% gold. The problem often is, new writers come up with one idea... and that’s part of the 99% that’s mud. Not a problem, unless they take that idea to script - and then they have a script with a dirt idea. How do you pitch that? How do you make the logline in your equery to managers and agents and producers sound good when it’s dirt? You can’t. In Mel Brooks’ YOUNG FRANKENSTEIN due to a clumsy mistake by Igor, they build the monster using an abnormal brain - so the monster is alive, but has a “bad brain”. You don’t want a screenplay with a “bad brain”.

Though ideas are a dime a dozen (because everyone on Earth has one) they are also gold. The key is to “pan for gold” and find the very best idea and then take it to script. Don’t end up with 110 pages of “mud”.

But how do you find the best idea? There are people who think that any idea that “sticks with you” is a good one. You forgot that other idea, but remembered this one... it has to be good! I’m not sure having a faulty memory is any indication of an idea being good or not. Other people have a variation on the faulty memory theory they like to call “I’m really passionate about this idea!” But anyone who has lived long enough to have their heart broken a couple of times knows that passion sometimes doesn’t last, and passion also doesn’t equal quality. I have been passionate about relationships only to look back on them a year later and wonder if I was crazy. In fact, there are probably a hundred songs that equate love and passion with insanity! You can probably name a couple of those songs off the top of your head, right? So maybe being passionate about an idea is not the best way to judge whether it is good or not? Sure, we want an idea that we are passionate about, but *only* being passionate about it is excluding all other criteria and may end up falling in love with the wrong person. There are a bunch of movies about people who fall in love with people who then try to kill them. Do you want to write 110 pages only to find out this was one of those crazy lovers? FATAL ATTRACTION in screenplay form? Probably not - that’s why you’ll want to expand your criteria beyond only passion.

Hemingway said you should write drunk and edit sober, and that’s the key to this whole writing thing. Create in one step, edit in another step. Coming up with raw ideas is creating, but finding the best idea is editing. Most people leave out the editing part. They often just come up with an idea and write it... and end up with 110 pages of blah. You want to use both sides of your brain - the creative side and the analytical side. No half brained ideas! Come up with a bunch of ideas (drunk) and then (sober) analyze each idea and select the best one using rational criteria. Panning for gold. Because you love the idea isn’t good enough - remember that hell relationship you had? You thought you loved them. So take emotions out of the equation when you are *selecting* ideas.

The 100 Idea Theory in the Film Courage clip is about using that insane, passionate creativity to find 100 ideas... then using the sober analytical side of your brain to select the best idea from that 100.

One problem new writers often have is that they only have one idea. Hey, this is a business of ideas! I often get called in to pitch 4 or 5 ideas to fit a producer’s specific needs... and if they don’t like any of those, pitch 4 or 5 more. A decade ago when the SyFy Channel probably still had “i”s in their name, I had meetings with 3 different producers who were making movies for them. At one company I pitched 10 actual science fiction stories, at another I pitched 10 disaster stories that had not been done yet, and the third I pitched 10 monster movies that had never been done. 30 ideas - not a single one ended up a paid gig (though two of those companies each liked an idea enough to bring me back the next year and talk about it). But you will need to come up with a stack of ideas. Your manager will have you pitch a bunch of ideas and they’ll select the one they think has the best chance. So you need a bunch of ideas - not just one. Get used to the idea that you will need a bunch of ideas!

In the IDEAS Blue Book we look at how to open your eyes to ideas - they are all around you, but you have to look for them! One of the examples in that book is an idea I had while walking to a class on ideas I was teaching for the Raindance Film Festival one year. Ideas are *everywhere*! And here’s one of the secrets from that Blue Book - any idea that you come up with you have some personal connection to. If there are ideas all around you, the ones that *you* see are the ones that speak to you. The ones that I see are the ones that speak to me. The ones that you are passionate about, even though it may not be love at fights sight. Novelist John D. McDonald said that if you show ten writers the same event, each will come up with a different idea based on that event. Why? Because we see the ideas that are personal to us and miss the ones that have nothing to do with us. Which means those odd random ideas you come up with like that one I came up with while walking across London to my class at Raindance? Personal idea. Something I could be passionate about. I see the ideas that connect to me, you will see the ideas that connect to you.

Once you come up with a bunch of them, sober up and analyze those ideas to find the best one. Then script it. It’s much better to pick the great idea from the 100, the gold from the dirt, and script it... than to write 100 scripts and have 99 of them be “dirt ideas” and only one of them be gold. What do you do with the other 99 scripts? Train puppies? Line birdcages?



Once you go through the 100 ideas and find that one great commercial one - the one that millions of people worldwide will pay to see - now your job is to figure out why it is personal to you. What about that idea spoke to you. Knowing why that idea is personal to you is the key to making it your passion project even if it’s some wildly commercial high concept genre story. You will need to know why that idea is personal to you, why you spotted that idea among the billions and billions out there; before going to screenplay. If you don’t know why your subconscious was passionate about this idea, it will be tough to write it with passion. And the next creative step here is to “write drunk” and be giddy with passion about this idea and the story that comes from it. Once you’ve found the gold amongst the dirt and mud, you need to turn that gold into a wedding band and marry it for 110 pages and every rewrite that comes after that. You want the idea that isn’t that love at first sight (which may just be hormones), but love that is going to last. Love that inspires you to mix metaphors like panning for gold and falling in love and whatever other crazy things I’ve said here to explain screenwriting.

It’s a business of ideas, but not just any ideas - you want to find the gold! Start digging!

Good luck and keep writing!

- Bill

bluebook

GOT IDEAS?

*** YOUR IDEA MACHINE *** - For Kindle!

*** YOUR IDEA MACHINE *** - For Nook!

Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!

Only $4.99 - and no postage!


Other Countries: UK folks click here for YOUR IDEA MACHINE.

German folks click here for YOUR IDEA MACHINE.

French folks click here for YOUR IDEA MACHINE.

Espania folks click here for YOUR IDEA MACHINE.

Canadian folks click here for YOUR IDEA MACHINE.

Other countries check your Amazon stores!

Wednesday, May 09, 2018

Film Courage Plus: Researching A Screenplay

FILM COURAGE did a series of interviews with me at the end of 2014, and then again at the end of 2015. As they have been releasing the interview segments from 2015 every week or so, I have dug back into their archives and tweeted some of the segments from 2014... so they won't be forgotten. There were something like 12 segments from 2014, and probably around 24 segments for 2015... and that's 36 (or more) segments total. That's almost a year's worth of material! So why not add a new craft article and make it a weekly blog entry? All I have to do is write that new article, right?

So here is the sixth one. I'm still not sure whether the article should come before or after the clip, so this time around it's *before* the clip - you can tell me which way you think would work best in the comments section.

To Research Your Screenplay:

According to Rogers & Hammerstein’s CINDERELLA musical, “In my own little corner in my own little room I can be whatever I want to be.” And that pretty much describes me as a writer, and probably you as well. I first saw that musical on TV as a kid with Lesley Ann Warren playing Cinderella, and developed a massive crush on her which I still have to this day... I also developed a love for action and adventure and romance and suspense - as long as it was something I could experience by reading or writing in my own little corner in my own little room. The world outside of that room was scary, and didn’t seem to like me very much. I was happier in my fantasy worlds, whether they were created by others or myself. I suspect this may also be true for most of you reading this - we become writers to create better worlds for ourselves... and we hope that phrase works in two ways. We hope that not only do we get to escape in fantasyland while writing our stories, but that the fantasy is something others will want to experience and pay us for a ticket to the worlds and adventures that we have created.

But here’s the problem: Input = Output.

To write realistically about people and places and things that are exciting, we must venture out from that corner of our room and enter the (scary) real world. We can’t just stay locked in our rooms. We have to live a life to write about life - and that means broken hearts and probably even some broken bones. We need to go out there and face life in order to bring home those experiences and write about them. You may not have to run with the bulls like Hemingway, but you need to get out of the comfort of that little corner and *do things*. That can be scary. If we wanted to actually *live* adventures we wouldn’t have become writers in the first place, right?

If we isolate ourselves from the world, we may be safe... but we also cut off all of the raw materials we need to create stories. Though you don’t need to *be* someone like Dirty Harry to write a character like that, it helps to do some research so that your writing is authentic and the adventure has enough details to be realistic.

BOOKS & FIRST HAND


There are two basic kinds of research that a writer will do - reading about things and either experiencing them or talking with people who have experienced them. Many writers are comfortable with hitting the books, but avoid hitting the real world. But you have to do both. And it’s best to do them in the correct order.

I’ve written a couple of US Navy Cooperation movies for HBO, and they gave me a submarine and aircraft carrier tour and allowed me to question some crew members. They do these tours in groups, so I was with a couple of other project’s writers & directors... and was amazed at the stupid questions they asked. When you have real people you don’t want to ask them questions you could easily find the answers to in books. You are just wasting their time and yours. Read the books first, so that you can ask questions about things not covered in the books. Technical stuff - the facts and the “hard information” can be found in books, but the “soft details” - the “people stuff” is what you want to ask the people about. Sure, those people know the technical stuff... but books are the better place to find that information. While you are talking to people, ask people questions. While the others were asking (really dumb) technical questions to the submarine crew, I was asking them about how they dealt with the living conditions in cramped quarters for four months. They “hot bunk” on submarines - which means they sleep in shifts and share a bed with some crew member on another shift. They have no private space. How do you deal with that? How do you deal with smells after 4 months? How do you deal with personal problems with other crew members - there’s no place you can go to get away from them. I wanted to know about the *people* on the submarine - I’d read a couple of books to learn about the submarine (and the physical tour helped fill in the gaps).

So start your research by hitting the books. Magazines and internet are included in that. Find several different sources of information, because one source may miss something that another includes. When I was doing these Navy Cooperation movies and BLACK THUNDER (stealth fighter planes) and THE BASE (Marines), I read stacks of books. I wanted to know as much as I could before I wrote the screenplay, and *find* all of the cool things that would make that script more fun. That’s one of the great side-effects of research: you discover all kinds of cool details that spark story ideas. On BLACK THUNDER one of the first things I learned is that stealth technology is a “passive system” - it absorbs radar beams so that it doesn’t bounce back to the source... and that triggered my imagination and the “rule of the logical opposite” to come up with *active* stealth - a system that *creates* invisibility... a “cloaking device”. That turned a standard military action flick into something cool and high concept. Wouldn’t have come up with that without hitting the books. Research triggers story ideas.

After all of the tech stuff, I needed to talk to a human with air combat experience... and my friend Bill Jones had been a Navy Top Gun pilot and did a couple of tours in Viet Nam... so I bought him lunch and asked him about the people stuff. Because Bill had never flown a stealth fighter, I also read an autobiography by a stealth fighter pilot which filled in other details I was unable to get from a human being (on my deadline - had this been a spec I may have tried to find a pilot to interview). The great thing about talking to real humans is that you get details that turn your characters into flesh and blood people. In some Script Tip I mentioned buying pitchers of beer for auto workers when I researched my RECALL script, and the guy who told me that he was afraid to touch his wife because his hands were so rough from work. Wow! Things like that can’t help but improve your script!

BOLO!


BOLO is Police Code for Be On The Look Out, and the best part about getting out into the real world is that you see and experience all kinds of wonderful things that can end up in a screenplay or novel. There’s a Script Tip in rotation on my website called Listen & Observe about paying attention to the world around you. Though I’m assuming that we are all avid readers and curious people who are always on the look out for an interesting story or strange fact... or just some odd ting in the world; I’ve known a few people who want to be writers who seem to go through the world with blinders on. They don’t seem to notice the world around them at all. I find that strange, and more than a little frightening. They have no idea all of the things they are missing - from story ideas to cool little details about real life. All of those things that make our stories better. More vivid. More interesting. More realistic. More fantastic.

An odd part of our job is often to synchronize our stories to what is happening in the world, and we can’t do that if we are not actively participating in the world. We need to get out of our comfortable homes and home offices and all of those places that keep the world hidden from us and experience things - look for things- that are new to us. Don’t take the same route twice - you’ll become blind to the scenery. Don’t be afraid to try new things. And keep your eyes open for things that might add a cool moment of detail to your screenplay... or might even add production value.

I’ve seen cool things that no one else seemed to notice and written screenplays around them. CRASH DIVE and STEEL SHARKS both came about because I had read in Variety about the Navy’s Cooperation program that can get you aircraft carriers and jet planes and submarines and helicopters for *free*. I once found out about a 727 owned by San Jose State College as part of their airplane maintenance courses... which they rented out for TV commercials. I’ve noticed all kinds of things that would be great on film but didn’t cost much (or was free). Those things can help turn a producer’s interest into a sale. “How the hell are we going to shoot that?” “Here’s how – “

Another important part of living in the real world is having interests *other than* screenwriting. Hobbies. Skills. Part of screenwriting is “self branding” - figuring out who you are in the business so that they can put some label on you to remember you later. Look, everyone a development executive meets is a screenwriter, so what makes *you* different and special? “Oh, he’s the guy who can tell you the B side of every hit single record from the 1950s to the 1980s.” (I actually know that guy). This not only helps them remember you, guys who they are going to call if they are doing a movie about the record industry or hiring a new writer on VINYL? Hobbies and other interests are part of having a life... part of living your life... part of being a member of the world and not just someone who spends their entire life in their own little corner in their own little room.

- Bill

Wednesday, May 02, 2018

New Zoo Reviews

When I was a kid there was a show called NEW ZOO REVIEW aimed at preschoolers that featured people dressed as hippos and other animals who sang and danced. My brother and I made fun of it (do I need to provide an explanation?). If I thought it would increase the number of reviews of my books on Amazon, I might dress as a hippo and sing and dance. Instead, I'm doing this blog entry...



Could you do me a favor and either write a review on Amazon on the new book or any of the other books you have not yet reviewed or post about one of the books on Twitter or Facebook or some other social media? When I post a picture of one of my books next to some other book on FB, the other books all have hundreds of reviews... and mine have fewer than fifty! As Popeye would say: It’s embarrrasking! And someone said the other day that books with more than fifty (and then more than 100 reviews) get bumped onto the You May Like section, which helps keep the book in front of people.

bluebook

The best kind of reviews are ones where you mention something specific you found helpful. My thing is tools not rules, and I try to include as many tools as possible in the books. I've received a bunch of emails about the "Barista attitude" technique from the DIALOGUE Blue Book, so I know people found that helpful. But how many mention it in a review? Things you found helpful will help others who may need that kind of help. If everyone picks one technique or one chapter that helped them, or just reinforced something they already knew or suspected, and mentioned it in the review, that would be cool.

A) The Blue Books sell for $4.99 and I'm trying to get each one to around 200 pages or more, was it worth the retail price? Was it a good value?

B) What was your favorite part or tool from the book? Explain why.

C) What did you learn from the book? List the things and maybe explain them a little.

D) Were there tools and techniques in the book that you have never read anywhere else?

E) Were there a good variety of examples, and what examples were most helpful?

F) Was the book a pleasant read, or was it boring or dry or too academic?

G) Would you recommend this book to other Screenwriters? How about Novelists?

One of the problems is that Amazon requires a certain number of words for a review, and some people would rather just click the “like” button because they don’t know what to say. Hopefully those will give you someplace to start.

Telling people about the books on social media helps inform people that the books exist without me doing my daily sledge hammer posts about where the books are in the rankings. I appreciate when you guys help me spread the word about the books, because there is no advert budget... it's just word of mouth. I really need to expand my market (often on message boards it seems most people haven't heard of the books) and that's also where you can help. Screenwriting groups online and in real life. I have no idea what the percentage of readers who write reviews are, but the more people who read the books the more reviews I'm going to get. As I said, it's all about trying to get to 50 and then 100 reviews on each of them. Chris Soth has a 36 page book that came out on March 20th of this year and already has 41 reviews... My SUPPORTING Blue Book has been out since September 17, 2012 and only has 18 reviews!

Obviously Chris has some kind of mind control cult, or maybe punished those who do not write reviews.

These books need reviews! Thank you for helping!


bluebook

NEW AND HOT!

*** STRUCTURING YOUR STORY *** - For Kindle!


William Goldman says the most important single element of any screenplay is structure. It’s the skeleton under the flesh and blood of your story. Without it, you have a spineless, formless, mess... a slug! How do you make sure your structure is strong enough to support your story? How do you prevent your story from becoming a slug? This Blue Book explores different types of popular structures from the basic three act structure to more obscure methods like leap-frogging. We also look at structure as a verb as well as a noun, and techniques for structuring your story for maximum emotional impact. Most of the other books just look at *structure* and ignore the art of *structuring* your story. Techniques to make your story a page turner... instead of a slug!

Only $4.99 - and no postage!


bourne

Brand New!

*** THE BOURNE MOVIES

All five "Bourne" movies (including "Legacy" and it's potential sequels) - what are the techniques used to keep the characters and scenes exciting and involving? Reinventing the thriller genre... or following the "formula"? Five films - each with an interesting experiment! A detailed analysis of each of the films, the way these thrillers work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

Only $3.99 - and no postage!


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Over 240 pages!

*** THE TERMINATOR MOVIES *** - For Kindle!


He's back! The release of "Terminator: Genisys" (now on BluRay) is set to begin a new trilogy in the Terminator story... 31 years after the first film was released. What draws us to these films about a cybernetic organism from the future sent back in time? Why is there a new proposed trilogy every few years? This book looks at all five Terminator movies from a story standpoint - what makes them work (or not)? What are the techniques used to keep the characters and scenes exciting and involving? How about those secret story details you may not have noticed? Containing a detailed analysis of each of the five films so far, this book delves into the way these stories work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

Only $3.99 - and no postage!



LEARN SUSPENSE FROM THE MASTER!

*** HITCHCOCK: MASTERING SUSPENSE *** - For Kindle!

Alfred Hitchcock, who directed 52 movies, was known as the *Master Of Suspense*; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Only $5.99


bluebook

Strange Structures!

*** HITCHCOCK: EXPERIMENTS IN TERROR! *** - For Kindle!

***

Contained Thrillers like "Buried"? Serial Protagonists like "Place Beyond The Pines"? Multiple Connecting Stories like "Pulp Fiction"? Same Story Multiple Times like "Run, Lola, Run"?
HITCHCOCK DID IT FIRST!

This book focuses on 18 of Hitchcock's 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock's *silent* films! We'll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Only $5.99 - and no postage!


bluebook

Over 400 Pages!

*** BREAKING IN BLUE BOOK *** - For Kindle!


Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to know for your screenwriting career: from thinking like a producer and learning to speak their language, to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and networking, to the different kinds of meetings you are will have at Studios, to the difference between a producer and a studio, to landing an assignment at that meeting and what is required of you when you are working under contract, to contracts and options and lawyers and... when to run from a deal! Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!

Print version was 48 pages, Kindle version is over 400 pages!

$4.99 - and no postage!


bluebook

BRAND NEW!

*** HOOK 'EM IN TEN *** - For Kindle!


Your story doesn't get a second chance to make a great first impression, and this book shows you a bunch of techniques on how to do that. From the 12 Basic Ways To Begin Your Story, to the 3 Stars Of Your First Scene (at least one must be present) to World Building, Title Crawls, Backstory, Starting Late, Teasers and Pre Title Sequences, Establishing Theme & Motifs (using GODFATHER PART 2), Five Critical Elements, Setting Up The Rest Of The Story (with GODFATHER), and much more! With hundreds of examples ranging from Oscar winners to classic films like CASABLANCA to some of my produced films (because I know exactly why I wrote the scripts that way). Biggest Blue Book yet! Print version was 48 pages, Kindle version is over 100,000 words - 312 pages!

Only $4.99 - and no postage!


bluebook

SECRETS OF SCENES!

*** SCENE SECRETS BLUE BOOK *** - For Kindle! (Exclusive)


What is a scene and how many you will need? The difference between scenes and sluglines. Put your scenes on trial for their lives! Using "Jaws" we'll look at beats within a scene. Scene DNA. Creating set pieces and high concept scenes. A famous director talks about creating memorable scenes. 12 ways to create new scenes. Creating unexpected scenes. Use dramatic tension to supercharge your scenes. Plants and payoffs in scenes. Plus transitions and buttons and the all important "flow"... and more! Over 65,000 words!
Print version was 48 pages, Kindle version is around 210 pages!

Only $4.99 - and no postage!



bluebook

BEST SUPPORTING ACTORS?

*** SUPPORTING CHARACTER SECRETS *** - For Kindle! (Exclusive)


Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and 40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page. Includes Story Purpose of characters and Subplots. Print version was 48 pages, Kindle version is around 150 pages!

Only $4.99 - and no postage!



bluebook

STORY PROBLEMS?

*** STORY: WELL TOLD *** - For Kindle!


This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story? Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!

Only $4.99 - and no postage!


bluebook

STUCK IN THE MIDDLE?

*** ACT TWO SECRETS *** - For Kindle!


Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that’s well over 200 pages) of tools and techniques to get you through the desert of Act Two alive! Print version was 48 pages, Kindle version is over 208 pages!

Only $4.99 - and no postage!


bluebook

I WRITE PICTURES!

*** VISUAL STORYTELLING *** - For Kindle! (exclusive)


Show Don't Tell - but *how* do you do that? Here are techniques to tell stories visually! Using Oscar Winning Films and Oscar Nominated Films as our primary examples: from the first Best Picture Winner "Sunrise" (1927) to the Oscar Nominated "The Artist" (which takes place in 1927) with stops along the way Pixar's "Up" and Best Original Screenplay Winner "Breaking Away" (a small indie style drama - told visually) as well as "Witness" and other Oscar Winners as examples... plus RISE OF THE PLANET OF THE APES. Print version is 48 pages, Kindle version is over 200 pages!

Only $4.99 - and no postage!


bluebook

GOT IDEAS?

*** YOUR IDEA MACHINE *** - For Kindle!

*** YOUR IDEA MACHINE *** - For Nook!

Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!

Only $4.99 - and no postage!


bluebook

MOVIES ARE CHARACTERS!

*** CREATING STRONG PROTAGONISTS *** - For Kindle!

*** CREATING STRONG PROTAGONISTS *** - For Nook!

Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much morePrint version is 48 pages, Kindle version is once again around 205 pages!

Only $4.99 - and no postage!


bluebook

DIALOGUE TO DIE FOR!

*** DIALOGUE SECRETS *** - For Kindle!

*** DIALOGUE SECRETS *** - For Nook!

Expanded version with more ways to create interesting protagonists! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 41 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 160 pages!

Only $3.99 - and no postage!


bluebook

ADVICE FROM #2 SCREENWRITER!

*** VINTAGE #1: HOW TO WRITE PHOTOPLAYS *** - For Kindle!

***

Screenwriting books have been around as long as films have. This series reprints vintage screenwriting books with a new introduction and history, plus new articles which look at how these lessons from almost 100 years ago apply to today’s screenplays. Anita Loos book is filled with information which still applies. In addition to the full text of the original book, you get the full screenplay to Miss Loos' hit THE LOVE EXPERT, plus several new articles on the time period and women in Hollywood.

Only $2.99 - and no postage!



bluebook

THE BOOK THAT STARTED IT ALL!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Nook!

Why pay $510 for a used version of the 240 page 2000 version that used to retail for $21.95? (check it out!) when you can get the NEW EXPANDED VERSION - over 500 pages - for just $9.99? New chapters, New examples, New techniques!

"SECRETS OF ACTION SCREENWRITING is the best book on the practical nuts-and-bolts mechanics of writing a screenplay I've ever read." - Ted Elliott, co-writer of MASK OF ZORRO, SHREK, PIRATES OF THE CARIBBEAN and the sequels (with Terry Rossio). (ie; 4 of the top 20 Box Office Hits Of ALL TIME.)

Only $9.99 - and no postage!



These links all lead to the USA store, if you are in some other country and want to write a review for your country, go to your Amazon website.

Thank you all again.

Bill

PS: The next Blue be DESCRIPTION & VOICE in a couple of months.

ALSO PS: The DIALOGUE Blue Book will soon get a revamp, it's the last of the original 3 Blue Books and needs work! It will get a chapter on speeches, a chapter from the paper booklet on making up your own words and phrases that somehow got lost, and all of the duplicate paragraphs will be removed. I've already done work on the IDEAS and PROTAGONIST Blue Books.

The SUPPORTING Blue Book will also get an update with an expanded Subplots section. Plan is to get all of the old books up to 200 pages and fix the typos.

If the Automatic Kindle Update isn't operational when I finish these updates I'll have Amazon notify everyone who previously purchased the books that a free update is available. I'm trying to keep improving the books!

Any ideas or suggestions? Post them in the comments section!
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