Sunday, 18 September 2016

Watch What You Write

Because one of the projects I've been working on this year, and indeed, for the past few weeks, is a superhero screenplay, I've been watching a lot of those, either on Netflix or rented from Amazon (er, when I'm not renting the Fast & Furious saga, that is).

This is, as I mentioned in a previous post, why I rented The Amazing Spiderman, the version with Andrew Garfield - I was following the suggestions of Blake Snyder's Save the Cat, or Syd Field's Screenplay, to watch movies similar to what you're writing.

It's pretty childishly obvious, as far as advice goes. For instance, my interest in fantasy novels stems from my early attempts to write a fantasy novel of my own. I'd read Tolkien before then, but apart from the more YA-oriented fare, like CS Lewis or Lloyd Alexander, I was unfamiliar with how the genre worked.

Now, you would think that having grown up on comics, I'd know how the superhero genre works, but it happens not to be so. Comics are one way of telling stories - a language, if you like - and movies turn out to be a similar but not entirely equivalent language, and this is one of the things I've been discovering as I watched more of them.

The main takeaway, in fact, has been that Act One of a superhero film needs to be almost exclusively about the hero. Those first 30 or 40 pages are meant to establish where the hero starts, what they need to learn, and how they get their powers - the first act ends when they've put on the mask and gone looking for bad guys to beat up.

Interestingly, though, the thing that established this iron law for me was one step nerdier than just watching the films - I discovered it through reading the shooting scripts (or what purported to be shooting scripts) of Batman Begins and the 2002 version of Spiderman, the one with Tobey Maguire.

This is a suggestion from Robert Ben Garant and Tom Lennon's Writing Movies for Fun and Profit, incidentally - they note that shooting scripts are as close to what's on-screen as it gets, which means you aren't reading an initial draft that was used to gin up interest in a film. Although those can be pretty interesting to read too - look for the script for Die Hard, the opening of which is subtly different from how the movie was shot.

In any case, I remember the "eureka" moment pretty clearly - I'd just gone through Act One of Spiderman, and made the connection, so I'd then gone looking for Batman Begins, to see if it held true. It felt like I was on to something, so I checked the notes I'd made for Amazing Spiderman (yes, I took copious notes while I was watching Amazing Spiderman - two and a half pages on a yellow legal pad, in fact). And eureka indeed - my first page of notes corresponded roughly to the first act, and to the point in the 2002 Spiderman movie where Tobey Maguire dons his own mask.

So the suggestion, then, is to both watch movies in your genre (taking notes), and then look for the shooting scripts online. Reading the script is helpful because you get less distracted by the fun on-screen, which is also important. And the best is if you can watch or read films/scripts from different movies that tell effectively the same story - remakes or reboots or reimaginings seem to be close to justifying their existence purely for budding filmmakers.

Now, that said, Act One and the transition to Act Two is about as far as I got in my research so far. I haven't entirely figured out how Acts Two and Three work yet, but when I do I'll be sure to post what I've found. But in the meantime, I'll be working my through the Fast and the Furious again - with notes...