#19 - What Moves You
Edition #19 of the Lighthouse miniLetter!
You'll always get:
Three examples of great screenwriting
Two quotes about storytelling
One thing to think about
Plus some fun links at the bottom.
Three examples of great screenwriting
Hacks (Pilot)
Written by Lucia Aniello, Paul W. Downs, Jen Statsky
It’s such a bold move to call direct attention to how funny something is in a comedy. To me, this is the equivalent of Babe Ruth calling his shot. You only get away with it if you hit the home run. (Which I think Hacks does.)
Bonnie & Clyde
Written by David Newman & Robert Benton
I love this segment from the first page of the screenplay. The paragraph in parentheses defines the relationship we’ll see throughout the rest of the film. It’s not visual, but it’s imperative for the actors and for the readers in order to contextualize all of their following interactions.
Margot
Written by Claire Thomas
So many strong choices here. The fact that the dual dialogue has one character yelling in all caps and the other includes a parenthetical displays such a confidence. Nancy's introduction is equally strong.
But what I really really like is the use of props here.
Seethes into her cigarette, types into her Blackberry, sips her diet coke.
Great visual specificity, but also gives the actors something to use to externalize their emotions and feelings.
You can tell this was written by someone who’s directed. Just lovely work.
Two quotes about screenwriting
“I think being attracted to mistakes is one of the things that film can capture in a way that theater can’t. Film can capture a moment of spontaneous life that will never be captured again.”
“If you want a happy ending, that depends, of course, on where you stop the story.”
One thing to think about
Are you writing what moves you?
Or are you skirting around the edges of the emotions and themes that really make your heart beat faster?
Many people can arrange words into sentences and construct a coherent plot. But the magic – the real, visceral, gut-wrenching magic – happens when you pour your heart into those pages. If your own script doesn’t move you, doesn’t make you feel something, then why should it stir anything in your audience?
When you bare your soul and write a script that resonates with you, it pulses with authenticity. That's what captivates an audience, makes them lean forward in their seats.
Dig deep. What excites you? Frightens you? Breaks your heart? What's that one story you've been itching to tell but have hesitated, fearing it's too personal, too emotional, too bold? Those are the narratives you should write.
It’s scary to write something that shakes you. But the audience is smart. They can tell when you're merely scratching the surface or diving into the depths.
Are you writing what moves you?
Have a great draft,
David Wappel
PS Don’t Miss
Why SAG-AFTRA’s joining the fight, in their own words
Found this wonderfully detailed review of every track of Hans Zimmer's score for M:I 2
Not to make it all about me, but I’ve had this little nut for exactly a year now