#54 - Supporting Antagonists
Edition #54 of the Lighthouse miniLetter!
You'll always get:
Three examples of great screenwriting
Two quotes about storytelling
One thing to think about
Three examples of great screenwriting
Insatiable
Written by Lauren Gussis
I particularly like how Bob is almost always referred to by his entire character name. Bob Armstrong in action, and Bob Armstrong over his character dialogue.
It’s a small detail, and obviously takes up space, but the cumulative effect over the whole script is worth it.
All About Eve
Written by Joseph L. Mankiewicz, Mary Orr
Lovely way to direct our eye, and introduce the character through their hands. The transition is even smoother coming out of the dialogue that explicitly references her hands.
Exits
Written by Lucas McNelly
This entire scene spans a few pages and is really great. I’ve pulled out these three beats because I think McNelly is doing some deft work with how and when he chooses to reveal information.
First we get Arnold’s intro, which transitions directly into Tom (previously established as a 20 something.)
We get a few details about Arnold and his life: Upper Middle Class neighborhood, nice suit and briefcase.
But honestly, not too many details. This is important.
Here’s where the scene opens up. “I think I killed a cop.”
It’s big, right? And Arnold’s reaction is appropriate, and we might have the same one.
Here’s the master stroke. “Hi, Carol. It’s Judge Cowens.”
This guy is a judge!?
Now we start to get the full picture. Unlike the previous beat, in which our reaction and Arnold’s reaction are relatively in line, this is underplayed (because nobody in the film is surprised at this) but we are, and this feels huge.
There’s a reason McNelly was specific enough to paint a picture of Arnold, but vague in the details of who he was. This is where it all comes together. Really great writing
This script is one of many great scripts on The Grey List, which I encourage you to check out!
Two quotes about screenwriting
“A big budget will buy you extras, it will maybe buy you a little more time, although it didn’t on this one, but it won’t buy you performances.”
“Once is happenstance. Twice is coincidence. Three times is enemy action.”
One thing to think about
Does everyone have agency?
It’s essential in (nearly) every story that your protagonist has agency, and uses that agency proactively.
It’s the number one note we all get as beginners. “Your protagonist is too passive.”
As you continue to grow in your craft, and get the whole proactive protagonist thing down, think about ways to make your supporting characters proactive too.
A bold choice from an ally may end up creating an unintended obstacle for your protagonist.
It can become an additional source of conflict because not only does your protagonist have to deal with the obstacle, but they also must deal with the interpersonal conflict in that supporting relationship.
Put your supporting characters in pickles, and let their choices and reactions affect the protagonist.
Sometimes the toughest conflict isn’t from the opposing team, but from the teammate who won’t pass you the ball.
Does everyone have agency?
The Grey List
For the entire month of March, the Lighthouse miniLetter will be proudly sharing excerpts from scripts on The Grey List!
The Grey List is an annual curated list of industry-ready pilot and feature scripts from writers over the age of 40.
Its goal is to push back on ageism in the entertainment industry by spotlighting amazing stories and the writers telling them - proving that creativity and talent truly have no expiration date.
Whether you're a writer looking to explore new worlds, a producer looking for your next project, or a manager hunting for that next star client, you'll find something to catch your eye on The Grey List.