Fan Mail: Yes indeed, folks, this is the one hundredth Understanding Screenwriting column. Since it is a virtual column, we are celebrating with a virtual party. Step over to the virtual table and have a piece of the virtual cake. Didn’t the decorator do a great job recreating my picture from US#99 of the Cattle Pocket in the Alabama Hills? At the other end of the table is the virtual popcorn. You will need a real hand wipe to clean the butter off your hands. In the virtual ice chest, you will find virtual Diet Cherry Coke and virtual Diet Cherry Dr. Pepper. Enjoy, enjoy.
Keith asked me a while ago if I wanted to stop the column at 100, a nice round number. I told him I was having way too much fun doing it. I intend to keep on doing it until, to use a line of my brother’s, it starts interfering with my naps.
In the Fan Mail category, “Lylebot” picked up on the comments “eyesprocket” had that I responded to about learning how to understand screenwriting from this column. Lylebot notes that he is not a would-be screenwriter (he obviously doesn’t live in LA), but a scientist and just interested in learning in general about screenwriting. I always liked to have non-film majors in my classes at LACC because they brought interesting points of view. I can see why Lylebot doesn’t have a great interest in the technical stuff, or my whacking the screenwriting gurus. He’s interested in the process of writing, and I think he and I can agree that you can learn a lot about writing in general from screenwriting, especially in they area of structure. He notices that in the item on Bourne Legacy I mention screenwriting only in talking about the new character in one paragraph, but then talk about other things. I may have misled him, because in my comments in the Fan Mail section I suggested that in the Legacy item that would be one element you could find. This is why I never told my students in advance “Here are the five important things you should learn from Citizen Kane.” If I did that, those five things were the only things they would find. Most of the other stuff in the Legacy item has to do with how the screenwriting is carried through in the production of the film.
Lylebot brings up a crucial point, one that anybody writing about screenwriting has to deal with: how much description of the plot and the characters do you have to give? I wrestled with this in the book Understanding Screenwriting and I wrestle with it on every item in the column. And sometimes I lose the wrestling match, and there is way more description than I need, but I try to keep cutting stuff to just the essentials the reader needs to understand what I am getting at. I am sure Lylebot sometimes runs into that in scientific writing as well. Lylebot is also right that sometimes I shortchange the analysis, which is especially noticeable if I have over-described. It’s a constant struggle. But one worth having, at least from my perspective.
Tom Block commented on his trip to Lone Pine, pointing out there are a lot of film locations in the area, not just the ones I mentioned. He also had a link to his blog so you can see his pictures of what he did there on his summer vacation.
And David Ehrenstein and I agreed, for the fourth time in recent weeks, on something. The sound you hear is hell freezing over.
Ruby Sparks (2012. Written by Zoe Kazan. 104 minutes)
She’s no Eliza Doolittle: Calvin is a thirtyish writer who had a big success with a novel he wrote in high school. And he has not been able to write another one. Oh, boy, those are danger signs all over place. Watching writers write is boring. Watching them not write is even more boring. And he goes to a shrink, so we are going to have some more boring scenes in which they talk about it. Fortunately Kazan understands the problems and avoids most of them. The exposition we get about Calvin comes very quickly. We also see he is socially inept, because he cannot even score with a young woman at a book reading who is dying to do him. And it is the shrink who suggests that Calvin just sit down and write something, anything, to get the words going. That’s a standard piece of advice to writers who have writer’s block, by the way, since it gives you permission to turn off the critical side of your brain, at least for a while.
So Calvin starts writing (on a typewriter, no less; well, maybe it’s his lucky typewriter, although with ten years since his last novel, I would think not so lucky) and on the page creates Ruby. And she comes to life. We and others in the film assume she is just a figment of Calvin’s imagination, and Kazan has some witty ways to teach us all that Ruby is real. Shortly after the halfway point, Calvin takes Ruby to a family gathering to meet his hippie parents, and the picture begins to go off the rails. Ruby is much more outgoing than Calvin and fits in better with his family than he does. But Kazan doesn’t develop that idea. Nor does she have Ruby turn into an independent woman on her own. She’s not threatening to run off with Freddy Eynsford-Hill. One can be glad that Kazan doesn’t follow the standard pattern in Pygmalion stories, but she does not replace it with much. Calvin gets upset that Ruby only does what he wants, or what he writes. This gives us a dramatic scene where Calvin writes Ruby happy, which she becomes, then sad, which she becomes, etc. Kazan is also an actress and plays Ruby, and I suspect this scene is what made her want to write the story this way. The scene is a real actor’s showcase, but as with many such scenes, it takes us out of the story. Kazan could have developed this better.
Eventually Calvin and “his” Ruby break up, he writes the story in a novel, which is a big bestseller. And then he runs into a woman who looks exactly like Ruby. Well, she’s also played by Kazan. And she seems to be exactly like Ruby, which is a very weak ending. If Calvin learned anything from this experience, it ought to have been that he could deal with a real woman. It would not have taken more than a couple of lines to establish this new woman as completely different from Ruby. It might have made for a better film is this final scene happened a little earlier and we got to watch Calvin deal with the new woman.