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This Is 40 (#110 of 2)

Understanding Screenwriting #113: The Bling Ring, The Heat, White House Down, Monsters University, & Unfaithfully Yours

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Understanding Screenwriting #113: <em>The Bling Ring</em>, <em>The Heat</em>, <em>White House Down</em>, <em>Monsters University</em>, & <em>Unfaithfully Yours</em>
Understanding Screenwriting #113: <em>The Bling Ring</em>, <em>The Heat</em>, <em>White House Down</em>, <em>Monsters University</em>, & <em>Unfaithfully Yours</em>

Coming Up In This Column: The Bling Ring, The Heat, White House Down, Monsters University, Unfaithfully Yours, but first…

Moving on: This is going to be my last Understanding Screenwriting column for The House Next Door. Don’t worry, it’s not going away for good, just moving to a new location. Earlier this year, I got an announcement from Erik Bauer, founder, publisher, and editor of Creative Screenwriting magazine. In addition to writing for the magazine, I was on the editorial board from 1994 to 2008, when the board was dissolved. Erik had sold the magazine and the Creative Screenwriting empire (website, screenwriting expo, etc.) to another man in 2007. Unfortunately, the recession came along the next year, and the magazine closed down in 2011. This spring Erik had what he called a “once-in-a-lifetime opportunity” to buy back the Creative Screenwriting empire, and his announcement said that he’s intending to revive the magazine, beginning in 2014. In the meantime, he’s reviving the Creative Screenwriting website in August, and my Understanding Screenwriting column will be moving to it then. The new address will be, and he hopes to have the new website up the first week in August. I trust you will all come and visit and leave the kind of intelligent comments you’ve spoiled me with for the last five years. And I must finish my work here at the House with a great big “thank you” to both Keith and Ed for their support over the years.

Fan Mail: “shazwagon” raised the question in regard to the close-up of Jesse at the end of the opening scene in Before Midnight: “How do you know that it was the writer’s decision to show the close-up later?” That’s an easy case; since both the actor involved and the director were also the writers, we can pretty much be sure it came from them. In other cases, it can be a tricky question. Generally writers will make an effort to write in reactions for the characters (but not camera directions, since directors pay no attention at all to writers’ suggestions in that area). If, as in the close-up in Before Midnight, the reaction is related to everything else going on in the scene (here the counterpoint to the dramatic action with Jesse and Henry), then it almost certainly comes from the writers. If actors and directors in general are at the top of their form, you feel that the moment is happening now right in front of your eyes. Look at Jeff’s (James Stewart) reaction to the itch in an early scene in Rear Window. It seems the camera just happened to catch him when the itch did. Not so; it’s all laid out in John Michael Hayes’s great script.

David Ehrenstein is back to disagreeing with me and all’s right with the world. He thought Behind the Candelabra was better than I did. He especially liked the performances by Matt Damon and Michael Douglas. I liked the performances, but felt the script didn’t give them as much to work with as it could have.

The Bling Ring (2013; written by Sofia Coppola; based on the Vanity Fair article “The Suspects Wore Louboutins” by Nancy Jo Sales; 90 minutes.)

Sofia Coppola, meet W.E. Burnett and John Huston. You may remember that, in US#68, I found Coppola’s Somewhere very disappointing, but I also said we shouldn’t give up on Coppola. The Bling Ring shows why, and it’s one of her best films yet. Never give up on talent. Here Coppola’s minimalist style, which was a little too minimalist in Somewhere, is perfect for the subject.

Understanding Screenwriting #106: Zero Dark Thirty, This Is 40, Margin Call, & More

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Understanding Screenwriting #106: Zero Dark Thirty, This Is 40, Margin Call, & More
Understanding Screenwriting #106: Zero Dark Thirty, This Is 40, Margin Call, & More

Coming Up In This Column: Zero Dark Thirty, This Is 40, Margin Call, Red State, New Year’s Eve, Prince Valiant (1997), Vegas, but first…

Fan Mail: First, a couple of follow-up items about Argo, which I wrote about in US#103. I had admired the scene near the end where they show what happened to the maid. An article in the Los Angeles Times tells us that that scene was written and shot after the first test screenings of the film, since the audiences wanted to know what happened to her. Sometimes the audience tells you what it needs to have. (Another item in that same article deals with Moon Bloodgood’s marvelous performance in The Sessions, which I admired, also in US#103.)

It has also come out in the publicity for Argo that Chris Terrio’s first drafts of the script told the story more as a comedy romp. When Ben Affleck came on the film as the director, he suggested that if they start with the Iranian Revolution, it would set a serious tone which would provide a little more heft to the film and which the comedy could play off of. I know it goes against everything I preach in this column, but sometimes directors can actually make a serious contribution to a film.

And now on to the Fan Mail for US#105, of which there was a bunch, including one comment that got me in one of my occasional errors. The big dispute in the fan mail was between David Ehrenstein and “tkern.” David gave us some backstory on the actors in Amour, but tkern felt we should not have to know any “gossip” about the actors for the film to work. I am not sure that was exactly what David was proposing, and I agree with tkern that we shouldn’t need to know the actors’ private lives for the film to work. I don’t think you need to in Amour. I did not mention in my item that I thought both Trintignant and especially Riva gave brilliant performances. Even though I have seen them both before over the last 60 years, I think the performances stand on their own. If the script had been better, their performances would have also been better, although I am not sure if Riva’s could be better.

I will share with you a couple of revelations about gossip about stars that changed my life completely, and definitely for the better. Several years ago, I had the minor revelation that there were a lot of British performers whose work I liked but about whose private lives I knew nothing. The major revelation is…I didn’t care. I realized I did not need to know about their private lives to enjoy their work. Since then I have avoided, as much as possible in Los Angeles (and more on that later), reading and watching and learning about the private lives of the stars. I cannot tell you how much time that has saved me. Try it; you’ll see.

David thought I was asking for more backstory about the couple in Amour, but I wasn’t. I just wanted more detail about the way they live now. And I agree with David that Nunnally Johnson is a great screenwriter and that his 1964 film The World of Henry Orient is one of his best scripts. Even if, unlike David, you did not grow up in New York.

“lproyect” was gobsmacked to discover that Dr. Strangelove (1964) was as controversial in its day (actually more so) than Django Unchained. Yes, it is a classic now, and one of Kubrick’s best, but then its comic attitude toward nuclear war and the military upset a lot of people. There had been service comedies before, but nothing as ruthless as Strangelove. Keep in mind it came out in the middle of the Cold War, less than two years after the Cuban Missile Crisis. Speaking of Strangelove, the Los Angeles County Museum of Art currently has a large exhibition of Kubrick’s stuff, and for me the jewel in the crown were production stills from the food fight in the War Room that was the original ending of the film. But I still think Kubrick missed a beat when he did not have the lyrics of “We’ll Meet Again” printed along the bottom of the screen with a bouncing ball so we could all sing along.

Ah, yes, the error. Arthur Seaton asked about where I got the information that William Boyd was writing the next two James Bond movies. I thought I had got it from the IMDb, but it’s not there, and I cannot find it anywhere else. It may have been one of those things on the Internet that comes and goes quickly. However, in searching for it now I found his website and this article in the Los Angeles Times both of which mention he is writing the next James Bond novel.

And now that we have the housekeeping details cleaned up, it is time for The Main Event…

Zero Dark Thirty (2012. Written by Mark Boal. 157 minutes.)

Hey, folks, we’re making a movie here: When this movie was in production, the American Right thundered that it was being made by Godless liberal communists in Hollywood financed by the Democratic National Committee as a propaganda piece to re-elect that Kenyan who usurped the office of President of the United States. As in many, many areas, the Right was completely wrong.