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 www.creativescreenwriting.com, 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.