Essay: Good On Paper « Making the Movie

16Sep/060

Essay: Good On Paper

I second the frustration William at [this savage art…] feels when a movie doesn't live up to it's concept. I get a lot of flack for saying adored movies like Panic Room and Little Miss Sunshine fail on that level.

My main interest has always been in storytelling, and when it comes down to it, that goes to the screenplay. There are a lot of decisions a director can make that can harm or enhance the story. But unless they are completely re-writing the script, the basic plot and conception of the movie is the work of the screenwriter.

I wish movie reviewers would take that into account. Often a screenwriter will get praised for dialogue. That's fine, but -- as being on set for Bunker Hill has confirmed -- dialogue is more susceptible to the tweakings of the actors and directors. The motivations of the characters -- why they take the actions they take -- and the rules of the world around them -- what is possible and not possible -- go right back to the script. When you see a movie that has inconsistencies in this regard, you have to wonder: did no one read the script closely? These are problems that should be fixed before a movie is greenlit.

Part of the problem with Hollywood movies is that the decision to make them rests too much on commercial factors -- a certain actor's availability at a certain time, the need to exploit a story before the option runs out -- rather than on the story. While you'd be insane as a producer to ignore commercial considerations; I think it's also insane to rush a sucky script into production. But then there's movies like Fantastic Four and Red Eye laughing in my face.

Still, if you are an indie filmmaker, I implore you to take that advantage over Hollywood. They have money, but we have time. We can wait until the story is good and ready. And then, like snakes upon an aircraft, we shall strike at their nether regions.