SOUL SEARCHING: Knight of Cups and Confirmation


First, a word from our sponsors: I am now offering a new service: so much emphasis has been given lately to the importance of the opening of your screenplay, I now offer coverage for the first twenty pages at the cost of $20.00.  For those who don’t want to have full coverage on their screenplay at this time, but want to know how well their script is working with the opening pages, this is perfect for you.  I’ll help you not lose the reader on page one. 
 
Ever wonder what a reader for a contest or agency thinks when he reads your screenplay?  Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013.  Only $2.99. http://ow.ly/xN31r
 
and check out my Script Consultation Services: http://ow.ly/HPxKE
Warning: SPOILERS
rev 1 Knight of Cups, the new film from art house fave writer/director Terence Malick, begins with some excerpts from John Bunyan’s The Pilgrim’s Progress, spoken, I believe, in the dulcet tones of Sir John Gielgud.  The Pilgrim’s Progress is an allegory about a man who is weighed down by his sin and must seek a path to righteousness, but he finds many dangers, toils and snares along the way. 
I suppose the allegory in that classic is supposed to also be an allegory for Rick, the central character in Malick’s drama, and his journey.  Rick is a screenwriter who basically just drifts from place to place, observing the world he encounters while avoiding screenwriting as much as possible.  It’s sort of like a movie by Federico Fellini, 8 ½ or La Dolce Vita, character studies of a men who are spiritually lost or have writer’s block, set against dwarfing architecture and a somewhat impressionistic view of the local’s lives.
I have to say I liked Knight of Cups, though I also have to say I’m surprised that I did.  In Malick’s last film To The Wonder, the filmmaker told an almost impossible to understand story, made almost impossible to understand because it was not told in chronological order.  And since you were spending so much time just trying to understand what was going on, it was difficult to become emotionally involved in the movie.  And it didn’t help that when you did figure it out, it was a pretty bland and banal story line.

Continue reading

ONE SIZE DOES NOT FIT ALL: Variations on structural engineering and storytelling when it comes to screenplays, PART THREE: SURREALISM, IMPRESSIONISM and OTHER DEPARTURES FROM REALITY


First, a word from our sponsors. Ever wonder what a reader for a contest or agency thinks when he reads your screenplay? Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r

 

pans labyrnthI have been writing a series of essays in the hope of directing screenwriters to films that use alternative ways of structuring or telling their stories. My goal is to try to open writers up to a wider array of ways to create their vision.
I mean, it really amazes me sometimes when I realize just what has been done out there over the years in screenwriting, what can and has been achieved.
And film is an incredible medium whose possibilities simply seem boundless.
But what drove me to write these essays is that in the last five or six years of reading screenplays for contests and a production company, I have found scripts to be fewer and farther between that really take chances; try to do something different; that have a unique vision.
Instead, for me, there has been an increasing sameness to what I’ve been coming across. Continue reading