Adirredology

Joss Whedon's Top 10 Writing Tips

FINISH IT: Actually finishing it is what I’m gonna put in as step one. You may laugh at this, but it’s true. I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it’s not perfect, even if you know you’re gonna have to go back into it, type to the end. You have to have a little closure.
STRUCTURE: Structure means knowing where you’re going; making sure you don’t meander about. Some great films have been made by meandering people, like Terrence Malick and Robert Altman, but it’s not as well done today and I don’t recommend it. I’m a structure nut. I actually make charts. Where are the jokes? The thrills? The romance? Who knows what, and when? You need these things to happen at the right times, and that’s what you build your structure around - the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don’t go in blind is useful.
HAVE SOMETHING TO SAY: This really should be number one. Even if you’re writing a Die Hard rip-off, have something to say about Die Hard rip-offs. The number of movies that are not about what they purport to be about is staggering. It’s rare, especially in genres, to find a movie with an idea and not just, ‘This’ll lead to many fine set-pieces’. The Island evolves into a car-chase movie, and the moments of joy are when they have clone moments and you say, ‘What does it feel like to be those guys?’
EVERYBODY HAS A REASON TO LIVE: Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. They have their own voice, their own identity, their own history. If anyone speaks in such a way that they’re just setting up the next person’s lines, then you don’t get dialogue - you get soundbites. Not everybody has to be funny; not everybody has to be cute; not everybody has to be delightful, and not everybody has to speak, but if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.
CUT WHAT YOU LOVE: Here’s one trick that I learned early on. If something isn’t working, if you have a story that you’ve built and it’s blocked and you can’t figure it out, take your favourite scene, or your very best idea or set-piece, and cut it. It’s brutal, but sometimes inevitable. That thing may find its way back in, but cutting it is usually an enormously freeing exercise.
LISTEN: When I’ve been hired as a script doctor, it’s usually because someone else can’t get it through to the next level. It’s true that writers are replaced when executives don’t know what else to do, and that’s terrible, but the fact of the matter is that for most of the screenplays I’ve worked on, I’ve been needed, whether or not I’ve been allowed to do anything good. Often someone’s just got locked, they’ve ossified, they’re so stuck in their heads that they can’t see the people around them. It’s very important to know when to stick to your guns, but it’s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.
TRACK THE AUDIENCE MOOD: You have one goal: to connect with your audience. Therefore, you must track what your audience is feeling at all times. One of the biggest problems I face when watching other people’s movies is I’ll say, ‘This part confuses me’, or whatever, and they’ll say, ‘What I’m intending to say is this’, and they’ll go on about their intentions. None of this has anything to do with my experience as an audience member. Think in terms of what audiences think. They go to the theatre, and they either notice that their butts are numb, or they don’t. If you’re doing your job right, they don’t. People think of studio test screenings as terrible, and that’s because a lot of studios are pretty stupid about it. They panic and re-shoot, or they go, ‘Gee, Brazil can’t have an unhappy ending,’ and that’s the horror story. But it can make a lot of sense.
WRITE LIKE A MOVIE: Write the movie as much as you can. If something is lush and extensive, you can describe it glowingly; if something isn’t that important, just get past it tersely. Let the read feel like the movie; it does a lot of the work for you, for the director, and for the executives who go, ‘What will this be like when we put it on its feet?’
DON’T LISTEN: Having given the advice about listening, I have to give the opposite advice, because ultimately the best work comes when somebody’s fucked the system; done the unexpected and let their own personal voice into the machine that is moviemaking. Choose your battles. You wouldn’t get Paul Thomas Anderson, or Wes Anderson, or any of these guys if all moviemaking was completely cookie-cutter. But the process drives you in that direction; it’s a homogenising process, and you have to fight that a bit. There was a point while we were making Firefly when I asked the network not to pick it up: they’d started talking about a different show.
DON’T SELL OUT: The first penny I ever earned, I saved. Then I made sure that I never had to take a job just because I needed to. I still needed jobs of course, but I was able to take ones that I loved. When I say that includes Waterworld, people scratch their heads, but it’s a wonderful idea for a movie. Anything can be good. Even Last Action Hero could’ve been good. There’s an idea somewhere in almost any movie: if you can find something that you love, then you can do it. If you can’t, it doesn’t matter how skilful you are: that’s called whoring.

areasofmyexpertise:

I mentioned this tumbl-essay on twitter last night, but I think it’s worth reposting in a more semi-permanent form.

As much as I love tumblr, it’s sometimes hard to track down who wrote the words, who provided the re-tumbl, and who made the animated gif (the three parts to any successful tumbl).

So as best I can tell, credit goes to theumbrellaseller for adding words to hemsworthss’s moving images, and that it came to my attention via ashleeta.

But I concur with all of them: the comparative $1 worth of good writing and acting in the talkin’ quadrants of the gif make the $100,000 and <30 seconds of CGI in the action quadrant actually meaningful, and suddenly NOT a total waste of time and money.

theumbrellaseller:

hemsworthss:

science bros.

There are no words to describe my feelings about this relationship. But I’m going to try.

First of all, their parallels. Both geniuses, top of their field. Both suffered an accident that physically changed them, forever, and not in a wholesome Spider-Man kind of way. Both try to do what they can to help others despite their own issues; Banner heals people, Tony works on developing clean energy. And both struggle, in their own way, with duality; Tony and Iron Man, Bruce and the Hulk. Two identities, one body. Only difference is Iron Man’s bad side is Tony.

I mentioned somewhere that Tony sees a bit of himself in Banner because they both have a monster inside them that they can’t control, a creature that springs fully formed from the id, the base impulses and the nasty stuff at the back of the mind. Bruce’s is a giant green rage monster. Tony’s trashed a party in Iron Man 2. Banner has a control over his that Tony hasn’t quite achieved yet; don’t think I didn’t notice Tony pouring himself a whiskey when confronting Loki. Tony is envious, fascinated, and most of all, impressed by Bruce’s control.

So he doesn’t walk on eggshells around Bruce like the others, because that’s not what Bruce needs. Tony sees Bruce’s restraint, sees the quiet, brilliant man making self-deprecating jokes in the corner of the room, sees the way people look at him like he’s going to snap any second, and thinks “nope”. Tony does what no-one else aboard that Helicarrier does. He trusts him. He makes jokes and jabs him and teases him and above all, treats him exactly how he would treat anyone else— he has a great regard for Bruce’s brilliance, and tells him so, but he doesn’t try to ignore the Hulk in the room. When he says “wow, you’ve really got a handle on this, haven’t you?” he’s not saying “gosh, it’s incredible you haven’t snapped yet and killed everyone on board” he’s saying “I know you have a handle on this, you wouldn’t be here if you didn’t, so I’m gonna poke you with this sharp object to prove it”. And you can see Bruce relax, and smile, and trust him back.

But then Tony goes even further, and invites Bruce to come to his R&D department. I’m pretty sure the two of them drive off together in Tony’s car at the end of the movie to do just that. And, okay, sure, Bruce is smart, but Tony’s tech is his baby. How many people get invitations to come and see his work? He invites Bruce because he recognises his brilliance, yes, but there’s another reason. He’s inviting Bruce to come down and work with him after this is over. He’s giving Bruce something to do next, a purpose, an alternative to disappearing into the ether to be alone with his monster. Tony knows from experience that being alone with your issues doesn’t end well, so for what’s only the third time in his life he extends the hand of friendship to a guy he’s known barely an hour.

And then, he tells Bruce to let the beast loose. Not just because they need him to fight, but because it will help him. If Bruce can take this thing that he sees as a curse and turn it into a gift, well, that’s going to lift him out of a very dark place. I’m not saying Tony knew about Bruce’s attempted suicide, but I think he had a suspicion that Bruce had been, in his words, “low”. So he encourages Bruce to take all that crap and pain and the Other Guy and use him to help people; after all, that’s what he did.

And it pays off. Nobody— nobody— thinks Bruce is going to turn up for that final battle. You can see the look on Natasha and Steve’s faces when Tony asks if Bruce turned up yet. They’ve counted Bruce out. Guy’s a mess, right? He’s too volatile. Doesn’t play well with others. He could never work as part of a team. No-one thinks he’ll come through when it matters. Except Tony. He has faith in him, and that faith is rewarded. It’s no wonder the Hulk is the one to catch Tony. Tony’s the one who helped let him out. He’s just returning the favor.