There was a movie that premiered at Sundance back in 2010 called THE KILLER INSIDE ME starring a pretty good cast: Casey Affleck, Jessica Alba, and Kate Hudson. Well that movie was kinda notorious that year as when it was over and the lights came on and as usual the director appears on stage to take questions. It didn't go well. The first comment was one woman blurting out “disgusting” as she marched out.
And she wasn’t alone, the director Michael Winterbottom ended up taking numerous questions having to defend his movie’s portrayal of violence. If you’ve been to these director Q & A’s they are almost always a love fest with stupid questions and so superficial I can barely stand them.
See the reason for all the hubbub, Affleck’s misogynist sociopathic character deputy sheriff Lou Ford liked to use women as punching bags and this totally upset a lot of people. I said lighten up -- it’s a movie and people like that do exist in the world. We’re just such a sensitive society now… all of us are victims. I mean the TV sitcom of the 70s, ALL IN THE FAMILY, with bigoted Archie … could not be done today. Even though the show made fun of him and exposed him for what he was: the comedy today would offend. Too many people wouldn’t understand the complexity of the comedy (one of the first shows to take on real life social issues such as racism) as they’d spend too much time being victims. Anyway, back to our misogynist sociopathic script.
The script was actually reviewed back in 2003 by former SU Script Report Editor Stax and he had nothing but positivity and love for what was then a draft by Andrew Dominik. But how close that script is to the one John Curran ultimately gets credit for is unknown. I do know that the script is blamed by a lot of people as being the source of the problem for this movie -- which is unfair. However, it is interesting to note that Curran hasn’t as a writer had a produced credit since! The script had been around the block and more than once (numerous writers). The story is based on the novel by Jim Thompson and was made into a movie back in 1973 and it was (from my understanding) a bad movie.
Anyway, THE KILLER INSIDE ME (2010), I thought it was decent and the acting was spot on. I enjoyed the movie. I agree the scene where Affleck’s character beats the holy crap out of Jessica Alba’s character was intense. As for the script, working on getting a copy and if I do I’ll talk about it later. Cheers!
About the Author
I am a professional screenwriter with some years of experience, but I'm gonna say some shit on here that might piss some people off so I am the Mystery Screenwriter.
All of us creative types have things we're naturally good at, and things we've learned to do, and things we aren't that good at (yet). This creates a creative trap: when approaching a project, we often work on the part we understand best — the part that scares us least. So if you're good at plot, you write the plot first, and then fill in the characters later. If you're good at characters, you write up the characters and then feel your way towards a plot.
Everyone pursuing a screenwriting career will eventually realize this journey is not for the thin of skin or for those who cannot handle the emotional ups and downs this business brings. If you haven’t yet experienced the soul crushing disappointment of finally having written a script that goes into development, but it doesn’t make it to production and sits on a shelf, I don’t envy you. It’s happened to me a handful of times out of my nearly two dozen paid screenwriting assignments. Learn this early — there are no guarantees in the screenwriting game. You take your lumps, heal, and move on to the next screenplay and the next one.
I love Readers! Yes they are the gatekeepers to the Promised Land and like it or not they do have power. But just how much? Well, I’m here to show you. I got my hands on a classified document folks, the holy grail… An actual copy of a real STUDIO MEMO covering GUIDELINES for their READERS.
Scenes must have a reason to exist in your screenplay. Each scene must advance the plot forward through dialogue and/or visual storytelling. Characters’ journeys drive the script’s narrative, and each scene must steer their journey forward. Although some scenes might not even contain any characters, these scenes must still provide information about your plot, as well as your characters’ lives and actions. There is no set rule as to how many lines, paragraphs, or pages constitute a scene.
The following has nothing to do with wet t-shirts. This entry is actually about screenwriting contests - a subject with little marquee value. One of the most popular category of questions that I find in my e-mail box is about screenwriting contests. As I say over and over, I believe that most are a waste of energy and entry fee. Some - like the Nicholl and Disney Fellowships - are very reputable and have launched a few Hollywood careers. Regardless of how reputable any contest might be, the screening process for most seems tenuous. Low fees for contest readers and a bulk of scripts guarantees a sloppy vetting system.
"Lowtide" writer, director and producer Kevin McMullin has sold his short story "Bomb" and is tabbed to write the script for "low seven figures" and "Gladiator" director Ridley Scott is attached to Direct. According to reports, 20th Century beat out studios Apple, Netflix, Sony, and Warner Bros.
Books are the fastest and easiest way you can learn from an expert. In screenwriting, it’s no different. Some of the best screenwriters and those who have mastered the craft, have created countless books trying to encapsulate all they’ve learned in their work. If you’re a new screenwriter and looking to improve or simply to learn how to create better scripts, these three books will help you out.
Everybody has a perspective. Everybody in your scene has a reason. They have their own voice, their own identity, their own history… 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.
What is a successful second act? One that keeps the reader engaged, moves the story forward, and successfully delivers it into the falling action; that being the third act climax and the denouement. A bad screenplay has a second act that simply doesn't keep the narrative trajectory in place and thus the spine of the story sags; meaning rising tension and conflict is not taking place.