Kiss, Kiss, Bang, Bang (2005)
A.W.O.L. (1999/I)
Lethal Weapon 4 (1998)
Long Kiss Goodnight, The (1996)
Last Action Hero (1993)
Lethal Weapon 3 (1992)
Last Boy Scout, The (1991)
Lethal Weapon 2 (1989)
Monster Squad, The (1987)
Lethal Weapon (1987)
Known to eschew Hollywood power restaurants, preferring a dinner of pizza followed by ice cream bars, Shane Black has nevertheless become one of the highest-paid screenwriters in motion picture history, particularly specializing in the action-adventure genre. Originally intending to become an actor while at UCLA, Black was encouraged to try his hand at scriptwriting by a long-time friend, director Fred Dekker. At age 24, he wrote a screenplay which won him an agent and several meetings at studios, but instead of purchasing his script, the moguls wanted to give him assignments instead. Determined to see his original work produced, Black wrote "Lethal Weapon", a cop-buddy story about the partnering of a cop about to short his last fuse and a cop on the brink of retirement. Black was paid $250,000 for his script. When it was released in 1987, starring Mel Gibson and Danny Glover, "Lethal Weapon" grossed more than $100 million. Black wrote a script for "Lethal Weapon II" in which he had Gibson's character die. When Warner Brothers insisted Gibson live (for additional sequels), Black departed the project, but still shared screenplay credit. He was not involved with "Lethal Weapon III", although it was based on his characters.
In 1990, Black sold his screenplay for "The Last Boy Scout" for a then precedent-setting $1.75 million. The film was released the next year and was a disappointment at the box office, but did not harm Black's reputation. He received more than $1 million for his rewrites on "The Last Action Hero" (1993), and shared screenplay credit. Black again rocked the halls of the Writers Guild in July 1994 when he received $4 million for his spec script, "The Long Kiss Goodnight". Another action-adventure, "The Long Kiss Goodnight" was a departure for Black in that its central character is an amnesiac woman who learns she once worked as an assassin.
In addition to his prolific screenwriting--Black is much sought after for rewriting assignments--he has occasionally been able to play bit parts in movies, satisfying his original goal. He talked producer Joel Silver into giving him a small part in "Predator" (1987) as part of the "Lethal Weapon" deal, and has also appeared in his brother Terry Black's "Dead Heat" (1988), and "Robocop 3" (1993).
Milestones:
1986 Sold "Lethal Weapon" screenplay written on speculation for $250,000 (film released 1987)
1987 Made acting debut with bit in "Predator"
1988 Walked off "Lethal Weapon II" project when not allowed to kill off Mel Gibson character
1991 "The Last Boy Scout," for which Black was paid a then-precedent setting $1.75 million, released; also executive producer
1993 Did rewrite on "Last Action Hero;" shared final screenplay credit
1994 Sold spec script "The Long Kiss Goodnight" for then-record $4 million
Notes:
"I don't need the beautiful girl on my arm and the fancy car and the best restaurant. You could make a lifetime out of just trying to maintain your status as a cool guy. What I care about is the work." --Shane Black in LOS ANGELES TIMES MAGAZINE, August 19, 1990
About what he does: "It's not brain surgery." --quoted in THE NEW YORK TIMES, July 25, 1994
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.