Secret Life of Walter Mitty, The (2005)
In Search of Ted Demme (2004) (announced)
Monster-in-Law (2005) (post-production)
Beloved (1998) (screenplay)
Living Out Loud (1998)
Horse Whisperer, The (1998)
Mirror Has Two Faces, The (1996)
Unstrung Heroes (1995)
Bridges of Madison County, The (1995)
Little Princess, A (1995)
Ref, The (1994)
Fisher King, The (1991)
Rude Awakening (1989)
Richard LaGravenese has enjoyed an exemplary fast track screenwriting career in Hollywood. His second produced screenplay, "The Fisher King" (1991), garnered an Oscar nomination for Best Original Screenplay and afforded director Terry Gilliam a solid critical and commercial success. LaGravenese served as producer on "The Ref" (1994), the third film to spring from his script, while his next three efforts, "A Little Princess", "Unstrung Heroes" and "The Bridges of Madison County" (all 1995), won him widespread critical acclaim.
Before finding his true vocation, LaGravenese studied acting and experimental theater at New York University. He went on to try his hand on the nightclub circuit as half of a short-lived comedy team. In addition to holding down such jobs as bartender and street vendor, the struggling actor helped make ends meet by writing monologues for other thespians. He segued to films as a co-writer on the mild social comedy "Rude Awakening" (1989).
LaGravenese received extraordinary notices for his adaptation of Robert James Waller's amazingly popular novel, "The Bridges of Madison County". Most reviewers derided the merits of the source material while marveling at the transformation wrought by the screenwriter and by director Clint Eastwood. LaGravenese trimmed much of the literary and philosophical fat away from the tale to create a lean and satisfying love story. He shrewdly shifted the focus to the female character Francesca (Meryl Streep) and humanized her mythic lover Robert Kincaid (Eastwood). The story also benefited from an expanded framing device in which the grown-up children learn of their ostensibly staid mother's brief infidelity many years before. Finally, LaGravenese added some characters to flesh out the story's themes while, at Eastwood's insistence, retaining enough of the original fulsome dialogue to satisfy the novel's fans.
That same year, LaGravenese provided the script for the comedy/drama "Unstrung Heroes". The story of a 12-year-old who runs away to live with his eccentric uncles when his mother takes ill, the film (directed by Diane Keaton) was an intelligent and quiet look at a family in disarray; only the over-the-top performances of some of the cast deflected from the script. He also co-scripted (with Elizabeth Chandler) the critically acclaimed adaptation of Frances Hodgson Burnett's "A Little Princess".
NOTES:
1989 Screenwriting debut, co-wrote "Rude Awakening", a comedy about the culture clash between 1960s counterculture and 80s materialism
1991 First solo screenwriting credit (an career breakthrough), Terry Gilliam's "The Fisher King"; also acted
While under contract to Disney, began working on "A Little Princess", an adaptation of Frances Hodgson Burnett's children's book
Collaborated with his sister-in-law Marie Weiss in transforming her story into the screenplay for "The Ref"; Disney had asked him to "guarantee" the script of the first-time writer
Producing debut, "The Ref" (also co-scripted and appeared in a cameo)
1994 Invited by Steven Spielberg and Kathleen Kennedy to try his hand at adapting James Waller's bestseller "The Bridges of Madison County"
1998 Feature directorial debut with "Living Out Loud"
2000 At request of star Julia Roberts, did uncredited rewrite work on "Erin Brockovich"
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.