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To Genre or Not To Genre? Typecasting the Julius Ayodeji Trent University UK

Abstract: positive reframing of typecasting for the screenwriter. Typecast verb “and don’t worry about being 1. assign (an or actress) typecast until you’ve gotten a movie repeatedly to the same type of role, as a made” result of the appropriateness of their , (Go, , appearance or previous success in such Charlie’s Angels) John August. roles. (2007) "he tends to be typecast as the caring, intelligent male" Keywords: Storytelling, Authorship, Typecasting, 2. represent or regard (a person or their Characterisation, Psychology role) as fitting a particular stereotype. Introduction Typecasting in the world is an In his introduction to Augusto Boal’s seminal expression typically applied to the actor. book Games for and non-actors This paper will discuss how typecasting translator Adrian Jackson describes for the screenwriter should be seen as a participants in Image Theatre creating a positive shorthand enthusiasm for the series of stills. These groups then suggest titles or themes, before going on to “’sculpt work from that screenwriter that has three-dimensional images under these titles” resonated. (Boal, xix). The psychology of the narrative As a writer for screen and stage myself this surrounding typecasting is ordinarily one idea is analogous of the transition from the as something that should be resisted “if script to screen or page to stage. The thesis you don’t want to be typecast, then you of this paper and the focus of a book being need to fight it every step of the way and developed by its author is that there are a lot never give up.” (Cooper, B. 2013) of parallels between the actor and the Whereas it should really be seen as an screenwriter. The way both professionals advantage, as something that gets the utilise craft, for example the employment of emotional intelligence when developing a screenwriter the job. “It’s a type of psychological approach to character “typecasting” that is actually great” development, spatial awareness and (Miyamoto, K. 2011) physical embodiment of character are Genre is a shorthand method of parallels drawn by the author of this paper in communicating with your audience and the book. The specific focus of this paper is to be typecast as an ‘action’ writer, or typecasting. In this instance though the ‘comedy’ writer is what has led to the approach is that unlike the negative attitude incorporation of the ‘polish’ to typecasting often associated with acting, typically associated, often negatively, typecasting for the writer is a good thing and with Hollywood big budget productions. a testament to the writer’s craft, skill and thematic concerns and not something that The script doctor is no recent needs to be fought “every step of the way.” phenomenon. By investigating selected (Cooper, B. 2013) and through analysis of their thematic concerns, psychological Screenwriter tutor James Ryan describes a interests and career performance realisation he came to, which was that many trajectory, this paper will argue for a of his students didn’t understand “how to create complex and specific characters.” Online magazine www.scriptmag.comi has a (Ryan, 2000, Introduction, 7) The reason for section on the site devoted to marketing and this “lack of dramatic skills was that none of branding as a screenwriter. The text that these students had ever studied acting.” kicks off this section of the website reads (Ryan, 2000, Introduction, 7) To further the analogy with the acting “Knowing how to market yourself as a writer profession the parallel with casting actors is and create a personal brand is essential to going to be briefly examined. Bernie Telsey, bringing exposure to your work and self. It founder of Telsey + company a takes more than a agent to casting office, stated “Our job is to try to get get your work noticed. You need to be your inside the imagination and inside the brain of own agent and own PR company to the people we’re casting for.” (Grant, 2016) promote your screenplays.” Switch casting for writing and you have one (www.scriptmag.com, 2017) of the key jobs of the screenwriter, where writing for should be seen as the immediate In an interview with Podcaster Ashley Scott audience and the exhibition audience. The Myers, producer Dallas Sonnier had the screenplay is both a literary document and a following to say on how he chooses technical template (Ayodeji, 2012) and as to work with such has to turn ideas into sentences ready for turning into visual expressions of those And try to give yourself a reason to be more original ideas. valuable that just a writer. What’s the angle, When discussing the casting of Anonymous what’s your bio that’s. What’s the part of your bio that’s interesting. Where you a Marine. (sic). Contents’ Mr Robot, a TV series that You know, did you grow-up in a foreign premieres on USA Network, casting director country? What’s your life’s story, that’s going to Susie Farris said “That’s part of the reason help you? Did you lose a family member early we end up doing what we do, you just have on and it’s really affected your writing? All kinds a sensibility and you can instinctually feel of stuff, there’s all different ways. But, you got to when you have the right one” (Mancuso, have a way to pitch it, you got to have a way in. 2016) (Scott Myers, 2017) In similar ways as other key above the line talent in filmmaking, screenwriters have Sonnier went on to discuss how producers agents and managers. Screenwriter pick projects “In world, you Stephen Rebello states “Most writers don’t have to pick your lane. You got to pick your have the sort of nature that lends itself to lane and move your niche right?” (Scott self-promotion. Today’s writers and agents Myers, 2017). The same sentiment can be are teaching writers how to be better self- argued for how screenwriters should see promoters; and that’s making a major typecasting. decision in why some scripts sell”. The adaptation focus of Hollywood, defined Frensham (2008, 275). The auditioning broadly as an approach that goes someway process as understood for actors isn’t to mitigating financial risk, focusing on something that writers will formally do. As projects with some level of existing pre- Directors of Photography, composers, awareness or some sense of an established production designers will do, it is common audience. This might be through the that the screenwriter will take meetings to adaptation of a novel or the prequel/sequel get a feel for the project and its participants. spin-off from a previously released film. The Whilst this isn’t as formal as the audition is multiple rewrites, script doctor, script polish for actors, the role of agents and managers culture that underpins mid to high level for screenwriters has some similarities to Hollywood filmmaking couldn’t exist without how an agent will often have to act for the the idea of the writer being typecast. There actor they represent, in that they will often are those writers who are seen as being have to soft pitch that writer to that good with family issues, those good with producer/studio in order to attach the writer dialogue, those good with comedy, etc, etc. to the project. As such career management, Playwright and screenwriter through agents, managers, PR in an interview with journalist Mark Lawson representatives require the writer to pay from 2010 described script-doctoring work attention to this aspect of the industry. on Hollywood . “The second reason for doing it is that you get to work with people people you are pitching to, at least in you admire. The first reason, of course, is Hollywood, never have enough time. You’ve that it's overpaid.” (Lawson, 2010) A number really got 10 minutes to sell something” of obituariesii for discussed her (Anonymous, 2013). Sure that’s a long time script doctor work as well as her credited to be in an elevator but hopefully you get the screenplays and acting roles. idea that either rehearsing your story, or The Hollywood studio system in its golden even better having conviction about the type era, typically seen as 1925-1948, of writer you are and the type of stories you systemized this multiple writers approach. It wish to tell would be useful when soft- was typical for multiple screenwriters to be pitching in the mythical elevator. working on the same project, often at the same time, unaware that alternative drafts The Writer naturally concentrates on the were being produced contemporaneously. creative work, spends hundreds of hours writing The overtly political writer, as exemplified by a script, but almost none on marketing themselves. But when you’re out in the the prosecution, conviction and subsequent marketplace, you’re not just selling a piece of blacklisting of ten Hollywood writers in the work, you’re selling yourself too. The way you 1950’s is one example of the screenwriter come across and are perceived is often more being typecast. Nine of the ten were likely to bring you work than what you write, screenwriters. Their blacklisting is an assuming you write reasonably well in the first example of people unable to separate the place. Julian Friedmann, Literary Agent. writer, as individual, from the work the writer (Frensham 2008, 238) produced. One of screenwriter careers examined in terms of typecasting that this The collaborative nature of filmmaking paper studies is one of , means it is essentially typically about a screenwriter John Howard Lawson. These relatively small number of key creative examples will seek to demonstrate how relationships, relationships where the skills typecasting should be seen as a shorthand required to do any particular job can be communication, mostly positive, that difficult to evaluate. In these instances, prior demonstrates recognition and enthusiasm experience can be the defining factor as “the for the work from that writer, that has challenges that occasions typecasting, i.e managed to resonate in the industry. As matching candidates with the jobs for which Abraham Lincoln is reputed to have said their skills are most appropriate” ‘character is like a tree and reputation its (Zuckerman, 2005, 175) crash against shadow.’ typecasting fears, i.e. that “the constraints imposed by typecasting are quiet specific: Write What You Know: Life as the they restrict the sets of matches for those elevator pitch workers who could potentially succeed in many different types of work” (Zuckerman, If you know the enemy and know yourself, you 2005, 175). need not fear the result of a hundred battles. If Zuckerman details an actor who states that you know yourself but not the enemy, for every to avoid typecasting one should career victory gained you will also suffer a defeat. If manage by “thinking beyond the current you know neither the enemy nor yourself, you project” (2005, 179). This paper argues that will succumb in every battle. (Tzu, S. 1991) as a distinct career strategy one should in fact seek to be typecast, certainly initially in This section is the have something to say one’s early career, but potential for a longer section. So you’ve heard about the mythical period of time. Zuckerman (2005) argues elevator pitch scenario? The chance that the typecasting approach can be seen encounter with someone who can transform as one of maximising efficiency. In such a your career and you only have the time it resource intensive creative practice takes the elevator to get to the top floor to maximising efficiency can be seen as being tell her/him about you, your latest project, incredibly beneficial. and to tell it memorably! So how to develop having something to say In a discussion at his alma mater to then be in a position to become typecast? screenwriter Anthony Peckham (Sherlock Having something to say might also be Holmes, (2009); Invictus, (2009)) said “The described as developing a voice. “Speak in your own voice and your originality will shine because this specific truth allows access to through. The craft can always develop later. the universal truths of life, family, ambition, Tony Marchant, Screenwriter.” (Frensham disappointment, frustration, love and loss. 2008, 10) Truth might, in this instance, be usefully So how does one develop a voice? Ryan aligned to the Lacanian psychological sense says “purpose” (Ryan, 2000, 19). This of agency as repressed truths provide some author say perseverance. As Lee states sense of agency for the characters that “fundamentally, the essence of producing define the script thematically. good writing is understanding of psychology, In Global Scriptwriting Dancyger discusses your own and that of others, the two being the “basic universal elements that transcend indivisible.” (2013, 9). Beker talks about national boundaries: relationships, the writers needing to “draw their stories and individual in society, the influence of politics characters from personal experiences and on the individual, and the family.” (2001, knowledge.” (2013, 3). Personal experience 218) as universal non-nationalistic themes. and knowledge is often translated as the As is often the case Dancyger describes the write what you know motif suggested by films he discusses as the Director’s film, e.g. Sublett in Screenwriting for Neurotics where “Sam Mendes’ American Beauty” (2001, he states “A lot can be said for personal 224), and “Mary Harron’s American Psycho” stories. They’re unique. They feel ‘real’- the (2001, 226) not ’s American Beauty specificity, sincerity and depth of or Brett Easton Ellis’ American Psycho, yet understanding shine through.” (2014, 14). there is enough thematic connections He later goes on to discuss the benefits of between the cited work of these writers and this whereby the personal story allows a their other work to make a strong case that more unique story to be written with the the themes existed before the named result that better, i.e. more involving, unique, directors input, especially when thinking writing samples are then available for the about American Psycho of which the novel writer to circulate to interested parties. The was published nine years before the film screenplay should be celebrated as was released. Horton describes research Palimpsest. It should be both Writer/Director Robert Bresson stating “Be taught and written as the key document from the first to see what you see as you see it.” which the writing has been partially or wholly (2004, 30). This, one argues, is a much erased to make room for another text, the more useful way of the write what you know visual, the actor, the Director and that as adage. The screenwriter should be seen as such it is the core research text that defines someone who is “fostering a shared the basis of the research. language” (Conor, 2013, 52) readying the To again make the parallels with actors, script to be in a position so that it is acting and screenwriters, there is a “speaking forward- to collaborators, to YouTube series called The Conversationiii audiences, to financiers and to other hosted by the Screen Actors Guild. After screenwriters.” (ibid) watching a number of these ninety minute or So recapping, one develops one’s voice by so interviews where well-known actors, speaking of universal themes, with including , , specificity, as seen through the writer’s eyes. Jennifer Aniston, , Leonardo “Speak in your own voice and your DiCaprio, , talk about how originality will shine through. The craft can their career developed, what is striking is the always develop later. Tony Marchant, talk about their craft, perseverance and the Screenwriter. Frensham (2008, 10) search for the truth of any given situation, is a constant. A similar YouTube series hosted Who the hell wrote this thing by Film Courageiv has a dedicated anyways? Subtitled “Where the hell screenwriting section. Listening to were you when the page was blank?” screenwriters talking about their career similar concerns are voiced, craft, Where the hell were you when the page was perseverance and writing from a place of blank was reputedly uttered by , truth, for this is how the voice develops. writer to Elia Kazan, director. (Horne, 2006, Writing to find the truth of a situation, xvi). A writer asserting creative authorship. however specific this truth might be, This section will selectively highlight three from 1949 to date.” (Symons, 2012, 1). writers, examine typecasting of them, Symons main thesis is that Brooks is more examine its impact on their careers and than the “bad-taste comedy auteur’ speak to the creative idea of authorship in (Symons, 2012, 3) he is typecast as. Brooks filmmaking. he argues is an expert proponent of Writer/Director wrote an adaptation. This “personal strategy” acclaimed book ‘Who The Devil Made It?’. A (Symons, 2012, 1) of remediation, adapting series of interviews initiated in the 1960’s works from one medium to others, film to the book, published in 1997, was soon seen television, radio to television, film to theatre, as throwing a valuable light on somewhat and sometimes the same property to forgotten classic golden age Hollywood multiple media, has led to Brooks’ career Directors. In Roger Ebert’s review of the longevity. book he describes film directing as “an art In complete contrast to typecasting resulting form created out of pragmatism, in the longevity to sustain a career over five experimentation, instinct and luck.” (Eberts, decades, screenwriter John Howard 1997). As a professional writer myself as Lawson’s typecasting led to the end of his well as academic, it is easy to recognise that career. Lawson was a communist, a founder this combination of factors also applies member of the Screen Writers Guild and when writing screenplays. contributed financially to the Communist Adaptation of existing material forms a Party. Horne describe Lawson as “a man significant part of the filmmaking industry. who came to be known as the communist Novels, books, films, board games etc are cultural commissar of Hollywood and all properties that exist in one medium that Broadway.” (Horne, 2006, viii-ix) can be translated to the screen, for example Early on his career, when working as a the stageplay that becomes a film, West playwright Lawson formed the Workers Side Story originally staged in 1957, film Drama League aiming to produce adaptation released 1961; books that revolutionary plays. After joining the become films, Trainspotting original novel communist party in 1934 Lawson mixed film published in 1993, film adaptation released and theatre, writing political works, such as in the UK 1996; mobile applications that Success at Any Price (1934), Blockade become films, Angry Birds app released in (1938) and Counter-Attack with less political 2009, film adaptation release in UK in 2016) works such as Sahara (1943) and Action in are longstanding examples of a tradition that the North Atlantic (1943). has existed since the commercialisation of Horne argues essentially that Lawson’s film as an industry. Existing properties all lifetime of activism, exemplified by his being have some level of that magic ingredient for one of the founders of the Writers’ Guild in the producer, pre-awareness. There is an the face of resistance from the Hollywood audience that already exists for this property studios, when coupled with the House of Un- which can then be used to estimate some American Activities Committee (HUAC) level of likely revenue should this property focus on communist infiltration of the be adapted. Typecasting is pre-awareness entertainment system allowed a systematic and these screenwriter examples undermining of the position of screenwriters. demonstrate its potential impact. Horne describes Lawson writing that “For If you know of Writer, Director, Producer, some reason we have been reluctant to Actor then no doubt you’ll be grant that the Hollywood screenwriter was thinking of comedy. You may or may not be as responsible as the Hollywood director for aware of his, at the time of writing, 43 writing the quality and expressiveness of the films creditsv in any great detail but you’ll be made there.” (Horne, 2006. xv) The idea that thinking of comedy. The recipient of the the screenwriter is the instigator of BAFTA Fellowship award in 2017 this award authorship of a film and therefore deserves is a of lifelong achievement in appropriate financial creative and artistic film, television or games. Brooks has worked recognition, advocated as part of the raison as a writer, actor, filmmaker, composer and d’etre of the Screen Writers’ Guild, acted songwriter. In 2012 author Alex Symons against Lawson and others as this was used wrote a book examining how Brooks had to accuse writers of subversive, insidious “survived working in the cultural industries communist propaganda. This paper will not concern itself with repeating the prolific screenwriters such as Drew Goddard, Alan number of anecdotes that can be found Ball or will get lots of calls about ill treatment of writers on film sets when independent producers/studios need a throughout the history of the production of superhero reboot, Goddard, a gay character film. Biskind (1999), Boorman (1985) and written, Ball or a quirky, meta scenario Bach (1986) are merely a few authors who devised, Kaufman. Patterns produce an detail examples of poor treatment of writers opportunity for recognition, either industry at the hands of ‘the system’, furthermore recognition or industry-related, for example there exists a wealth of academic and other journalists or film-related blogsites. To studies of this period on the work of HUAC repeat the dictionary definition of typecasting and its consequences on Hollywood “represent or regard (a person or their role) individuals, organisations and filmmaking as fitting a particular stereotype”. culture. This paper suggests that the accurate typecasting of Lawson as a political Conclusions. writer, as his work and political activities When raiding pirates on the sea boarded were examined in this new political context boats they often had hooks on ladders to aid meant attitudes he was previously lauded for the transfer from their boat to the other. were now attitudes he was reviled, Each script is a hook on the ladder. The imprisoned, typecast and blacklisted for. screenwriters’ ladder is their perseverance, Unlike others such as , their hard work, their bit of luck. Their works or , Lawson are the hooks that enable them to struggle as “the originator of the class-conflict film” their way on board. The analogy is a little (Horne, 2006, 61) into Hollywood, as over the top as perhaps the people on board founder of the Screen Writers’ Guild for the film industry boat are not actively fighting which he was also initially temporarily to stop screenwriters from getting on board ostracised, as an overtly political writer was the way crew would seek to stop a raiding never rehabilitated into the Hollywood party, but the film ship isn’t waiting for them filmmaking community before his death in either, it ploughs on full steam ahead. You 1977. need a pirate mentality to get on board. In Frank S. Nugent, was soon typecast as the his discussion of the difficulty in assessing writer of westerns following his Cavalry an individual’s contribution to the success of Trilogy of films directed by , past projects (Bielby, 2009) creates two starring . Fort Apache (1949), distinct recruitment practices that were She Wore a Yellow Ribbon (1949), and Rio frequently referenced by Wreyford’s Grande (1950) to modern sensibilities are research participants in her study. (Wreyford, somewhat problematic in their depiction of 2015, 90) The first of these methods was native American but at the time Nugent was recommendation. The second method “was noted, in Fort Apache’s original source a reliance on people they already know.” material in particular, as toning down the (ibid). The important of a relationship was virulent racist attitudes. Nugent was a New also an important factor. York Times journalist writing film reviews before being hired to become a script doctor When asked what they looked for in a potential for Fox Studios. Fort Apache was his first screenwriter, the employers who I interviewed screenplay and of his twenty-one almost universally answered: trust. (Wreyford, screenplays, eleven were westerns with six 2015, 90) of those screenplays directed by John Ford films. Nugent’s first and last produced Sublett states that if producers had to screenplays over a nearly twenty-year choose between a good story and a good career were westerns with writer they’d choose the good writer (1956) screenplay in 2011 being voted one because then that writer could then be hired of the top 101 screenplays by Writers Guild to write any number of their properties (2014, of America, West. 15). This section could have easily have looked at , or Michael Wilson, Paddy The Writer naturally concentrates on the Chayefsky, Thornton Wilder or any number creative work, spends hundreds of hours writing a script, but almost none on marketing of screenwriters. Contemporary themselves. But when you’re out in the marketplace, you’re not just selling a piece of Directors on Crazy Auditions and Industry work, you’re selling yourself too. The way you Sexism. come across and are perceived is often more https://www.youtube.com/watch?v=MTiE0rRomP likely to bring you work than what you write, 4. Last access on 05/04/2017 assuming you write reasonably well in the first place. Bibliographic references Julian Friedmann, Literary Agent. Frensham Books (2008, 238) BACH, Steven. 1986. Final Cut. Dreams and

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i www.scriptmag.com is part of the Writers Store division. The Writers Store is a long established Hollywood screenwriting resource. The organisation sells , runs online writing classes and hosts magazine scriptmag.com. ii The following links are but two links that discuss Fisher’s script doctor work. http://www.independent.co.uk/arts-entertainment/films/news/carrie-fisher-dead-star-wars-script-doctor- a7497951.html & http://www.nydailynews.com/entertainment/movies/carrie-fisher-secretly-hollywood-best- script-doctors-article-1.2925689 iii You can find the YouTube playlist of video uploads of The Conversation series by the SAG-AFTRA Foundation’s channel here https://www.youtube.com/playlist?list=PLTKUQPif_Ofv_wfk5l82RRUG2y64Af7RD iv The link will take you to the screenwriting section. The Film Courage site has sections on acting and directing also. https://www.youtube.com/playlist?list=PLez8jOvskc-PzKXJkv3hBU6vkPCvEYcgx v Internet Movie Database credits for Brooks can be found here. http://www.imdb.com/name/nm0000316/?ref_=tt_ov_dr#writer