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Grant Marshall Exegesis The Argonauts and Writer/Directors Grant Marshall A screenplay and exegesis submitted for the requirements of the Masters of Arts (Research) Degree. Faculty of Creative Industries Queensland University of Technology 2006 Keywords Teen adventure film, Screenwriting, Directing, Director’s Commentary, Characters, Narrative, Writer/Directors. ii Abstract The Argonauts is a one hundred and ten minute screenplay depicted in the genre of children’s adventure film, set in the suburbs of Brisbane in the early 1990s. It tells the story of four friends who embark on adventure in an attempt to save their parents’ shops from a corporate takeover. The exegesis explores the dual role of the screenwriter/director and the affect on the screenplay of the shifts in mindset required when these roles are undertaken by the same person. Screenwriting and directing are explored as two separate but interlinked disciplines. In this paper I have draw on my experience in these two roles to discuss their inter-relationship. In order to understand how the two roles of screenwriting and directing interact, challenge and compliment one another when carried out by the same person, I analyse the interplay of these roles within the specific areas of character, narrative and setting in the writing and revision of the screenplay, The Argonauts. iii Table of Contents Keywords ii Abstract iii Statement of Original Authorship v Acknowledgements vi Screenplay—The Argonauts 1 Exegesis—Writer/Directors 116 Introduction 117 Contextual Review 122 Methodology 126 Case Study: The Argonauts 129 Conclusion 139 Appendix A: Synopsis of the Screenplay 141 Appendix B: Other Characters 147 Bibliography 148 Filmography 151 iv Statement of Original Authorship The work contained in this thesis has not been previously submitted for a degree or diploma at any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made. Signature:________________________________ Date:____________________________________ v Acknowledgements Thanks are due to the academic and general staff of the Creative Industries Faculty at the Queensland University of Technology. The MA (research) degree format allowed me the freedom, opportunity and motivation to undertake this project for which I am grateful. In particular, I would like to thank my supervisor Dr Stuart Glover for his ongoing guidance, feedback and friendship. I greatly appreciate the opportunity to complete this project within a supportive network of likeminded screenwriters that challenged my ideas and provided constructive and thought provoking feedback. vi Writer/Directors: An explication of the partially differentiated functions of the writer and the director in the case of The Argonauts 116 Introduction Growing up in a relatively new suburb of Logan on the outskirts of Brisbane in the early 1980s, I watched my neighbourhood develop rapidly. Like most children, I spent my holidays and weekends exploring this new playground with my friends. Shailer Park was the boom suburb of Logan during this time. The local primary school opened in 1982 and in its first year close to a thousand children attended. By the time I was in grade five I knew every back street and bush track short cut that existed. Often the daily walk home from school would lead to adventures with the children who lived in surrounding streets. We explored the bushland that was once a lion park and spent all summer carving out BMX tracks behind the local shops, until the day the bushland was cleared to make way for a new Myer Megaplex. Our childhood playground was gone. This world is echoed in my script, The Argonauts. We were forced to find a new playground and took to the streets. I knew just about everyone in the neighbourhood and had a safe house on every street for when good times went bad. Friday after-lunch activities at school included roller-skating at the Argonaut skating rink. The skating rink was located in a neighbouring suburb near bushland at the base of a hill that was once part of a gold mine, something the mind of an eleven year old doesn’t easily forget. Every time the school bus pulled up at the rink I wondered just what if the mother-lode was hidden just behind the tree line. During the mid-1980s the school even opened up over the weekends so that we could skate in the undercover areas under supervision. Even the tuckshop was open. Groups of us would 117 strap on our skates and head off for the school. Most weekends we never made it there due to the hilly terrain of the suburbs, the distance we had to skate and the injuries we sustained in the process. Like every school, there were the ‘bullies’. Having planned social gatherings every weekend, like roller-skating, meant that the bullies knew exactly where to cause trouble. This is where knowing the neighbourhood back to front came in handy, along with ‘wax on wax off’ learnt from The Karate Kid. Like many of my friends, and importantly for my later directing work, I am the child of the video age. By the time I was ten (1987), like most homes in Australia, my parents had purchased a VCR. This coincided with the release of Back to the Future. Having a friend whose parents worked for a video store was a godsend. Back to the Future was one of the first videos I owned and I watched it almost every day, along with The Karate Kid and Goonies. While we did go to the cinema—I even saw the Star Wars Trilogy in 1983 at the drive-in—for the majority of the time television and JVC VCR were our saviours. This was a time when any great video could be hired for a dollar and boy did we. Rambo, ET, The Last Starfighter, Gremlins, Explorers, and the Indiana Jones films topped our rental list. There’s a good chance that if the film had a show bag at the ‘Ekka’, then we were re-enacting it. Like my imaginative friends at the time, I was totally influenced by these adventure-type movies. Of course this lead to even more inspired adventures of our own: skating behind cars like Marty McFly (from the Back to the Future series) and exploring the stormwater tunnels that ran under the school was all in a day’s play for us Goonies wannabes. I wasn’t alone; if BMX Bandits screened on TV, the next day the entire student body would ride their bikes to school. It was a time when public liability was not an issue and the Acting Principal of our school actually 118 encouraged us by setting up what seemed like an enormous BMX track on the steep hill behind the school so that we could replicate the radical moves we had seen the night before. Eventually the acting Principal was replaced, but these great summer school days were something I never forgot. Often, before we set out on any of these real life adventures we would sit around in our pyjamas and watch a few hours of Rage. The mantra became, “If the next clip sucks we’ll leave”—whereas these days it is, “If the next clip sucks I’m going to sleep”. Influenced by these great clips, like Michael Jackson’s Thriller, I aspired to make music clips that would inspire people like they did me. Currently I’m working for a production company directing music videos and commercials. I drew on my adventurous childhood experiences for inspiration for my script, The Argonauts. Like the heroes in the films I aspired to, the lead characters are still in high school. Marty McFly from Back to the Future, Alex Rogan in The Last Starfighter, Gremlins, Karate Kid, BMX Bandits, and even the older brother in Goonies were all in their mid to late teens. The heroes in my film are the same age as the characters I wanted to be like and looked up to. I also set The Argonauts in the early 1990s, as the characters are a similar age to me at the time. My love of film, specifically adventure films and music videos, led me to become a filmmaker. I wanted to write a script that would inspire a twelve year-old kid to put down the game controller and start his own adventure. This immersion in movies and life in the suburbs had a marked impact on the style and content of the screenplay. My early interest in movies and videos has provided a strong basis for my current work as a music video and film director. I came to eat and drink 119 film. Accordingly, The Argonauts, the screenplay component of this thesis, is jointly informed by this film background as well as growing up in the suburbs. My dual roles in relation this project have, however, given rise to a dilemma, and therein a research question. As a screenwriter, the script for The Argonauts reflects my own adventures and the adventures I absorbed from the movies I watched, as well as the screenplay craft lessons that I have absorbed. This is not an uncommon mix—such that a screenwriter will draw from life and screenwriting craft. But at some point I also began to examine this project as a screen director. And while screenwriting and screen directing obviously share a common objective and are complementary skills, there are clear differences between them in their narrative emphasis, notation and aesthetics. As a screen director I not only drew on my visual memory of my suburban childhood but also the past half a decade of experience as a screen director.
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