By Aaron Mcloughlin BA (RMIT University), Adv Dip (RMIT University)
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GRAVY By Aaron McLoughlin BA (RMIT University), Adv Dip (RMIT University) An exegesis submitted in fulfillment of the requirements for the degree of Master of Arts (Research) Creative Industries: Film, TV & New Media Production Queensland University of Technology 2012 Supervisors: Associate Professor Geoff Portmann, Dr Jonathan Silver ABSTRACT To many aspiring writer/directors of feature film breaking into the industry may be perceived as an insurmountable obstacle. In contemplating my own attempt to venture into the world of feature filmmaking I have reasoned that a formulated strategy could be of benefit. As the film industry is largely concerned with economics I decided that writing a relatively low-cost feature film may improve my chances of being allowed directorship by a credible producer. As a result I have decided to write a modest feature film set in a single interior shooting location in an attempt to minimise production costs, therefore also attempting to reduce the perceived risk in hiring the writer as debut director. As a practice-led researcher, the primary focus of this research is to create a screenplay in response to my greater directorial aspirations and to explore the nature in which the said strategic decision to write a single-location film impacts on not only the craft of cinematic writing but also the creative process itself, as it pertains to the project at hand. The result is a comedy script titled Gravy, which is set in a single apartment and strives to maintain a fast comedic pace whilst employing a range of character and plot devices in conjunction with creative decisions that help to sustain cinematic interest within the confines of the apartment. In addition to the screenplay artifact, the exegesis also includes a section that reflects on the writing process in the form of personal accounts, decisions, problems and solutions as well as examination of other author’s works. KEY WORDS Screenplay, Script, Screenwriting, Writer, Director, Film, Movie, Motion Picture, Cinema, Feature, Australia, Comedy, Low Budget, Single Location, Structure, Paradigm, Gurus, Syd Field, Linda Seger, Christopher Vogler, Robert McKee. Acknowledgements I’d like to thank the following people who have in one way or another made invaluable contributions to this research project, which without the project would not have been completed to its current standard: Associate Professor Geoff Portmann for his ongoing commitment, support, professional input and guidance throughout the lifetime of this research project, most particularly during the creative writing process. Dr Jonathan Silver for sharing his expertise throughout the academic writing component. I would most certainly still be lost without his astute advice. Cody Jarrett for her support and creative input throughout the creative writing process, most particularly her unwavering belief in the script’s potential. Darren Casey for his creative contribution, razor sharp comedic instinct and loyal friendship that helped elevate the quality of the script beyond my expectations. Mark Spratt from Potential Films, Kristian Connelly from Cinema Nova and Kristijana Maric from MEDiAKiN for all being such good sports and agreeing to be interviewed. John Clarke for his ongoing generosity, advice and exceptionally sharp wit. Hazel McLeod, Jeremy McLeod, Richard Morden, Patrick Troy and Tamara Veltre for their generous participation in the script read-through, an insightful process that helped enormously. Rona Green for her wisdom and perseverance. iii Statement of Original Authorship “The work contained in this thesis has not been previously submitted to meet requirements for an award at this or 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.” Name: Aaron McLoughlin Signature: Date: 29/01/2012 iv Contents Front Page i Abstract ii Key Words ii Acknowledgements iii Statement of Authorship iv Contents v Chapter 1: Introduction 1 Methodology 7 Chapter 2: Screenwriting With Structure 8 The Paradigm 10 Form, Formula, Dada And Mike Leigh 15 Chapter 3: Gravy – the Screenplay 19 Chapter 4: Reflective Analysis 127 The collaboration 127 The single location 130 The read-through 131 Conclusion 135 Appendix A: Interviews 137 Mark Spratt - Film Distributor 137 Kristian Connelly - Film Exhibitor 141 Kristijana Maric - Film Producer 150 Appendix B: Story Paradigm Diagrams 155 References 157 v Introduction Screenwriting for feature film is quite often purely speculative in the sense that one cannot predict whether the fruits of their labour will make it up onto the big screen or not. For the aspiring writer/director such speculation is compounded greatly by trying to land not one but two debut screen credits simultaneously. Getting a shot at writing a speculative feature film script is straightforward; just go ahead and write it. The aim is to have something of merit at the end of the laborious writing exercise that that may get optioned and subsequently put into production – not only to see the script bought to life but to also get paid for all those hours of work. Any unfortunate script that doesn’t make the grade however may be simply trashed, sure the writer has forfeited their time but they have an opportunity to collect their thoughts and begin again on the next project. They may even choose to write another draft, rebuild it better and stronger, or just write the script off as a learning experience. Directing, on the other hand, is different in terms of risk. Compared to the writer who risks wasting their own time and some printing costs, a failed director not only risks wasting the time of a cast, crew and everybody else who had high hopes for the project but also money. Generally speaking, bucket-loads of investor’s money. Shone in this light one may reason that the associated risk between the aspiring writer and aspiring director varies significantly. Talent limitations aside, investment risk may be one of the largest obstacles to the newcomer, the aspiring director looking for their first big break. Despite an acknowledgment in the film industry that many first-time filmmakers have made great films, backers still feel a lot safer when knowing the director’s track record (Spratt, interview, 2011, Appendix A). Herein lies the conundrum for the first-timer, because every proven director of feature film has to have made their debut feature at some point. “You need those small films to be a proving ground for new talent” – Kristian Connelly of Cinema Nova (Interview, 2011, Appendix A) Like many big businesses, the movie business can appear both intimidating and somewhat of an impenetrable fortress to an outsider like myself, an aspiring writer/director. When considering my upcoming attempt to infiltrate the film industry as a writer/director it would seem logical to first formulate a strategy. Whilst there may be as many different approaches as DVD’s on the library shelf, I’m going to assume the position of writing the script first and selling myself as a director second. 1 It’s at this point that I, the aspiring writer/director, am beginning to think strategically about writing the script that I plan to direct. A good strategy would be to write a script that has a shot at gaining the attention of a credible producer with a proven track record of screen credits, to write a script that will translate into to a successful film, critically and financially. Such a strategy is problematic however, for within the film industry exists a symmetrical ignorance of supply uncertainty and demand uncertainty between producers and audiences. Neither the producer nor the audience can predict in advance whether or not a particular film will be successful (Caves, 2000). Such symmetrical ignorance is what William Goldman was referring to when he coined what became the famous film industry adage “Nobody knows anything” (Goldman, 1983). Economic studies have since concluded that Goldman was correct, that prediction of success is impossible due to the infinite variance in motion picture profit, a phenomenon now often referred to as the Nobody Knows Principal (De Vany, 2004). A film’s success is determined by a multitude of factors, including but not limited to, any influence exerted by the scriptwriter alone, or director too for that matter. In fact, it has been suggested that “No picture has ever been made that is good enough to sell itself” (Donahue, 1987). Studies have shown that a film’s success is dependent on many fields including the wider creative sphere, the scheduling and release pattern, and the marketing effort (Litman, 1983). Marketing campaigns in particular are perceived as so crucial to a film’s success that market research is widely employed in an attempt to foretell a film’s success in the marketplace. Ironically it’s market research that drove many major Hollywood studios to turn down film projects such as Star Wars, E.T. The Extra Terrestrial and Raiders of the Lost Ark (Wasko, 2003). Holding true to the Nobody Knows Principal, research is the least understood and the most misunderstood component of the theatrical distribution process (Marich, 2005). The process of directing and producing coupled with the highly complex and often uncertain realms of marketing and distribution not only sits outside the scope of a dedicated screenwriting exercise in terms of respective disciplinary areas but also occupies a timeline that extends beyond completion of the completed script. Without producers, distributors, exhibitors and a full crew on board, any strategic screenwriting decisions that are designed to better one’s chances of getting their film project green-lit are somewhat limited. 2 Attempting to break into the feature filmmaking industry with an endorsement of Goldman’s Nobody Knows principal may be seen as suggestive that the notion of strategic decision-making is useless.