RICHARD RORTY Copy

RICHARD RORTY, INNOVATION STRATEGIES & MOVIE INSPIRATION

Robert Stewart Watson

BA (Tasmania) BA (Griffith) Grad. Dip. (Canberra) Advanced Cert. (Zhongshan) Cert. (NTNU)

Thesis submitted in fulfillment of the requirement of the degree Master of Arts (Research)

Film & Creative Writing, Creative Industries Queensland University of Technology 2010 Supervisors: Geoff Portmann, Susan Carson

KEYWORDS

“Richard Rorty” Aristotle movie innovation strategy inspiration pragmatism poetics ethics conversation screenwriter writer producer action “redescribe injustice” "film editor" screenplay adaptation development "The President's Daughter" Notation Australia "mixed economy" "motion picture" authorship philosophy liberation character cinema

ABSTRACT

Movie innovation is a conversation between screenwriters and producers in our mixed economy – a concept of innovation supported by Richard Rorty and Aristole's Poetics. During innovation conversations, inspired writers describe fresh movie actions to empathetic producers. Some inspired actions may confuse. Writers and producers use strategies to inquire about confusing actions. This Australian study redescribes 25 writer-producer strategies in the one place for the first time. It adds a new strategy. And, with more evidence than the current literature, it investigates writer inspiration, which drives film innovation. It reports inspiration in pioneering, verifiable detail.

ii CONTENTS

1. Pragmatist Movie Strategies, Inspiration and Conversations 1

2. Richard Rorty, Pragmatists and Movie Innovation 17

3. Five Uses of Innovation Language 40

4. Rorty, Aristotle and Movie Actions 50

5. Contemporary Writer-Producer Attitudes 87

6. Inspiration 121

7. 75 Movie Inspirations 144

8. Conclusions 162

Appendix: Asking Movie Writers in Detail (abridged) 176

Filmography – Bibliography – Abbreviations 186

iii

FIGURES & TABLES

1.1 Conversation C 3.1 The President's Daughter dailies 4.1 Triangulated characters 4.2 Better or worse than nowadays 4.3 Do character 4.4 Pursue happiness 4.5 Weave relationships 4.6 Story and plot 4.7 13 Aristotelian Strategies 5.1 A Concordance of Aristotelian Strategies 5.2 Syd Field's Screenplay Paradigm 5.3 Favourite Conventions - Archetypes 5.4 Liberation and Affection Plotlines 5.5 Campbell's Negotiated Shadowlands 5.6 Vogler's Phantom Climax and B-M-E Climax 6.1 Conversation C and Mrs. Robinson's Stroke 6.2 Ext. Parking Garage - Day 6.3 Notation garage C@! L(!..D) C(airport) C%+L 0! . D@ #? 6.4 Action and Inspiration Spreadsheet - Extract 6.5 Field Concordance: 'Get Experience' vs. 'Favour Conventions' 7.1 Political Characteristics 7.2 75 Movie Inspirations 9.1 New Movies and Inspirations

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.

Signature

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'It's not your job to be as confused as Nigel'

(Reiner 1984)

'we stay in business by arguing with one another'

(Rorty 2006d)

PRAGMATIST MOVIE STRATEGIES, INSPIRATION & CONVERSATION

Movie Writer Inspiration and Producer Innovation

People lead their lives at various distances from movie innovation. Few people write, perform, make and manage movies. We might call these workers screenwriters, actors, filmmakers and producers, respectively. Of this small group of screen workers, some screenwriters are inspired to innovate new movies and some producers successfully manage inspired writers. This thesis explores the process of inspired writer-producer innovation, which brings movies into the world.

Most people – including screen workers – derive many personal opinions and shared knowledge from movies, news programs and real drama as witnessed in their lives. These people – the majority of people in the world – are named audience here. Most of us are audience. We selectively interpret our lives and other's lives, as contemplated in web videos, cinemas and in real life. We adjust our beliefs from what we observe.

Over our entire lives, most audiences interpret screen actions daily, yet, utterly mute, we never communicate – in this, our major language of consumption. Historically, medieval illiterate cultures believed their clerics' sermons and symbols read aloud, but serfs rarely learned to create in the

1 hierarchy’s text language. Today, given the choice of consuming a movie, or learning to write and make movies, most contemporary audiences happily consume and, struck dumb, we never express our screen beliefs.

But some of our vast world audience does desire to express thoughts in our shared language of consumption. We not only consume the screen, we also enjoy imagining, writing, funding, performing, recording, publicising and showing new movie stories. Such production is a team effort. Teams usually include: writers and producers who imagine and plan movies; actors and crew who perform and record movies; and distributors and exhibitors who publicise and show movies to audiences. Usually, it is the people at the beginning of this creative, storytelling chain – the screenwriters – who are most associated with inspiration. Screenwriters, like prophets, are inspired. They imagine new movies, new screen actions and beliefs.

Identifying who innovates is tricky. Writers, not directors, imaginatively create movies as screen properties. Directors then realize the imagined movie from the writer's property. Hence this thesis on innovation examines writers. Unions credit up to three writers per US movie. Fourth and lesser screenwriters take producer credits. In Australia, creative executives who select and develop writers inside the studio system do not even get a minor credit on the movies they develop. Yet studio administrators and investors lavish large producer credits on themselves. This injustice indicates the low status of innovation. Julie Sandor's pioneering research analyzes such writer-producer roles (Sandor 2001:105) but she was embargoed on the creative details (the business secrets) of movie innovation. This thesis reveals what Sandor could not print.

All screenwriters begin as producers: they manage their own script editing and finances until a specialist producer joins them. 1990's House Of Cards

2 screenwriter Andrew Davies initially had conversations with himself, as writer-producer: 'I had to learn to bounce ideas off myself' (Frensham 1996:31). Many writers are life-long producers, such as Tina Fey, Matt Damon and William Shakespeare.

For the purposes of this thesis, the name producer is especially applied to creative producers (whether credited or uncredited) who work on screenplay innovation with inspired writers (credited or uncredited). Other roles – financiers, bureaucrats, line producers, managers and executive producers are not studied here. Nor does the study redescribe serial, non- resolving or soliciting screen genres, nor propaganda theatre, which are ways of thinking somewhat removed from movie innovation research.

But this movie thesis is immediately relevant to the following: the study of ethical leadership and corruption; the study of hybridized personal-social philosophies; the study of complex real-life drama scenarios; the study of history, politics, culture and personal relationships; entertainment business; computer games development; the study of short films; and the study of all genres, and all budgets, of feature movies.

Usually, whoever imagines a new movie first - the writer - takes their work to a creative producer who is a creative and trustworthy person. This producer champions the writer, imagines her whole movie, and thinks about the story strategically. This person might be a director, script reader, editor, family, financier, companion, or studio creative executive; but, critically, they organise the writer's breakthrough ideas into a value-added movie product and they manage the writer. Innovation is about having, and managing, 'breakthrough ideas' according to the Australian Government (2006:1).

Most audience cultures care not for innovation and breakthrough ideas.

3 Most audiences care only about consuming the innovators' products. Sadly, in the four years before this research, Australian movie innovation diminished, as shown by dwindling movie productions like the tragic Eucalyptus (Bennett & Taylor 2005; NKU 2005:1), while our foreign movie consumption greatly expanded. Australians ignored local writer- producer innovation and incurred debt to purchase or download more enjoyable imports (AFC 2004d:1; Bodey 2007:34). Bucking this trend, this study redescribes successful writer and producer innovation. For people honestly yearning to reach a movie audience with a new product, I hope there are useful productivity ideas here.

The contemporary ideas here include innovation as conversation; and research as redescription. These are pragmatist ideas from Richard Rorty (born 1931 – died 2007). Rorty's great relevance for movies is that he champions the screen, and literature, as cutting edges of Western thought. He radically shifted to pragmatist literary criticism in 1982, leaving analytic philosophy at Princeton University to champion pragmatist philosophy of literature at University of Virginia. (Pragmatists expand the meaning of conversation, so the term converse is expanded here as a transitive verb). Rorty's conjunction, of movies and Western thought, is itself rewoven in Chapter 2. By adopting Rorty's idea of conversation, this investigation radically reweaves thinking about movie inspiration and industry innovation.

Innovation as the Writer-Producer Conversation

The interpretive background to the following chapters is this: I joined the Australian Society for Education in Film and Television at 16, was an OB TV grip, apprenticed as a state school infant 'headmistress,' photographed Asia, analysed CIA economic data, protected wilderness, developed a zen- landscape painting style, created a bilingual TV series and a bilingual

4 movie, sat on AWG and AFI Awards committees, wrote national arts curriculum texts, archived a studio's 1960s-to-1990s TV materials, and analysed movie scripts for NSWFTO and AFC.

In 1996 I was recruited as a studio creative executive by Jane Alsobrook at Becker Entertainment (REP) and enjoyed the mentorship of Byron Kennedy Award's John Politzer, and Chris Carr. I designed and ran arts innovation databases in Sydney and Los Angeles; I built an R&D team. I managed analysis of Miramax, Film4 and Canal+ screenplays, such as Wes Craven's Scream series and Heath Ledger's Two Hands. I was heavily involved daily in 2000 writer-producer innovation conversations at Becker (and then Beyond), using A, B and C conversation types (described shortly).

On the strength of this Sydney/global track record, I was headhunted by another Australian studio, Beyond International, in 1998. I managed their movie creative development including the highly successful The Wog Boy, Lantana, and Dirty Deeds. In turn, I headhunted EP Mariangela Angelucci. I championed emerging director Greg McLean, who went on to write and make the massive hit Wolf Creek. For every major project like these, R&D was expended on scores of other projects which I passed on, to protect the companies. At Becker and Beyond, I recommended geared investments of AUD 6 million which generated local jobs and recouped AUD 140 million in first release Australian box office revenue. Their Australian investors still earn revenue.

I wrote the defence briefs and defended many of our expensive studio stories against the Prime Minister's Office's unfair censorship which threatened industry jobs and cultural maturity. My studio work – championing new movie stories – is credited in various Reports to Parliament and is also accessible online – pages 136 and 152 of "OFLC

5 1998" (cited in bibliography). SPAA, AFTRS and Film Victoria invited me to speak in industry and public forums on movie innovation and commercialisation.

In the years 1995 to 2000, Australian movies seeking government subsidy were legally required to negotiate a commercial distribution deal before production. Becker and Beyond granted the most distribution deals, therefore most Australian writer-producer teams conducted innovation conversations with me, hoping for a green light.

But business serves investors, the CEO, and clients' preoccupations – rarely one's own creativity. I found it impossible to allocate any time to my own movie projects. In 2000, I left the movie business 'machine' to express my own ideas: I funded and produced a no-budget 'cult' fugitive movie with 40 Australian actors, entitled The President's Daughter. This contextual sketch reinforces Sandor's findings (cited earlier) about the fluid, intersubjective nature of movie innovation.

The past is unimportant. What is urgent is: how do future producers radically improve how they add value to movie story innovation? Some suggestions for writer - producer conversations are offered in this paper.

Movie story innovation conversations can be described as one of three practices:

CONVERSATION A is short and sweet. The producer carefully re- imagines every action in every scene, hearing the audio textures of surround-sound cinema. This imaginative analysis is combined with equally detailed project and audience research. If the screenplay is striking (Aristotle 1965:70) it does not need an innovation conversation. It requires an urgent conversation with financiers and bureaucrats, most of whom

6 cannot tell a hit screenplay from a breakfast menu (Staiger 1985:185). But the financier who trusts and rewards expert screenplay advice trumps the market.

CONVERSATION B is short and painful, and is by far the most common conversation I managed. A studio producer reads a typically undeveloped, uninspiring screenplay, is bored or annoyed by the screenplay's dullness, confusion, expensive money traps, and its lack of connection with any segment of Australia's yearning movie audiences. In order to protect the studio's resources and employment, such dull screenplays receive a 'pass' rejection letter – and perhaps an encouraging phone call if the writer and producer sought advice or directions for their project.

But when a good (but undeveloped) new Australian screenplay crossed my desk, there was an opportunity to expand its audience and its revenue, by supporting the development of the writer's story, using movie product innovation.

CONVERSATION C captures what is usually meant by movie product innovation. The difference between two movie products is primarily the difference in the values of their respective stories. The Macbeth story, well produced, is a blockbuster at any competent studio; whereas Shakespeare's so-so Timon of Athens story is a money trap. Given equivalent investment, the difference between industry profits, employment and success is the vast difference in value of any two stories by one or more writers.

Increasing the value of a story product usually takes six steps: (1) Firstly, the writer is inspired to describe all the actions of a new movie. Then she organises her inspired actions in a screenplay. (2) Beginning to attract a production team around her, the writer communicates her movie screenplay to a creative producer (who can visualize and audition a

7 screenplay). If this is a good screenplay, and the producer is motion- audio-visual literate, he will be struck and entertained by the writer's screen actions.

(3) But writers occasionally dry up, or write some dull or confusing actions, in the literate producer's view (Davidson 1984:200). (4) Certain the flawed project is worth developing, the producer draws on innovation strategies to shape specific inquiries of the writer's dull actions. (5) The writer is re-inspired to describe fresh, entertaining actions which answer the producer's inquiries. This dialogue between inspired writer and strategic producer is the engine room of most screen innovation. If not done, the process becomes a massive director's expense. This is the nub of CONVERSATION C: the writer falters, the producer inquires strategically, and the writer is re-inspired.

(6) The conversation leads to a screenplay full of entertaining actions. Then the creative producer advises the studio to green-light casting, production and distribution.

For example, I was closely involved with screenwriter Chris Anastassiades' The Wog Boy (One, 2000) screenplay and its creative team. It was a stand-out screenplay, we acquired it, although Anastassiades' funny food jokes dried up in Act 3 (step 3). I indicated this strategic weakness and asked Chris to invent more entertaining food jokes (step 4). Chris invented the inspired 'Government lunch satchel' (5); and Beyond green-lit the massively popular and successful hit movie (6).

Australia and Europe do not have an academic tradition of supporting innovation as it is sketched in CONVERSATION C. When I commenced this thesis, University librarians search in vain worldwide for even one peer-reviewed scholarly journal on screenwriting. Yet academics typically

8 redescribe Australian screen culture, using Screen Australia's highly aggregated Australian Box Office data, filtered from abridged versions of the Motion Picture Distributors Association of Australia's vast, original, street-level, textured, detailed, national measurements. The original data is generated and researched by exhibitors and my fellow studio researchers. MPDAA, Screen Australia and cultural academics do not cite the originators of this research data.

Moreover, the key terms movie inspiration and strategies are poorly described in our tiny literature. Consequently, inspiration and strategy are investigated with participant researchers (Chap. 7). Lastly, readers who usually think in one language at a time (usually prose) need to remember screenwriters think in five languages (including computation (ICT) language. Writers think in: motion |audio | visual | ICT | story.

Chapter 2: Richard Rorty, Pragmatists and Movie Innovation

The idea of innovation or progress being a conversation is argued by twentieth century philosophers Richard Rorty, Ludwig Wittgenstein and Jürgen Habermas. They believe knowledge is mutual language use. This pragmatist belief about movie languages contrasts with Platonists who believe knowledge is received and reflected from non-human worlds such as metaphysics, religion, positivistic social science laws and 'natural' science (John Searle 1993:55; Liddle 2008:18).

Philosophical pragmatism is an academic term; unrelated to common day ideas such as 'opportunism'. Philosophical pragmatism - with its antecedents in Socrates, Democritus, William James - stridently opposes opportunism. Academic pragmatism's movie critique differs from other screen critiques such as formalism, Marxism, feminism, queer theory and

9 Derida, although it interconnects with them.

Pragmatist conversation emphasises free, open, collegial, secular thought in particular historical circumstances. It denies knowledge is an ahistorical, 'objective', natural 'reflection'. Pragmatist conversation is also termed: described normal scientific worlds (Kuhn), language-games (Wittgenstein) and ideal communication conditions (Habermas). Pragmatists view movie innovation as a purposeful conversation in the screenwriter-producer- actor-crew-audience community.

The community's conversation builds the innovation of diverse, cost- effective, new movie stories which are desired, and remunerated, by current, progressive, paying screen cultures. Movies somewhat dominate internet traffic, file sharing and piracy (CasheLogic 2005:1), sell-through DVDs, home cinema, arthouse cinema, multiplex cinema, domestic child- raising (Wiggles; Disney) and global teenage conversations. Pragmatism redescribes the innovation of this story product for community use.

Chapter 3: Five Uses of Innovation Language

Pragmatism emphasises the five purposes to which conversation is used. Writer-producer theorists (Altman, Jonze, Coen) redescribe CONVERSATION C's purposeful, innovative use of language. When conversation is used for innovation, it is labeled "Language Use 1". Producers use meetings, screenplays and notes – the products of thinking in strategies – to inquire after writers' inspiration. Such writer-producer innovation conversations investigate the telling of new movie stories, with innovation communicated as movie sequences and strategy sentences:

a) - Movie sequences, or 'screen actions', are imagined and described by

10 screenwriters in motion| audio| visual| ICT| story languages. b) - Strategy sentences state the beliefs and attitudes of writer-producers who help inspired writers innovate better movie sequences and actions.

For example, a producer may read a screenplay sequence and imagine this action:

'INTERIOR UNIVERSITY OFFICE DAY - SCHOLAR A reads a paper.'

Perhaps the producer is struck by the motion-audio-visual boredom of Scholar A's action. She draws on strategy sentences, including Strategy 3 (described later), which is her belief that dull writers should triangulate characters. Using Strategy 3, she asks: 'is anyone else in the office?' The writer re-imagines the scene for any body (B or C) who might interact with unexpressive Scholar A. Shared significance resumes.

Besides its innovation purpose, CONVERSATION C may also: (ii) communicate innovation theory; (iii) deceive investors and protect incompetent practice (Coen 1991); (iv) increase productivity and conversation speed by abbreviating movie language, and (v) provide firmness and flexibility in diverse mixed economies.

Chapter 4: Rorty, Aristotle and Movie Actions

As an example of my studio work, my 1998 innovation CONVERSATION C with Heath Ledger's writer-producers was spoken in Aristotelian terms - comedy, scene, deus ex machina etc. Aristotelian terms permeate movie innovation (Edwards & Skerbelis 2005:55). But Aristotle is severely criticised by pragmatist Thomas Kuhn (1996:67), and Richard

11 Rorty lambasts Aristotle 62 times in his 4-volume Cambridge Philosophical Papers (1991-2007). Rorty criticises Aristotle's unhelpful and outworn beliefs that academic language and knowledge objectively correspond to natural reality. But many academics, like Classical Greeks, continue to believe 'objective truth' can be known outside historical discourse (Searle 1993:55).

Pragmatists since Dewey and Wittgenstein dismiss Aristotle's Platonism, positivist science, 'nature', 'objective truth', 'spirit' and metaphysics. But their dismissal of Aristotle over-generalises: Aristotle's Poetics lecture notes are readily redescribed in pragmatist terms. Poetics and Rorty's papers productively weave together for movie innovation. Only Aristotelian 'objective truth' - and Aristotle's explanation of innovation as insanity (1965:55) - are dropped from Chapter 4's pragmatist investigation of Poetics. Thirteen Aristotelian-Rortian beliefs, which dispose filmmakers to create non-boring movie sequences, are suggested: 1. Strike Audiences, 2. Limit Duration, 3. Triangulate Characters, and so on – in Chapter 4.

Chapter 5: Contemporary Writer-Producer Attitudes

Most contemporary innovators are Aristotelian. They include: Linda Seger, Robert McKee, Stephen Cleary, Syd Field, Ken Dancyger, William Froug, Joseph Campbell, Christopher Vogler, Linda Aronson and Lisa Dethridge. But 100 years of movie history has expanded and complicated their language beyond Poetics. Chapter 5 reassesses theorists' ideas and it identifies major contradictions in key arguments. Then their major contradictions are set aside. I reweave twelve post-Poetics contemporary Strategies and add them to Aristotle's thirteen.

A new concordance of Chapter 5's theorists indicates most theorists

12 emphasise Strategy 14: Favour Conventions as critical to innovation. Favour Conventions proposes that writers are mainly inspired by their favourite media conventions (plays, news journalism, novels, existing movies) when imagining new movie sequences. But Strategy 14 is only one proposal of a reasonably complete palette of 25 that are collected and critiqued in one thesis for the first time. Critically, this study concludes that Strategy 14 does not drive innovation's CONVERSATION C.

Furthermore, CONVERSATION C innovation is not simply a matter of weak producers becoming adept at parroting 25 Strategies. Neither is innovation a matter of inspired writers outpouring movies to deaf ears. Pragmatists believe knowledge is a mutually understood conversation. CONVERSATION C weaves strategies and inspirations to add value. Innovation occurs when a writer is inspired with a 'breakthrough idea' in reply to a writer-producer's strategic inquiry, and vice versa.

Chapter 6: Inspiration

Not only is the literature patchy and contradictory on writer-producer strategies, it is entirely tongue-tied about innovation's inspiration. Only Linda Seger mentions 'inspiration sources' – in a lone statement (Seger 1987:xiv). Both the public and academics vaguely generalise about inspiration. Occasionally, a single inspiration is illogically proposed for the thousands of actions created in an entire movie. Thousands of actions in Psycho (1960) were supposedly inspired by necrophiliac Ed Gein, for example (Bell & Bardsley 2008:1). This thesis overturns such generalisations by asking writers to redescribe their detailed inspirations for real-time movie development.

I start by analysing my own movie which was produced during this research. Its short synopsis is as follows:

The President's Daughter is an independent 'cult' thriller about a young political fugitive, LIZAHNE. She is the daughter of a US SENATOR and a CALLGIRL. Her father sends assassins DAELUS and EUCA to 'render' LIZAHNE. LIZAHNE hides in Australia with ex-US spy, ANDY, until ANDY and LIZAHNE's cover is blown.

Before this study, I thought vaguely about the causes of my writing. I dreamed up all the characters and scenes in The President's Daughter, so common sense suggested it was my fiction. But in the difficult process of rewriting and producing Daughter in post (during this research) my confidence deserted me and I strongly assumed Daughter's best ideas were copied from other directors, i.e.:

- Alfred Hitchcock's staircases (1958; 1960) - John Mitchell and Malcolm Campbell's screen spies (1967; 1995) - Hal Ashby and Mike Nichol's worlds (1967; 1971; 1979)

With my morale at a low ebb, I believed my new Australian movie was mainly inspired by other writers, i.e., Strategy 14: Favour Conventions. But, bucking this depressing outlook, Chapter 6 investigates Daughter's leading actions in complete and rigorous detail. Rather than assume, with the public and academia, that any one movie is only inspired by one or two conventional things, Chapter 6 finds that 501 out of 514 leading actions in Daughter are recalled as 501 inspirations which correlate to unique, often shocking, personal events. The conclusion is, inspiration (steps 1 and 5 in CONVERSATION C) is best described by new Strategy 25: Redescribe Injustice.

14 Chapter 7: 75 Movie Inspirations

Chapter 6 correlates 501 real and often shocking experiences of the writer with 501 actions in a new Australian movie The President's Daughter. But such correlation did not prove these real experiences had caused or inspired Daughter. To observe causes of inspiration, rather than simply argue correlation, Chapter 7 investigates 25 inspired writers' conversations in real-time as they are being inspired.

The scale of real-time inspiration and development of 25 new movie scenarios in Chapter 7 is significant: before this study, the Australian Government only codeveloped about 60 produced screenplays in four years (AFC 2004c:1). Most of Chapter 7's writers strongly believed others inspired their stories – William Shakespeare, Jane Austen and Joss Whedon. But when the writers recalled their real-time inspirations for 75 striking new movie actions, most concluded their striking actions were inspired by incidents of personal social injustice (Strategy 25: Redescribe Injustice). Writers were rarely inspired by 14: Favour Conventions, as first believed.

Chapter 8: Conclusions

Australian consumer demand for movies is growing (Bodey 2007:34) but investment in Australian movie innovation is falling (AFC 2004d:1). Australia has a 'crisis in innovation,' yet it is not very articulate or knowledgeable about CONVERSATION C.

The public and academia both poorly redescribe movie innovation. This investigation redescribes innovation as the strategies of writer-producers and the inspiration of writers who together develop movies using

15 CONVERSATION C.

This study replaces scattered and contradictory innovation strategies with one palette of 26 Strategies, '0' to '25,' including new Strategy 25. This study replaces vernacular generalisations about inspiration with detailed studies of writers as they create new movies. Innovation is redescribed as a writer-producer conversation where innovators together ask strategic questions and give inspired answers. For perhaps the first time, movie innovation is redescribed in contemporary philosophy's pragmatist terms.

16 2

RICHARD RORTY, PRAGMATISTS AND MOVIE INNOVATION

Australian movies are made in our local/global mixed economy of taxation, regulation and private enterprise. The major 20th Century philosophy which welcomes mixed economies but criticizes their excesses is Rortian pragmatism. This chapter investigates Richard Rorty's screen-related output of the last 20 years (Rorty 2007, 2006, 2006b, 2006c, 2005, 2005b, 2003, 2002, 2002 et al., 2000, 1999, 1998, 1997, 1995, 1994, 1991b, 1991, 1989 and 1983). It weaves in pragmatists Ludwig Wittgenstein 2001, Thomas Kuhn 1996, Donald Davidson 1984, Robert Brandom 2000, Robert Harrison 2005, Jürgen Habermas 2007, 2003, 1987; filmmaker philosophers Stephen Gaghan, Florian von Donnersmarck and Robert Altman. They are briefly contrast with non-pragmatists such as Plato -0360 and John Searle 1993.

‘Richard Rorty or Jacques Derrida are much more influential in departments of literature than they are in philosophy departments,' snipes Searle (1993:77). But Rorty continues to impact Western philosophy at Harvard, Columbia, Berkeley, Frankfurt and Cambridge, while arguing that the philosophical vanguard has decamped to literature and movies. Rorty turns to Vladimir Nabokov and George Orwell (Brandom 2000:vii,22; Rorty 1989).

Rorty's turn appeals to innovators, filmmakers and researchers because it champions secular human progress and useful screen innovation, rather than metaphysics, positivistic science or bureaucratic-corporate cruelty (Rorty 1989:xiii-10; 1998:1-13). Pragmatism asks researchers to emphasise

17 research purposes. Pragmatism is wary of research language which claims to correspond to 'reality'. Says Rorty:

'The best thing about pragmatism is that... it abandons positivism's attempt to elevate science above the rest of culture. It rejects [Greek metaphysical disputes] because they are irrelevant to practice. Pragmatists substitute the question: which descriptions of the human situation are most useful for which human purposes? for the [rejected positivist's] question: which description tells us what that situation really is? Pragmatism thus puts natural science on all fours with politics and art. Dewey said, "the term reality is a term of value or choice. Philosophy is not in any sense whatever a form of knowledge. It is, rather, a social hope reduced to a working program of action: a prophesy of the future" ' (Rorty 2006:1).

Pragmatist Habermas also abhors scientistic positivism's worship of 'the objective' and 'the knowledge of objects'. Instead, pragmatist researchers attend to whether or not their research is a conversation between people - a conversation of mutual understanding - rather than emphasising their 'objective' relationship with 'objects' and 'reality':

'the paradigm of the knowledge of objects has to be replaced by the paradigm of mutual understanding between subjects capable of speech and action' (Habermas 1987:591).

Positivists emphasise 'objective' reality. They ask: 'which description tells us what that situation really is?' But pragmatists emphasise the historical evidence of research processes: scientists are heavily constrained by their social languages when deciding on reality. Realities - such as gravity, oxygen, electricity, evolutionary biology, solar systems, atoms, wireless,

18 blood circulation - often take researchers many generations of language change before scientists 'understand' what is 'observed' in the scientific community's research results, let alone our vernacular beliefs. Copernican and Darwinian worlds were resisted/unclear until enough observers and educators agree to redescribe their 'objective' vocabularies (Kuhn 1996:6ff.).

Habermas' generation grew up among National Socialist German Workers' Party scientistic bureaucrats. These Platonist bureaucrats ran 1930-40s European trains and other agreed objects on time. They kidnapped, tortured and murdered 'others' whom they feared – and observed as objects – in their Platonist society, people who did not fit the carefully argued, pseudo-scientific cruelty of Platonist nationalism.

Platonists see people as natural objects who can be truthfully discovered (or kidnapped, rejected) at the end of history. Such social 'science' redescribes one ancient Greek tradition of imagining the world: Plato's Republic (-0360). By contrast, pragmatism draws on Democritus (c. - 0360) – the biologist, chemist, anthropologist, political scientist and co- founder of atomic theory – and it criticizes Plato.

'Converse' Knowledge

Platonists imagine their ahistorical, scientistic language magically corresponds to their imagined 'reality'. By contrast, pragmatism imagines movie research and other knowledge in fallible social vocabularies. Pragmatist ideas are justified to changing historical audiences, not to essences:

19 'only in the context of social practices - within a vocabulary - can anything have authority, induce responsibility, or in general have a normative significance for us' (Brandom 2000:161).

Rorty lumps most intellectuals together as Platonists who imagine they speak outside social practices (1989:xv; 1999:xvi) and who use words like: intrinsic, authentic, unconditional, legitimate, basic, objective (2007:87). I would add the current fashion for absolutely. Platonists believe their movie thinking mirrors or corresponds with reality. 'Others' - who deny that Platonists discover, receive and reflect 'the' real world - are viewed by Platonists as irrational wrongdoers (Plato -0360:Ch10; Rorty 2007:73-85; 1999:xvi-xxxi).

If I investigated innovation as an 'objective' Platonist, I would believe I was separated from the writer-producer conversation by a great gap which Rorty calls:

'the pathos of distance, our sense of something non-human toward which we reach but which we may never grasp, even after we've got a pretty good idea of how things work' (Rorty 2000: 216).

This investigation denies such a 'pathos of distance'. This study redescribes innovation's strategies and inspiration as a conversation among interconnected communities living in an interconnected material universe.

Redescribe Worlds

Knowledge does not 'reflect' the world. Knowledge is a language of agreement and disagreement we speak together as persons. We decide together how to usefully redescribe our inferences about our worldly

20 activities (Rorty 1991:113ff.). We converse and cooperate with intent and purpose - what Wittgenstein terms our 'language-game' (Sprachspiel, 2001:Section7).

We think in the vocabularies of scientific truth, health, music and movies. We are not capable of thinking rationally, responsibly, or compassionately outside our languages. Languages are not received across 'the pathos of distance' from non-human objects. Languages are our knowledge tools for coordinating the behaviour of:

- chemists in a bomb factory - doctors in an operating theatre - first dates at the movies - storytelling families at children's bedtime - screenwriters and movie producers

As pragmatists, we investigate such activities as redescriptions of social language. Pragmatists do not seek to discover the universal essence of such activities. Our question is not: are we closer to discovering absolute truth? Rather, we ask if the way we think, speak and make a particular movie makes life better for us? (Rorty 1999;1994:52; 1989; cf. John Searle 1993:55ff).

Pragmatists view fellow researchers as Darwinian, material animals, woven into our Copernican, material world. Pragmatists deny another 'higher', 'deeper' fantasy world, natural essence, perfect world or 'correct authority' which Platonists pretend they 'approach'. But Platonist Kant promotes such absolute moral transcendence (Mautner 1997:290ff). And the Platonist character in Chapter 6's movie Daughter promotes his transcendent motto: 'Rendezvous with destiny!' But pragmatists dismiss Platonists' transcendence as 'an optional metaphor, not as an important

21 insight' (Rorty 2000:107).

The Pragmatist world is not a 'rendezvous with destiny'. The pragmatist world is a destiny-less, non-hierarchical, causal, material network. Researchers in that network choose to understand that they are not disconnected objects. Rather, they are 'subjects capable of speech and activity*' in knowledge communities capable of 'mutual understanding' (Habermas 1987: 591. *action translated as activity to avoid film term).

Pragmatists suspect the Platonist word 'discover'. Did Newton, Einstein or next century's Nature contributor discover gravitational Truth? Historically and today, 'gravity' is a fallibilist intersubjective agreement and argument conversed by gravity-using communities. Scientific laws are uncertain but useful. Knowledge is an ongoing conversation between people interested in making life better for themselves 'and others'. Researchers and writers never escape language as they redescribe worlds.

Charitably Infer

Adding 'and others' (above) distinguishes liberal democratic thought which tolerates 'others' from the intolerant proto-pragmatism of Friedrich Nietzsche (Rorty 2000:20; 2006:1). Unlike the arrogant Nietzsche, the pragmatist logician Donald Davidson argues that the expansion of new knowledge is not logically possible unless logicians think charitably:

'if a speaker's utterances can be understood in different ways, one should prefer the one which maximises the number of statements which come out [reasonable] or which invite assent... [This is] a precondition for... translation from a language previously completely unknown' (Mautner on Davidson, 1997:91-92).

A common 'language previously unknown' in filmmaking is the never- before-organised motion-audio in a new movie's dailies (rushes). Feature dailies are a surprising unknown: they require Davidson's charity. Thousands of brief, disjointed performances of actors and musicians in original dailies are always a 'new language', according to editor Walter Murch. Seasoned editors charitably acquire the language during about 300 hours of preliminary investigation before editing 'knowledgeably'. New dailies are not observed as familiar human languages:

‘Some actors might turn their head to the left before they say the word “but” or blink seven times a minute when they’re thinking hard. You learn all these things, and they’re important... as signs in the forest are important to a hunter... Is this a trail? ... You have to find the things that are good that work with the film... You look at all the material for the scene, over and over again. [Re-investigating Apocalypse Now's dailies after 20 years...] something unlocked for me. I felt I was beginning to grasp the language of this new version ' (Murch 2002:xviii;72,80).

Pragmatists believe movie editors and producers apply Davidson's 'charity principle' to the strange logic of 60,000 unfamiliar gestures and tones in a new movie's dailies. Editors are similar to producers: they join CONVERSATION C's empathetic conversation with writers and performers' actions. Writers tend to only elaborate the full actions of their richly detailed story to empathetic listeners. Writers share with empathetic producers but writers dry up before uncharitable, parsimonious authorities (Brody & Park 2004: 147ff).

'The process of coming to see other human beings as "one of us" and not "one of them" is a matter of detailed description of what

23 unfamiliar people are like and of redescription of what we are like' (Rorty 1989:xvi).

Empathetic producers welcome the detailed, unfamiliar language of strange writers who are 'more than the enactor of a role in a previously written script' (Rorty 1989:xiii). Innovation requires charitable inference and empathetic listening. Later in this investigation, this logical attitude towards innovation is termed 'Strategy 0: Charitably Infer'.

Practise Responsibility

By contrast, Platonist investigators do not emphasise they are part of a community conversation. They remove themselves 'objectively' from other people so they can observe 'others' across a 'pathos of distance'. They use Platonist vocabularies and spin to raise themselves above an underclass who can then be bullied.

Florian von Donnersmarck's movie The Lives of Others (2007) is about East German bureaucrats and investigators who control creative industry policy. Bureaucrats investigate an underclass of dramatic artists. They interrogate artists' friends, manipulate suicide statistics and cover up cruelty with correct policy paperwork. Artists' thoughts are 'objectively' observed and held at a distance by investigators. Artists commit thoughtcrime, on the view of Platonist investigators:

'You think we imprison people on a whim? If you think our humanistic system capable of such a thing, that alone would justify your arrest!' (von Donnersmarck 2007).

In Stephen Gaghan's movie Syriana (2005), oil workers and soldiers replace artists as the underclass. Syriana's investigators manage oil

24 politics. They preach pragmatism's liberal democracy, free speech, experiment, enterprise and communicative tolerance in territories where they raise their children and donate to social capital. But they brutally suppress such pragmatist thinking in the Middle East, where Islamic philosophers traditionally use Plato's Republic 'to reflect on human actions in the light of transcendent goals' (David Burrell 1998:1). Syriana's alliance of Western executives, Islamist puppet monarchs and soldier-technicians believe Platonist received truths and divine non-negotiable laws. They torture and assasinate social campaigners, thus depressing oil production prices below the high cost of raising progressive children in production markets (Gaghan 2005; see also Liddle 2008:18; Nichols 2007).

Pragmatists von Donnersmark and Gaghan criticize our Platonist times. In both movies, Platonist managers excitedly converse scientistic methods together (counting torture periods, stifling collegial debate, lecturing postgraduates on 'correct' torture methods, profiling assassination targets, measuring missile ranges). Their research results in wealth for themselves and pain for their research 'objects'.

Platonists throughout history claim 'nature', 'god' or 'authority' excuse their lack of personal responsibility for bullying. Their very authority as experts is used to excuse Platonists from acting ethically: 'the medieval university of Cambridge [...] used every device of the academic politician: rigged committees; selective terms of reference, and straight forward bullying and bribing' (Starky 2005:1). By contrast, pragmatists ask bureaucrats to practise responsibility.

Liberalise Democracy

Rather than imagine ahistorical Truths (used to brutalise non-believers),

25 Rortian pragmatists desire to embrace history and liberalise democracy. But pragmatist hope is deflated by two groups who embrace history yet spurn liberation (private autonomy) or spurn democracy (socialised community).

'Historicists in whom the desire for self-creation, for private autonomy, dominates (e.g., Heidegger and Foucault) still tend to see socialisation as Nietzche did - as antithetical to something deep within us. Historicists in whom the desire for a more just and free human community dominates (e.g., Dewey and Habermas) are still inclined to see the desire for private perfection as infected with "irrationalism" and "aestheticism" (Rorty 1989:xiv).

For Rorty, both groups of historicists argue at cross purposes. Rorty offers another view. He rejects Platonists while welcoming both personal and social historicists. Democratic pragmatists agree that philosophy is 'a social hope reduced to a working program of action: a prophesy of the future' (Dewey in Rorty 2006:1). But Rortian pragmatists further insist that any utopian ideal must celebrate private personal freedoms too, or risk military oligarchy (Stalin, Mao, Bush; Orwell 1948).

Historicists should promote their vision of an affectionate, diverse future, says Rorty. Historicists cannot claim social justice and then reject diverse individuals (or movie characters) with strange, surprising, personal perfection agendas who suffer pain as we do. By urging 'social justice' yet denigrating 'the personal', semi-intellectuals promote Orwell's dystopia.

Rorty argues, academic attempts to synthesise threads of public justice philosophy with personal perfection philosophy have failed for 2400 years, so why not abandon attempts? (Rorty 1989: xiii ff). Pragmatists

26 weave multiple threads (Wittgenstein 2001:Section67) and welcome the social and personal as equally useful. For Rorty, social and personal theories interweave most usefully in novels and movies (1989:xvi; 2000:22).

Movies converse the personal and social without unification. Chaplin's The Emigrant (1917) describes economic/refugee migration to the US and personal romance at the same time. Alexander Mackendrick's The Man in the White Suit (1951) weaves young personal lives with unionist, and capitalist, conflicts. Adam Herz's American Pie (Weiz 1999) weaves sexual intimacy and wealthy cosmopolitan enculturation.

Even movies about dystopian societies (which ethnically cleanse personal lives) redescribe dystopia through the private lives of outcasts:

- unemployed Clockwork Orange droog, ALEX (Kubrick 1971) - illiterate Shining child beater, JACK (1980) - sleepwalking Eyes Wide Shut social climber, DR HARTFORD (1999)

Movies do not attempt to unify the personal and social. Rather, they reweave both philosophies, either as celebrations of private liberation and social affection, or as warnings of the tragic failure to liberalise democracy.

Exceed Habits

In Chapter 7, Writer L uses Dewey and Habermas' despised 'irrational aestheticism' to create a hotel manager, LULU, who foolishly lets a PEDOPHILE attack her GUESTS. Writer C creates two boarding school gay POLITICIANS who rise to govern Australia, before greed and betrayal

27 lead to murder. New movie characters expand our habitual, logical space; expand what we mean by 'human':

'[Writers] have denied that there is such a thing as "human nature"... Such writers tell us that the question "What is it to be a human being?" should be replaced by questions like "What is it to inhabit [current] democratic society?" and "How can an inhabitant of such a society be more than the enactor of a role in a previously written script?' (Rorty 1989:xiii).

In Robert Alman's The Player (1992), a studio producer interrupts his writers many times to praise their breakthrough ideas: 'Good. Good! I haven't see that before!' Writer-producers in Coen (1991) and Jonze (2002) voice similar desires for innovation. Pragmatists believe we should exceed habits and innovate, rather than decrease logical space (Davidson 1984:251).

Originate Inquiries

Pragmatists divide movies into unfamiliar novelties (new movies) and formulaic consensus products (remakes and episodes). Both 'novelty- inquiry' and 'consensus-habit' modes are championed by John Dewey over make-believe doubt:

'Instead of asking epistemological questions about sources of knowledge, or metaphysical questions about what there is to be known, philosophers might be content to do what Dewey tried to do: help their fellow-citizens balance the need for consensus and the need for novelty (Rorty 2007:85). 'If one takes this Deweyan stance, one will naturally [sic] make a

28 distinction between what Dewey called "habit" and what he called "inquiry". This is, like all of Dewey's distinctions, one of degree' (Rorty 1991:94ff.).

Pragmatists divide screen work into the habitual work of episodes and new investigations into original documentaries, series pilots and movies. For pragmatists, 'original' is a social contract (such as AWG's 1994 writer- producer agreement) reached between writers, producers and other citizens about who should pay for a writers' work, risks, and personal costs of writing novelty-inquiry products for parsimonious audiences. Rorty praises such union agreements (Rorty, Nystrom & Puckett 2002).

One 'original' movie is The Heartbreak Kid (Jenkins 1993), written by Richard Barrett from his original play. Barrett's movie is a novel inquiry into personal perfection, social justice, sexuality and mentorship. But the movie's TV spin-off is habitual. The habitual series copies the same characters, bible, directorial style, score, locations and chain of title as Barrett's original. There is no detailed reweaving of new attitudes in downstream episodes, unlike new movies which originate inquiries and raise unfamiliar characters:

Shift Paradigms

Pragmatists consider filmmakers and audiences shift paradigms by changing beliefs about self, other people and the world in three ways:

- Beliefs are changed by perception of new activities and contingencies; - Beliefs are changed by inferring other beliefs from beliefs one holds; - Beliefs are changed by the creation of metaphors (Rorty 1991:12).

Writers Chris Anastassiades and Nick Giannopoulos observed Melbourne Greek immigrants and working class Anglos in discos, pizzeria and seniors' migrant clubs. Their perceptions are redescribed in The Wog Boy movie sequences. The Wog Boy also contains inference, such as 'a chauffeur's cunnilingus with Australia's Social Security Minister' (Vellis 2000). Pragmatist beliefs (redescribed in movie actions) are changed by perception and inference.

But pragmatist movie actions are also changed by using strange metaphors, including jokes and 'absurd truths' (Davidson 1984:259). Wog Boy 'STEVE' is annoyed by a formal, aristocratic business-government banquet and its stingy nouvelle cuisine portions. STEVE phones for a pizza delivery. Such humorous metaphors interrupt the audience's logic of the familiar. Incongruous food invades the serious, pretentious rituals of senior bureaucrats and subsidised business leaders.

(1) perception and (2) inference change writer/producer/audience beliefs logically but other beliefs are changed by (3) metaphors which escape habitual logic:

'Both perception and inference leave our language, our way of dividing up the realm of possibility, unchanged. They alter the truth value of sentences but not our repertoire of sentences. To assume that perceptions and inference are the only way in which beliefs ought to be changed is... what Husserl took it [science] to be: to map out all possible logical space... [using] all the language we shall ever

30 need... By contrast, to think of metaphor as a third source of beliefs, and thus a third motive for reweaving our networks of beliefs and desires, is to think of language, logical space and the realm of possibility as open-ended' (Rorty 1999b:12).

But movie metaphors are detested by Platonists and others who fear artists. Plato argues for a panoptic superstate run by a 'logical' elite who understand everything as 'objective', ahistorical 'Truth'. Creative people (Greek=poētēs) concoct 'poetical imitations' and:

'all poetical imitations are ruinous to the understanding of the hearers, and that the knowledge of their true nature is the only antidote to them' (Plato -0360:Ch10).

Plato warns: arts are poisonous. Platonists don't desire to make movies, celebrate movies or other free speech in their community. As far as Platonist belief or 'final vocabulary' is concerned, bottom-dwelling movie practitioners and their audiences speak politically incorrect, irrational 'imitations' of Truth. Triumphantly, Platonists believe they think and speak correct, transcendent, indomitable, ahistorical Truth, and artists are appropriately punished. By contrast:

'Pragmatism... puts natural science 'on all fours' with politics and art. It treats science as one more source of suggestions about what we human beings might do with ourselves ' (Rorty 2006:1).

Art metaphors suggest what we might do. When managing industry R&D (Chapter 1), I longed to be struck by rare metaphors: 'the eagle' in Rabbit Proof Fence (Noyce 2002), and the 'witch's flood' in Lawn Dogs (Duigan 1997). Global studio investment flows to such metaphors.

31 Davidson argues metaphors are not pregnant symbols. There is no other, inner, greater meaning to metaphors. Metaphors do not require academics to 'decipher' them across a 'pathos of distance'. Metaphors don't redescribe inferential knowledge. They prompt audiences to radically shift the location of their inferential thinking (Rorty 1991:162 ff; Davidson 1984:245ff).

When audiences desire and use metaphor, we demand something more than our current logical space. In Tootsie, a confused WRITER (Dustin Hoffman) defends his script:

WRITER: But that actually happened! PRODUCER: Who gives a shit? Nobody wants to pay twenty dollars to watch people living next to chemical waste. They can see that [for free] in New Jersey! (Pollack 1982)

'But that actually happened!' is the common cry of truth-hunting Platonists who make dull movies (Ballon 2005:14). A good movie shifts day-to-day expectations or it isn't worth its ticket price. A good movie puts individuals into more experimental, less dogmatic, and less arbitrarily sceptical relations to life. We entertain strange, emancipatory ideas watching cinema. We briefly shed our 'crust of convention':

'Like Marx, Dewey dropped Hegel's notion of Absolute Spirit, but kept his insight that ideas and movements which had begun as instruments of emancipation (Greek metaphysics, Christianity, the Rise of the Bourgeoisie, the Hegelian System) had typically, over the course of time, turned into instruments of repression - into parts of what Dewey called "the crust of convention." Dewey thought that the idea of "absolute truths" was such an idea, that the pragmatic theory of truth was "true in the pragmatic

32 sense of truth: it works, it clears up difficulties, removes obscurities, puts individuals into more experimental, less dogmatic, and less arbitrarily sceptical relations to life. The pragmatist is quite content to have the truth of his theory consist in its working in these various ways, and to leave the intellectualist the proud possession of [truth as] an unanalysable, unverifiable, unworking property"' (Rorty 1994:59 quotes John Dewey's The Quest For Certainty).

Rorty attacked the prevailing Bush plutocracy's 'crust,' four years before the Global Financial Crisis meltdown:

'Although we take justifiable pride in being citizens of a 200-year- old constitutional democracy, we look much more like a corrupt plutocracy than we did at the end of World War Two' (Rorty 2003:1)

Movies and other literature put individuals into more innovative, less doctrinaire, less lazily sceptical relations to life. Successful innovation expands the logical space of vocabulary and ideas, it reweaves new metaphors into Dewey's crust of convention (But cf. Rorty 2000:101ff.; Schultheiss 2004:592; Lynch 2006; Sullivan 2006). Using (1) perception, (2) inference and (3) metaphor, pragmatists shift paradigms.

Progress from ICT Summaries

In a 1894 paradigm shift, Lumière invented mechanical Information and Computational Technology (ICT) for movies: claws, perforated celluloid, chains, sprockets and blinkers (Geduld 1967:Ch1). This ICT has been superseded by single photon communication (Sherriff 2005b:1).

33 Pragmatists praise ICT to the extent that it increases communication between people and decreases cruel, positivist bureaucracies. Rorty emphasizes technology, while current pragmatists like Harrison (2005b) emphasize environmental concerns.

Later, Chapter 6 uses ICT languages such as LogicESX24 and AdobePAL4:2:0DV (Emagic 2004a; Adobe 2000). Chapter 7 uses Notation - a high-speed 'minimum message length' ICT for writer- producers (Allison 2002:1). ICTs now automate thousands of traditional movie calculations, from call sheets to voice timbre, rough cuts to opticals (Mandelberg 1986:1). Digital, mathematical ICT is simply a pragmatist's tool and not a Platonist's shibboleth:

'Hegel challenged Kant's version of the Platonic ideal that philosophy could be like mathematics - that it could offer conclusive demonstrations of truths about structural features of human life, rather than simply summaries of the way human beings have conducted their lives so far' (Rorty 2007:127. cf. Rorty on 'final vocabulary').

Writers de-emphasise scene numbers and motion calibrations. Such careful downstream work is the director's. Writers de-emphasise mathematical 'certainty' during story innovation. A great story 'means people can do anything, and I like that!' says Peter Beattie about his favourite Australian movie, Babe (Bennett 2007:1). Pragmatists praise Babe's digital ICT, but it is Babe's story which emphasises social hope. Pragmatists progress from Babe's ICT to tell Babe's story of social hope.

34 Reweave Conceptual Schemes

Compared to television roles, movie 'roles are vague and responsibilities may be shared' (Sandor 2001:25). Movie filmmakers work flexibly in business/knowledge networks. Information permeates easily: 'These traits encourage innovation... in a volatile environment' (ibid.). Pragmatists praise flexible knowledge networks:

'The very ability to translate between conceptual schemes shows that any one scheme is not unique and inscrutable, but part of our web of knowledge and activity' (Davidson 1984: 183ff, 'On the Very Idea of a Conceptual Scheme'. Also Rorty 1991:113ff).

Two 'concept schemes' can flexibly interconnect:

Industry:

Research-develop-invest-crew-cast-post-score-promote-license-exhibit

Pragmatist writer-producers use 'dynamic feedback loops, non-linear change processes, and... learning processes' (Cunningham, Cutler, Hearn, Ryan & Keane 2005b: 6) to weave between movie and industry 'concept schemes', i.e.:

- “Research and development” is closely tied to “exhibition.” - Writers “develop” “motion” with producers using CONVERSATION C.

Concept schemes are statements of belief by writer-producers - their attitudes towards practice, expressed in sentences, i.e., sentential attitudes.

35 Writer-producers are:

'webs of beliefs and desires, of sentential attitudes - webs which continually reweave themselves so as to accommodate new sentential attitudes... there is no self distinct from this self- reweaving web [of] intentional states' (Rorty 1991:93,24).

Participate Pragmatically

'[Pragmatists] do not countenance any generalized skepticism about other minds and cultures, or the external world, but only detailed skepticism about this or that belief or cluster of beliefs - suggestions

about how to reweave' (Rorty 1991:97).

Pragmatists try to be sceptical with details, not generalisations. In Spike Jonze's Adaptation, a mismatched pragmatist PRODUCER and Platonist WRITER reweave an orchid book:

PRODUCER: So tell me your thoughts on this crazy little project of ours. WRITER: First, I think it's a great book.

36 PRODUCER: Laroche is a fun character, isn't he? WRITER: Absolutely. [Laroche's lover, the novelist] Orlean makes orchids so fascinating... It's great, sprawling New Yorker stuff. I'd want to be true to that, you know? I would rather let the movie exist, rather than artificially be plot driven.

The pragmatist doubts the Platonist WRITER's generalised scepticism:

PRODUCER: Great... I guess I'm not exactly sure what that means. WRITER: Oh? I'm not exactly sure I know what that means either. I just don't want to ruin it by making a Hollywood thing, you know. Like an 'Orchids Heist' movie, or changing the orchids into poppies and turning it into a movie about drug running. Why can't there be a movie simply about flowers? [...] The book isn't like that [a romantic adventure movie] and life isn't like that, it just isn't. (Jonze 2002).

The nervous, confused WRITER uses Platonist terms like 'absolutely'. He 'wants to be true' to Orlean's book: he imagines an ahistorical standard of Truth which, when 'discovered', will justify his writing. He desires to 'let the movie exist, rather than artificially be plot driven'; even though, when queried, he doubts this Platonism makes sense. What writers write is artificial - movies are a social language artfully written by artificers (people).

The Platonist WRITER abhors a 'Hollywood thing' - a drug-running heist movie. Jonze lampoons his abhorrence. In Act 3, the WRITER switches from 'the paradigm of the knowledge of objects [to] the paradigm of mutual understanding between subjects capable of speech and activity' (Habermas 1987:591). He stops 'objectifying' Orlean and Laroche as imagined objects

37 in his perfect 'non-Hollywood' screenplay and switches to the paradigm of mutual understanding between subjects capable of speech and activity: he participates in Orlean's and Laroche's private lives. Thrown together, they mutually understand they are capable of speech – and voyeurism, adultery, drug running, heist, murder and death by misadventure.

Initially, the Platonist wishes for 'a movie simply about flowers'. Pragmatists answer: 'flowers' is too big a concept for any philosopher or filmmaker to investigate and write usefully (we do not countenance generalised scepticism about other minds and cultures, or the external world). Gradually Jonze's WRITER ventures from his Platonist ivory tower of make-believe doubt. Various pragmatist producers (including his brother and his girlfriend) encourage him to become an intersubjective participant rather than a risible Platonist wallflower. Gradually he becomes a pragmatist who pursues personal happiness with one of his PRODUCERS. Pragmatists believe in participatory research.

Summary

Pragmatist academics and filmmakers converse knowledge rather than preach 'true' beliefs. Truth is justified to an audience, not naturally discovered. Academics and filmmakers practise responsibility rather than hide cruelty behind 'expertise'. They are open to redescribing worlds rather than pretending a unified theory. Logical worlds are inferred by the charitable, not bullied by the irrational. Utopias are liberalised democracies, not tyrannies of ivory or pixel silos. Familiar habits are exceeded. Metaphor is valued. Producers and other paying audiences support writers' original inquiries rather than rob them. Innovative writer- producers shift paradigms rather than habituate characters. Filmmakers progress from ICT summaries to prophesy other worlds. They translate

38 conceptual schemes. They participate pragmatically rather than pretend a pathos of distance. Such sentential attitudes suggest ways of reweaving industry beliefs in this study.

39 3

FIVE USES OF INNOVATION LANGUAGE

Writers and producers usually converse innovation in two languages called:

- (a) strategy sentences and - (b) movie actions, beats and sequences.

(a) Strategy sentences are attitudes held by writer-producers towards movie innovation. Chapters 4 & 5 investigate these attitudes which drive innovation conversations.

(b) A second kind of language is woven in writer-producer conversations - the language of movie sequences. For example a writer might imagine and describe this sequence:

'INTERIOR WASHINGTON DC - NIGHT: Bureaucrats use a computer joystick to dismember and burn alive an Arab liberal couple and their daughter.'

Here Gaghan (2005) redescribes an imagined location, and its actions: 'use a joystick,' and 'dismember an Arab family'. Such actions and movie sequences are Gaghan's screen language.

Pragmatists emphasise the purposes of language. As part of this investigation I kept a journal and observed five kinds of language use by writer-producers:

Language Use 1: Inquiry Into Actions

When innovation conversations proceed fruitfully, producers use strategies to prompt detailed, specific (not generalised) inquiries of the writer's spoken or written screen actions; especially those actions which are unclear. Altman (1992) specifies an unclear sequence of a WRITER, and the responding strategy of a PRODUCER:

WRITER: 'Ben and Elaine are married [...] and Mrs Robinson lives with them. Her ageing mother, who's had a stroke...'

These actions confuse. Is 'Her ageing mother' Elaine's mother or Mrs Robinson's mother? The conversation's PRODUCER asks for clarification:

PRODUCER: Mrs Robinson has had a stroke? WRITER: Mrs Robinson has had a stroke. (Altman's emphasis underlined)

The producer charitably assumes Mrs Robinson has had a stroke, rather than assuming a fourth character ('her ageing mother') exists. The producer uses Donald Davidson's charity principle which drives innovation logic:

41 Driving the PRODUCER's query is Strategy 3: Triangulate Characters (Chapter 4) and the desire for financial certainty. Is the writing budgeted for three leading characters? Or is 'Mrs Robinson's mother' a fourth budget blow-out? Ambiguous conversations threaten cashflow; innovators desire clarity.

'In Day For Night [1973] Francois Truffaut comments on the inevitable gap between the grand conception of a film and the nuts-and-bolts execution of that plan... the final expression of our ideas involves adjustments and work that... may change and even improve that original conception' (Corrigan 1998:106).

Innovation involves adjustments and work during CONVERSATION C. But the conversation may have purposes other than creating new movies.

Language Use 2: Inquiry Into Theory

Productive CONVERSATION Cs do not emphasize a film's themes, and other theory behind producers' nuts-and-bolts questions. But when the conversation collapses, or when novices learn this industry, writer- producers do converse theories and strategies. Adapation's WRITER ('Kaufman') is unable to imagine his second movie. He turns to theory: 'Why can't there be a movie simply about flowers?' He pays the theorist, Robert McKee, to explain Aristotelian strategies, story creation, conflict, crisis, field research and audiences (Jonze 2002).

Kaufman initially uses unhelpful Platonist vocabulary: 'absolutely, let exist, nothing, reflection, artificially be plot driven'. Kaufman inquires into theory in Act 2 and by Act 3, Kaufman's language articulates 'a social hope

42 reduced to a working program of action' (Dewey, Ch.2). Pragmatist social hope is a 'global civilisation in which love is pretty much the only law' (Rorty in Habermas 2007:1). By Act 3, writer Kaufman loves Amelia. Having used Language Use 2, a confident, theorized pragmatist pursues productivity and happiness:

KAUFMAN'S VOICEOVER: I have to go right home. I know how to finish the script now: "Kaufman drives off from his encounter with Amelia filled for the first time with hope." I like this. This is good (Jonze 2002).

Language Use 3: Deceptive inquiry

Conversations about action or theory may improve productivity but a third conversation deceives innovators. Deception occurs when unimaginative bullies foist their unpopular ideas on filmmakers and audiences. Greedy producers may desire to be writers, desire recognition as theorists, or play personal politics with community resources. And foolish, inexperienced producers may unintentionally deceive.

Working with Chapter 1's R&D teams before this investigation, we constantly received Australian screenplays with covering letters which theorised, summarised and promoted the projects in language completely removed from the dull screenplays they covered. We always read the screenplay before considering these attached explanations. Frequently, these exegeses were deceptive rubbish.

Fields (such as digital hardware, music production, tax law, banking, journalism, novel publishing, arts administration, theatre, serial TV production, politics, accounting, book literature and publishing) theorise differently from movies. Their experts often write screenplays; and some

43 are worth innovating. But their imposition of non-movie theory usually devastates industry. (Distinct fields are irrational under Rorty's definitions of 'rationality-1' and 'culture-1,' 1998:186ff).

Language Use 4: Abbreviate movie sequences

When theorising, writer-producers usually abbreviate each movie's two thousand particular actions to a few-word title (see Bibliography). And writer-producers rename movies and movies sequences to commonly understood abbreviations such as Linda Seger's 'barn raising':

'Rewriting is a process of balancing a film... Some of these cuts take place in the rewriting process, some of them take place during editing’ (1987:184).

After proposing the above theory, Seger cues and expects her readers to recall a movie sequence which she abbreviates as: the 'barn raising' sequence in Peter Weir's Witness (ibid, p.185). With her abbreviation 'barn raising' Seger expects knowledgeable readers to recall the following |motion|audio|visual| sequence:

A DETECTIVE, a young WIDOW and her local SUITOR perform the motions of barn raising. Their motion is accompanied by Maurice Jarre's stirring pastoral electronica audio. Visuals include traditional Amish costumes and a rustic Amish setting. Without words, the DETECTIVE, WIDOW and SUITOR mime gestures and harmonise with Jarre's tones – communicating lust, fear, jealousy, friendship, love, compromise and solidarity in their COMMUNITY (Weir 1985).

The paragraph barely redescribes Weir's rich, non-verbal sequence which movie-literate readers recall when imagining Seger's abbreviation, 'Weir's barn raising'. The paragraph imaginatively expands Seger's logical space from 2 words to 88 words. Yet even 88 words do not yet detail the motion trajectories, audio tones and visual feast imagined by Seger's movie readers. By abbreviating movie sequences, Language Use 4 vastly accelerates CONVERSATION C and innovation.

Language Use 5: Firm and flexible language

Another quality of innovation language is its firmness and flexibility. Writer-producers trust they can resume paused innovation conversations because our intersubjective language of mutual agreement is somewhat conventional and firm. Yet it remains creative and flexible. For example, Chapter 4's Strategy 12: Sequence Arcs uses the term, beginning-middle- end. This term is somewhat firmly fixed - it is used 300 times in the industry's 2000-page digital editing manual Final Cut Pro 6 (Apple 2007).

'Beginning-middle-end' terms are flexible. They cope with thousands of strange actions faced by editors of dailies, and producers of writer conversations. Apple's Aristotelian language is used flexibly by creative editors such as The President's Daughter's associate colourist, Ben Allen (2006), and Walter Murch:

‘You are internalizing everything - the rate of the speech of the actors, how they deliver their lines, how they are physically moving in the space, how the camera is or is not moving in the space... Taking all this into consideration... over a period of time, allows you to begin to assimilate and

45 learn the particular language of this film’ (Murch 2002: 270).

A 'particular language' learned during this study was the language in The President's Daughter dailies. The dailies included actions 1 to 5 below:

1. Retired US intelligence officer ANDY leaves his ex, VIRGINIA).

2. Heiress LIZAHNE becomes a Pentagon fugitive.

3. ANDY reacts against his cold war and Gulf War experiences:

4. LIZAHNE's sleazy 'family dynasty' story is played out on NZ streets.

5. LIZAHNE's story is played out in Paris.

Between 2004 and 2006 Daughter was redescribed around new Parisian footage (5, above). Sequences 1 to 4 were changed, and finally written out of the movie. Innovation's strategy sentences were firm enough to give me confidence to undertake changes. But strategies like 'beginning-middle-end' were also flexible enough to rewrite the story. The firmness of the beginning-middle-end strategy allowed me to organise the project; its flexibility allowed me to film the Paris sequence 5's new 'beginning' which reorganized the movie.

Any five directors in the Bibliography will demonstrate the staggering flexibility of our movie language. Take the first five 'A's: Akari converses childhood violence and homophobia; Allen converses alpha/beta males,

47 loneliness and underworld murder; Altman converses LA's movie innovation culture; Annakin redescribes aspirational youth rebellion, suicide, prison, gambling and prostitution in 1930s Britain; and Antonioni redescribes 1950s wealthy bourgeois Italian sexuality. The hundreds of screenwriters' exotic and disparate worlds in the researched filmography are coped with by producers who use firm yet flexible strategies.

The alternative to such movie diversity in mixed economies occurs in intolerant institutions and oligarchic states which limit movie conversations, language and logical space (Orwell 1945; 1948; Radford 1984, Meyers 2003; OFLC 2003; Liddle 2008). But the Strategies investigated below in Chapter 4 do not impose any political vocabulary which may stultify flexible innovation:

race, age, physical abilities, social or economic status, education, gender, sexual preference, historic period, political views, environmental contribution, thoughts, motives, attitudes, culture or philosophy.

For example, I funded this research by conducting flexible writer-producer conversations (entirely separate from this research). By not imposing the list's politicised vocabulary, my fund-raising writers were free to converse their powerful movie ideas which came from them alone. As editor, I did not mention race, age, political views or culture with these writers. They rewarded my quiet respect and trust by sharing powerful new movie stories, including black child slavery in Queensland, a Bosnian-Serbian war crime and a Brisbane rape. As a producer supportive of our mixed economy's free speech, I helped these writers by using ideologically soft terms in flexible innovation Strategies.

48 Summary.

Strategy sentences and movie sequences are used in at least five ways:

1. - to ask detailed, specific inquiries of a writer's innovation. 2. - to investigate or learn innovation theory. 3. - to deceive. 4. - to speed productivity: abbreviating, cueing and recalling complex movie sequences. 5. - to offer firm, flexible non-partisan strategy sentences to diverse writers.

49 4

RORTY, ARISTOTLE AND MOVIE ACTIONS

Writer-producers think in common terms, i.e., character, comedy, deus ex machina and scene. These are Aristotle's terms: kharaktēr, kōmos, theos ek mēkhanēs and skēnē. Language Use 2 uses such terms to theorize and describe writing strategies such as:

'The LIZAHNE character controls this comedy scene without resorting to deus ex machina.'

Aristotle investigated drama strategies in his Poetics lecture (translator Dorsch 1965) and our field's vocabulary often come from Poetics. Studying drama history, and his 325BC writer contemporaries, Aristotle collected and redescribed the innovation strategies of commercial dramatists.

Redescribing classical strategies today would be a conceit, except that movie strategists today use Aristotle – Linda Aronson, Rachel Ballon, Ken Dancyger, Lisa Dethridge, Rona Edwards, Syd Field, Raymond Frensham, Dara Marks, Robert McKee, Michael Rabiger, Monika Skerbeis and Christopher Vogler. Poetics was redescribed for 2.3 millennia in the Middle East and Europe. Last century, Poetics was redescribed again by movie innovators:

' - this thin little book that has been the literary handbook for centuries - is still the best in its genre for describing... [movie] storytelling’ (Edwards & Skerbelis 2005:55).

But Aristotle potentially embarrasses pragmatist study of writer-producer

50 conversations because he is the bête noire of pragmatists. Rorty revolutionized contemporary Western philosophy and literature by strongly criticising Aristotle, accusing him of plaguing our times. Rorty lambasts Aristotle 62 times in his Cambridge Philosophical Papers (1991- 2007).

Aristotle is 'a wildly misleading way of describing the relation between objects of knowledge and our knowledge of them' (Rorty 1998:123).

Chapter 2 argues Aristotelian (Platonist) ideas of representation and objective discovery undermine liberal democratic ideas of community, tolerance, open vocabularies, metaphor, experimentation, personal responsibility and useful knowledge. Aristotle emphasises a world of substances and essences (Mautner 1997:40ff.) rather than a world of 'mutual understanding between subjects capable of speech and activity' (Habermas 1987:591). But this chapter argues pragmatism and Aristotle's Poetics can be usefully redescribed together.

Rorty castigates yet acknowledges Aristotle as a 'ladder' used to build Western knowledge; but it is high time intellectuals climbed new ladders (1991:118). Crucially, Rorty never mentions Poetics specifically. While pragmatists critique Aristotelian natural and physical science, politics, metaphysics, epistemology and ethics, they are silent on Poetics. Rather than generalising about Aristotle's Poetics, its detailed beliefs are investigated here.

51 Movie Vision Redescribes Classic Cues

Aristotle assumes his audience readily imagine Classical motion-audio- visual sequences such as: Clytemnestra is slain by Orestes. But most movie theorists can not imagine this cue. Here the problem of visualization is solved by illustrating Aristotle's strategy sentences with movie stills from The President's Daughter. 'Clytemnestra is slain' is obscure. This is clearer:

Daelus is slain.

Poetics is translated by Butcher (1999), McLeish (1999) et al., but Dorsch (1965) is preferred. Dorsch rarely uses the mediaeval Platonism, 'unities'. He uses the word poet - redescribed here as 'writer', 'writer-producer' or 'filmmaker'. Poem becomes movie. His translation is abbreviated: (65:page) in this study. Poetics is a peripatetic network of notes, not a linear argument. This investigation imposes more linearity on Poetics by using 13 headings which redescribe its scattered writer-producer Strategies:

1. Strike Audiences

Aristotle offers strategies, not rules. Innovation is not judged against rules. Rather, movies are judged by how they 'strike' target audiences:

'If the poet has depicted something impossible... he is justified in doing it as long as the art attains its true end... as

52 long as it makes this or some other part of the poem [movie] more striking' (65:70).

If the 'impossible' strikes an audience, use it, says Aristotle. Dorsch concurs:

'there is nothing here that can be called a rule... [Poetics] is not a manual of instruction for the would-be playwright. Aristotle's main intention was to describe and define what appeared to have been most effective in the practice of the best poets and playwrights, and to make suggestions about what he regarded as the best procedure' (Dorsch 1965:18).

Aristotle praises commercial popular audiences in a mixed economy. Such commercialisation of innovation contrasts with views developed among despised audiences. Bertolt Brecht, for example, believed 1930-40s German theatre audiences were 'scum who want to have the cockles of their hearts warmed' (Brecht in Plantinga 2005:149). He devised his Epic Theatre to proselytise and reeducate the scum. He did not desire to 'strike' his audience with 'hypnotic fields of action'. Rather Brecht makes audiences 'an observer' and makes 'man an object of investigation' (Brecht 1949:307).

Most Australian movie producers do not believe Australians are 'scum' who must be reeducated or observed as 'objects' (Platonism, sic). But Brechtian ideas overlap movies in DVD extras, Japanese silent-era narrators, voiceover and Lynch's shamans (2001;1992). Brecht is more usefully employed in theatre (Jarman 2007; Tucker 2000); most movie producers in Australia's mixed economy emphasise Aristotle. Our movies are 80 years, a different industry, and half a planet, from 1930s German theatre audiences. Usually we emphasise Strategy 1: Strike Audiences.

2. Limit Duration

Aristotle emphasises Greek Tragedy styles which share movie characteristics. Aristotle contrasts 'movie' ideas with Greek serial theatre or 'Epic Poetry' and sets aside serials. Serial writing ‘observes no limit in its time of action’ (65:38) whereas movies usually limit their duration - less than 'one revolution of the sun' (65:38). Movies satisfy fussy, impatient audiences (youth, families, arthouse) who want a story's point delivered before bedtime, not drawn out over a decade of TV.

Serial writers puff open-ended episodes. Few desire, or practise the habits, of interweaving movies' concentrated, concluding logic and tensions. Serial screenwriting which ‘observes no limit in its time of action’ (65:38) rarely satisfies movie audiences. Audiences appreciate a concentrated story 'which can be easily held in the memory' (65:42) and 'a length which, as a matter of either probability or necessity, allows of a change from misery to happiness or from happiness to misery' (65:42). Most complex, layered movies end in about two hours. E.g, The President's Daughter resolves state hypocrisy and assassination in 84 minutes. Poetics advocates such Limited Duration.

3. Triangulate Characters

Time-limited movies are produced in motion|audio|visual language. On the pragmatist's view, motion gestures and audio timbres redescribe worlds:

‘produced by means of rhythm, language, and... music composed for... representation [sic] of people in action' (65:33).

Aristotle's word representation is italicized and dismissed here as Platonist metaphor. Movies do not represent, correspond to, or reflect the real world. They are a somewhat agreed community language (Chapter 2).

Movies are triangulated in a network, rather than trapped in a dualist's face-off. Triangulation creates three overlapping sets of: 'people in action ... who are better than we are, or worse, or the same kind of people as ourselves’ (65:33).

Movies describe intersubjective language which triangulates and connects people. Daughter does not represent. It suggests how a contemporary Australian – LIZAHNE – might 'be more than the enactor of a role in a previously written script' (Rorty 1989:xiii). Movies propose future social alternatives. They do not represent and correspond to real world objects. Moreover, Strategy 2: Triangulate Characters also emphasises diverse 'people in action' (65:33). We more clearly imagine human beings as 'one of us' when we imagine their triangulated actions.

'The process of coming to see other human beings as "one of us" and not "one of them" is a matter of detailed description... This is why the novel, the movie, [the arts... are] the principle vehicles of moral change' (Rorty 1989:xvi).

For Aristotle, 'people in action... are better than we are, or worse, or the same kind of people as ourselves’ and pragmatists applaud this rejection of dualist conversations about good and evil. Poetics is not about 'us and them'. Rather than Platonist dualisms, Aristotle triangulates characters. Movie writer-producers and their leading characters tolerate a web of characters who 'are better than we are, or worse, or the same kind of people as ourselves’ (65:33).

Lizahne Andy Euca

Daughter redescribes non-dualist characters LIZAHNE, ANDY and EUCA. 'Nice girl' EUCA is also an accessory to numerous official murders, including the murder of her best friend's mother. LIZAHNE and ANDY are complex, triangulated characters, too. The lawless killers GRIFFIN and DAELUS (below) are barbaric 'people in action' yet DAELUS does his own ironing and GRIFFIN loves his dog Miffy and fears the US Belvoir military nursing home. 'Bad guy' actions are somewhat triangulated and complex. Even GRIFFIN derails his 'previously written scripts' by running amok in Act Three.

Griffin Daelus redux

Strategy 3 proposes a triangulated web of social relationships.

4. Better Nowadays

Strategy 4 proposes leading movie characters are better or worse than people nowadays: ‘comedy aims at representing [sic] men as worse than

56 they are nowadays, tragedy as better' (65:33. nowadays: my emphasis).

Strategy 4 expands the logical space of 'nowadays' to propose utopian and dystopian alternative societies. When audiences are struck by movies, we laugh, gag or shun comically embarrassingly people who are 'worse' than ourselves. And when we are struck by dramatic, thrilling, courageous characters 'better than nowadays' we empathetically cry, increase hormones or startle. Striking writer-audience conversations redescribe comic people 'worse than they are nowadays' and dramatic people who are 'better' (more courageous and compassionate) than ourselves.

Distinguishing comedy and drama is often not obvious for writer- producers:

Veteran movie editors relearn 'what actions in this particular movie are jokes?' and 'what actions in this particular movie thrill?' Even Hitchcock did not completely work this out but his editor did (Mary Tomasini 2000:1). Writers and editors learn to Better (or worsen) Nowadays.

For example, this sequence shows assassin DAELUS shooting himself in the head, as per the original screenplay. DAELUS raises his pistol to his head, the muzzle flashes, and fires loudly... DAELUS is thrown backwards, bloody and lifeless on the aqueduct concrete:

57 1. 2 .

Despite this obvious sequence, test audiences ignored this Platonist's 'objective' view of the world. Instead of observing the above, most audiences (60 subjects) did not believe DAELUS shot himself in the head. They did not 'see' it.

In order to emphasise that DAELUS was worse than nowadays, his clumsy shooting at the aqueduct was rewritten on the editing bench. DAELUS was rewritten with distorted feet:

Digital rewrite of the ICT creates DAELUS' comic distorted feet.

DAELUS closes in. LIZAHNE reaches the end of the aqueduct.

LIZAHNE looks into the roaring cascade.

LIZAHNE turns to face assassin DAELUS.

Strategy 3: Better Nowadays (or Worse than Nowadays) rewrites DAELUS' feet.

ICT distortion. Audio rewrite: DAELUS ADR: surprise grunt.

Falling in ICT slo-mo…. DAELUS fires pistol into head.

Bang! LIZAHNE reacts.

LIZAHNE staggers forward. Her bloody Point Of View.

Strategy 4 ('better than/ worse than nowadays') rewrote ANDY and LIZAHNE's relationship in every scene in post in order to restore the project's emphasis on the couple being 'better than nowadays'. Rewriting in post created the couple 'better than nowadays'.

The sequence below is not in the movie. It was 'worse than nowadays' (comic) rather than better, so this scene was rewritten out of the movie:

ANDY: What did you do with my pistol?

LIZAHNE: I buried it.

You what?

I want this all to end.

You know we have Griffin on our tail?

62 Yeah but not tonight.

No, not tonight... Where did you bury my pistol?

Such major rewrites (in this case discarding a whole scene of The President's Daughter) occurred during this research – often driven by Strategy 4: Better Nowadays.

5. Gesture Language

Gesture Language emphasises the writers' actions which investors fund, directors cue and performers redescribe. Actions strike audiences with greater force than dialogue, subtitles and voiceover - even in film noir

63 (Hawkes 1946; Pichel 1949; Wilder 1952) and comedy (Heckerling 1995). Gesture Language reminds writers to elaborate action not dialogue:

‘In the action of the play... it is necessary to produce pity or terror... without verbal explanation’ (65:58).

Movies redescribe pity or fear, compassion or apprehension of cruelty as do liberal ironist pragmatists:

'Liberal ironists who include among [their] ungroundable desires their own hope that suffering will be diminished, that humiliation of human beings by other human beings may cease' (Rorty 1989:xv).

Movies redescribe suffering actions:

‘When the sufferings involve those who are near and dear to one another... then we have a situation of [fear and pity] to be aimed at’ (65:50) Again: 'pity is awakened by undeserved misfortune, and our fear by the misfortune of someone just like ourselves (65:48).

In The President's Daughter's Act 2, LIZAHNE orders her President father's assassination. ANDY speaks of compassion:

LIZAHNE I want them killed. All of them. Daelus, Griffin. My father -

ANDY I'm not in the business of killing people.

ANDY's desire for compassion sounds weak in the light of his Gulf War actions which dominate the dailies (above). I could not raise enough funds to reshoot ANDY's compassionate actions. Then during the 2004-2006 post, a breakthrough idea came to me. A Brisbane personality played ANDY's hand posting letters to the US Congress. The breakthrough was driven by Strategy 5: Gesture Language, in this case, posting ANDY's non-violent correspondence.

6. Doing Character

We trust both people and characters to act as they speak. We distrust those who do not enact what they speak. Pragmatists view trust, other mental states, and real world activity, as a causal network in the same mechanical universe (Rorty 1991:114-123). Similarly for Aristotle:

‘Thought and character are the two natural causes of actions... success or failure... happiness and unhappiness... [are] bound up in action’ (65:39).

Complex characters have complex actions. For example, in the Daughter sequence below, EUCA, US Navy spy, lies to DAELUS. Her words are weapons; she dissembles to Major DAELUS that she is willing to submit to DAELUS' rank-pulling and routine rape – but she commands her own

agenda. Her action causes DAELUS to believe EUCA is intimately loyal to his espionage cell. Unguarded, DAELUS blurts out President BEAUMONT's plan to kill EUCA's friend, LIZAHNE. EUCA videos this. EUCA's pretence protects LIZAHNE and betrays DAELUS.

Doing rather than verbalising character, EUCA and DAELUS adjust and readjust their intersubjective points of view (POVs) as they gesture unvoiced beliefs. Movies redescribe a web of intersubjective POVs - a

66 redescription of real conflicts. On her view, EUCA ambushes DAELUS. On his view, DAELUS institutes hierarchy. Actions or beats communicate multiple POVs (McKee 1997:37) and EUCA views that she controls DAELUS' rape/ambush.

Such complex movie actions around loyalty emphasise pragmatist use of communication, not truth. Daughter is not a Platonist Truth hunt. Rather, it redescribes a pragmatist equilibrium of diverse people/bodies. Daughter's community of characters experience pain, pursue happiness, predict activities, conduct intersubjective conversations, hope, and react to others - while continually readjusting their material equilibrium with fresh actions (Rorty 1991:123). Truth is marginally about speech. For pragmatists, true Character is a matter of Doing Character.

7. Risk Complexity

At any moment, for any individual, many desires are possible, including 'the desire to do X and the desire to avoid Y'. At the same time, even

67 comparatively free communities are constrained by the crust of conventional, familiar habits; and our actions are deflected by unexpected contingencies. When desiring to enact X, an individual has some control over X, but the community's history – and natural contingencies – also cause X.

Movies converse the uncertain risks of a character's desires, when particular circumstances befall them: LIZAHNE may do X, and avoid Y. By observing her choices, audiences infer some brief 'certainty' in her habitual actions-beliefs-desires-character: LIZAHNE desires X (her girlfriend EUCA) and loathes Y (her murderous father, BEAUMONT).

But Risk Complexity warns against such predictable dualism where:

- character LIZAHEN is written with desire X and loathing Y - we expect LIZAHNE to do X and - LIZAHNE does X.

In a developed movie, our expectations of L doing X are overturned. We change our inferred beliefs about L. We are entertained by such expansion of our predictable, habitual, logical space. Her unexpected, unfamiliar, risky actions are 'complex action' under Strategy 7 and: ‘complex action... is accompanied by a discovery or a reversal’ (65:45).

68 By discovery, Aristotle may mean that characters overcome a 'pathos of distance' to discover a True object. But Poetics does not emphasise such Platonist conceit. Aristotle ranks the communicative impact of 'discoveries' as:

1. OBSERVATION: Most impactful are scenes when a character perceives surprising actions by others. 2. INFERENCE: Somewhat impactful: a character infers surprising actions from clues in a scene. 3. DIALOGUE: Least impactful: 'discovery' of an action is usurped by narration (65:56).

Aristotle's most impactful kind of 'discovery' is pragmatist perception:

'Perception changes our beliefs by intruding a new belief into the network of previous beliefs... if I... see a friend doing something shocking, I shall have to eliminate certain old beliefs about him and rethink my desires in regard to him' (Rorty 1999b:12).

'[Such] discovery is a change from ignorance to knowledge, and it leads to love or hatred between persons’ (65:46).

When LIZAHNE enacts the complex action of 'discovery' or observation (65:45), she makes an unexpected change in her beliefs. LIZAHNE returns from a night club to replay a spycam of her sleeping mother. She unexpectedly observes her mother's assassination. She reacts to this reversal (this undeserved misfortune), becoming a fugitive from her hated father, i.e.: 'A reversal is a change from one state of affairs to its opposite' (65:46).

69 Risk Complexity's striking, cause-and-effect actions are not dualist straight- line trajectories. They are complex actions in pragmatism's uncertain, contingent world. Complex actions lead to surprising reversals and 'undeserved misfortune'. Choice leads to reaction. Choice leads 'from ignorance to knowledge, and it leads to love or hatred between persons’ (65:46).

By contrast, Platonism believes communities have a fixed essence (human nature) which controls us in the same, predicable way. 'Nature' is an 'essential core' we can not choose. But pragmatists deny the Platonist's scientistic description of our historical world:

'historicist thinkers... have denied that there is such a thing as "human nature" ... Such writers tell us that the question "What is it to be a human being?" should be replaced by questions like "What is it to inhabit [contemporary] society?" and "How can an inhabitant of such a society be more than the enactor of a role in a previously written script?"' (Rorty 1989:xiii).

The President's Daughter does not investigate a generalised, essential 'human nature'. As Daughter's editor, I had to investigate its unfamiliar, peculiar action language in its dailies (see Murch 2002:270). Daughter did not have a serial bible, national/global criteria, academic rules nor a character-editing manual for LIZAHNE.

Leading characters redescribe people who are liberal ironists (Rorty 1989:xv). They invent new beliefs as they live their beliefs scene-by-scene. Liberal ironists believe there is neither a god-operated nor natural- mechanical formula for how they should react to cruelty. Leading characters Risk Complexity. Scene-by-scene, they face irony, paradox and

70 many ways to cope with cruel reversals. But a character's ironic behaviour and changing attitudes towards reversals can only be shown by piecing together the gestures described in her innovation conversation and later performed in the dailies. If LIZAHNE always avoided her murderous father BEAUMONT, if she always chose safety/goodness over murder/evil, her story would be obvious and dull.

‘Character is that which reveals personal choice, the kinds of things a person chooses or rejects when that choice is not obvious’ (65:41); and again, ‘Tragedy... is... worth serious attention' (65:38).

Aristotelian writers construct characters who risk complications. They choose between many goods and many evils. Outcomes are not obvious for liberal ironist characters. They imagine ironically as they cooperate against cruelty and surprising contingencies. They Risk Complexity.

8. Democratise PanTheon

Aristotle's Greek characters believe in Tragedy. Events are fated beyond their personal control and determined by metaphysical powers. Odysseus is trapped by gods and demigods (Homer -0700). Athenian myths converse aristocrats, such as Paris and Odysseus, trapped by gods such as the Fates. 'Fates' is Latin fatum, which means ‘that which has been spoken,’ i.e., Rorty's 'previously written script'.

How is theistic Poetics useful to secular movies? Rather than believing Olympian theism, pragmatists believe people decide their own fates as subjectively-thinking individuals in lingual, historic communities, surrounded by an impersonal, mechanistic, thoughtless universe.

Aristotle weaves strategy sentences with Homeric and Euripidean drama sequences which predate Plato's metaphysics. Poetics cues a potpourri of gods and people: Medea, Oedipus, Odysseus, Zeus - diverse characters in a PanTheon, not a Platonist unity. When heroines in pantheist stories don't like one god's warning, they consult another god.

'In a democratic society, everyone gets to worship his or her personal symbol of ultimate concern, unless worship of the symbol interferes with the pursuit of happiness by his or her fellow citizens... Even if a non-human [monotheistic] authority tells you something, the only way to figure out whether what you have been told is true is to see whether it gets you the sort of life you want' (Rorty 2007:40, 38).

Whereas Platonism emphasises fixed, unified authority, pantheist drama and secular pragmatism both emphasise a motley world of communities, languages and local concerns, i.e., 'pluralism' (Rorty 2005c) where liberal democracy is on the back foot. Although surrounded by an impinging, uncaring world of Darwinian/Copernican mechanisms (or Aristotle's Olympian Fatal mechanisms), drama heroes create personal choices within the social history of their particular world. Choice is not completely fixed by an ahistorical godhead, nature or essence.

The plot made by humans 'must not be brought about by the Deus ex Machina' proposes Aristotle (65:46). Story is not resolved by a god who descends in the stage machinery, which was how B-theatre was resolved in Athens.

Aristotle's A-grade theatre characters defeat fated contingency by choosing their actions. They do not suddenly submit to a divine hand

72 appearing from the stage mechanism. Pragmatist characters are open to a pantheon of beliefs. See Goulding 1946; Capra 1946; Powell 1947, i.e., strong pragmatist/pantheistic/liberal/democratic movies made after Hitler's Platonist attempt at European unity. Daughter's LIZAHNE denies Platonist unity:

ANDY Rendezvous. Rendezvous with destiny. Say it!

LIZAHNE Oh, fu-

LIZAHNE drops her backpack, ducks under his arm, and keeps walking up the street.

In the above beat, LIZAHNE emphasises her ironist heroics and rejects ANDY's confident, regimented, Platonist essentialism. She chooses her own ironic actions, escapes towards fresh unknown contingencies. She wilfully Democratises PanTheon by joining other characters' conversations and embracing some of their beliefs.

73 9. Pursue Happiness

LIZAHNE's end - pursuit of happiness.

Heroes do not just resist Platonist essentialists, they actively pursue happiness (or warn against its prevention):

- happiness and unhappiness... [are] bound up in action (65:39).

- complex action is a ‘change to good or bad fortune’ (65:56).

Striking a business deal with her WRITER, Adaptation's PRODUCER emphaises 'pursuit of happiness' or 'fun' is crucial to business productivity: 'Laroche is a fun character, isn't he?' (Jonze 2002).

Mankiewicz 1950, Wilder 1952, Lang 1957, Amiel 1990, Coen & Coen 1991, Altman 1992 and Brooks 1999 are outstanding movies about movie innovation. All celebrate or warn about pursuing happiness.

74 10. Detail Motion-Audio-Visual

Strategy 10 proposes: innovation is detailed and not reductionist. A writer will strike producers and audiences because:

‘Seeing everything very vividly, as though he himself were an eyewitness of the events, he will find what is appropriate, and will be least likely to overlook inconsistencies (65:54).

Writers are inspired to imagine and describe highly detailed Motion-Audio- Visuals. But such detailed movie sequences risk being silenced by reductionists. Pragmatists praise efficient abbreviation but abhor reduction.

'Why not leave poetry alone? Why try to reduce a poem... to prose? Why replace vivid suggestiveness with a conventional phraseology? What can philosophy hope to do that poetry can not?' (Rorty 2006b:1).

Replacing the vivid suggestiveness of movies with the conventional phrases of theory, prose or the reductionist statements of policy police can destroy creative economies. The world's first feature movie, the staggeringly popular blockbuster The Story of the Kelly Gang (Tate 1906), was reduced to a few words in a Victorian Police statute which banned it. Conventional Victorian phraseology and other retrograde steps impoverished Australia's global leadership in movie innovation after 1906.

Detail Motion-Audio-Visual challenges the imaginations of producers and writers to imagine rich detail. Writers are expected to see, hear and twitch vividly when creating movies. Screenplays are twitched as motion trajectories (Myers 2004:211), heard in surround sound and imagined in hyper-real 3-D visual space.

3-D space

Producers are expected to re-imagine the writer's motion-audio-visual actions in detail when reading or conversing screenplays. But many producers imagine detail poorly: ‘A lot... don’t know how to read a script and lose themselves in... the world it conveys... They follow the rules but don’t really go anywhere’ (Alan Ball 2002:182). Some ambitious producers do not have the imagination to do this nor the generosity to support writers who do. Innovation requires writers and producers to cooperate and detail Motion-Audio-Visual.

11. Weave Relationships

No screen action is complete in itself. Actions become communicative when they are sequenced and plotted.

'The arrangement of incidents... is of first importance... The plot of the play... and its various incidents must be so arranged that if any one of them is differently placed or taken away the effect of wholeness [coherence] will be seriously disrupted. For if the presence or absence of something makes no apparent difference, it is no real part of the whole' (65:42,43).

Using CONVERSATION C, writer-producers arrange a story's effect of

76 wholeness. Editor Jill Bilcock agrees:

'the sum of the whole should not feel disjointed. All quick cuts should be part of an overall plan in rhythmic storytelling integrated seamlessly with slower emotionally driven scenes. At all times my editing is driven by story' (Bilcock 2001:155 – the editor of Hogan 1994; Lehrmann 1992; 1996; 2001).

Movie stories are myths. Movies are read and imagined as a woven network, not an essayed, linear sequence.

'exactly as in a musical score, it is impossible to understand a myth as a continuous sequence. This is why we should be aware that if we try to read a myth as we read a novel or a newspaper article, that is line after line, reading from left to right, we don't understand the myth... Therefore we have to read the myth more or less as we would read an orchestral score... something that was written on the first stave at the top of the page acquires meaning only if one considers that it is part and parcel of what is written below on the second stave, the third stave, and so on... we have to read... at the same time vertically, from top to bottom. We have to understand each page as a totality... only by treating myth as if it were an orchestral score, written stave after stave, that we can understand it as a totality, that we can extract meaning out of the myth' (Lévi-Strauss 1978:40).

Aristotle puts Lévi-Strauss' point more succinctly when he suggests drama is created horizontally along a timeline plot of actions, but also vertically with emotional amplitude. I.e, ‘an action... complete in itself, of some

77 amplitude... presented in the form of action, not narration, by means of pity and fear’ (65:38.).

Stripped of motion, audio and emotional amplitude, Daughter's isolated stills A-B-C are rather meaningless. Movie knowledge comes from weaving the intersubjective language of actions; and juxtaposing these actions.

Car door A. Andy's profile B.

Car door A was one of three takes of angry LIZAHNE pulling to the right as she slams ANDY's door. This take was chosen because LIZAHNE then flinches her body left, communicating her rejection of ANDY who (when we cut to shot B), sits to her right.

Movie knowledge is 'mutual understanding between subjects' (Habermas 1987:591) and such intersubjectivity is created by juxtaposing LIZAHNE's flinch left (A) with ANDY's own flinch right in shot B.

Weaving these two actions together creates an intersubjective relationship of mutual loathing which did not exist in the random 32 hours of dailies. The actors did not perform this language together on set.

As she flinches away from ANDY (in shot B) LIZAHNE's voice (from shot A) accuses ANDY of lying to his ex, VIRGINIA.

78 LIZAHNE (Off Screen) Does Virginia know you're a spy?

ANDY (in SHOT B) Was.

LIZAHNE (Off Screen) Does she know?

This audio|visual juxtaposition primes the tension in the next shot:

C. Virginia's home.

VIRGINIA opens her door to the feuding couple (shot C). We understand LIZAHNE's world and her emotional arc only because movies create an 'arrangement of incidents' (65:42). Hence the imperative to weave relationships.

12. Sequence Arcs

'[A movie is] an ordered combination of incidents' and an 'arrangement of the incidents... complete and whole and of a certain amplitude ...which has a beginning, a middle, and an end (65:40,41).

Movies are a temporal product (beginnings, middles and ends) and have amplitude or arcs. An arc may travel through 'zero', increase in amplitude,

79 turn, and decrease in amplitude to an 'end'. Filmmakers imagine whole movies as plotted arcs of character actions. Audiences, including filmmakers, interpret each character's actions as her arc.

For people used to naming and sorting their life observations over time, Aristotle's beginning-middle-end (B-M-E) strategy may seem obvious and trivial. But film editors and writer-producers work in a negotiated, unstable, fragmented, non-linear temporal world. Writers, directors, producers and editors live in such disorienting worlds for hundreds of days. The marker 'beginning-middle-end' gives filmmakers some temporal control over innovation and reassures them when taking career risks. The editor of Carrie and Ferris Bueller's Day Off, Paul Hirsch, explains:

'It was only after months of editing [Bueller] that... I suddenly realized that the parade scene had to be last. It was our strongest scene and should be the climax... So we ended up restructuring the movie and preview audiences responded favourably to the film for the first time' (Hirsch 2001:79).

Hirsch's beginning-middle-end (B-M-E) terms gave him the vocabulary signposts to radically shift his storytelling within B-M-E. He reshaped Ferris Bueller's end climax with the 'strongest scene', the scene with amplitude: ‘an action... complete in itself, of some amplitude... presented in the form of action, not narration (Aristotle 1965:38).

An action or scene is most 'complete in itself ' when it is sequenced at the end of a movie. At the end, audiences recall and weave beginning and middle scenes to enrich their end scene experiences. In Daughter, the end was constructed so that DAELUS fell on his sword. LIZAHNE embraced ANDY rather than murderously plot with him. Their end climaxes redescribe ‘the change to good or bad fortune’ (65:56).

Breakthrough ideas for endings often take 'months of editing' (Hirsch 2001:79); or years of editing: Murch's breakthrough idea of 'mosquito net as mist' occurred to him twenty years after first editing Apocalypse Now. It was only by having a strong sense of flexible beginning-middle-end that Murch was able to re-imagined the movie's B-M-E, and flexibly reweave it. In the new version, Murch weaves the river mist of the American Vietnam War scenes with the movie's earlier French Colonial times when a Parisian mistress slept naked behind her mist-like mosquito net:

‘When I discovered that transition, which was not intended in the script, something unlocked for me. I felt I was beginning to grasp the language of this new version ‘ (Murch 2002:80).

Just as Hirsch suddenly realised his beginning was his end, similar breakthrough ideas occurred while editing Daughter. A middle scene of LIZAHNE and ANDY was rewritten as the movie's beginning. Beginning titles were changed. Act 1 was rewritten in black and white. End titles were recreated many times, including the red-white-blue end sequence. Daughter's creation is communicated in B-M-E terminology.

Some contemporary strategists are unclear about whether they mean plot or story when they discuss B-M-E. Aristotle is unclear, too, until Strategy 12 pieces together his proposals for B-M-E (65:40,41), amplitude (65:38), impossible plots that strike audiences (65:70) and skilful yet clumsy writers (65:56). How do story, plot and emotional amplitude differ?

Story is a logical chronology of movie events: 1. LIZAHNE is conceived in Paris, 2. she sleeps in ANDY's bed and 3. she is attacked by DAELUS.

81 This is a simple story or chronology of 1. conception, 2. sleep and 3. attack. Sometimes the story is shown chronologically and easily interpreted. Sometimes the actions are plotted out of time order, in which case the audience interprets and recalculates it rationally as a normal, chronological story.

Plot is the arrangement of story events as told to audiences. Plots often rearrange a story's chronology:

- 3. we are told of LIZAHNE's attack - 1. we flash back to her conception and - 2. she sleeps in ANDY's bed.

Another plot of the same story might begin: - 1. LIZAHNE's conception in Paris - 3. she is attacked by DAELUS - 2. she sleeps in ANDY's bed.

During this investigation, Daughter's story was rewritten as the 1-3-2 plot above. Audiences view LIZAHNE's conception, attack and sleep in the 1-3-2 plot order. But audiences, just like writer-producers, sequence arcs. That is, they attempt to rearrange a jumbled plot in its logical story order. If an audience wants to make sense of LIZAHNE's life, they will shift Daughter's 1-3-2 plot back to LIZAHNE's story: 1-2-3 conception-sleep- attack.

Story always begins in Paris But plot may show Paris at middle or end.

82 The third arc created by filmmakers is a movie's emotional amplitude. Usually plots are edited to increase tension as they progress. The end contains the most exciting or emotional scenes because deflating emotional arcs bore audiences. Movies braid three arcs:

- The plot, or arrangement of actions and scenes in the movie.

- The emotional roller-coaster of the movie, climaxing towards the end.

- The story arc. The leading characters’ chronology inferred from the plot.

13. Rehearse Actions

Finally, Strategy 13 proposes how writers best plan and rehearse:

‘As for the stories, whether he is taking over something ready made or inventing for himself, the poet should first plan in general outline, and then expand by working out appropriate episodes’ (65:55, where episodes means sequences).

Screenwriters can imagine and plan cost-effective scenes, which is why screenwriters, – and not profligate directors – have had responsibility for planning movies since 1916, when screenwriting almost halved the costs of making movies (Staiger 1985:185).

Screenplays are business plans. CONVERSATION C even budgets and plans the film editing: ‘You need to make editing choices in the concept stage’ states Lannquist (2001:225). Every word of a screenplay has two dollar values: its production cost and its audience attraction, beauty and revenue. Aristotle concurs:

‘How great a difference is made by... the change only of a singe word; an unfamiliar word was substituted for an ordinary one, and the new line is beautiful where the old was commonplace’ (65:64).

Writers often imagine unfamiliar beauty by performing their inspired gestures, as shown hilariously in Aunt Julia and the Scriptwriter (Amiel 1990). Writer-actors who act out their words include: Shakespeare, Chaplin, Fey, Allen and Seinfeld.

‘The dramatic poet should carry out the appropriate gestures as he composes his speeches, for of writers with equal abilities those who can actually make themselves feel the relevant emotions will be the most convincing’ (65:55. Also Schulman 2002:108).

Rehearse Actions suggests writers plan carefully - and passionately rehearse plans.

Towards Conclusions

'The object of inquiry is 'constructed' by inquiry only in the following sense: ...by listing some of the more important beliefs which we hold at the current stage of the inquiry' (Rorty 1991:96).

Chapter 4's inquiry uses pragmatism's method of recontexualization: 'the colligation of hitherto unrelated texts' (Rorty 1991:94). Thirteen Aristotelian strategies are woven with Rortian and other pragmatist ideas for the first time. Such redescribed writer-producer beliefs, desires, attitudes, dispositions - their Strategies - shape CONVERSATION C

84 inquiries, i.e., step 4: Producers draw on strategies to shape specific inquiries of dull, confusing actions.

But Poetics and Rorty do not overlap regarding the correspondence theory of truth, (i.e., that language corresponds to reality, sic). And other contemporaries imagine beyond Aristotle in Chapter 5 (where twelve further Strategies are proposed). But Aristotle's thirteen pragmatist Strategies offer a partial redescription of CONVERSATION C:

strike audiences liberal democratic audiences not Platonist hierarchies

limit movie duration movies with a point expand conversation

triangulate characters shun Platonist dualism

better or worsen nowadays prophesy progress prophesy barbarism

gesture language communicate actions use motion | audio | visual

do character disposition to act not 'truth' correspondence

risk complex ironic choices leading characters lead

tolerate democratic pantheon cope with others

pursue happiness cooperate against cruelty

detail motion audio visual ICT story shun generalised scepticism

weave action relationships use relational knowledge mutual understanding

sequence arcs story plot emotional arcs

rehearse actions plan carefully carefully rehearse plans

86 5

CONTEMPORARY WRITER-PRODUCER ATTITUDES

Moving on from Aristotle, 70 Strategists' books in the QUT and State Libraries were researched. Highly repetitive and derivative books were set aside, leaving two dozen major Strategists. Eleven were reread in fine detail and finely concordanced. Chapter 5's research collects and critiques their strategies, but abridgement blunts their personal nuances and styles.

Contemporary strategists cohere with Aristotle's Poetics to a great extent. They redescribe Aristotle's beginning-middle-end (B-M-E) strategy and so on. Aristotle heads the columns in the following table with these strategies: B-M-E (Strategies 2, 12), climax (2, 12), planning (13), time limit (2), character inferred from action (6), complex action reversals (7), not documentary (4), little voiceover (5), writer empathy and passion (13).

Aristotle and Contemporary Theory

Concordance (c) Robert Watson Numbers in the table body are contemporary Strategists' pages. Gaps indicate strategies which are not raised or barely mentioned by Strategists. Disagreements with Aristotle are starred*.

87 Linda Aronson is starred *44 under Aristotle's Limit Duration because Aronson downplays Limit Duration and weaves together movie writing and episodic TV writing in the same text (Aronson 2000:44). But Aronson agrees with: B-M-E (40), climax (79), doing character (25), complex reversals (54), empathy (14) and writer passion (2000:82).

Rachel Ballon uses Aristotle; but also discusses writer's block in detail and proposes 26 Jungian story and character archetypes including 'the little professor' and 'the little princess' (2005:132).

Stephen Cleary disagrees with doing character (*48), omits complex reversals, and his own use of 'complex' confuses Aristotle's usage (2004:*41).

Ian Robinson's landmark 1993 Campbell seminars cover all Aristotle's strategies (a=all).

Syd Field's beginning-middle-end plotting (below) is elaborated as ‘setup- confrontation-resolution’ in McKee (1997:190,197). The climax is Field's priority: ‘the ending is the first thing you must know before you begin writing' because it sets up a ‘dramatic need’ in the protagonist (56ff.,110. cf. Rorty on desire). Screenwriting controls film editing by writing scenes that ‘get in late and get out early... with a sense of tension’ (Field 1982:188-189. Re-titled 2003).

beginning/Act 1 middle /Act 2 end/Act 3 setup confrontation resolution pp.1-30 pp.30-90 pp90-120 ------x----||------x--||------

plot point 1 x plot point 2 x pp.25-27 pp.85-90

Field’s Screenplay Paradigm (c) Syd Field (1984:7)

Robert McKee emphasises B-M-E and climax (1997:41), planning (55), characters through action (165), complex action (64), and no voiceover (162 sic). Contradictory plot wavers between concept schemes (45-57) or nuanced web (146. cf. Rorty 1999:122). Genre is contradictory: academic schemes (79) or audience response (80 cf. Aristotle 65:37).

Linda Seger links screenplay development with film editing. And Seger is only one of two reviewed strategists to mention 'inspirational source' as critical to product innovation. (Chapter 1 lists inspiration as steps 1 and 5 of CONVERSATION C). Seger warns filmmakers that innovation frequently collapses - unless one stays in touch with the causes of breakthrough ideas and inspirational sources.

'Rewriting is a process of balancing a film... Some of these cuts take place in the rewriting process, some of them take place during [movie] editing... Many scripts get worse and worse in the rewrite process. The farther they get from the original inspirational source, the more muddled they become... and no one wants to do the film anymore’ (Seger 1987:xiv,184).

Raymond Frensham believes striking an audience validates story product (1996:32). Good product is driven by writer passion (34), it uses B-M-E (48ff, 98ff), complex reversals (107); character is inferred from action (81,155). He downplays voiceover and dialogue (146). ‘Screenplays are written backwards’(43) because the end climax is the focus of the writing (122). Unlike McKee, he considers scene, not beat, as the most important ‘basic building block’ (137). Frensham adds advice to new writers from many screenwriters, e.g., Lynda La Plante on dried up, dull 'innovation': ‘What’s the point of writing if the writer’s got nothing to say?’

Michael Halperin (2000) concords with Aristotle's B-M-E, character inferred from action, reversals, empathy, writer emotion, plot coherence and audience satisfaction (ix,12,44,16,17,79, 33,51,128ff,137,141). Halpern cues readers to recall Carol Reed's 1949 The Third Man movie sequences to demonstrate action beats (61- 66); much as McKee cues Polanski 1974. Halperin's archetypes follow Joseph Campbell’s heroic paradigm (detailed later).

In 2003, Nancy Hendrickson surveyed 22 prominent, confidential, commercial US strategists. Henderson's research shows that John Rainy uses Strategies 3-11&13. Dara Marks interviews her writers in innovation conversations. Top US strategists varied in their ability to imagine detail - Strategy 10 (Hendrickson 2003:2).

Contemporary strategists converse a mostly shared language which redescribes Aristotelian strategies. Another 50 screenwriting titles repeat Strategies but did not expand theory; and are omitted here. This investigation backs this 2005 development statement:

'[Poetics] has been the literary handbook for centuries...[It] is still the best in its genre for describing [movie] storytelling' (Edwards & Skerbelis 2005:55).

Strategy 14: Favour Convention

When writer-producers draw on existing story conventions, such as favourite movies, plays, novels, journalism, documentaries, fairytales, games, we say writer-producers Favour Convention. People sometimes favour certain stories and certain character archetypes. Most archetypes

90 are heroes, or what pragmatist Dewey calls 'instruments of emancipation' (Rorty 1994:59).

Raymond Frensham (1996) and Michael Rabiger (1997) relate most drama plots to eight favourite, archetypal stories: Cinderella, Romeo & Juliet, Candide, Orpheus, Archilles, Circe, Faust, and Tristan (over page).

The stories redescribe triangulated social relationships (Strategy 3) which are easily redescribed in new stories such as 8MM (Schumacher 1999) which relates to Orpheus-Faust-Cinderella.

Such favoured conventions aid beginners, and professionals under political and market pressure to deliver scripts to deadlines. '[Writers] rarely have the time to wait for the great idea' (Aronson 2000:12).

Other conventions emphasise 26 Jungian archetypes (Ballon 2005:132) or 12 Shadowlands archetypes/nemeses (Vogler, Campbell: Strategy 19, below).

On the historicist or pragmatist view 'instruments of emancipation... had typically, over the course of time, turned into instruments of repression - into parts of what Dewey called "the crust of convention" ' (Rorty 1994:59).

The conservative strategy, Favour Conventions, redescribes heroes from archetypal crusts (see over).

also Rabiger 1997:144.)

Unconventional Plots

Tarantino's Pulp Fiction (1994) rekindled interest in shuffled plots. Aronson 2000, Seger 2003, Dancyger & Rush 2001 and Murch 2002 all discuss shuffled, unconventional or 'impossible' plots. Such plots predate Aristotle and have been in movies since WS Porter struck audiences with parallel plotting and multi-screen 'thought tracks' in Life Of An American Fireman (1902).

92 Chapter 1's studio readers read 'impossible' plots in the same way as other screenplays: they imagine the steady flow of actions as a motion | audio |visual | ICT | story in lucid detail (Strategy 10). The plot either strikes or does not strike literate readers (Strategy 1). Shuffled plots are often the result of untutored, lazy, unimaginative writing. But occasionally, shuffled plots excel. Ang Lee's Ice Storm and Todd Hayne's Happiness struck me and I urged investment. Most shuffled plots, such as David Lynch's Broken Highway and many Australian efforts, did not strike and I did not recommend investment. Highway sank at the box office. We waited for Lynch's next 'impossible' plot, Mullholland Drive which wowed the world. Usually arthouse writers dislike rewriting and strategy suggestions. Studios pass or invest, they rarely redevelop 'impossible' plots.

Strategy 15 Consider Standpoints

Robert McKee goes beyond Aristotle's Strategy 7: Risk Complexity to emphasise movie innovation's multiple points of view (POV). McKee dissects multiple POVs in Polanski's 1974 Chinatown:

Detective GITTES shoves past butler CHAN into a house of depravation (McKee 97:157).

'GITTES shoves past CHAN' is imagined as one action. But McKee suggests this action is considered by the writer as two separate and different beats: GITTES' point of view and butler CHAN's POV. When the Chinatown butler CHAN opens his door to pushy detective GITTES, writer-producers can imagine many changes in beliefs and attitudes:

- (1) Butler CHAN observes GITTES' violence. He changes his belief about GITTES.

93 - (2) CHAN's emotion changes as he copes with the undeserved misfortune of home invasion.

- (3) Detective GITTES expects CHAN will meekly submit to his detective authority. GITTES changes his beliefs following the brisk reversal of his expectations.

- (4) Detective GITTE's emotion changes to shock when CHAN unexpectedly blocks the door.

McKee's elaborate, sophisticated beat-by-beat discussion is absent from Aristotle. It extends the innovation conversation. Audiences may see two characters confronting each other on a doorstep. But during innovation, writers step into the shoes of everyone in a scene using Strategy 15: Consider Standpoints.

Games designers such as Mateas particularly value McKee's Strategy 15: Consider Standpoints (Mateas 2002:15,54). Moreover, Chapter 4 could not have discussed truth versus use in the EUCA-DAELUS entrapment- rape scene without Strategy 15: Consider Standpoints.

Strategy 16: Follow Leads

After 10 years of global reading, McKee's Story remains the 1000th most purchased book at Amazon (ranked Feb. 2005; Feb. 2007). McKee's Story emphasises ‘the protagonist creates the rest of the cast’ (1997:379). The rest of the cast are triangulated around the leading character's complex, risky actions. They follow the lead. Graham Greene agrees. Greene's most hopeful moment as a writer: 'was when a character took possession of the writer, spoke words that the writer had not anticipated and behaved in an

94 unpredicted way' (Greene 1984:183). Margaret Atwood agrees that she gives up control of the writing and follows her leading character (Atwood 2002).

Strategy 16: Follow Leads rescued Daughter's 2004-2006 post. I refocused the editing and imagined I stood in LIZAHNE's shoes. This required imaginative confidence that LIZAHNE would Reweave Relationships (Strategy 11) and boost the movie. Submitting to the lead's actions is Strategy 16: Follow Leads.

Liberation And Affection, Strategy 17: Double Plotlines

Contemporary strategists are distinguished from Aristotle because they emphasise dual plotlines. This progress goes unremarked in the literature. On my view, dual plotlines are the main research outcome in movie theory since redescribing Aristotle. Aronson, Dancyger, Dethridge, Field, McKee, Seger all emphasise that movies weave dual plotlines, termed Liberation and Affection plotlines:

Liberation - ideas about social justice and liberation goals; and Affection - private perfection and affection goals.

Contemporary Western philosophy splits over these plotlines. Nietzsche et al. promote private perfection while Habermas et al. promote social justice. Each camp despises the other (Chapter 2). But the personal and social coexist in 100 years of movies. The world's first feature redescribed The Kelly Gang's private lives and their social hell (Tate 1906).

Although movies have lead philosophy in this regard, dual private and social plotlines are poorly described by Strategists. Rather than use the

95 above terms affection, liberation or similar, strategists have ambiguously used existing Aristotelian terms (plot, action, character) to think about dual plotlines. This study suggest the dual terms Liberation and Affection Plotlines to avoid confusion. Liberty is the goal of social justice plotlines. Affection and the pursuit of happiness is a goal of private life on pragmatist views (Habermas 2007:1).

Australians often have great difficulty producing movies with satisfactory liberation and affection plotlines. Chapter 1's industry innovation was often retarded by writers who set up affection in Act 1 and then forgot about it. Half-hearted affection plotlines attract half a potential audience to the cinema. Luhrmann's writers are a rare exception (2001,1996,1992).

Australian terminology is equally poor, on my view. Aronson calls the two plotlines: action line and relationship line (2001:49,57). But industry already uses Aronson's term 'action' to mean all gestures and tones performed in both plotlines, both liberation and affection. Aronson’s ‘lines’ contain ‘action’ and characters in 'relationships.’

Contradictory research terms for Liberation and Affection Plotline

The Liberation plotline is called plot by Dancyger (2001:47). Is the Affection plotline not also a plot? Dancyger's character layer suggest

96 Liberation plotlines do not have characters. Field also confuses the Liberation and Affection plotlines by proposing one is action and the other is character. But pragmatists do not separate character and action (Strategy 6) in any plot.

Lisa Dethridge is closer to Liberation and Affection with her terms, career and romance subplots. Some Liberation plotlines describe career (Erin Brockovich, Soderbergh 2000b). But most career and workaday scenes in movies bore audiences. Good career films revolutionise careers and Liberation better describes such striking plotlines. Similarly, RIPLEY- NEWT's relationship in Aliens (Cameron 1986) and DONNIE- MOTHER's relationship in Donnie Darko (Kelly 2001) are Affection Plotlines, not romance plotlines (Dethridge 2003:172ff). McKee's external and internal cannot be justified in a pragmatist universe either (Rorty 1991:122). Rorty urges philosophers to study movies and novels (1989:xvi). But the above contradictory definitions confuse such study. I suggest we redescribe dual plotline terms. Writer-producers weave Liberation and Affection plotlines. This innovation attitude is Strategy 17: Double Plotlines.

Campbell-Vogler Strategy 18: Cross Thresholds

Beside Aristotelian strategies, McKee and Halperin redescribe Joseph Campbell and Christopher Vogler's heroic journey strategies. In Australia, Campbell and Vogler were promoted to AWG guild screenwriters by Ian Robinson (1993, 1997).

Joseph Campbell (1949) researched hundreds of oral myths from world cultures – many more cultures than Aristotle. George Lucas, George (Happy Feet) Miller, Francis Ford Coppola, Vogler (1992:5), Halperin

97 (2000) and Heys & Kruger (1994) use Campbell's theory to impact the global screen economy. My research associates studied 'Campbell-Vogler' theory with Ian Robinson, ahead of most Australian producers. My adaptation of hybrid Robinson-Campbell theory initially returned AUD 140 million to Australian exhibitors and distributors on research recommendations of AUD 6 million in movie investments. The world income on these movies is 25 times 140 million, 3.5 billion over four years. Campbell's strategies have economic weight.

Campbell posits a circular dream journey for protagonists in his Shadowlands model. Heroes start dream journeys at the top of a cycle (1949:228). People better than nowadays (heroes and heroines) commence each dream journey in 'nowadays,' a 'Common-day World' (1949: 212).

Shadowlands in Campbell 1949:212, Vogler 1992:71

Chapter 2 earlier explored the habitual or conventional. This is Campbell's 'common-day world.’ Aristotle’s common-day world is ‘the same kind of people as ourselves’ (65:33; Strategy 3). Campbell's hero descends the upper left quadrant (above). She is called to adventure, refuses the call, and is mentored – until she traumatically crosses the threshold into an uncertain Shadowland adventure of Testers and Helpers:

‘The hero journeys through an adventure world of unfamiliar yet strangely intimate forces, some of whom severely threaten... (tests), some of which give... magical aid (helpers) ' (Campbell 1949:212; his brackets, my italics).

Campbell's hero meets unfamiliar forces and strangely intimate forces. Movies weave the unfamiliar and habitual. Unfamiliar forces may severely test a hero's liberty or affection. Helpers may aid Liberation or Affection plotlines in Shadowlands as a character interweaves personal perfection and social justice pursuits. Heroes descend to an inverted climax or ‘Nadir' where there is an ‘Ordeal’ and ‘Reward’ – a cataclysmic change of social status:

‘sex with the goddess-mother of the world, recognition by the father creator, divinisation, a boon [from friends or enemies,] bride-theft, fire-theft and elixir theft... The resultant cataclysm represents the typical crisis of the nadir, the termination of the old eon and initiation of the new’ (Campbell 1949: 214).

Aristotle termed the emotional changes along this arc amplitude (Strategy 12). From the arc's nadir, the hero is chased in ‘flight’ or returns as a powerful ‘emissary’. She re-crosses the ‘threshold of adventure’ to her

99 common-day world. The boon or elixir is brought back to the common-day world as an ‘expansion’ (1949:213).

Campbell's quest model expands logical space. The hero desires affection and liberation (Strategy 9). Relationships shift in Shadowlands as she complicates her journey (Strategy 7). She is not the product of a previously written script. She acts beyond the common-day (Strategy 4). Heroes return from Shadowlands with learned capabilities which expand the logical space, liberation and affection of their common-day world. But Campbell describes this under a Platonist redescription: learned capabilities are 'transcendental powers' which expand 'consciousness' (sic).

Aristotle's myth examples are Aegean but Campbell's are more global: Campbell redescribes the following 10 heroic sequences in First Nations, Hindu and Teutonic mythologies:

Common day -> Call to adventure ->refusal ->mentor ->threshold crossing ->tests & aid -> nadir -> flight ->threshold return ->common-day expansion of consciousness.

Crucially, the hero refuses, and is mentored to cross the threshold. The idea of a mentor and an apprentice (rather than a perfect, flawless hero) humanizes mythology and emphasises the hero's risks, fallibility and learning. Campbell's model greatly expands Aristotle's simple beginning- middle-end arc sequences (Strategy 12). Campbell's dream story theory is Strategy 18: Cross Thresholds.

David Mamet agrees that dreams are productive: ‘We respond to a drama to the extent to which it corresponds to our dream life’ (Mamet 1986:8). Pragmatists welcome dreams as metaphors expanding Liberation, i.e.,

100 Martin Luther King's I Have A Dream (1963). Writer V in Chapter 7 begins her CONVERSATION C by admitting, 'This is a dream I keep having...'

Vogler's Phantom Crisis

Vogler (1992:161) redescribes Campbell's myth cycle by mapping it onto Aristotelian Syd Field's beginning-middle-end structure. But critically, Vogler miscalculates. He strangely maps Campbell's Nadir climax to the middle of Aristotle-Field's beginning-middle-end model. By ignoring Campbell and Aristotle-Field's different scales, Vogler's 'crisis' climaxes too soon.

Aristotle: Act 1 Beginning------Act 2 Middle------Act 3 CLIMAX End Vogler: ------|VOGLER CRISIS|------

Striking Aristotelian movies build emotion and complexity to climax in Act 3. To prematurely climax bores audiences. Why should they endure a movie which gets less exciting for 50 minutes? Vogler mistakenly places Campbell's Ordeal in Act 2 rather than Act 3. Movies end their action quickly after Act 3 climaxes: audiences are struck, then they walk into common-day streets or (home cinema) kitchens. Rather than accept a mapping error, Vogler hedges, suggesting movies have two climaxes:

Vogler: Act 1 Beginning----|VOGLER CRISIS|-----*--Act 3 CLIMAX End

‘Ordeal is usually the central event of the story, or the main event of the second act. Let’s call it the crisis to distinguish it from the climax (the big moment of Act Three and the crowning event of the whole story)’ (Vogler 1992:161. His brackets).

101

Vogler further complicates with another proposition: Campbell’s ‘central crisis’ can sometimes be delayed. A ‘delayed crisis’ is proposed (positioned at * above) which moves his misplaced crisis to the end of Act 2 (Vogler 1992:161,162). But this investigation sidesteps Vogler's convolutions. It redescribes Campbell-Vogler as:

Platonist Campbell's 'consciousness' (above) can be redescribed as pragmatism's expansion of logical space, liberation and affection. To reach such expansion, Campbell's hero swallows her fear of others. She crosses from the common-day into another's shadowy, unfamiliar world:

'The process of coming to see other human beings as "one of us" and not "one of them" is a matter of detailed description of what unfamiliar people are like and of redescription of what we are like... This is why the novel, the movie and the TV program have, gradually but steadily, replaced the sermon and the treatise as the principle vehicles of moral change' (Rorty 1989:xvi).

Strategy 19: Negotiate Shadows

While Vogler's phantom climax may confuse, his other Act 2 redescriptions have helped build creative economies. Cambell-Vogler's Act 2 is a realm dominated by formidable antagonists or Shadows. Shadows

102 push the serious decisions of the hero to the limit. The Shadow adopts many masks or personalities. The word personality means actor's mask (OAD 2005).

‘Shadows can be all the things we don’t like about ourselves... The shadow can represent the power of repressed feelings. Deep trauma or guilt can fester when exiled to the darkness of the unconscious, and emotions hidden... want to destroy us. ...Shadows create conflict and bring out the best in the hero by putting her in a life threatening situation’ (Vogler 1992:71,72.)

Pragmatists do not emphasise that characters represent real things. We do not think desires have destructive desires of their own, only people do. But pragmatists are enthusiastic about Act 2 being a pantheon of Shadow characters (Strategy 8). What is useful to pragmatists is that Shadow characters have beliefs and desires which are less conversed and less familiar beliefs, rather than an 'unconscious' festering.

Consciousness was not a concept used in classical Greek thought. But Plato created a word game around the term Eidos (visual appearance) and metaphorically shifted Eidos to mean invisible thing and then Form. Descartes, Locke, Kant and Hume redescribed this word game further as conscious experience. But 20th Century pragmatists such as Wittgenstein, Rorty and Habermas suspect this word game which divides a personality into layers (Rorty 2006b).

Pragmatists prefer to use Sigmund Freud's theory that people's characters can be vertically spit into fully functional multiple personalities: a mental democracy of complex characters, each of whom is recognised as functional, if flawed, 'person' in the shadowy world of Campbell's Act Two. Rorty suggests we divide the mind vertically into personalities, not

103 horizontally into obscurant hierarchies (Rorty 1991b:147).

Pragmatists consider both 'unconscious' and 'conscious' always exist in intersubjective innovation conversations. It is usually more useful to divide personalities vertically and enjoy complex personalities who are functionally conscious and unconscious human beings (Rorty 1991b:143- 163. See also Jon Amiel 1990; Val McDermid 2002; Margaret Atwood 2002:54; Aristotle 65:38). Campbell-Vogler's Act 2 splits our many fears and desires into personalities such as Shadows, Testers and Helpers. The leading characters in this dream world negotiate with their Shadows. This is Strategy 19: Negotiate Shadows.

'I think of [social] hope as coming from utopian dreams. You envisage what your life might become in the future, (if you got married to a certain person, took up a certain career, etc.). The hope embodied in that dream gives you the courage or the energy to move onward. I think it is the same for nations, the same for the human species. We dream dreams, and we are attracted by the prospects opened up by our own dreams.

'Religion and philosophy say there are sources of hope other than the human imagination. [But] this pragmatist view I expound says, no: the imagination is the only source of hope. Marx gave us a story about what the future might be like under Communism. He was wrong about what it took to bring utopia into existence, but it was a perfectly good utopia. John Stuart Mill gave us an utopia of a just and open society in which diversity and freedom were maximised.

'Lots of people have given us stories about the world that we could build if we had the courage and energy to build it. These

104 projects, these dreams, were... simple imaginative products. [Percy Bysshe] Shelley said that imagination was the instrument of the moral good; and Dewey keeps quoting Shelley. If we stop trying to look outside of our own dreams – our own imagination – for sources of hope, we would be better off' (Rorty 2005c:1. compare Zaza 1993:1; Halpern 2000:1; Shakespeare Comedy Of Errors ActII-ii; Murch 1992:56).

20:Audition Voices 21:Get Experience 22:Encourage Results

Listening is often ignored. But audio is one of our industry's language strands (motion | audio | visual | ICT | story). Writers listen to location atmospherics, hearsay, songs, confessions, witness statements, alibis, messages, speculations, replies, interviews, prophecy, anecdotes, charlatanry and conversations. This reweaving is Strategy 20: Audition Voices. When writers dry up, become dull or unclear, many strategists recommend writers temporarily suspend the writer-producer conversation, go out, listen to other's experiences and participate in audio worlds. Writers are encouraged to listen to anecdotes (Aronson 2000:12; Froug 1992:23; Frensham, McKee) and conduct formal interviews (Cynthia Whitcomb 2002:23; Frensham, Field). Rorty praises Martin Heidegger for extending vision-dominated philosophy by emphasising audio metaphors in Western philosophy (Rorty 1999b:12). Coen 1991 also emphasises Strategy 20: Audition Voices.

The wider call for writers to wean themselves from the common-day (their school, their keyboard, their navel) and participate in others' worlds is Strategy 21: Get Experience. Writers should keenly participate in the world they redescribe. Ken Dancyger states: 'your life experience helps

105 you coax an unusual perspective from your story' (1995:261). Zaza agrees: 'the details of experience are what create distinctive concepts' (1993:1). Frensham also commends: 'personal experience - Take a specific from your experience, extend it into something which may have meaning/ resonance for others' (1996:37). Writers should actively participate with their subjects, just as current anthropology emphasises participation over 'objective,' (sic) Platonist research (Tedlock 2000:471). Family life (Seger 1987:4) and friendships are sources.

'if the character is so distant from anybody that we know or understand, it's very hard to learn anything I want to feel in film' (Anthony Minghella in Haperin 2000:7.)

Writers should leave home and travel (Whitcomb 2002:22; Field 2003; Watson 1994b). Shakespeare travelled from small-town Stratford life to another world - cosmopolitan London docklands life - and he toured again to avoid London's plague. Peripatetic Aristotle travelled frequently around Greece and Macedonia. Active experience (away from favourite conventions, theory, conversations, screenplays) can be as pedestrian as walking. Filmmakers recommend walking, even commuting, for creating innovation's breakthrough ideas:

'I knew when I cut [Private Benjamin] together as it was scripted that it was not working for me and I felt that if I didn't understand why [Goldie Horn] stopped the wedding, neither would the audience. It had bothered me to the point that I was halfway home when the solution came to me, and I had to turn around, go back to the studio, and make sure [my breakthrough idea] worked' (Sheldon Kahn 1992:26).

After a long period as an unproductive, dried up, struggling novelist,

106 William Goldman's first screenwriting breakthrough idea – and massive career shift – occurred suddenly, while out walking (Goldman 1996:161). Walking can be described under Strategy 13: Rehearse Actions and also as the 'street smarts' of Strategy 21: Get Experience.

Amazingly, Strategy 21: Get Experience is hardly mentioned by theorists. Astoundingly, the collected brief references to experience barely fill a page. Three strategists discuss experience for a few paragraphs; otherwise the literature is almost silent. Moreover the three strategists who do mention Get Experience immediately caution against experience: 'Digging up incidents from you own life is a chancy business (Froug 1992: 22). Says Ballon:

'[The writer] was too close to the story, because he was actually going through the pains of his wife's death... Jack was writing his actual life story as he was living it. This didn't make for an exciting script and his writing wasn't dramatic' (2005:14).

Dancyger (1995:261) warns: 'Undigested, our lives, our personal perceptions, our experiences communicate nothing' (sic). Perhaps Dancyger's 'digestion' includes connecting with community, organising craftspeople and balancing development between theory and production - i.e., a shift in professional allegiances (Kuhn 1996:158). These are Strategy 22: Encourage Results. Zaza suggests writer organisations, such as guilds, unions and craftspeople's net forums, offer sources of breakthrough ideas (1993:2). Ballon recommends dried-up writers join writer's groups. She recommends they write in relaxing workplace environments (2005:143). One comparison between non-McCarthyist Hollywood and most other Western communities is that LA writers have industrial power to strike effectively in Hollywood for conditions which encourage results. But

107 movie screenwriters do not have such power in Australian and British culture. France's push for authors' 'moral rights' is closer to US writers' power.

Early 'universities' were teachers' craft guilds (OAD). Students Richard Kelly (Donnie Darko 2001) and Frederick von Donnersmarck (The Lives Of Others 2007) joined well-organised craft schools under the tutelage of writing theorists and quickly expanded from such craft institutions into the mainstream global movie economy. The emphasis on craft in industry- linked universities stresses theory which commercialises innovation and balances theory with story innovation, manufacture and audience revenue. But when inflexible theory unbalances craft we get Platonist white elephants:

'$595 will buy you [twelve brands of] software... which will suggest ideas, generate stories, and even provide a plot following Aristotelian rules of dramatic engagement' (Zaza 1993:4,5).

Eighteen years ago, such software failed digital theorists. The other extreme are un-creative producers who 'talk the talk' hoping to attain creative skills. Such 'producers' spend family inheritances, government funds and other grants bereft of the Strategies which drive writer-producer innovation. They tax the weak and impose their personally important, untutored, undeveloped and expensive projects on others. Aristotle wrote Poetics against theory-less, cashed up Athenian 'producers'. Similarly, McKee consulted for the EU and railed against Spain's raft of 'theory'- heavy, undeveloped government movie production which Spanish audiences avoided like the plague (McKee 1996). Such non-innovation exists in cartels who fund sycophants to produce rather than pay gadflies to produce results. Sycophantic 'writer-producers' do not care to strike

108 profitable audiences (Strategy 1). They do not need innovation theory. They disdain craft and organise cartels. Their greed is disguised behind ideological spin.

Eschewing greed, Strategy 22 urges gadfly writer-producers to reach mutual agreements, to understand the strange world of the other: the weird writer, the inscrutable producer. Extending CONVERSATION C between craftspeople encourages results (Irving 2002:96). Craftspeople contrast with charlatans who either over-theorise doing, or do without theory. Charlatans ignore Strategy 22: Encourage Results.

Strategies 23 & 24: Trust Recall, Imagine Confidence

Strategies 23 and 24 come to the fore when innovation threatens to collapse. Innovation collapses more frequently than it succeeds in our high-risk industry. Hitchcock almost abandoned Psycho in post (Sullivan 2006:246). The risk of failure and lack of rational control over movie innovation is somewhat unavoidable. Woody Allen agrees:

'When you start off with a film, you have such high goals and aspirations. And by the time you edit it, you just hope that you can fit it together and make it breathe. Just breathe' (1994:268).

Graham Greene praises characters who 'spoke words that the writer had not anticipated and behaved in an unpredicted way' (Greene 1984:183). Writers must give up rational control and work intuitively if they are to imagine valuable new worlds. Thousands of surprising actions and beats are perceived, imagined or inspired by writers. Such movie actions are only partly under their rational control. Movie actions are recalled in various permutations during CONVERSATION C. Given this

109 unpredicatable situation, it is easy to dry up or become confused and weary. In such industry crises, Michael Rabiger praises the importance of trusting in one’s ability to remember ‘the best elements from any mass of story material: let your powers of recall be your guide’ (2000:34). Frensham agrees: trust ‘your gut response. What affects you the most emotionally’ (1996:42). This is Strategy 23: Trust Recall.

Innovators rarely enjoy community solidarity when unfamiliar actions are first imagined and shared. Gradually writers imagine more actions and, after months or years, weave a complex 'new world'. New screenplays only become community conversations over time. It is too easy for working writers to believe they are rejected by society and rejected by their rational or emotional self: ‘The hardest thing for me when I start a project is building up confidence’ (Goldman 2002:21). Collapsing confidence may strike any stage:

'Successful writers... are subjected to constant rejection until finally one day, someone recognizes their work. Until that day happens, you must strive to maintain a high level of unwavering confidence in yourself and your work' (Robert Berman 1997:150).

Writer confidence is a vicious cycle. Confidence is needed to write, but writers possess no 'hard' evidence of striking wider audiences until the difficulties of creation, conversation and innovation are suffered. With no hard evidence of the value of new writing, writers and writer-producers should, in this early stage, imagine the metaphor of confidence themselves. Strategy 24: Imagine Confidence redescribes writer confidence as an imaginary metaphor; an illogical jump in thinking which allows CONVERSATION C to operate successfully despite the massive odds of failure. Pragmatists use metaphors because they 'think of language, logical space, and the realm of possibility, as open-ended' (Rorty 1999b:12).

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Towards Conclusions

Perhaps for the first time in one investigation, movie innovation language and disambiguated Strategies 0 to 24 are redescribed together.

Disambiguated Strategy 17: Double Plotlines avoids Australia's unsuccessful and costly movie development terms. This investigation proposes Liberation and Affection terms which name important innovation goals during CONVERSATION C. Plotline redescriptions also highlight two of Rorty's landmark philosophical claims:

- (1) 'the novel, the movie and the TV program have... replaced the sermon and the treatise' (Rorty 1989:xvi).

- (2) Philosophy fails to unify private autonomy with community justice. Future philosophy should reweave but not unify private- social ideas. (Rorty 1989:xiv)

Movies reweave Western philosophy – such as 'privacy and society' in Chaplin's The Immigrant (1917) – using Strategy 17: Double Plotlines.

Strategy use occurs in innovation CONVERSATION C when: writer- producers draw on strategies to shape inquiries after dull, confusing actions (step 4). Strategies are conversed in two languages: (a) strategy sentences and (b) abbreviated movie sequences which cue recollections of motion|audio|visual|ICT|story. Strategists abbreviate movie sequences from Witness (Seger), The Player (Altman), Adaptation (Jonze), Chinatown (McKee 1997), Casablanca (McKee 1996), The Third Man (Halperin). Similarly, this investigation abbreviates movie sequences from The

111 President's Daughter creative project which ran alongside, and informed, this investigation.

During post 2004-2006, Daughter bogged down in step 3 of CONVERSATION C: The writer dries up or describes dull, confusing actions. On most days, redescriptions of Daughter's frames, samples, soundtracks and actions described a dull, confusing movie. Movies as great as Psycho bog down too. Alfred Hitchcock became dismayed and decided to abandon Psycho in post:

'After watching the rough cut of the film Hitchcock became so depressed and dissatisfied that he pondered cutting the movie' (Sullivan 2006:246).

Movies dry up and are abandoned at step 3 unless their writer-producers use Strategies to question the writing and continue step 4 of CONVERSATION C. Bernard Herman advised Hitchcock to take a vacation while Herman's staccato violin score was written and added to Psycho's motion|audio|visual|ICT|story. Facing Hitchcock's depression, Herman believed their team should: strike audiences, triangulate characters, risk complexity, detail motion|audio, weave relationships, sequence arcs, follow leads, audition voices, get experience, encourage results and imagine confidence (Strategies1-3-7-10-16-20-21-22-24). Herman urged Hitchcock to get new experiences on vacation, completely away from the project. Then Herman triangulated Psycho's two leads, NORMAN and MARION, with an edgy new leading character: Herman's staccato violin score.

Between 2004 and 2006, I seriously considered abandoning The President's Daughter. But I kept Daughter's CONVERSATION C going with Strategies 0-24. As a summary of the investigation to date, here are Strategies 0-24, with notes about their use in The President's Daughter.

112 Any movie developed with CONVERSATION C could have been used as the exemplar.

Strategies 0 - 24 and The President's Daughter's Creation

0. Charitably Infer:

Empathetic colleagues used Davidson's charitable inferential logic in conversations, which helped me progress Daughter's innovation 2004- 2006.

1. Strike Audiences:

Daughter's target audience was investigated in test screenings of various drafts - total of 60 participants during 2004-2006.

2. Limit Duration:

Four 2004 experimental movies were rewoven and limited to one finished movie. The imperative in post was to redescribe 32 hours of dailies, score and reshoots as one 90 minute movie which entertained writer-producers and target audiences.

3. Triangulate Characters:

An early Daughter screenplay triangulated characters well. But the Affection Plotline of one triangulation – LIZAHNE-ANDY-EUCA – was poorly directed. In post, this weakness was countered by emphasising the Liberation Plotline of triangulations such as LIZAHNE-ANDY-GRIFFIN.

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4. Better Nowadays:

Scenes where LIZAHNE and ANDY were comic or 'worse than nowadays' (and where DAELUS and GRIFFIN were tragic or 'better than nowadays') were rewritten.

5. Gesture Language:

A dull 'talking heads' kitchen table scene in the dailies was improved by carefully utilising every nuance, gesture and motion in the dailies to communicate this scene.

6. Do Character:

Casting limitations affected scenes between LIZAHNE and ANDY. The solution, as in Strategy 3: Triangulate Characters, was to cut and rewrite a different movie in post which went with what the cast were doing, not what the screenplay planned they do.

7. Risk Complexity:

Daughter greatly risked complexity. It told of a character not seen before on the screen. In 1988, I was astounded at most Australian audiences' guilty recoil from Schepisi's Evil Angels. By exposing the injustice, barbarity and mob mentality of ordinary Australians, Schepisi limited his audience. I expected most Australians to recoil from Daughter's criticism of their blood-for-oil politics, too.

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8. Democratise Pantheon:

Test audiences often praised John X, the actor who plays the evil character DAELUS so well. But the writing and direction also take some credit for DAELUS' empathetic role in Daughter's Pantheon. DAELUS' domestic ironing and his relaxed, animal patience endear DAELUS to Daughter's target audience. The DAELUS role expands rather than restricts redescription of Daughter's good, evil and democratic pantheon.

9. Pursue Happiness: The pursued endpoint of Daughter is this end scene of happiness.

Much of the creative work 2004-2006 went into tweaking (rewriting) Daughter's earlier frames to logically and emotionally reach this image.

10. Detail Motion-audio-visual:

Great efforts were expended to capture the missing details of Daughter. Overseas scenes were shot in 2005 and the emotional story was scored, sweetened and mastered alongside this study.

11. Weave Relationships:

Daughter's end scene was reinvented many times, 2004-2006. Eventually, a sudden inspiration suggested weaving LIZAHNE and ANDY's red and blue love-making shots with white end titles positioned as a lattice screen in front of their affectionate actions. The breakthrough reduced the strong sexual tension and rewrote the plot to resolve its story tensions.

115 12 Sequence Arcs:

Actions were questioned and changed by re-sequencing Daughter's plot arc, its emotional arc and occasionally by re-sequencing Daughter's story. For example, all character SPICER's scenes were written out of the 2006 version because LIZAHNE and ANDY's Act 3 was rewritten. Again, various stories were trialed before the Paris opening was shot and its arcs were created. Such innovation aims to shape the emotional arc to its climax, shape the story arc chronologically and shape the plot to strike audiences and limit duration.

13 Rehearse Actions:

I rehearsed Daughter's Brisbane Airport shoot to avoid infringing security zones and I rehearsed aligning the difficult telephoto camera moves with the airport's flight paths.

14 Favour Conventions:

Whenever I play Daughter's triangular spiral staircase, I am reminded of Hitchcock.

15 Consider Standpoints:

Much of the time spent learning Daughter's unfamiliar language was spent reviewing the explosion of POVs in every scene shot for 'coverage' in production.

16 Follow Leads:

'Follow Leads' was a breakthrough in my approach to Daughter from

116 2004-2006. Besieged by so many independent variables, I eventually put myself in LIZAHNE's shoes in every scene and suddenly the creation of Daughter accelerated.

I redescribed Strategy 16 from McKee but it was also inferred from Daughter's practice. Investigating a fragment of Daughter's original Notation notes in Chapter 6, I was reminded that LIZAHNE's character was somewhat inspired by the three actors cast to her role. They sometimes behaved as I imagined LIZAHNE. The fragment of Notation reminded me that Daughter's writing followed leading actors as well as Following Leads.

17 Double Plotlines:

The massive difficulties of rewriting Daughter's Affection/Liberation Plotlines are sketched under Strategy 3.

18 Cross Thresholds:

A major rewrite involved getting LIZAHNE to cross the New Zealand- Australia threshold in under 29 minutes. It took months to edit a shorter but richer Act 1.

19 Negotiate Shadows:

Daughter navigates the writer's dreamscape. As such, it was sometimes a physically, emotionally difficult world to edit. LIZAHNE's complexity was often the result of my dreams unexpectedly shifting her actions. I woke up one night hearing LIZAHNE speak Act 2 lines in Act 1 scenes. I re-edited such changes and progressed the movie.

117 20 Audition Voices:

Daughter's sequel was researched by listening to community dialogue while working on Daughter's post. Moreover, I cast and recorded Daughter's minor voices in post.

21 Get Experience:

Editors Murch, Kahn and Tomasini lived many experiences away from editing which helped inspire and refresh rewriting in post. So did I.

22 Encourage Results: Various producers showed solidarity with me during this project. They helped fund the Paris/US shoot and commissioned me to conduct writer-producer conversations on their own projects. Their commissions funded this research.

23 Trust Recall:

Michael Rabiger publishes a single line about Trusting Recall. But I clung to his Strategy when Daughter's production became almost impossible during 2004-2006. Email contact with Professor Rabiger was equally uplifting and I sincerely thank him for Strategy 23.

24 Imagine Confidence:

Also driving Daughter's creation in its dark days was the desire to Imagine Confidence. This allowed me to participate with unfamiliar test audiences and shoot guerrilla locations under the gaze and inquiries of Brisbane, French and US security officials.

The above list of 25 Strategies redescribes how I reacted to dried-up, dull

118 and confusing actions in the writing, performances and dailies. As the writer of the project, I reacted by rewriting movie sequences. I used Strategy 11: Weave Relationships to experiment with Daughter's numerous, confusing end sequences. A sudden inspiration suggested reweaving LIZAHNE and ANDY's red and blue sex scene behind a white, end-title 'lattice'. CONVERSATION C's step 4 (strategic inquiry) jumped to step 5:

The writer is inspired to describe entertaining action which answers the producer's concern about confused or dull action.

Step 5 for writer Bernard Herman was to write his inspired staccato strings score. Other cases of step 5 have been briefly redescribed in this investigation. Altman (Chapter 3) briefly mentions a writer inspired by this story: 'The Graduate Part 2 with MRS ROBINSON, who has a stroke'. Chris Anastassiades was inspired during our CONVERSATION C to write additional food jokes for The Wog Boy (Chapter 1).

The 25 Strategies speak to what is generally useful to change in all manner of projects. Strategies apply to Herman, Altman, my projects and perhaps any movie. The Strategies of step 4 apply generally: whereas step 5's inspiration is very specific. For example, general Strategy 11: Weave Relationships was applied to many draft endings of various Daughter versions. But I was only inspired to create a singular, one-off, 'red-white- blue lattice' ending for the movie. Strategies are useful, generally applicable beliefs and so they feature in textbooks and the literature. But inspiration sources are highly specific to real and particular writers, projects and actions.

Perhaps because inspiration is so specific, the Strategists of Chapter 5 avoid redescribing it. Perhaps the useful purpose of reading Aronson,

119 Dethridge and McKee is to be inspired, after their texts, to rewrite or create one's own movie. The field emphasises step 4 Strategies and leaves step 5 inspiration to the reader. Only Seger mentions inspiration sources. She does so briefly:

'Many scripts get worse and worse in the rewrite process. The farther they get from the original inspirational source, the more muddled they become... and no one wants to do the film anymore’ (Seger 1987:xiv).

The literature is almost silent and unhelpful in redescribing what is meant by inspiration in step 5 of CONVERSATION C. But this study suggests that writer-producers shape inquiries of movie sequences using Strategies. And writers are inspired to write and rewrite new, entertaining movie sequences. Without both these conversation steps (strategic inquiry and inspiration), CONVERSATION C does not exist.

How are writers inspired during CONVERSATION C?

How are they inspired to describe new actions and respond to producer's queries?

120 6

INSPIRATION

Writers are inspired to write entertaining movie sequences which complete innovation's CONVERSATION C. During innovation, steps 3-5 take place:

3. The writer dries up or she describes dull, confusing actions. 4. The producer draws on strategies to shape specific inquiries of the writer's dull, confusing actions. 5. The writer is inspired to describe entertaining actions which answer the producer's concern.

Chapter 3 presented the Altman example of a studio producer listening to his writer's ambiguity at step 3. The writer confuses him about casting three, or four, characters:

WRITER: 'Ben and Elaine are married[...] and Mrs Robinson lives with them. Her ageing mother, who's had a stroke...'

At step 4, depending on their expertise, writer-producers use a limited, or extensive, range of strategies to inquire of the writer. Altman's producer is an expert. He is justifiably confused about the casting of 'Mrs Robinson' and 'her ageing mother'.

His attitude is that they should charitably triangulate favourite characters (Strategies 0, 3, 14) and he uses these attitudes to elicit clarification with a charitable inquiry:

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PRODUCER: Mrs Robinson has had a stroke?

At step 5, the writer recalls three favourite characters, with the inspired addition that one is stroke-ridden. He agrees with the producer, using a similar spoken emphasis:

WRITER: Mrs Robinson has had a stroke.

These three steps succinctly redescribe movie innovation, including its step 5 completion by the writer. The writer is inspired to describe an entertaining action: Mrs Robinson has had a stroke. The writer imaginatively disables MRS ROBINSON's actions, which entertains the producer. With step 5, innovation and CONVERSATION C approach completion.

But, despite exhaustively combing the literature, no academic study exists which asks writers to redescribe step 5 and movie inspiration in detail. Despite writer inspiration driving step 5 (and step 1) of the screen economy, inspiration is poorly researched and vaguely described.

According to the Girl With a Pearl Earring's writer, she was inspired by staring at a Vermeer poster in her bedroom (Chevalier 2003:1). East of Eden's writer was inspired by newspapers, family and friends (Steinbeck Center 2000:1). Inventing NORMAN BATES, Psycho's writers were inspired by metaphysician and necrophiliac Ed Gein (Bell & Bardsley 2008:1; Stefano 1990:1; Hitchcock 1960).

But Psycho's screenwriter Joseph Stefano 'was sure that no audience was going to like Norman' (Stefano 1990:1). Mindful of empathic Strategy 0: Charitably Infer and Strategy 1: Strike Audiences, Stefano was inspired to

122 invent adulterer MARION CRANE as he drove to his first job interview with Hitchcock:

'During that car ride, the idea suddenly struck me to begin with Marion, suggesting that the movie would be about a girl who steals $40,000. Audiences would be sucked into a character who did something wrong but was really a good person' (ibid.).

Beyond this inspiration in the car, which created an empathetic character who embezzles, Stefano is silent about his inspirations for MARION's numerous other actions in Psycho. Similarly, writer Chevalier is not forthcoming about other actions in Girl With a Pearl Earring. Claims about movie inspiration grossly generalise. They ignore the detailed actions which comprise the innovation they claim to describe.

Better industry research might ask writers to describe step 5's inspiration in detail. We might investigate each inspiration for each movie action in a project. What inspired MARION's encounter with her BOSS at the traffic lights? What inspired MARION's encounter at the used car yard? Unfortunately, we can no longer ask Stefano or other Hitchcock writers, as they have passed away. The most accessible writer to ask about inspiration, as I rewrote The President's Daughter in post, was myself – the writer.

A Detailed Redescription of Innovation

In 2002-2003, I wrote, directed and produced rough drafts of The President's Daughter. Then I despaired in post – much as Hitchcock despaired and almost abandoned Psycho in post (see Chapter 5). For years I searched for a long-term, trustworthy creative community to share Daughter's post and distribution work. I failed to find this community. I

123 almost abandoned The President's Daughter. But, with some gratefully received occasional private support from friends between 2004-2006, I produced Daughter's rewrites, its Paris and Washington shoots, voiceovers, pickups, test screenings, score creation, fund raising, sound sweetening, colour digitizing and studio maintenance.

Before this hellish, alienating, downhill period, I sometimes believed The President's Daughter was my own inspiration. At other times I believed Daughter was inspired by favourite filmmakers. I thought about Daughter's inspiration as vaguely as others redescribed Pearl or Psycho's inspiration. Common sense told me Daughter was my creation because I dreamed up Daughter's characters and actions. But this vague belief conflicted with another vague belief – that The President's Daughter's strongest ideas were inspired and copied from other media such as: Alfred Hitchcock's staircases (1958; 1960); John Mitchell and Malcolm Campbell's screen spies (1967; 1995); and Hal Ashby and Mike Nichol's redescriptions of society (1967; 1971; 1979).

Was Daughter's innovation inspired by my own dreams and imagination – perhaps connected with Strategy 19: Negotiate Shadows? Or was The President's Daughter inspired by copying other media? Or did other factors inspire the movie? Could these inspirations be redescribed by strategy sentences? My understanding of Daughter's inspiration was as vague as the vernacular's understanding of movie inspiration. Critically, Chapter 5's literature hardly contributed to knowledge about inspiration. Seger's lone voice briefly mentions inspiration sources: 'The farther [scripts] get from the original inspirational source, the more muddled they become' (1987:xiv). There is no extensive knowledge about movie inspiration in the literature.

I conducted informal studies of innovation conversations and inspiration in

124 2004 and received QUT ethics clearance in 2005. Inspiration studies ran alongside the investigation of innovation Strategies (Chapters 4 & 5). I kept a journal of writer-producer conversations about The President's Daughter and its related projects. Such projects were 'conversations' with others who potentially might work together creatively. Significant conversations were abbreviated and recorded in a high-speed screen creation/analysis system called Notation.

Notation

In early 2005, I redesigned my industry Notation system. Notation comprehensively records both the creation and analysis of movie actions at high speed. In order to offer the system to academia, Notation's language was translated and rewritten in familiar keyboard symbols, and registered with the US Library of Congress.

In mid-2005, I presented Notation to a national conference at QUT. National delegates ranked Notation's ‘Eyes And Ears’ presentation as one of the ‘most valuable and informative’. The survey concluded Notation's preliminary findings were ‘amazing. More introduction to interpretive paradigms [like these preliminary findings] needed across the board [at the conference]’ (QUT CI Conference Survey 2005). Visiting professor Phillip McIntyre communicated my Notation seminar to Australian writer/game designer Joe Velikovski who adopted it and promotes it in industry. Chapter 7 use high speed Notation to record its New Writers research.

Wanting to investigate The President's Daughter's inspiration, I was aware that Daughter was originally written in Notation, then typed up as a screenplay. As a writer observing people, jotting notes in Notation is much faster than typing English. It is also discrete, cheap and portable. Because Notation is designed and industry-tested as a 'minimum message length'

125 specifically for screen action, it saves time yet captures data with integrity. Prose notes have to be translated to |motion|audio|visual|ICT|story| before they can be written as a screenplay. But Notation originally and entirely jots down pure movie action. I type up The President's Daughter's original screenplay only months after its inspiration in Notation. Here is a sequence:

The sequence shows LIZAHNE being rescued from assassin DAELUS by her friend CHRIS. I desired to investigate its actions and recall every inspiration. But this script version seriously distracted me. For me, the script version recalled production logistics, budget, casting and test audiences. I desired the original Notation version of the script because it had recorded the inspirations. The original Notation was no longer extant in 2005, so I transcribed the entire screenplay back into Notation. For example:

- locations, sets and scenes are underlined: garage - CHRIS is abbreviated C - LIZAHNE is L - arrival is @, departure is 0 - sudden actions are ! - surprised breathless pause then DAELUS dialogue uses round brackets (!.. D) - violence such as grab is % - aid such as rescue is + - a nasty stare is # - puzzlement is ?

The above script sequence is : garage C@! L(!..D) C(airport) C%+L 0! . D@ #?

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I understand this means little to the reader. But it is the line of thinking which gave me the breakthrough clue about movie inspiration. In mid 2005, I sat at my QUT bench with my editing computer turned off. I could not see this scene's footage. I was doodling. I recalled the garage rescue scene and jotted it down on a scrap of paper: garage C@! L(!..D) C(airport) C%+L 0! . D@ #? In the quiet of the room, I meditated; I asked myself as its original writer, what inspired the action? Suddenly, I was shocked to recall, in luminous detail and sound, an incident from my life, 25 years previous to Daughter. Here is the incident I suddenly recalled:

In a rural cabin, a girlfriend dropped a dozen high calibre bullets into a log fire. She knelt down in the fireplace hearth to scoop out the high calibre bullets from the burning coals. The bullets began exploding and slugging shrapnel past her head into the walls. I ran across the room, dragged her to her feet, and I pushed her into the next room. We hid behind a brick fireplace next door and waited for the explosions and shrapnel to die down.

I was shocked by this sudden, vivid recollection. I had not thought of the shrapnel incident for more than a decade, and it had occurred 20 years ago. Staring blankly at LIZAHNE's rescue Notation, but vividly recalling the shrapnel incident, my jaw dropped open and I got shivers up and down my spine. Excited by the recollection, I designed Chapter 6 to investigate all of LIZAHNE's 514 actions in the new movie. Besides recalling the shrapnel incident, and its connection with Notation, the third realisation was: I had never recalled this incident while writing and making Daughter.

‘Very often a writer’s main message is something he’s absolutely unaware of most of the time... What he’s really doing is something completely removed from his stated

127 purpose. .... It’s the one thing that’s caused him to be a writer in the first place... that stays the same basically from project to project, and I don’t think he’s aware of it most of the time’ (Arkin 1997: 54).

Chapter 6's Main Inquiry

I first planned to investigate all of Daughter's actions and inspirations but I quickly revised this plan. 'All actions' would create an enormous study. Strategy 15: Consider Standpoints proposes that any action during innovation can be viewed from the points of view of every character in a scene. A populated movie generates tens of thousands of actions and multiple points of view.

Therefore Chapter 6 limited the inquiry to all of LIZAHNE's actions. Being the leading character, LIZAHNE's actions lead almost every scene in Daughter, from her conception in Paris through to sleeping with ANDY at the movie's end. Although Daughter was originally written as a two- hander with ANDY, what is most important in Daughter is LIZAHNE's action and story arc. The decision was taken during the editing to rewrite Daughter as LIZAHNE's story (Strategy 16: Follow Leads). Limiting the study to LIZAHNE already generated an enormous list of her 514 breakthrough, leading actions across the arc of her movie, allowing inspiration to be investigated at a level of detail not previously attempted in the literature. The argument for such participatory research and recall is championed by Tedlock (2000:460).

Having limited the data to 514 movie actions, my next decision was how to record actions and their inspiration recollections in a format suitable for further reseach. I usually record movies as Notation on paper. But for this large experiment, I wanted to collect LIZAHNE's 514 abbreviated actions

128 and recalled their inspirations in a computer spreadsheet. It would support the rapid calculation, sifting, sorting, comparing and contrasting of the project's inspiration data.

Inspiration Investigation Spreadsheet

The spreadsheet and the study are explained by sampling three lines of the spreadsheet as they apply to three actions in the Daughter screenplay:

'LIZAHNE prises open the main doors of the apartment block. The giddy staircase spirals away above her. She sprints up the stairs'

LIZAHNE's above three actions were numbered 120, 121, 122 in column (0) of the spreadsheet. Against each numbered action, I described the action in words in column (B):

0. A. B. 120 244 LIZAHNE prises open the main doors 121 251 Her POV: pan around the triangular staircase 122 252 LIZAHNE sprints up stairs

Column A shows the investigation's running order, not the running order of the movie actions in column '0'. Movie action 0.120 was investigated at the timing point A.244 in the experiment's running order. Then a break occurred in the investigation before movie action 0.121 was investigated at point A.251. Breaks occurred whenever I lost concentration recalling inspiration sources. When lapses occurred, I rested. Resuming, I focused on a different, fresh sequence of actions in the spreadsheet. Later, I returned to investigate actions 0.121 and 0.122 when I was completely rested, meditating and focused mindfully (Bangor 2008: Lynch 2006).

129 Inspirations for actions 0.121 and 0.122 were recalled later, at timing points A.251 and A.252 of the study.

In order to minimise lapses in recall, I moved to a quiet house-sit for a few months over 2005-2006, so that I was not distracted by social routines, telephone, visitors, movie production and bureaucratic office noise. In this quiet house, I isolated each action in column B by masking the spreadsheet to see only one action at a time, e.g.:

LIZAHNE prises the glass doors apart

The time in the quiet, stress-free house allowed me to effortlessly recall the inspiration for 'LIZAHNE prises the glass doors apart'. This past event was suddenly recalled and re-imagined in vivid detail:

At Melbourne's Museum Station, a woman caught her clothes in the glass doors of our train. The train accelerated out of the underground station. The woman ran screaming to keep up along the platform. I jumped from my seat, ran past stunned passenger-onlookers, put my back into the vestibule handrail, raised my foot to the door handle and prised the electric door open, releasing the woman. She fell back onto the platform. We passengers sped into the tunnel.

In the quiet calm of mindful attention to LIZAHNE's door action (in column B), a real incident from my past was recalled in shocking detail. I calmly abbreviated and entered this vivid inspiration source as 'Melbourne train' in column C:

0. A. B. C. Inspiration 120 244 LIZAHNE prises glass doors Melbourne train

130

When I later resumed and mindfully attended to 'pan around the triangular staircase', below, I recalled Hitchcock's Vertigio, not a scene inspired from my real life. Gradually I recalled Daugher's 514 inspiration sources and listed them in column C:

0. A. B. C. Inspiration 121 251 pan around triangular staircase Hitchcock Vertigo 122 252 LIZAHNE sprints up stairs athletics carnival pain

Over the course of many weeks, each inspiration source was generated in a state of quiet, calm, mindful attention. While recalling the sources, I was calm, not excited. But in periods away from mindful attention, I allowed myself to get excited about the unexpected inspiration sources I was recalling. No previous study had recalled such detail about the sources of a movie's innovation and creativity.

I was reasonably certain most of the inspiration sources in column C were the thoughts which had originally triggered my breakthrough ideas for LIZAHNE's actions (in column B). But I was only 'reasonably certain'. I could not be completely certain that recollections at C were the original inspirations of LIZAHNE's leading actions because so much production and editing time had elapsed since I first imagined and wrote LIZAHNE's actions.

Due to the lapse of time, there was even one 'inspiration source' (timing point A.753) which returned a blank in column C. When I mindfully attended to LIZAHNE saying to ANDY 'They killed you' in column B, I could not recall any inspiration source. I left column C blank - the only blank uncertainty in the study. More common were actions recalled as two inspiration sources:

131

A. B. C. 1046 D in hall death adder on path, at NTSH, at Douglas Apsley

The action ' D in hall ' means 'DAELUS stalks LIZAHNE in her hallway'. For this action, I suddenly recalled two life incidents: treading on two large, deadly venomous snakes, one at Nantasenhai (NTSH) and, in a separate recollection, at Douglas Apsley. These incidents were entered as inspiration sources in column C: 'death adder on trail'. A cropped photo below illustrates just 2% of Chapter 6's data spreadsheet.

The top row, A.1064, Column B (above) lists the action, 'L runs to the edge of the aquaduct'. This recalled the inspiration, in column C, of 'the edge of a Blue Mountains cliff' (in my early childhood). Next, 'L looks into cascading water' recalled a childhood fear: with family, learning to swim in pounding surf. Most of the recalled inspirations were surprising, often shocking, personal interactions with people and events in my life. These events were not recalled during Daugher's innovation, until now.

But I could not be sure if the investigation recalled inspiration sources, or recalled similar associations after the fact. I was reasonably certain most of the inspiration sources in column C caused and inspired LIZAHNE's actions in Daughter. But it took the experiment in Chapter 7 to give me greater confidence in Chapter 6's method and results. What Chapter 6 can claim is that LIZAHNE's 514 movie actions in (B) correlate with the inspiration sources in column (C).

132 Redescribing the Sources

Accepting that Daughter's 514 'inspiration sources' might or might not drive Daughter's innovation, I investigated them further. I had an open mind for how these 'inspiration sources' might be redescribed. I began to sort the inspiration events into more columns, using terms used to describe movie events. As backgrounded in Chapter 1, I was a studio producer involved with changing Australian censorship and the classification of many new movies. The Office of the Prime Minister and the OFLC characterise every new movie as having a level of violence and sexuality (OFLC 2003). Adopting this view, I classified all 514 inspiration sources as: violent (v), sexual (s), a sense of belonging (b), or media (m) in column H.

Inspiration sources usually classified as 'violence' or 'sex' in column H. Most of the inspiration sources involved violence. The 'Hitchcock staircase Vertigo' inspiration source was flagged as media because it was not real world violence or sexuality. It was movie language. An interesting result from this sorting was that violent sources correlate with violent movie actions and sexual sources correlate with sexual movie actions.

B. action C. inspiration source sex/violence/etc. H. D in hall death adder on trail, at NTSH, Douglas Apsley v L prises door Melbourne train v staircase Hitchcock staircase Vertigo (media) m sprint stairs ache of sports carnivals, swimming v personal query Harriet s

Hundreds of real people were unexpectedly recalled in column C's inspiration sources. For this chapter, Harriet, and every person's details, are aliases to preserve privacy.

133

Is Innovation Driven By Media Or Real Experience?

Another classification and sorting (in column E) redescribed the inspirations (C) as:

- favourite movies and media (m) - real experiences (e) - dreams (d) - anecdotes told by others (a) - etc.

C. inspiration source media or experience etc. E. death adder on trail, at NTSH, Douglas Apsley e Melbourne train e Hitchcock staircase Vertigo m ache of sports carnivals, swimming e Harriet e

Column E's redescription and sorting of inspiration sources was a turning point for the investigation. LIZAHNE's 514 inspiration sources were flagged as:

- 501 real experiences - 7 favourite media conventions - 3 dreams - 2 anecdotes told to me by others - 1 not recalled.

The staggering outcome of this sorting of LIZAHNE's 514 inspiration sources, was that 501 sources - almost all of Daughter's inspiration

134 sources - were events recalled from the writer's past.

Media only inspired 7 of Daughter's 514 breakthrough ideas. Media sources were: an old book of my parent's, an aunt's book, a school road safety film, a geopolitical article in Vanity Fair and a war crime photograph screened at a public lecture; only two media sources were movies: Hitchcock's staircases, and Kubrick's title font.

Besides only 7 media sources, other minor inspirational causes were 3 dreams, and 2 anecdotes told to me by friends. That left 501 out of 514 inspiration sources which were dramatic personal experiences, none of which I expected to recall in this investigation. I did not recall any of these experiences during the writing, fund-raising, casting, shooting, audio composing, editing and test screenings of Daughter. If these forgotten 501 experiences caused most of LIZAHNE's character arc in the movie, they supported Alan Arkin's belief about innovation:

‘Very often a writer’s main message is something he’s absolutely [sic] unaware of most of the time’ (1997: 54).

If the 'main message' in LIZAHNE's character arc was my own real experiences, I was unaware of them during Daughter's creation and innovation. Furthermore, the literature hardly emphasises real experiences as the main drivers of movie innovation, so Chapter 5 had not prepared me for this investigation's findings. Only 9 Strategists mention Strategy 21 (Get Experience) and they only mentioned it briefly. Moreover Froug, Ballon and Dancyger mention experience – then warn against it:

- 'Digging up incidents from your own life is a chancy business'. (Froug 1992: 22) - 'Jack was writing his actual life story as he was living it. This

135 didn't make for an exciting script and his writing wasn't dramatic'. (Ballon 2005:14)

- 'Undigested, our lives, our personal perceptions, our experiences communicate nothing' (sic). (Dancyger 1995:261)

Chapter 5's investigation includes a major concordance of the literature which I expand on here because it demonstrates the literature's great emphasis on Strategy 14: Favour Convention (media sources) and the unimportance academics ascribe to experience.

Two bar graphs are constructed from text authors' initials: Linda Aronson (LA), William Froug, Ken Dancyger, Cynthia Witcomb, Raymond Berger (BE), Tony Zaza, Raymond Frensham, Bill Bryson, Michael Rabiger, Syd Field, Linda Seger, Christopher Vogler, Joseph Campbell and Aristotle Nicomachus (AN). Nine texts which briefly mention 'Get Experience' can be contrast with 14 texts which greatly emphasise 'Favour (Media) Conventions'.

Strategy 21 Get Experience

WF KD RB BE TZ RF SE RM SC ( 9 Strategists)

The above list includes WF, KD and RB who also caution against Get Experince. Many more Strategists Favour Conventions, including five Strategists (enlarged in bold below) who are extremely influential in the global industry:

Strategy 14: Favour Conventions LA WF KD CW RB TZ RF BB MR SF LS CV JC AN (14 Strategists)

136 Favour Conventions dominates this literature. Get Experience is occasionally mentioned, but then: with caution. Other Strategies are infrequent.

Writers who dry up loose confidence. Many rely on expert cooperation. But experts’ de-emphasis on personal experience may defeat such hope; crushing writers' confidence and falsifying their beliefs. Take Rat's Nest (1973) as a hypothetical: a highly efficient, low cost thriller goes into production with generous actors, world-class settings and enthusiastic supporters. In post production, the political environment changes. A profligate, expensive, conformist, anti-creative, narcissistic, dishonest, narrow-minded and greedy bureaucracy deceives and stonewalls the director until she looses confidence (Cousins 1973). Identically, I lost confidence, doubting myself as writer-producer. Crushed, I assumed that Daughter was inspired by others. Such Rat's Nest bureaucracies and some screen literature hide behind Favour Conventions, destroying inspiration and innovation, and, ultimately, sadistically destroying cornered artists.

Redescribing The Dominance Of Experience

In my case, confidence was rescued from defeat by asking 514 specific actions in Daughter for their inspiration sources. I was staggered to observe that almost all Daughter's drivers of innovation were forgotten experiences from real life. I further investigated and redescribed these real life sources. Over page, in column F, I flagged the period in my life when each source occurred: child/teen/youth/adult. Three primitive recalls were: a hug, a loud noise, a traveling pram's POV of sky and treetops; and I sorted these as 'infant'.

137

Life period Number of unexpected sources Infant 3 Child 117 Teen 134 Youth 162 Adult 85

These real sources linked with LIZAHNE's actions. Fictional LIZAHNE is young, yet 339 of the writer's 501 inspiration sources occur outside the writer's youth. This suggests that age-matching a writer's experiences are unimportant to inspiration. A movie draws on all period's of a writer's life: other factors (not age match) drive ideas.

Another pattern investigated in Daughter's sources was their real social geography. I was struck by the number of inspiration sources which were new 'scenes':

- travelling into a place for the first time - visiting an architect-designed 'Japanese'-style Sydney house as a child - wandering into the Amsterdam territory of the Hells Angels at night - rescuing a girlfriend from exploding flack;

In about 300 of the 501 real inspiration sources, I was doing something for the first time, or doing it in a new location. Perhaps 'newness' was already labeled in Strategy 21: Get Experience, but 'Newness' is a redescription which might also benefit from future innovation research.

138 Strategy 25: Redescribing Injustice

Another classification of the 501 'real experience' sources concerned the point of view (POV) of each experience. I found this POV redescription very useful. Each source was recalled calmly and suddenly, with the hyper-real vividness of many senses: motion-audio-visual-touch-taste- temperature-humidity. I was struck by the strong, personal viewpoint in each recalled events such as the shock of feeling the summer heat, rural dust and seeing the tops of gum trees from inside my moving pram - (an 'infant' memory above).

In some real sources, I was a victim of violence (various snakes), I perpetrated violence (rocked a car), and witnessed violence (boys firing machine guns in a ravine). – See earlier spreadsheet:

In total, 501 real sources were experienced from one of five real points of view:

- victim - perpetrator - witness - liberator - lover/friend

The idea of describing all the 'real experience' sources as POVs grew from Robert McKee's Strategy 14: Consider Standpoints, the attitude of writer-

139 producers who imagine all the characters' POVs in critical scenes (Chapter 5). It also grew from Aristotle's Strategies Triangulate Characters, Better Nowadays, Pursue Happiness and Weave Relationships. Real victims, perpetrators and witnesses were triangulated in real events. Distinguishing between real 'nowadays' victims and 'nowadays' perpetrators suggested how movies might Better Nowadays:

‘comedy aims at representing [sic] men as worse than they are nowadays, tragedy as better' (Aristotle 65:33).

Pragmatists redescribe human experience as the Pursuit Of Happiness and writers innovate movie statements about its pursuit and about the unhappiness of victims, perpetrators and passive-aggressive witnesses ('I risk my neck for no one', says RICK in Curtiz 1942). The Melbourne train source demonstrates the way a hypothetical CONVERSATION C might expand a movie built on injustice POVs:

Victim: woman caught in the door, dragged along the platform Perpetrator: the lazy or harried guard who signaled 'all clear' to the driver Witnesses: forty passive-aggressive passengers gawking like zombies

These various ways of writing movie actions are discussed in writer- producer conversations. Moreover, two further injustice POVs might be recalled or inferred:

liberator: the one passenger who bothered to run to the door and prise it open lover/carer: the person who came to the victim's aid on the receding platform

140 Adding liberator and lover/carer further triangulates and complicates redescriptions of real inspiration sources and the variety of POVs available for innovating movie scenes.

These POVs all redescribe a scene of injustice: A woman is meshed in the jaws of a deadly machine while 40 'good citizens' retain comfortable seats and prepare to watch her bloodshed through the plate glass. The train guard does not protect her. I decided to name this hybrid movie innovation strategy, Strategy 25: Redescribe Injustice.

I redescribed the POVs of all 514 inspiration sources in column I, using v, p, w, l and a for victim, perpetrator, witness, liberation or affection:

C. inspiration source I. injustice POV death adder on trail v (victim) Melbourne train l (liberator) children fire machine guns in ravine w (witness)

The redescription of LIZAHNE's 501 real-life inspiration sources returned the following characteristics in column I:

- 251 Victim inspirations - 103 Witness inspirations - 57 Perpetrator inspirations - 48 Affection inspirations - 42 Liberation sources

I was embarrassed at how often I recalled being the victim and perpetrator rather than being the liberator or lover/friend. But I was also excited at vividly recalling these inspiration sources; and excited that real sources

141 could be redescribed in the strategic terms of innovation's CONVERSATION C. New Strategy 25 proposes that original writers usually redescribe the personal-social injustices of their past.

Conclusions

During CONVERSATION C, at step 1 and step 5, the writer is inspired to describe entertaining actions. But no academic study exists which asks screenwriters to redescribe such innovation and inspiration in detail. The vernacular is satisfied with vague generalisations about innovation, such as 'necrophiliac Ed Gein inspired Psycho'. Such statements ignore the screen economy's detailed, action-by-action innovation.

I conducted Chapter 6's research in tandem with Daugher's action-by- action innovation, alongside other chapters of this inquiry. Each investigation informed each other. For example, I almost abandoned Daughter in post (similar to Hitchcock abandoning Psycho); and Daughter was greatly saved by Strategy 24: Imagine Confidence and Strategy 23: Trust Recall. I also used Trust Recall to conduct Chapter 6's investigation of inspiration sources.

Before this study, I sometimes believed Daughter and my stable of projects were my own inspiration (or the inspiration of myself and co- writers). At other times I believed Daughter and other projects were inspired by favourite filmmakers. Chapter 6 demonstrated that my ambivalent beliefs were typical of a writer-producer's ignorance about innovation.

The Daughter project offered easy access to investigate a screenwriter's inspiration. I translated the Daughter project as a delivery screenplay, then further abbreviated it as a Notation transcript, using Notation's high-

142 speed research language. After conducting preliminary tests, I moved to a quiet environment where I could isolate and mindfully attend to each of LIZAHNE's 514 actions in a spreadsheet. Gradually, I recalled and recorded the sudden inspirations for 513 of LIZAHNE's 514 actions.

Then I redescribed and sorted Daughter's column C inspiration sources by various characteristics, such as:

- violence/sex inspiration sources - media/experience inspiration sources - entering new/old geography - child/teen/adult recollections - victim/perpetrator/witness/liberator/affection events

The literature had not prepared me for redescribing the recollections as media/experience inspiration sources. The literature strongly emphasises Strategy 14: Favour Conventions but favourite media only inspired 7 actions. I was shocked that Daughter appeared to be driven by 501 real past experiences. Chapter 6 shifted my understanding away from believing Daughter was mostly inspired by other writers' media (Favourite Conventions) towards understanding movie innovation as being dominated by Experience. The literature plays down, and warns against, Strategy 21: Get Experience; yet writers' past injustice experiences may drive innovation.

Personally, I was shocked that I frequently witnessed, perpetrated or suffered aqueduct in these recollections. Moreover, I re-experienced the unpleasant feelings of the recollections (cf. Strategy 13: Rehearse Actions). The dominance of these real experiences lead me to redescribe a new Strategy which takes account of the dominance of injustice points of view during innovation - Strategy 25: Redescribe Injustice. When I produced and

143 wrote Daughter, I was redescribing real, personal-social injustices in my life, rather than copying other media as I had at first believed.

Time had elapsed between creating LIZAHNE's breakthrough actions and recalling LIZAHNE's inspiration sources. Therefore I was uncertain if Chapter 6 recalled inspiration sources or recalled similar real scenes after the fact. But Chapter 6 only claims that LIZAHNE's 514 movie actions in spreadsheet column B correlate with the inspiration sources recorded in column C of this study. The action of LIZAHNE's rescue from gunfire only correlates with a real rescue from exploding ammunition.

But I desired to investigate fresh writer-producer conversations where writers might immediately and confidently recall their inspirations. Such freshly recalled inspirations might be confidently redescribed as inspirational causes of new movie actions.

Such causes, recalled by 25 new movie writers, is investigated in Chapter 7. Like Chapter 6, it redescribes movie innovation 'action-by-action', probably for the first time.

144 7

SEVENTY-FIVE MOVIE INSPIRATIONS

This study proposes 25 Strategies (such as Strike Audiences, Limit Duration and Risk Complexity) which writer-producers use to shape inquiries of writers' actions. But I was not satisfied with these proposals for innovating movie actions. The published field is contradictory about Liberation and Affection plotline distinctions, for example. And it over- emphasises Strategy 14: Favour Conventions so I was not prepared when Strategy 14 inspired a mere 7 actions in the Chapter 7 movie, The President's Daughter. By contrast, Strategy 21: Get Experience inspired 501 actions in the same movie, despite the silence the literature devotes to Get Experience.

The President's Daughter was probably the very first movie to have hundreds of detailed actions investigated for their inspiration sources. Rather than favourite media conventions, Chapter 6 proposes that original movie innovation is mainly inspired by real events in a writer's life. Such events were further redescribed as new Strategy 25: Redescribe Injustice. But I was not satisfied with Chapter 6's results. Given the long period of time between originally imagining LIZAHNE's 514 movie actions and recalling the inspiration for each action, I could only suggest Daughter's movie actions correlated with its original inspirations.

For example, the movie action'CHRIS grabs LIZAHNE' correlates with a real, personal, injustice incident: 'Rescuing a friend from exploding ammunition' (Chapter 6). But I was not completely confident that every such recollection was the cause of the corresponding action in LIZAHNE's arc.

145

I desired to investigate fresh writer-producer conversations, where, hopefully, writers might recall their real inspirations immediately after they created the actions of their new movie. Such immediately recalled inspirations might confidently redescribed the causes of the writers' creativity during CONVERSATION C:

- Writers are inspired to describe all the actions of new movies. - Writers dry up. - Producers strategically inquire. - Writers are inspired to describe entertaining actions, replacing dull actions.

Where might I recruit writers for this investigation into inspiration's causes? My Chapter 1 industry experience with CONVERSATION C taught me that the world's best screenplays come from new writers as often as they come from veteran writers. I championed new writers Damon and Afleck (Good Will Hunting) and Kevin Williamson (Scream). I also championed Australian newbies Greg McLean and Stuart Beattie solely on the quality of their screenplays (which entrenched, bureaucratic producers had dismissed or ruined). Newbie McLean later wrote Wolf Creek. Beattie wrote Pirates of the Caribbean and Australia. Such marginalised new writers write great screenplays. Veteran writers do too, but understandably, veterans are unwilling to publish their most valued new movie ideas in an unsupported academic's research. Very comfortable with identifying excellent new writers and their writing, I had no qualms about inviting new writers to undertake Chapter 7's investigation. As I was not supported in this research, I could not offer volunteers a fee. But I could offer each one of them one-on-one studio quality straegic development – I could offer them my time and full attention.

146 Chapter 7's writers were disinterested in my research. They were primarily interested in creating their most valued new movie story in a professional writer-producer conversation. I agreed to develop each new movie in a tailored, one-on-one Notation workshop. In return, they agreed to discuss their innovation. The writers held veto and copyright. They solely approved both their fresh movie transcript, and our discussion, for publication in this study.

Twenty-five writers were inspired to describe their most valuable new movie ideas in individual workshops. Sometimes the writers dried up or became dull and confused (step 3). Then, strategies were used to inquire of the writer's actions (step 4). Gradually our CONVERSATIONS C produced 25 studio-quality new movie scenarios. Then I selected the three most striking movie actions just invented by each writer and asked: what had inspired the striking actions? The writers redescribed 75 detailed causes of 75 striking movie actions. Before this study, 75 fresh and detailed inspiration sources from 25 innovations had not been described in the literature.

Preliminary Inquiries

I conducted a year of preliminary studies into writer-producer conversations in order to position myself to ask 25 new movie writers about their inspiration in high-speed workshops. Participating as producer, I kept a journal of many other writer-producer conversations I conducted in education and industry outside these workshops. In mid-2005 I received QUT clearance to conduct this research.

A researcher who does not write Notation (or another high-speed analytical shorthand) might record Chapter 7's inquiry digitally. But audio|visual

147 recording wastes days. Time is lost searching hours of media, sorting, transcribing and printing text – whereas Notation does all this during the conversation. Notation is a much more efficient, rapid creative writing and research method for recording this complexity of data, compared to video or voice recording.

In late-2005 I conducted a group workshop with QUT faculty. A video of this workshop shows bemused faculty creating a new movie scenario about BOBBY, a women's bobsled champion; WINNIE, a winemaker on her skiing holiday and TERRY, a snow resort terrorist. The video shows their movie scenario recorded as Notation on a whiteboard. In the following year, participant Professor Michael Keane used some Notation methods in Created In China.

Such preliminary workshops were refined in 2006. I recruited 27 new writers (labeled A to Z, including latecomers i1, i2) who signed releases and volunteered to:

- converse their most valued movie idea, - have their movie innovation recorded in Notation, - discuss their conversation immediately after their workshop - validate the research transcript as a true record - allow me to publish their conversation and the research, while retaining veto and copyright over their work.

Writer's Innovation And Producer's Open-Ended Questions

At all workshops, writers created their movies by speaking in movie sequences, such as:

148 'There were random BODIES, some left in alleys, some in the morgue' (Writer N).

I recorded Writers' movie sequences in Chapter 6’s high speed Notation. I did not interrupt unless Writers dried up, became dull or confused (step 3). When this occurred, I referred to their spoken actions in Notation then asked open ended questions about their actions (step 4).

As a pragmatist producer who imagines himself in a future mixed (rather than command or monopoly) Australian economy, I asked precise, useful questions during CONVERSATION C. But I did not impose my own movie sequence on a writer. In command and monopoly economies the producer imposes movie sequences on the writer, who is basically the enslaved typist of producer-tyrants. I had no interest in enslaving writers à la East Germany (von Donnersmarck 2007) or the 'free' market's Sunset Boulevard (Wilder 1952). Step 4 only asked open-ended questions shaped by Strategies. Post-workshop, all participants were sent a movie and discussion transcript. This they all signed, approving their transcript as as a record of their own original creation.

A hypothetical example shows how CONVERSATION C was conducted to ensure all the writers remained in control of their own stories:

- WRITER: The surgeon suspected Jill was a liar, and contacted the police... - PRODUCER A: How did the surgeon contact the police?

Contrast the following egotistic producer who blithely derails movie innovation with a leading question. Such gormless interruptions destroy creative industries:

149 - WRITER: The surgeon suspected Jill was a liar and phoned the police... - PRODUCER B: Was his mobile turned on in the hospital?

With this single question, Producer B imposes a gender on the writer's character. Producer B imposes a movie scene (hospital) and a significant prop (mobile phone). This is staggering! Neither the gender, scene nor props have been invented and described by the writer in this failed innovation mess. (Writers need to be wary of these incompetent, pushy producers).

Foolish producers ask theoretical, abstract questions: What is the theme? What does she want? Why does she like him? How would you position this in contemporary culture? Could you bump up the arc here? Foolish producers ask leading questions during an innovation session: Is this like The Matrix? When do they get together?

By contrast, competent PRODUCER A only draws on the writer's original descriptions. Competent producers ask questions that nourish the writer’s inspiration, and expand the personal, logical spaces in which to creatively imagine the movie: Who else is in the scene? What is their name? What are they wearing? How do they react? Describe the quality of their voice? What do they do then?

In this Chapter's 25 workshops, only open, concrete questions are asked.

Efficient producers usually speak about actions (rather than theorise about abstractions and strategies, or derail the writer with leading questions).

Only in pressing circumstances would a producer use theory with a writer (Language Use 2, Chapter 3). I theorised briefly during Writer N's

150 conversation by discussing Strategy 17: Double Plotlines because N was certain his movie had no ending. I referred to our transcript and realised he had set up an Affection plotline between JASON and NIKKI but then forgot about this during his workshop. I briefly mentioned Liberation and Affection plotlines before resuming my questions about JASON and NIKKI's actions. Writer N then wrote a world-class ending to his movie. He had a stunning ending – using his Affection plotline.

Usually during CONVERSATION C, theorizing with the 26 Strategies is not done. Nor is the producer's vocabulary predicated with political characteristics which an egotist would impose on a writer. The producer does not suggest these terms:

Race, age, physical abilities, social or economic status, education, gender, sexual preference, historic period, political views, environmental contribution, thoughts, motives, attitudes, culture, ideology, values and philosophy.

During innovation in liberal-democratic mixed economies, political characteristics are described by writers, not producers. A 'producer' imposing race, age, political views and culture on any writer suggests the producer lacks research skill. Coercion suggests the 'producer' is a bullying parasite and would-be writer, not a researcher who listens logically and empathetically (Strategy 0: Charitably Infer).

But some writers welcome their producer as a co-writer. After signing a co-writing business agreement (which protects both parties) the producer may honestly suggest political characteristics and help co-write the movie. Again, if the producer believes a leading character will not appeal to target audiences (such as the original NORMAN BATES character in Psycho; Chapter 6) then writer-producers openly discuss political characteristics

151 and change the writing, change the writer or change the target audience.

The 26 Strategies do not inherently impose political ideas on writers' characters. Strategies do not prejudice CONVERSATION C and the writer's inspiration. In a liberal democracy, movie writers invent the characteristics (race, age) they desire. Usually producers listen, record and ask open-ended, almost 'empty' Socratic questions. They ask for the writers' fresh, detailed, elaborate actions.

Australia is a reasonably free country with many producers who are empathetic to a range of stories from a range of people (cf. Rorty 1989:xvi). Chapter 7's range of writers is broad: Writer S told me, 'my character is a black African girl.' I listened carefully and Notated her description. I was entertained by S's budding sci fi heroine and I desired to hear more. I did not correct S's politics. When Writer D told me his leading character was gay and could travel through time, I recorded the character in Notation and I desired to know more. I was entertained by D's budding, darkly satirical fantasy hero. My participation did not marginalise writers by imposing political characteristics. By patiently listening, pragmatist producers promote freedom of speech, diversity of opinions, fresh entertainment and expansive innovation.

Chapter 7's Main Inquiry

In the first half of 2006, I approached industry colleagues who might be willing to have their most valuable movie intellectual property published publicly without remuneration and without further production support for their ideas. Such willing research colleagues included Australian actors, musicians, cinematographers, directors, network executives, producers, student filmmakers and industry board members. I also recruited from arts notice-board advertisements. I did not approach veteran screenwriters

152 because, understandably, veterans charge for their most valued new ideas.

I was surprised at how difficult it was to recruit new writer participants. About half the colleagues I approached declined to participate in Chapter 7, usually because they were concerned about:

- their time schedules; - the challenge of creating a new movie story; - intrusion on their privacy, creativity and business.

But as early participants completed the workshop, they recommended it to their friends. Their unsolicited recommendations swelled participation. Most participants were curious to see how a writer-producer conversation was conducted at a professional industry level. Some were interested in developing their favourite movie idea as a personal pursuit; and a few industry workers planned to produce their most valued movie idea in the future, but were happy to have its story outline published in this study. In return participants received a professional conversation which would normally cost them hundreds or thousands of dollars.

I approached and discussed the study with about 60 people and about half declined. Of the 27 volunteers who participated and received a copy of their movie in Notation, the final two (i1 & i2) joined the study too late to be included in the analysis. Participants ranged in age from 14 (with parental agreement) to 55. Many participants were the age of avid cinema goers (15-25 years); others were arthouse. Most were university graduates. All were promised anonymity, 'A' to 'Z'.

The inquiry was contemporary and ethnographic: both investigator and 'subjects' were treated as participants rather than positivistic science's objects (Ellis & Bochner 2002:735). Each writer nominated a meeting

153 place. Most choose to meet in cafes where CONVERSATION C could be conducted in public but without interruption. All the participants lived busy lives (tours, rehearsals, play dates, TV network jobs, production commitments). It was very hard to book appointments with most participants. Many scheduled and rescheduled for months, which extended the research schedule. All participants were unpaid volunteers: I fitted around their business schedules and limited the highly intensive workshops to 70 minutes run at the rapid professional speed of writer- producer studio conversations (see Altman 1992).

People generally are terrified of speaking publicly and most participants were cautious. Their fears were compounded by the investigation's request that they reveal the most intimate details of their cherished favourite movie idea or 'dream movie idea' which was often very intimate. Most writers had never voiced their dream movie idea to others before. Participant V had talked to her boyfriend, participant B had talked to her grandmother, but most intellectual property was first redescribed in these workshops. I listened empathetically to sexual liaisons, personal violence and betrayal. I had to earn and keep the trust of every participant, starting with the recruitment meetings. After each workshop, I sent each writer a typed up translation of their Notation workshop transcript. The email reminded them: they could change the draft transcript and approve or withdraw from the study. All 25 approved their transcripts.

At recruitment, most participants asked if they should prepare for the workshop. I said:

'No, just come along with your favourite movie idea, your dream movie idea, and we will workshop it on the day. Don't trouble yourself with preparation before the workshop. On the day, just tell your story or movie idea. I will write it down for you in

154 shorthand, which I will later type up for you. Your story is yours to keep. My research interest is in the writing process, not your story per se'.

To further questioning, I answered:

'Your movie story can be about anything. Yes, if your movie idea is taken from [a mentioned book/play/TV], we will workshop that idea as your own movie. No, you don't have to think about camera angles or film terms'.

To actors who were writing their first movie, I also said: 'Imagine the dream movie in which you want the leading role'.

Unplanned But Fortunate Data

By sheer good fortune (not planning on my part), most participants on the day of their individual workshop shyly apologised for the story they were about to tell. They were nervous and apologised for not being creative. Writer S volunteered that her story was copied from her favourite TV series - Buffy. C volunteered that he was adapting from his favourite Shakespearean play - Julius Caesar. Writer A apologised for her lack of creativity and volunteered that she was adapting Jane Austen. R said she was adapting The Cherry Orchard and two participants (unknown to each other) admitted they copied Black Books.

At previous recruitment meetings, all participants were offered the choice of adapting favourite media, fictionalising a real life story, using a favourite dream, a friend's story or complete fantasy. The study's criteria was innovating the movie idea of most value to the writer. I did not care where

155 the story came from. It did not surprise me that many participants brought a Favourite Convention to the workshop; but crucially, I did not care where writers sourced their material as long as it helped them write a comprehensive entertaining new movie within our pressured, professional studio timeframe. Such productivity was challenge enough without asking new volunteer writers to be completely original. My goal was to produce each Writer's scenario to a professional movie level so I could immediately ask each Writer about their movie's inspiration. I needed new, entertaining movies before I could ask writers about inspiration. I was overjoyed to have participants who showed up with an idea. I didn't care how they achieved their 'dream move idea' as long as we delivered a quality product to a 'studio deadline'.

In retrospect, my good fortune was that I did not want to discuss inspiration or theory until each movie story was drafted. I recorded the many writer confessions about copying a favourite story but my goal was to shift their conversations to focus on the concrete actions of their new movies. I wanted them to quickly begin thinking in screen actions and movie sequences (Language Use 1, Chapter 3), not hijack their innovation by talking theory and adaptations. Responding to their initial, spontaneous, nervous confessions ('I'm uncreative', 'My story is ripped off from X'), I replied:

'Don't worry! That's great if you want to adapt Buffy! [or Shakespeare, Austen]. It's a great story, isn't it?! We will develop it as a low budget movie doable in Australia. Who is your main character or characters? Shall I order cake or something to drink (in this cafe)? You don't know the character's name? No worries. We'll return to names later...'

I encouraged the writer's empathy and enthusiasm. I encouraged the writer

156 to relax and speak in movie sequences. People know how to speak in movie actions but rarely do. But, when people relate details of a familiar movie, they easily say, 'He wears drag and drives a pink bus through the outback,' or 'He drove the cattle onto the Darwin boat.' We can speak movie actions when we communicate movie ideas. But the nervous Writers wanted to break the ice with explanations: 'I'm not very creative/This is borrowed from Buffy (or Black Books;Evil Dead).' I offered to continue theoretical discussions at the end of the workshop:

WRITER: The surgeon suspects Jill is lying... How does your shorthand work?

PRODUCER: See, I use a capital S for surgeon and J for Jane. It saves time. I'll photocopy this Notation later and give you a copy. We can discuss it at the end of this workshop. What did Jill do that made the surgeon suspect her?

It was many months after the workshops that I suddenly realised that participants' unsolicited preambles (about copying Whedon, Shakespeare) were critical data in this study. Without asking for such data, most participants had reported their humble belief that their story was caused by favourite media sources, i.e., Strategy 14: Favour Conventions. The importance of their preambles is discussed later.

The Workshops

Most workshops flowed surprisingly easily. Writer B told a great Australian saga without me intruding with many inquiries. By contrast, Writer N's superb science fiction dystopia was difficult to produce. Eventually, I used 17:Double Plotlines which was the correct Strategy for N. N created a superb breakthrough idea based on NIKKI's Affection

157 plotline (p. 135).

At each workshop's end, I reminded the Writer that storytelling was over and we would discuss the process itself for a few minutes. I scanned the new movie's Notation and highlighted its three most striking actions. Scanning Writer A's college romance drama about two law students (rich, connected ANGELA and impoverished VINCENT), I was heavily struck by these three actions:

- ANGELA helps impoverished VINCENT buy a special jacket. - an ARTIST becomes entangled in EMILY's university life and legal family. - EMILY becomes trapped against a buffet table at a crowded society banquet.

These three movie sequences leapt off the page and struck me, as A's first audience. Of course, all A's actions struck me as entertaining and empowering during the workshop but the three sequences of buying VINCENT's jacket, the ARTIST and the banquet table leaped off the page (Strategy 24: Trust Recall). I asked:

- 'Where did the idea of shopping for VINCENT's jacket come from?'

Writer A recalled that she had once gone shopping with her brother for a smart jacket for his formal leaver's dinner. I Notated her reply.

Over the course of many months, I questioned the Writers about their most striking 75 movie actions immediately after they imagined their movie actions. They immmediately redescribed 75 inspirations. The literature had never bothered to ask writers about movie inspiration in such detail, and at the time of innovation. All 75 replies, abbreviated from the

158 full research transcripts, are appended. Writers' replies are further abbreviated and tabulated below.

On the table's first line, Writer 'A' creates a new Australian drama about wealthy and poor law students, college life, law practices and feuding society families. This new movie is abbreviated to: 'Student lawyers feud'. The genre is 'drama'. Asking A about her most striking movie actions (coat|artist|table) returned her three inspirations (e|e|e). 'e' means personal experiences. Her (e|e|e) inspiration sources are detailed in her transcript and listed in the appendix.

On line 2, Writer B recalls the inspiration for three striking actions: a killer balloon, a thief's jumping castle and a teenage mother's pram. B's inspirations in columns H|I|J were also all personal experiences: ' e|e|e '. Writer C's 'Rural betrayal' recalled media inspirations on line 3, labelled 'm'.

159 Of the 75 most striking actions questioned, 67 actions were inspired by the writers' personal experiences 'e'. Only 8 actions were inspired by favourite media 'm' (in columns HIJ).

The dominance of 67 personal experiences 'e | e | e' across 25 writers did not surprise me: Chapter 6 also suggested personal experience dominated innovation. But, despite the dominant evidence of 67 real inspirations, I often wrongly assumed that many Writers' actions were inspired by Favourite Conventions. When Writer U described an eerie psychiatric hospital (column K), I assumed it was copied from Halloween or Silence of the Lambs. U proved me wrong. Her inspiration was her bus route, which stopped daily at a deserted timing point outside a creepy abandoned hospital complex (see abridged appendix).

Again, I assumed Writer X copied her bus siege from the movie Speed. I was wrong. I assumed Writer V's stand-up sex scene was copied from movies; it was real. Just as I did not credit myself for writing Daughter, I assumed many of the Writers' striking cinematic actions were copied from favourite media. But personal experience drove their innovation.

Conclusions

For the first time in industry or academia, Chapter 7 asks 25 new writers to recall the inspiration sources of their 75 most striking, freshly written movie actions. Chapter 7 offers a much more detailed redescription of innovation and inspiration than previously available. Given the proximity of the writers' recall of movie inspirations to creating their movie actions, Chapter 7 claims these 75 inspiration sources as causes of the 75 movie actions investigated. It builds on Chapter 6's 514 inspirations which correlate with 514 movie actions.

160 Writers' 67 real experiences were further differentiated as experiences which Redescribed Injustice. Writers recalled being Victims, Witnesses, Perpetrators, Lovers/Friends or Liberators in these inspiration sources. Writer Z said that his horrific 'carton' in his zombie movie came from being victimised by dishonest bosses. Writer A said her striking romantic action (EMILY shopping for poor VINCENT's jacket) came from an affectionate shopping experience with her brother. These victim and affection experiences can be redescribed under Strategy 25: Redescribe Injustice.

The dominance of Writers' real experiences (Get Experience & Redescribe Injustice) are confidently identified as the causes of innovation in these 75 cases of fresh new movie writing during CONVERSATION C. This lends some confidence to believing most of the 501 real experiences recalled in Chapter 6 caused The President's Daughter's actions, too.

The unexpected dominance of Writers' real experiences challenges the literature's emphasis on Strategy 16: Favour Convention as the supposed driver of movie innovation. On my view, Strategies 21 and 25: Get Experience and Redescribe Injustice dominate movie innovation. This proposal is open to further research. Writers might sell unpublished commercial conversations to a research publication rather than to the screen market, but such research is beyond my financial resources. Happily, Chapters 6 and 7 already greatly expand the literature's weak redescription of inspiration and movie innovation.

161 8

CONCLUSIONS

Movie research arises from industry research, development and innovation. Movie stories are radically innovated - project after project. Unlike story innovation, project funding, performance, production and distribution remain comparatively stable between typical movie projects.

Industry R&D generates much of the movie data and content cited by academics. Innovative movies somewhat dominate global p2p file transfer (CasheLogic) and child rearing practice (Wiggles, Disney). But Australian movie innovation and production shrank to 15 government qualifying movies per annum in the four years before this study. Perversely, Australian audience demand grew. Demand was satisfied with locally licensed imports, offshore investment and piracy.

This study redescribes successful movie innovation. It redescribes innovation in Aristotelian and pragmatist philosophical terms - particularly Richard Rorty, but also Donald Davidson, Jürgen Habermas, Thomas Kuhn and Ludwig Wittgenstein. Pragmatists believe research is a redescription of unfamiliar beliefs about perceptions, inferences and – unlike 'normal' science – metaphors (Kuhn 1996:24; Davidson 1984:245ff). Pragmatist research praises: 'only detailed skepticism about this or that belief or cluster of beliefs - suggestions about how to reweave [language]' (Rorty 1991:97). Pragmatists believe any research community is incapable of thinking outside its social languages. Filmmakers think in the languages of screen actions: |motion| audio| visual| ICT| story|.

Pragmatism redescribes knowledge as conversation (Rorty 2003:1).

162 Pragmatism denounces 'the paradigm of the knowledge of objects' and praises conversations, i.e., 'the paradigm of mutual understanding between subjects capable of speech and activity' (Habermas 1987:591). Pragmatists denounce outdated Platonists who censor language and exile artists (Plato - 0360:Ch10). Pragmatists denounce Platonists who treat 'other' people and communities as objects separated from Platonist researchers by a 'pathos of distance, our sense of something non-human toward which we reach but which we may never grasp, even after we've got a pretty good idea of how things work' (Rorty 2000:216; Ellis & Bochner 2002:735).

Pragmatist investigators participate in the conversations they investigate. In the case of movie innovation, pragmatist investigators obviously have to involve themselves with CONVERSATION C, either as a writer working with a producer or a producer working with a writer. Producers may self produce their own writing, be a studio development executive, or a contract script editor, but however they speak in CONVERSATION C, they also investigate the innovation process:

1. The writer is inspired to describe all the actions of a new movie. 2. The producer attends to all the writer's actions; and is mostly entertained. 3. In Steps 1-2, the writer dries up or describes dull, confusing actions. 4. The producer draws on strategies to shape specific inquiries of dull actions. 5. The writer is inspired to describe entertaining actions which answer the producer's concerns about dull, confusing actions. 6. Steps 4-5 are repeated until the writer-producer conversation describes a screenplay full of entertaining actions. The producer green- lights the movie's production and distribution.

Redescribing innovation as CONVERSATION C, this study focuses on:

163

- step 4: the producer draws on strategies to question the writer's actions - step 5: the writer is inspired to describe entertaining actions

Steps 4 and 5 drive successful story innovation which creates new products, advances progressive culture and grows screen profits and employment.

An example of step 4 strategies and step 5 inspiration is Sheldon Kahn's rewrite of a movie in post. At step 4, Kahn uses at least three Strategies:

- 1: Strike Audiences - 'it was not working for me' and 'neither... the audience' - 16: Follow Leads - 'I didn't understand why Goldie Hawn stopped the wedding' - 21: Get Experience - 'I was halfway home when the solution came to me'

'I knew when I cut [Private Benjamin] together as it was scripted that it was not working for me and I felt that if I didn't understand why [Goldie Hawn] stopped the wedding, neither would the audience. It had bothered me to the point that I was halfway home when the solution came to me, and I had to turn around, go back to the studio, and make sure [my inspired actions] worked' (Kahn 1992:26).

Kahn's step 4 Strategies are stated but his inspiration at step 5 is not stated: 'I was halfway home when the solution came to me'. What was Kahn thinking about when he was inspired with his 'breakthrough' solution? His inspirational source is not stated.

164 Again, writer Joe Stefano's innovation strategies are stated but his inspirations are not. What (or who) inspired Stefano to write perpetrator NORMAN and victim MARION in Psycho? His first inspiration for MARION came while driving to meet Hitchcock. Stefano spent the previous night strategically investigating how he would rewrite Block's novel. He used Strategies such as:

- Strategy 0: Charitably Infer - '[Marion] did something wrong but was really a good person'

- Strategy 1: Strike Audiences - 'I was sure that no audience was going to like Norman'

- Strategy 6: Do Character - 'a character who did something... steals $40,000'

- Strategy 12: Sequence Arcs - 'to begin...'

- Strategy 16: Follow Leads - 'the movie would be about a girl'

- Strategy 21: Get Experience - 'During that car ride, the idea suddenly struck me'

'I was sure that no audience was going to like [novelist Bloch's] Norman. During that car ride, the idea suddenly struck me to begin with Marion, suggesting that the movie would be about a girl who steals $40,000. Audiences would be sucked into a character who did something wrong but was really a good person' (Stefano 1990:1).

Like Kahn, Stefano does not state step 5. What (or who) suddenly

165 inspired him to imagine Marion, a girl embezzler? And what inspired him to make Marion an adulterer, too? Make her forget her suitcase? We shall never know most of Psycho's inspirations as its writers are deceased. The public, industry and academics fail to ask movie writers about inspiration in detail. We illogically generalise about movie inspiration and innovation. Of Chapter 5's theorists, only one in the whole field briefly mentions 'inspiration sources': 'The farther they get from the original inspirational source, the more muddled they become’ (Seger 1987:xiv).

Seger generalises too: movies have one inspiration source [sic]. But at least Seger mentions inspiration as a driver of screen economies. Our colleagues are mute about inspiration - almost as silent as their brave, but pitifully small descriptions of strategies. Compared to the enormous critical literature which redescribes finished and distributed movies, the literature on strategies is small and it repeats the arguments of about two dozen main texts. The main texts are few, patchy and contradictory. Yet many of these texts have profoundly influenced global and local screen economies. As useful texts, they are worth investigating.

As well as investigating 25 text Strategies, this study highlights critical ambiguities in screenwriting’s canonical texts, including:

1- Plot is concept schemes or Plot is a nuanced web (McKee). 2- Genre redescribes academic scheme or Genre redescribes audience response (McKee). 3- Plot builds to Campbell's Nadir in the middle of Act 2 (Vogler) 4- Liberation plotlines are action? plot? career? external? (Aronson, Dancyger, Field) 5 - Affection plotlines are relational? character? romance? (Seger, Dancyger, Dethridge) 6- Strategists poorly distinguish story, plot and emotional arcs.

166

For the first time in one investigation, these contradictions are highlighted and set aside. Twenty-five useful Strategies are collected from a scattered field, another is proposed and all are redescribed. For example, Aristotle's Poetics proposes Strategy 2: that writer-producers Limit Duration and come to the point of their story within a movie or miniseries timeframe. The imagined society in movies and miniseries are imagined very differently from the worlds structured by serials.

Aristotle's Strategy 3: Triangulate Characters avoids ethical dualism in movies. Characters are complicated by triangulated relationships, rather than simplified to linear, 'good vs. evil' Platonist moral platitudes (Kelly 2001). Aristotle's Strategy 4: Better Nowadays encourages filmmakers to learn the peculiar gestures and tones of characters in unique scenes. Movie characters are usually comically worse than nowadays or heroically better than nowadays. Aristotelian writer-producers imagine beyond nowadays to prophesy future utopias and dystopias.

But pragmatists heavily criticise Aristotelian texts. Aristotle is: 'a wildly misleading way of describing the relation between objects of knowledge and our knowledge of them' (Rorty 1998:123 one of his sixty-two Cambridge Papers criticisms). But pragmatists over-generalise. Unlike most Aristotelian texts, Poetics is heavily used in industry. It is redescribed in contemporary pragmatist terms for the first time in this study.

As an example of an Aristotelian Strategy, Risk Complexity proposes that leading movie characters always act in risky, unfamiliar circumstances where the best choice of action is unknown. Such risky and ‘complex action... is accompanied by a discovery or a reversal’ (Aristotle 1965:45). Similarly, pragmatists praise liberal ironists who act in risky, unfamiliar

167 circumstances where the best choice of action is unknown (Rorty 1989:xv). Like leading characters, pragmatists are ironists: they are uncertain about their knowledge, and they face conflicting ethical choices, but they speak and act despite their uncertainty.

Writer-producers also use Aristotlelian Strategy 8: Democratise Pantheon . It dramatises heroic communities without submitting helplessly to a metaphysical (deus ex machina) or natural, contingent climax. Pragmatists too redescribe communities achievement without metaphysics. 'In a democratic society, everyone gets to worship his or her personal symbol of ultimate concern' (Rorty 2007:40). 'Even if a non-human authority tells you something, the only way to figure out whether what you have been told is true is to see whether it gets you the sort of life you want' (ibid.38). Again, Strategy 9: Pursue Happiness is both Aristotelian (1965:39) and Rortian (2007:40).

Beyond Aristotle, the study redescribes additional contemporary Strategies such as 17: Double Plotlines. Contradictory plotline terms are redescribed in this study as Liberation and Affection. They tie closely to a major problem in Western philosophy: the futile attempt to unify 'social justice' and 'personal perfection' ideas. Joining Strategy 17: Double Plotlines, this study proposes, for the first time, a reasonably complete palette of 26 Strategies which contemporary writer-producers use (to various, scattered extents) to drive innovation inquires.

Innovation's CONVERSATION C is not a one-sided announcement of Strategies by writer-producers.

Nor is CONVERSATION C a one-sided inspired monologue by a writer.

168

On the pragmatist's view, knowledge is a mutually understood conversation mindful of both strategy and inspiration.

CONVERSATION C weaves the strategies and inspirations of innovation. A writer is inspired with a 'breakthrough idea' which replies to a writer- producer's strategic inquiry. Failing this, writers conduct both sides of CONVERSATION C as writer-producers (Frensham 1996:31).

I produced the new Australian movie The President's Daughter during this investigation, including its rewriting, fund raising, digital maintenance, overseas shoots, digital colour lighting, 90 minute score composition, performance, sound mastering and post. One of my strategic inquiries concerned the innovation of an ending for Daughter. I used the Strategies 11, 12, 17, 24: Weave Relationships, Sequence Arcs, Double Plotlines and Imagine Confidence to play language-games with Daughter's motion| audio| visual| ICT| story languages. One day, I was inspired to mix red and blue versions of LIZAHNE and ANDY's love making behind a moving lattice of white end titles. This 'breakthrough idea' created Daughter's ending.

On another day, I switched off my editing suite. I wrote CHRIS and LIZAHNE's rescue scene in Notation on a scrap of paper. Suddenly, I recalled a similar rescue scene from real life: I recalled dragging a girlfriend out of a fireplace full of exploding ammunition. I was shocked at this real recollection. I believed this real rescue was the inspiration for Daughter's fictional rescue.

Like my colleagues, I knew little about movie inspiration which wasn't vague and generalised. Before this study, I was ambivalent about

169 innovation's steps 1 and 5:

1: the writer is inspired to describe all the actions 5: the writer is inspired to describe entertaining actions

Sometimes, I believed Daughter was my own inspiration, as I dreamed the characters and wrote their fiction. Sometimes - especially in conversation with other filmmakers - I believed Daughter was mostly copied from Favourite Conventions such as Hitchcock, Dominik and Ashby. Moreover the literature's concordance also emphasised Favourite Conventions as the main driver of movie innovation: '[Writers] rarely have the time to wait for the great idea' (Aronson 2000:12) so they use Favourite Conventions such as movies, plays and novels.

Froug (1992: 22), Ballon (2005:14) and Dancyger (1995:261) grudgingly mention Strategy 21: Get Experience, then warn against it:

- 'Digging up incidents from your own life is a chancy business'. - 'Jack was writing his actual life story as he was living it. This didn't make for an exciting script and his writing wasn't dramatic'. - 'Undigested, our lives, our personal perceptions, our experiences communicate nothing' (sic).

In the field of science, Thomas Kuhn redescribes the same bias against difficult personal history. Texts tend to over-simplify descriptions of 'discovery' and ignore the personal histories of real innovation, thereby dumbing-down revolutionary inquiry and progress (Kuhn 1996). Why does our movie literature do this too?

Perhaps it is not the literature, but our own comfortable and habitual laziness. It is more convenient for Linda Seger to cue the convention of

170 Weir's barn raising scene (Strategy 14) and we imagine Weir's scene. It is much less convenient for us to join an Amish community, or get any real experience beyond our conventional crust. Adhering to Favourite Conventions is comfortable, to the point where we may strongly believe published drama inspires most innovation.

But this investigation pushed aside my ambivalence about innovation and inspiration. In 2006, I mindfully attended to 514 actions in Daughter and recalled the inspiration sources for 513 actions. This is probably the literature's first investigation of detailed movie inspirations, linked to detailed actions. LIZAHNE's inspirations are redescribed and sorted as:

- 501 real experiences - 7 favourite media conventions - 3 dreams - 2 anecdotes told to me by others - 1 not recalled.

Although I first believed they did, favourite media conventions hardly inspired Daughter at all. I was shocked by these results. 501 real experiences probably drove the Daughter project.

Chapter 6 further redescribes the 501 real sources in 5 real-life injustice POV's :

Victim Witness Perpetrator Liberator Friend/lover

This is a new strategy, Strategy 25: Redescribe Injustice. Redescribe Injustice – Strategy 25 offers sophisticated redescriptions of both real events and movie actions. Another study might further investigate its use.

171 Given the length of time between Daughter's initial inspirations and recalling them, I claim a correlation between Daughter's actions and inspirations. But I do not claim with confidence that the recalled inspirations cause the actions of Daughter.

Desiring a confident redescription of causes, Chapter 7 participates in 25 writer-producer conversations with new writers. 25 studio quality, one- on-one conversations are produced, and recorded in high-speed Notation. The writers conversed their innovation processes. I ask Writers A-Z to recall the inspiration sources for their most striking new movie actions. Writer L's surreal Lynchian horror film has these striking actions:

- a bathroom perfume bottle - naked kids in danger - hotel spy cameras

And L immediately recalls specific, real inspirations:

- habitually luxuriating in bathrooms - as a new nanny to young families, being confronted by kids' nakedness - her previous career in hotel management

All 75 recollections redescribe fresh, accurate movie inspirations during innovation, in much more detail than the canonical literature.

Most Writers A-Z commenced this study believing Strategy 14: Favour Convention (Shakespeare, Austen, Whedon) dominated their inspiration. Like Hitchcock abandoning Psycho in post, most Writers had little confidence in their own creativity. But when Writers A-Z were asked to create striking movie actions and recall their inspiration sources:

172

- 67 actions are caused and inspired by the Writers' personal experiences - 8 actions are caused and inspired by their favourite media

Again, 67 real inspirations versus 8 media inspirations casts doubt on literature's bias for favouring media. Serendipitously, most Writers admitted believing Strategy 14: Favour Conventions inspired their stories. But, after recalling their actual inspirations, most Writers changed their belief about inspiration to personal experience (Strategy 21: Get Experience).

Moreover, these personal experiences could be redescribed as Strategy 25: Redescribe Injustice and elaborated as injustice points of view: victim (N's mugging); witness (B's child car crash); and affection (F with his daughter).

In the case of some Writers A-Z, and myself with Daughter, the shift to believing Strategy 21: Get Experience also swelled Strategy 24: Imagine Confidence. Confidence helps our creativity and energy in our movie projects. Writer W later told me her workshop was the impetus to sit down and write her unusual love story. In my case, recalling real inspirations restored my self-confidence and I produced the Daughter feature film.

This study investigates movie innovation's CONVERSATION C: the writer is inspired; the attentive producer is mostly entertained, but draws on strategies to shape specific inquiries of confusing actions. The writer is inspired to redescribe entertaining actions and complete the movie.

This investigation concludes:

173 - Pragmatists redescribe movie innovation as a conversation between writer-producers.

- Original writers are mainly inspired by injustice experiences which they redescribe as movie actions.

- Writer-producers charitably infer from writers' unfamiliar actions; and are mostly entertained.

- Mutual understanding breaks down over dried up, unfamiliar, dull or confusing actions.

- Writer-producers draw on 26 Strategies to shape specific inquiries of specific dull actions.

- Writers are inspired to describe entertaining actions.

- CONVERSATION C eventually describes an entertaining movie, ready for green-light.

- CONVERSATION C welcomes investigation, redescription, paradigm-shifts, rejection and use.

This study replaces somewhat scattered and contradictory strategies with a palette of 26 effective Strategies, including the hidden dominant driver of liberal-democratic movies: “Redescribe Injustice.” This study replaces weak vernacular generalisations about inspiration. It asks writers in real- time about their inspiration for actions. Writer-producers' innovation conversations are understood in pragmatist terms. Rortian pragmatism and Aristotle's Poetics boost the confidence of people who effectively develop movie screen innovation.

174

175 9

ABRIDGED APPENDIX

ASKING WRITERS IN DETAIL ABOUT MOVIE INNOVATION

As part of CONVERSATION C's investigation, 25 Writers A-Z redescribed movie inspiration in detail.

This list of 75 inspiration sources is abbreviated from Writer-approved research transcripts.

- 67 movie actions are inspired by the writers' PERSONAL EXPERIENCES. - 8 movie actions are inspired by favourite media (marked MEDIA below).

______

Example's Horror includes:

Marion embezzles $40,000. /She forgets her suitcase at a used car yard. /Motel owner stabs and kills Marion.

Inspiration source unknown.

Inspiration source unknown. (This model sets out the data arrangement which follows). ______

176 A's College Romance includes:

Wealthy law student Angela shops for a special coat for her impoverished student lover. /Angela's family confidant is an artist./ Angela is trapped against a banquet table.

I took my brother shopping for his school formal jacket.

Someone close to me is an artist.

I was trapped against all these old people at a banquet table. I had to escape people I did not want to talk to. ______

B's Epic Drama includes:

The child chases a balloon onto the road and is killed by a car./ Girl weeps with fear, expecting a beating from her parents./A schoolgirl contrasts her life with a young single mother.

My gran worked in a photo studio who gave free balloons to customers' children. One child chased his onto the street and was killed.

My cousin's little sister removed her shoes to play on a rural fair's jumping castle. Her shoes were stolen. My cousin wept with fear because her parents would beat her when she returned home.

I’m a schoolgirl, about 15. Daily, I watched a mother my age get on my bus with her pram and baby.

______

C's Political Drama includes

Farm boys swing on ropes on the river./ The deadly rivalry of two childhood friends who become Australia's leaders./ The swimming champion folds his arms.

An image from 1970s Australian movies. MEDIA

Shakespeare's Julius Caesar. MEDIA

In an audition call, I watched a pompous director lean back, fold his arms and sneer at a poor player.

______

177

D's Sci Fi Fantasy includes:

A gay, cross-dressing iconoclast controls space-time, travelling to Tudor London, present day Adriatic./ He puts out his cigar in a restaurant sugar bowl, appalling onlookers./ He reverses the threatening atmosphere in a rough nightclub he visits.

Splitting with companions to travel alone to Tel Aviv, I felt miserable. By chance, an Australian college friend happened to bump into me. She renewed my spirits and I continued my solo travels.

I’ll have a new tutorial and I’m curious about the students' thinking. They don’t know me. I guess most of them pick up on the fact that I am gay. Then I’ll slip into the discussion that I have a daughter. It shakes them up. Some will come up to me later and want to talk through their ideas or views.

It’s a strange relationship, dancing in a club. There is a weird reality of a strange connection but there is also a great distance between me and the crowd. Who are they applauding? It's like coming front of house after a theatre show, there is always a slight barrier that the audience throws up, or I throw up. You are still the actor and they the audience, even after the show, even with people you know.

______

E's 'A Star-Is-Born' Drama includes:

Mother's cruel restrictions on Emily and Safron./ Emily stubbornly acts despite mother./Emily rehearsing in motel mirror.

Some friends had no childhood or social life except for dance rehearsals. They are stars in Sydney and London now.

Working in the heat as a giant chicken character in a plush feather suit and big head mask at shopping malls. Nerves and feeling sick before stage performances.

On touring shows. I need to rehearse gestures and vocals in a mirror. In some awful cheap motels, the tiny bathroom mirror is frustrating.

______

F's Adventure Drama includes:

178 An absent father reestablishes a relationship with his daughter./The daughter choses her father's wardrobe and hair./The sea journey.

Late in life, I have had to establish a friendship and relationship with my 12 year old daughter.

Simple things like fussing over my appearance - choosing my wardrobe or styling my hair.

I’ve always been a yachtie.

______

G's Horror includes:

The house as a major suspense 'character'./ The eerie light from upstairs window./ Henry is attacked by his doppelgänger.

I perform mystery ghost evenings at a heritage 1820s pub .

Taken from a multimedia game slick. MEDIA

'The double' in Psycho and Dr Jeckle & Mr Hyde. MEDIA

______

H's Political Thriller includes:

Rivalry between Dr Morgan and Prime Minister James./ James distracts his parents and kills them in a head-on smash./ Hugh scales a wall, under Dr Morgan's orders.

Sibling jealousy was a real experience.

My father veered off the road and yelled at me and my sister for distracting him.

Dr Morgan is an evil villain from books and adventure films. MEDIA

______

J's Romance includes:

Jenny's child-like games with Tom./ Jenny and Max's ghost-like tea party./ Jenny's animated drawings of people playing muic.

179 This guy I’m sort of seeing, we went to the movies and put Cheezles (snack rings) on our fingers.

I grew up on a beautiful small farm with pigs, chooks, swallows... A good childhood.

I'm a music student. ______

K's Youth Romance includes:

The charged atmosphere of Robin's cafe./ Strawberry garnishes./ Robin hugs James strangely.

We didn't feel welcome as tourists in a Melbourne cafe. Then we realized that we were in a not-clearly-outed gay bar.

I worked night-shift in the casino. The kitchens used thousands of durable, squeeky, rot-proof strawberries garnishes.

Watching airport arrivals embrace at the top, but their bodies stand away - 'A' frame hugs.

______

L's Surreal Lynchian Horror includes:

The perfume bottle in the hotel suite bathroom./ Naked kids in danger./ Bored manager Lulu rigs cameras to spy on people.

I luxuriate in bathrooms.

I used to work as a nanny in young families. I found kids' nakedness confronting at first, not being 'family'.

My background is in hotel management.

______

M's Post-apocalyptic Action Drama includes:

A co-worker rapes Eve in their riot-torn office./ Eve escapes the looted city on an agricultural bike./ Eve fortifies and defends an abandoned farm.

180

I used to work with clients who through genetics or injury, couldn't control their emotions.

An ag-bike suits the logic of the story and I've really been thinking of getting a motor scooter for the city.

I fly interstate for business frequently. But I live a back-to-the earth, self- sufficient lifestyle in my personal life.

______

N's Sci Fi Dystopia includes:

Jason is attacked./ The security guard./ An invisible force of evil.

I've been attacked in Franklin Park. Luckily my friends attacked my attackers.

We often hang in a shopping centre. We give our friend (a security guard) a hard time.

I’m close to a gypsy family who believe in Mulengro, Lord Of Death. Publicly, the family are also an Australian community success story.

______

O's Dynastic Gothic Romance includes:

A soldier and necromancer in Ug Boots./ Savanah seduces Hats among candle-lit drapes then skins him alive./ The younger prince comes ashore and finds a locket on the beach.

I've been thinking of getting another pair myself.

Drapes and candles make a bedroom seductive.

I have a locket watch which is intimately linked to my time sacrificed to my children. ______

P's Comedy includes:

Joe and Jess crash a party and are met by a dog./ Joe trains a parrot to hit on Jess in a pet shop./ Joe borrows a piano.

181 I gate-crashed a party and the family's dog cornered me at a high garden wall.

I have a parrot called Buster.

Borrowed from Seinfeld gag. MEDIA ______

Q's Fantasy Adventure includes:

A bobcat digger./ A coke machine./ A coral reef.

I was driving past (the public gardens) and saw a bobcat parked next to a pipeline construction.

I'm a frequent user.

The idea of overturning a TV media image (the reef). MEDIA

______

R's Period Drama includes:

Girl escapes overbearing family by climbing a tree to read books./ Rural Squatocracy./ Unhappy absentee Heiress returns and squanders a rural dynasty's wealth.

Mum would separate me from my books. To escape this fate, I would take a favorite book and hide in a big tree.

I went to a semi-rural private girls school. The very wealthiest girls snubbed us and were sent to finishing school in Switzerland. Their families took the aristocracy game, which they had invented for themselves, very seriously.

I see young Generation X squandering their legacy in the profession I work in.

______

S's Sci Fi Fantasy includes:

Samina's office co-workers turn into zombies./ Aliens attack Samina's ancient stone city of Petra./ The Alien malaise appears in small ways - the photocopier jams.

182

Retrenchment. My job requires me to downsize businesses. I have seen this atmosphere in offices.

Touring Ancor Watt, dwarfed by jungle tree roots. Ancient alleys of Barcelona and Seville.

The car that won’t start - impact beyond its scale.

______

T's Sci Fi Adventure includes:

Theresa and Marlowe light a fire in a jungle cave. They bond./ Marlowe escapes prison to seek paradise, but finds it daily, travelling with Theresa./ Travelling up river through the jungle.

Talking all night with a Uruguayan - her story of her oppressive police state was just horrific. Camping, away from institutions, people chose honesty.

Some girlfriends are nomads. In new towns, they learn another language or lifestyle at the social heart of the community, then move on.

Wilderness rafting, 48 hours from civilisation's safety. All your defences are 48 hours of joy or agony away.

______

U's Psychological Thriller includes:

An eerie psychiatric hospital./ Jess confronts Michael at his garage business./ Jane, the female psychiatrist.

I used to catch a bus which made a timing stop at an abandoned hospital district. No one ever got on or off. We just sat in the eerie silence.

A grimy, greasy, old fashioned Auckland garage: the receptionist is a apparition among the grime: a quaffed blonde, glamour makeup, beautiful clothes, good shoes and colourful polished nails. Surreal.

I really admire Halifax actress Rebecca Gibney. She is my cast for the female psychiatrist. MEDIA ______

183 V's Thriller includes:

The heroine looks at the stalker's bedside photos./ She has drunken stand-up sex in the night club bathroom./ Her car won't start. The stalker approaches.

As a child I was deeply shocked to discover framed photos of my cousins at my grandparents' house.

I've sometimes seen really drunk girls do this in night club toilets. They're semiconscious and I feel sorry for them.

My car is a student car. It often stalls at night on the deserted road home. It's frightening, late at night.

______

W's Lesbian Drama Romance includes:

Young professionals share a London house./ The Lover's 1950s flower print dresses./ The lover's skin tone stockings.

I shared an overseas house with other young professionals.

As a child, I recall visiting my Auntie who had paintings on her walls of big colourful flowers.

Watching my mother dressing to go out to parties when I was a child.

______

X's Thriller includes:

Thriller set on a suburban bus./ James says he will pick up Khya after work./ Bus is under siege. Khya steps up to lead the captives against the terrorists.

On the bus the other day, a shifty character in a hoodie got on and sat down the back of the bus out of view. It sparked a 'what if'? scenario.

It is not pleasant to get the bus at night. You a left standing in isolated dark places. I had to cross a bleak waterfront industrial area in a gale because my own route wasn't running at night.

I call a spade a spade. If there is no one in charge, I'll step forward and get it organized. Running things is kind of fun.

184

______

Y's Comedy includes:

Jimmy rudely comments on Francis' bad taste red dress in a crowded pub./ Obnoxious Jimmy contrasts with pretentious, snooty white collar bar patrons./ Jimmy falls asleep and snores in his university lectures.

Someone I'm acquainted with. Always drunk in bars, sitting on laps, her dress rides up.

That's Bar X's crowd on Friday nights checking each other out - their clothes, who is with who.

I have three Monday lectures in a row, with lecturers reading the set readings aloud. What's the point of preparing? It's a bore.

______

Z's Zombie Horror includes:

Jack sees the first zombie corpse./ Blowing smoke in the zombies' faces stops their advance./ Jack wrongly delivers the poison drinks carton.

I’m interested in taxidermy. When I see road kill, I get curious about how the body works.

That’s little kids smoking. They don’t know how to smoke. They talk, splutter and accidentally blow it in your face.

I’ve worked for bad bosses who will not pay you what they promised. Customers ring up and complain that they didn’t get the free catalogue or whatever, and the boss will automatically take their word, if it means he can dock your pay. ______

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