Lund University Johan Peter Sundberg Centre for Languages and Literature 801212-0518 Film Studies Master's Thesis: LIV704 Tutors: Lars Gustaf Andersson & Erik Hedling Seminar Date: 2015-01-15 Title Page Transformative Screenwriting: Charlie Kaufman’s Postmodern Adaptation of Story Nothing is random. Nothing that happens to him has no point. Nothing that he says happens to him in his life does not get turned into something that is useful to him. Things that appear to have been pointlessly destructive and poisoning, things that look at the time to have been wasteful and appalling and spoiling, are the things that turn out to be, say, the writing of Portnoy's Complaint. As each person comes into his life, you begin to think, "So what is this person's usefulness going to be? What is this person going to provide him in the way of the book?" Well, maybe this is the difference between the writer's life and an ordinary life.1 – Philip Roth, The Facts Table of Contents Title Page ........................................................................................................................................... 1 Table of Contents ............................................................................................................................ 2 Part 1: Introduction ............................................................................................................. 3 Cast, Acronyms and Abbreviations ........................................................................................... 6 Method and Purpose ...................................................................................................................... 6 Questions at Issue ........................................................................................................................... 8 Abstract .............................................................................................................................................. 8 Synopsis of Adaptation's Plot (in relation to Story) ............................................................ 9 Part 2: The Transformative Business of Screenwriting .......................................... 9 A Short History of Screenwriting How-To-Guides ............................................................... 9 Robert McKee's Story .................................................................................................................. 10 Screenwriting Instruction as a Transformative Business ............................................. 12 Screenwriting in Adaptation in Relation to IRLRMK’s Story: Outline ........................ 13 The Means of Production: Transformative, Existential Screenwriting ..................... 13 Part 3: Robert McKee's Story Triangle ........................................................................ 14 Formal Summary of Adaptation: Contradictions and Conclusions ............................. 17 Adaptation's Story Design Compared to Each Formal Contradiction ........................ 18 Causality/Coincidence ............................................................................................................... 18 Closed/Open Ending ................................................................................................................... 18 Consistent/Inconsistent Realities .......................................................................................... 19 External/Internal Conflict ........................................................................................................ 21 Single Protagonist/Multiprotagonist .................................................................................... 22 Active/Passive Protagonist ...................................................................................................... 22 Linear/Nonlinear time ............................................................................................................... 24 Formal Analysis of Adaptation – Summed-up .................................................................... 24 Part 4: The Fictional and Factual Story Design of Adaptation ............................. 25 Postmodern Parody, Complicity and Critique ................................................................... 25 The Politics of Story Design, or: "Art Film" vs. "Hollywood" ......................................... 26 Thought, Action and Foreshadowing Classic Dramaturgy ............................................. 26 The Fictional and Factual Premise, Controlling Idea and Counter-Idea ................... 28 The Tilted Argument .................................................................................................................. 30 The Inciting Incident .................................................................................................................. 31 Conscious and Unconscious Desire ....................................................................................... 32 Crisis ................................................................................................................................................ 34 The Principle of Antagonism ................................................................................................... 36 Climax .............................................................................................................................................. 37 1 Philip Roth, The Facts: A Novelist's Autobiography, London, Penguin, 1988, p. 189. 2 Resolution ...................................................................................................................................... 38 Verfremdung and Genre violations in the Third Act Climax and Resolution .......... 40 An Ideational Deus Ex Machina ............................................................................................... 44 The Education Plot and the Disillusionment Plot ............................................................. 47 From Art Film Stasis to Hollywood Change ......................................................................... 48 The Intentional Failure .............................................................................................................. 50 Complicity and Critique ............................................................................................................. 52 Part 5: The Screenwriting Process – Film Coming to Life ..................................... 54 A Film Inside the Mind of a Protagonist ............................................................................... 54 The Screenwriting Process: The Question of Voice-Over ............................................... 56 The Production Apparatus: A Film Alive, Writing Itself ................................................. 57 Play Reality .................................................................................................................................... 59 The Screenwriting Process: Research .................................................................................. 62 The Screenwriting Process: Planning vs. Writing to Discover ..................................... 63 The Screenwriting Process: Write What You Live ............................................................ 64 Donald's Third Act ....................................................................................................................... 66 The Screenwriting Process: The Birds-Eye View .............................................................. 68 The "Autobiographical" Professional Genre and Mockumentary ............................... 69 Screenwriters and Reporters Putting Themselves in Their Stories .......................... 70 Adapting Literature to Film ..................................................................................................... 72 The Screenwriting Process: The Reel and the Real .......................................................... 74 PART 6: Conclusions, Context, Complicity and Critique ........................................ 77 Screenwriting as the Holy Grail and Adapting Life as Story .......................................... 78 The “Failure” of Adaptation ..................................................................................................... 78 Bibliography ......................................................................................................................... 83 Part 1: Introduction We open on Charlie Kaufman, fat, old, bald, repulsive.2 – Charlie and Donald Kaufman, Adaptation A short summary of Adaptation (Spike Jonze, 2002) might say that it depicts real-life screenwriter Charlie Kaufman, as he struggles to adapt the New Yorker writer Susan Orlean's book The Orchid Thief (1998) into a film; writing himself into the script in the process. It has also often been mentioned how the fictional Charlie Kaufman comes to write the script that we are watching: dismissing the ideas of screenwriting guru Robert McKee in the first act, only to desperately seek his advice at the end of the second act; and how everything Charlie was against in the beginning becomes what the film is about in the parodic third act. What hasn't been explored, except on the surface, is how there is another book – besides The Orchid Thief (hereafter “TOT”) – that is so prominently featured that it's almost adapted in the meta-movie that is Adaptation. 2 Charlie and Donald Kaufman, Adaptation: The Shooting Script, Newmarket Press, New York, 2012 (2002) p. 58. 3 Namely: Robert McKee's Story: Substance, Structure, Style