by Jeff Kitchen
Writing a Great Movie
KEY TOOLS FOR SUCCESSFUL SCREENWRITING
Jeff Kitchen
BISTRO PUBLISHING COMPANY™
ACKNOWLEDGMENTS
I’d like to thank my wife, Hope Mineo, as well as Bob Nirkind, Amy Dorta, Leah Lococo, Katherine Happ, Rita Rosenkranz, Cheri Smith, Steven Dietz, Bill Kitchen, Irving Fiske, and William Thompson Price.
Executive Editor: Bob Nirkind
Project Editor: Amy Dorta
Production Manager: Katherine Happ
Graphic Design/Production: imacdesign.wordpress.com
Copyright ® 2006 by Jeffrey W. Kitchen
Bistro Publications
1112 Montana, Avenue, Suite 613
Santa Monica, CA 90403
ISBN-13: 978-0-8230-6978-1
ISBN-10: 0-8230-6978-8
Library of Congress Control Number: 2006923457
All rights reserved. No part of this publication may be reproduced or used in any form or by any means—graphic, electronic, or mechanical, including photocopying, recording, or information storage and retrieval systems without the written permission of the publisher.
Good Old St. Nick is registered at the WGA #955138.
Brief quotations as submitted from pp. 6, 58, 68, 106 from On Directing Film by David Mamet, copyright © 1991 by David Mamet. Used by permission of Viking Penguin, a division of Penguin Group (USA) Inc.
Brief quotation from Actors Turned Directors by Jon Stevens. Published by Silman-James Press.
Brief quotations as submitted from pp. 16, 23, 85 from Playwriting: How to Write for the Theatre by Bernard Grebanier. Copyright © 1961 Harper & Row, Publishers, Inc. Reprinted by permission of HarperCollins Publishers.
Riso-Hudson Enneagram Type Names and Descriptions. Copyright 2005, The Enneagram Institute, All Rights Reserved. Used with Permission.
“Doom Eager: Writing What You Need to Know” by Steven Dietz. Used by permission. © 1990 by Steven John Dietz. All rights reserved.
Printed in the U.S.A. First printing, 2006 1 2 3 4 5 6 7 8 9 1 0
Table of Contents
Introduction
It’s All About the Audience
The Writer Sculpts the Mood of the Audience
What Do We Hunger For in Movies?
The Stage and the Altar
Audience Demand
Transforming the Audience
The Craft of the Dramatist
Turning Story into Drama
Creating Dramatic Action
Creating Unity of Action
Getting Down to the Core of Your Script
Engineering Your Screenplay Before You Write It
Dramatic Writing: An Elusive Art
Principle and Method
Storytelling
PART ONE: THE KEY TOOLS
CHAPTER 1
Dilemma, Crisis, Decision & Action, and Resolution: Dramatizing Your Plot
The Function of Dilemma in Dramatizing a Plot
Damned if You Do and Damned if You Don’t
A Dilemma of Magnitude
A Sense of Proportion
The Use of Dilemma in Training Day
The Use of Dilemma in What Women Want
The Use of Dilemma in Minority Report
The Use of Dilemma in The Godfather
The Use of Dilemma in Tootsie
The Use of Dilemma in Blade Runner
Becoming a Student of Human Dilemma
Using Dilemma as a Working Tool
Looking Deeper into Dilemma in Training Day
Let’s Create a Demo Plot with a Strong Dilemma
The Function of Crisis in Dramatizing a Plot
The Use of Crisis in Training Day
The Use of Crisis in What Women Want
The Use of Crisis in Minority Report
The Use of Crisis in The Godfather
The Use of Crisis in Tootsie
The Use of Crisis in Blade Runner
Let’s Add a Crisis to Our Demo Plot
The Function of Decision & Action in Dramatizing a Plot
The Use of Decision & Action in Training Day
The Use of Decision & Action in What Women Want
The Use of Decision & Action in Minority Report
The Use of Decision & Action in The Godfather
The Use of Decision & Action in Tootsie
The Use of Decision & Action in Blade Runner
Let’s Add a Decision & Action to Our Demo Plot
The Function of Resolution in Dramatizing a Plot
The Use of Resolution in Training Day
The Use of Resolution in What Women Want
The Use of Resolution in Minority Report
The Use of Resolution in The Godfather
The Use of Resolution in Tootsie
The Use of Resolution in Blade Runner
Maximum Dramatic Reversal
Discovery or Recognition
Let’s Add a Resolution to Our Demo Plot
Start Using Dilemma, Crisis, Decision & Action, and Resolution in Your Own Script
CHAPTER 2
Theme: Developing the Heart of Your Story
The Functions of Theme
Theme Permeates Your Script
Theme Focuses Your Material
The Use of Theme in Films
The Use of Theme in Training Day
The Use of Theme in What Women Want
The Use of Theme in Minority Report
The Use of Theme in The Godfather
The Use of Theme in Tootsie
The Use of Theme in Blade Runner
Let’s Explore Theme for Our Demo Plot
Getting in Touch with Your Theme
When Your Theme Takes on a Life of Its Own
Starting with a Sense of Theme
Using Quotations to Explore Theme and Plot
Start Using Theme in Your Own Script
CHAPTER 3
The 36 Dramatic Situations: Developing and Energizing Your Plot
Identifying and Defining the 36 Dramatic Situations
Using the 36 Dramatic Situations as a Brainstorming Tool
Free Association
Starting a Story Idea from Scratch
Exploring Plot Possibilities
Taking Stock of What You’ve Already Got
Maintaining Flexibility
Overcoming Blind Spots
The Use of the 36 Dramatic Situations in Films
The Use of the 36 Dramatic Situations in Training Day
The Use of the 36 Dramatic Situations in What Women Want
The Use of the 36 Dramatic Situations in Minority Report
The Use of the 36 Dramatic Situations in The Godfather
The Use of the 36 Dramatic Situations in Tootsie
The Use of the 36 Dramatic Situations in Blade Runner
Subheadings of the 36 Dramatic Situations
Complete List of Subheadings
Working with Subheadings on the Plot of Training Day
Using the 36 Dramatic Situations to Jump-start a New Idea
Start Using the 36 Dramatic Situations in Your Own Script
CHAPTER 4
The Enneagram: Creating Deep, Complex, and Distinct Characters
The Nine Types of the Enneagram
1. The Reformer
2. The Helper
3. The Achiever
4. The Individualist
5. The Investigator
6. The Loyalist
7. The Enthusiast
8. The Challenger
9. The Peacemaker
Using the Enneagram to Analyze Characters from Training Day
Let’s Create a Character with the Enneagram
More Information on the Enneagram
Start Using
the Enneagram in Your Own Script
CHAPTER 5
Research and Brainstorming: Exploring Possibilities and Opening Up Your Story
Using Research to Explore Story Potential and Build Plot
Go to the Source
Use Great Resources
Focus Your Research
Hold Your Story Ideas in Suspension
Know When to Stop
Don’t Limit Yourself to “Write What You Know”
Using Brainstorming to Explore Possibilities and Shatter Story Limits
Incubating Ideas and Letting Your Subconscious Percolate
Double-checking What You’ve Created So Far
Revisiting the 36 Dramatic Situations
Restating Dilemma, Crisis, Decision & Action, and Resolution
Start Using Research and Brainstorming in Your Own Script
CHAPTER 6
The Central Proposition: Tying Your Plot Together and Cranking Up the Conflict
Adapting the Proposition of Logic to Drama
Set Up a Potential Fight
Touch Off the Fight to the Finish
The Central Dramatic Question: Leaving the Audience Hanging
Constructing the Central Proposition
Step 1: Visualize the Fight to the Finish
Step 2: What is the Central Dramatic Question?
Step 3: What Action by the Protagonist Touches Off the Fight to the Finish?
Step 4: What Earlier Action by the Protagonist Sets Up the Potential Fight?
Step 5: Do the Set-up and the Touch-off Have Anything in Common that Can Bind Them Together?
The Use of the Central Proposition for Training Day
A Word about the Antagonist
The Use of the Central Proposition for Films
The Use of the Central Proposition for What Women Want
The Use of the Central Proposition for Minority Report
The Use of the Central Proposition for The Godfather
The Use of the Central Proposition for Tootsie
The Use of the Central Proposition for Blade Runner
The Nucleus of Your Plot
Getting Some Distance from Your Work
Pulling All the Elements Together
The Genetic Identity of Your Story
Using the Central Proposition in a Demo Plot
Start Using the Central Proposition in Your Own Script
CHAPTER 7
Sequence, Proposition, Plot: Constructing and Tightening Your Plot
Sequence, Proposition, Plot: A Three-Step Process
Step 1: Sequence
Step 2: Proposition
Step 3: Plot
The Full Application of Sequence, Proposition, Plot
Sequence, Proposition, Plot for Overall Script of Training Day
Sequence, Propostion, Plot for Act III of Traning Day
Sequence, Proposition, Plot for Act III, Sequence 1 of Training Day
Sequence, Proposition, Plot for Act III, Sequence 2, Scene 3 of Training Day
A Quick Review of What We’ve Done with Training Day
Constructing a Story with Sequence, Proposition, Plot
Reverse Cause and Effect for a Sequence
Developing Proposition and Plot for a Sequence
An X-Ray of the Action
Creating a Scene with Sequence, Proposition, Plot
Reverse Cause and Effect for a Scene
Developing Proposition and Plot for a Scene
Writing Dialog Based on the Structure We’ve Developed
A Quick Review of What We’ve Done with this Demo Story
Start Using Sequence, Proposition, Plot in Your Own Script
PART TWO: USING THE KEY TOOLS TO WRITE A GREAT MOVIE
CHAPTER 8
Using Dilemma, Crisis, Decision & Action, and Resolution
Focusing on Dilemma While Creating the Story
Beginning with the Raw Idea
Developing the Story
Isolating the Dilemma
Building the Magnitude
Exploring One Side of the Dilemma: It’s Unacceptable to Get Involved
Exploring the Other Side of the Dilemma: It’s Unacceptable to Remain Uninvolved
Plotting the Revenge
Opening Up Plot Possibilities
Detour: Going to the 36 Dramatic Situations for Ideas
Returning from Detour: Continue From Here
Resuming Work on Cutter’s Dilemma
Clarifying the Dilemma with a Two-Column Chart
Focusing on Crisis While Creating the Story
Testing Possibilities and Extremes for Cutter’s Crisis
Compounding Cutter’s Crisis
Focusing on Decision & Action While Creating the Story
Fight or Flight?
The Judy Garland Transformation
Wrestling with Possibilities
Playing with Extremes
Technique and Creativity
Focusing on Resolution While Creating the Story
Pulling Cutter Out of the Fire
The Trickle-Up Effect
CHAPTER 9
Using Theme
The Value of Knowing Your Theme
Quotes Exploring the Theme of Good Old St. Nick
CHAPTER 10
Using the 36 Dramatic Situations
Exploring the 36 Dramatic Situations to Open Up Our Story
1. Supplication
2. Deliverance
3. Crime Pursued by Vengeance
Interrupting the Process to Brainstorm
Stepping Back and Shaking Things Up
Beefing Up the Comedy
Exploding with Questions
Creating Solutions
Cutter’s Worst Enemy is His Guru
The Research Pays Off
Creating a New Character
Catastrophe and Opportunity
Back to Exploring the 36 Dramatic Situations
4. Vengeance Taken for Kindred upon Kindred
5. Pursuit
6. Disaster
7. Falling Prey to Cruelty or Misfortune
8. Revolt
9. Daring Enterprise
10. Abduction
11. The Enigma
12. Obtaining
13. Enmity of Kinsmen
14. Rivalry of Kinsmen
15. Murderous Adultery
16. Madness
17. Fatal Imprudence
18. Involuntary Crimes of Love
19. Slaying of Kinsman Unrecognized
20. Self-sacrifice for an Ideal
21. Self-sacrifice for Kindred
22. All Sacrificed for a Passion
23. Necessity of Sacrificing Loved Ones
24. Rivalry of Superior and Inferior
25. Adultery
26. Crimes of Love
27. Discovery of the Dishonor of a Loved One
28. Obstacles to Love
29. An Enemy Loved
30. Ambition
31. Conflict with a God
32. Mistaken Jealousy
33. Erroneous Judgment
34. Remorse
35. Recovery of a Lost One
36. Loss of Loved Ones
CHAPTER 11
Using the Enneagram
Developing the Character of Cutter
Developing the Character of Apollo
Developing the Character of St. Nick
Developing the Character of Senator Hutchings
Developing the Character of Mischa
Developing the Character of Margarita
Developing the Character of Shallott
CHAPTER 12
Using Research and Brainstorming
Sources and Resources
Eureka!
More Research
A Brainstorming Session Emerging from Good Research
Attack as a Storyteller
Trying Out Some Titles for This Script
CHAPTER 13
Using the Central Proposition
Developing the Conflict
Wrestling with Plot Problems
Creating Some Solutions
Enough Material to Apply the Central Proposition
Using the Five-Step Process to Construct the Central Proposition
Step 1: Visualize the Fight to the Finish
Step 2: What is the Central Dramatic Question?
Step 3: What Action by the Protagonist Touches Off the Fight to the Finish?
Step 4: What Earlier Action by the Protagonist Sets Up the Potential Fight?
Step 5: Do the Set-up and the Touch-off Have Anything in Common that Can Bind Them Together?
Assembling the Proposition
Adding a Little More Detail to the Proposition
Evaluating the Proposition
A Dynamic New Plot Possibility Arises
Laying Out the Plot on Note Cards for Clarity
Another Take on the Proposition
A Third Take on the Proposition
CHAPTER 14
Using Sequence, Proposition, Plot
Developing an Ending for Good Old St. Nick
Laying out the Ending on Note Cards
Sequence, Proposition, Plot for the Whole Script
Reverse Cause and Effect for the Whole Script
Proposition, Plot for the Whole Script
Dividing the Script into Acts
Sequence, Proposition, Plot for Act I
Reverse Cause and Effect for Act I
Proposition, Plot for Act I
Dividing the Act into Sequences
Sequence, Proposition, Plot for Act I, Sequence 2
Reverse Cause and Effect for Act I, Sequence 2
Proposition, Plot for Act I, Sequence 2
Dividing the Sequences into Scenes
Sequence, Proposition, Plot for Act I, Sequence 2, Scene 1
Reverse Cause and Effect for Act I, Sequence 2, Scene 1
Proposition, Plot for Act I, Sequence 2, Scene 1
Sequence, Proposition, Plot for Act I, Sequence 2, Scene 2
Reverse Cause and Effect for Act I, Sequence 2, Scene 2
Proposition, Plot for Act I, Sequence 2, Scene 2
Writing Two Scenes Based on the Previous Structuring