“You haven’t got to be better, you just have to work harder.” – Jimmy McGovern

The early days

Although having spent a fair share of time in the shallow world of TV soaps, Jimmy McGovern is far from trivial. Enlightened, frank, and funny, this writer tells it like it is. 

“We spend our life thinking that “when we’re 30, we’ll be mature”, and we’re not. And “when we’re 40, we’ll be mature”, and we’re not. And “when we’re 50, surely..?” I’m 66, and I’m still as stupid as ever.”

Even after decades of writing, Jimmy McGovern humbly expresses his immaturity, and speaks fondly of his inexperience during the early days of writing for Brookside.

“I would follow the storyline slavishly”…”It took me about nine months to realize that you’ve got to give of yourself to that storyline.”

There’s certainly value in learning from those more experienced, but don’t hide behind them. A truly interesting story can only be created by a truly interesting mind. Make sure that’s you.

It’s easy to doubt your talent before you’ve gained recognition. Even so, Jimmy McGovern confidently states that he quickly recognized himself worthy of his place.

“Even though my scripts were not good, I could generate story.”

Generating story

Jimmy McGovern underlines the importance of generating story “from the smallest of incidents”. Find drama in the things you usually overlook, and your stories will intensify.

If you’re writing on assignment, and don’t have the luxury of writing whatever you wish, you may even have to write a story with a seemingly uninteresting storyline. It’s your job to make it interesting.

Jimmy McGovern laughs, remembering having to write an episode on Brookside with the storyline “Tracy wins a hair-dressing competition”.

“You had to explore the magnitude. You had to dig as deep as you possibly could.”

Now, “Tracy wins a hair-dressing competition” does not sound all that interesting. So, as a writer, you need to find what could make it so. What about Tracy’s character is interesting? What aspects of a competition could be compelling? What other characters/circumstances could increase the drama of this situation?

On the surface, any story could seem meaningless. Likewise, any seemingly meaningless story could become fantastic.

Putting in the effort

“I got what I wanted, because I was so well prepared. And that taught me something; you haven’t got to be better, you just have to work harder.”

Dedication and persistence are essential elements of the writing profession, whether you like it or not.

If you’re not willing to put down the hours, not only to write – but to research, analyze and rewrite – then you’re going to bump into some trouble.

Jimmy McGovern used to walk five miles into Brookside to pick up the latest story, so he didn’t have to wait through the weekend to get it in the mail. Hence, he knew more about the story than anyone else and could demonstrate new ideas ahead of the other writers.

Now, that’s commitment.

Causing offense

Although known as a moral writer, Jimmy McGovern has written some rather controversial scripts. Sexuality and violence are things we’re used to seeing on TV today, but they were highly provocative in the 80’s.

“It’s my job to cause offense.”

Brilliantly cocky, Jimmy McGovern claims that Brookside simply told the truth, and questioned whether it’s the truth itself that was offensive, not the show.

“I do it for the story, not the principle. There’s no principle involved – I’m a writer!”

“A moral writer?”

Please, this guy is more interesting than that.

Although representing great values, Jimmy McGovern comes across – in no way negatively – as rather more indecent than his rumour has him pegged. One project in particular, Needle, seems to be sticking out in this category.

“It’s probably more ambiguous because it’s better than most of the stuff I’ve written. You just have to give the devil the best tunes, haven’t ya?”

There’s always risk of scandal if you choose to do the things nobody else will. There’s also risk of getting that acknowledgement you’ve been striving towards.

Maybe the risk zone is the best place to be at?

“We hired a writer who was a drug-dealer. And he hadn’t written a word. He’d never written a word in his life, but he had this story.” (The Street)

Again, it’s all about telling the truth. A drug-dealer could write more honestly about drugs than someone from the outside. There’s no question that commissioning this guy will have brought upon a more honest representation of the world they wished to show.

But what about the fact that this dealer wasn’t an experienced writer? Does that equal bad writing?

According to Jimmy McGovern, it seems quite the opposite. Although he’s personally learnt his craft through experience, he sees value in unfamiliarity. Before you’ve learnt anything, you also haven’t learned the clichés, and don’t as easily fall into the trap of writing without heart.

“You’ll know it’s personal. You’ll know the writer is writing it from somewhere in here (heart)”…”There won’t be any bullshit.”

Complexity of character

What it all comes down to is that drama is character-driven. A plot-driven story can certainly be interesting, but you need an emotional connection to your audience. That’s where your characters come in.

“At its best, we had simplicity of narrative and complexity of character.”

To strengthen the emotional drama, some writers just “add more” character. That’s not what Jimmy McGovern is talking about. He’s not saying more character, he’s saying complexity of character.

So what does that mean?

Human beings are complex beings with contradicting emotions and traits. A common mistake is to assign each character one major trait; one guy is compassionate, one is a lone wolf, and another has anger-management issues.

These, unless evolved, are simple characters.

But look what happens, if we compile all these traits inside one person? Suddenly, we have a compassionate loner with anger-management issues.

Suddenly, there’s complexity. The character becomes interesting. We don’t understand him at first glance, but become invested in figuring out who this person really is.

If you were to, as Jimmy McGovern claims ridiculous, turn things around and have simplicity of character and complexity of narrative, then what?

In short, you’d end up not caring very much. Instead, you’d find yourself trying to figure out what’s going on with the plot. These are the films where you have to pause and ask your partner; What just happened? Who was that guy?

As a screenwriter, that’s probably not what you’re looking for.

Disguising your effort

One thing that has, or will eventually, become painfully clear to any writer is that persistence is vital.

“When we got it really, truly, right, we’d end up with something approaching a final draft that was bloody good. And then, we wouldn’t leave it at that.”

Every time you write a screenplay, you learn something about writing a screenplay.

So never consider a “fine” script finished. If it’s fine, that means it’s not amazing. In writing it, you’ve learnt something, so chances are, the rewrite will be better.

Jimmy McGovern speaks of the seeming absence of the writer. That is, when your words flow so effortlessly that readers consider the story, rather than the writing itself.

“At its very best, it’s as if we found a story in the streets”.

If you really work out your story, and build beautiful characters into it, then they will tell the story for you.

“You cannot expect your character to laugh, unless you too laugh with the joke. And you certainly, certainly, cannot expect your characters to cry, unless you cry writing it.”

Grave news perhaps, but if you’ve created your characters, then they are, on some level, mirroring something within you. Find out what it is, and see if you can’t find it in your heart to understand them.

Feel with them, not for them.

The dreaded feedback

After having presented idea upon idea, and receiving zero response, Jimmy McGovern decided to switch tactics. Instead of waiting around for a great idea to hit him, he took one he already had, and changed it into something better.

“I actually went away and I made it a good idea. You can do that. It makes you attack your script from somewhere else.”

Good shit doesn’t always come and find you, so there’s really no point in waiting around for it. Nobody’s going to appear at your door with the idea for an award-winning script. Create the opportunities yourself, and you’ll gain control.

But what about when you already have a great script, and someone else comes in and tries to change stuff around? It’s your story after all, so who are they to poke around in it?

“No script editor is going to write your script. Everything’s gotta come from you anyway.”

Feedback, whether good or bad, is a fantastic opportunity. The rewrite will still be written with your words, so taking in the thoughts of someone who isn’t you, doesn’t make it any less yours.

Rejecting feedback is not only unnecessarily defensive, but plain stupid.

Jimmy McGovern’s Evolution

Having survived long in the industry, Jimmy McGovern has gone through different stages of his creative process.

“You start off life, and you have this creative angel on your shoulder”…“You’ve got energy and enthusiasm, and you write. Your creative angel is telling you it’s marvelous, and the critical devil can’t get a word in…”

There’s always that beginner-phase where you naively believe that what you’re doing is flawless. This is a great phase, and a necessary one, that should not be over-looked.

Whenever you start a new project, take the time memorize that excitement. And, when you reach the point where you want to give up, go back and remember it. Remember why this particular story is amazing and why you wanted to tell it in the first place.

“I think, as you get more and more experienced, the creative angel and the critical devil sort of equal each other.”

There’s always, in every project, a moment of doubt. The critical devil approaches. You should probably listen to it, to a certain extent, since it’s your common sense talking. Just don’t let it take over, or it may be your downfall.

“The bloody critical devil is bigger now, hence the paralysis of page one.”

At a third stage of his life, terrified by the idea of aging, Jimmy McGovern seems to be facing his inner demons.

Can it be that our common sense eventually starts making too much sense, taking away from our creativity?

As it seems, there are issues and perks with all phases of life. Give the creative angel too much room, and you may lose perspective of reality. Give the critical devil a lead role, and you may not produce at all. Whichever phase you’re at, make sure you find that balance.

Life as a writer is evidently not easy. To sit down alone and write word after word, day by day, is hard. To a lot of writers, however, the writing is actually not the worst part of being a writer.

Our screenplays may drive us to insanity, but it’s breaking away from the comfort of our keyboards to go out to sell our stories, that’s most troubling for the introverted writer.

As always, Jimmy McGovern speaks the truth:

“I think that’s why so many writers are fond of a drink. We’re solitary people, and yet we have to go out and meet people. And we don’t like it.”

 

-Camilla Beskow

Camilla Beskow

Camilla Beskow is a screenwriter, and former student at the Gotland based film school Storyutbildningen. Among her favourite films are Pan’s Labyrinth and Good Will Hunting.

But isn’t it just a kid’s movie?
No. It’s an elaborate tale about finding the courage to question your given identity.

Act One

Sequence A: Life Unfulfilled (15.10mins)

00.00 Titles
00.35 V.O Opening; “This is Berk…”
01.10 Dragon attack: Hiccup’s sent back to apprentice-duties.
05.35 Hiccup sneaks out, bringing his catapult.
06.25 Hiccup hits a night-fury.
07.50 Nobody believes him.
09.30 Stoick governs a search for the dragon nest.
10.15 Stoick’s frustrated with Hiccup’s unviking-like behavior. Gobber suggests dragon training.
11.35 Hiccup searches the woods for the night-fury.
12.30 He finds the dragon, hurt and tied down. “I did this”.
14.00 Hiccup’s unable to kill the dragon. Frees Toothless.
14.45 Toothless chooses not to kill Hiccup.

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“This is Berk. It’s twelve days north of hopeless and a few degrees south of freezing to death. It’s located solidly on the meridian of misery.”

Clearly, the Hero of How to train your dragon is not happy here. A walking toothpick in a village of testosterone, he gets zero respect. Even his own father, the viking of all vikings, has Hiccup pegged a hopeless case.

So if this guy is such a nobody, why do we love the guy?

On top of being a clear underdog, Hiccup’s a funny dude; facing life with sarcastic wit. Instead of crying about not fitting in, Hiccup fights all odds to prove that he can be a viking. As an audience, we respond to his humor, his strength and his unrealistic courage.

“No one has ever killed a night-fury. That’s why I’m going to be the first.”

Not allowed in dragon training with the other kids, Hiccup is desperate to prove himself. Using brains instead of non-existent muscles, the toothpick manages the unimaginable. Hiccup shoots the most dangerous dragon there is.

Not believing for one second that Hiccup hit a night-fury, Stoick tries to talk some sense into him: “You’re many things Hiccup, but a dragon killer is not one of them.” Supporting Stoick, Gobber then gives us the theme of How to train your dragon: “Stop trying so hard to be something you’re not.”

Hiccup, not listening, goes on a search for the dragon. Upon finding it, however, our hero is caught in a moment of self-reflection. Facing the wounded night-fury, Hiccup experiences regret rather than the anticipated pride: “I did this.”

Unable to kill the dragon, Hiccup leaves his dreams of becoming a respected dragon-slayer behind, and sets Toothless free.

Without warning, our hero stands without goal or purpose. If he’s not a dragon fighting viking after all, then what is he?

Who, really, is Hiccup?

Sequence B: Fears and doubts (12.25mins)

15.15 Hiccup reluctantly agrees to start dragon training.
16.55 First dragon training. “A dragon will always, always, go for the kill.”
20.05 Hiccup’s back in the forest where he left Toothless, “So why didn’t you?”
20.45 Finds Toothless in deep hollow, missing a tail fin.
22.00 Dininghall: Hiccup is excluded from the group.
23.10 Dragon manual has no info on the night-fury; “Do not engage this dragon”.
24.45 Viking expedition: Stoick believes he’s closing in on the nest.
25.35 Dragon training: Hiccup asks about night-furys. Astrid: “Our parent’s war is about to becomes ours. Figure out what side you’re on.”

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Not knowing who he is anymore, Hiccup accepts what everyone’s been saying all along – that he’s useless.

Ready to suppress his adventurous nature and settle for household-duties, Hiccup’s shocked to hear that he’s been granted permission to start dragon training. Unable to disappoint his father even further, Hiccup agrees.

As expected, Hiccup is a terrible fighter. At dragon training, his dream-girl Astrid – a warrior at heart – sees him as nothing but an annoyance. For a thrilling example of a perfect transition, take a look at the end of this scene.

From Gobber stating that “a dragon will always, always, go for the kill”, we cut straight to Hiccup, back in the forest where he freed the dragon, saying “So why didn’t you?”

Instead of a ton of information, we get a simple cut between two relevant scenes, telling us all we need to know. Furthermore, this moment in How to train your dragon is a great plot-point in itself, presenting an eye-opener for our hero.

Hiccup has seen something within Toothless, a hesitance to kill, which tells him that his perception about the dragon race is faulty. This is a story about Hiccup finding his identity, so naturally we ask “why couldn’t he kill the dragon?” But this plot-point makes us dive deeper. Why couldn’t the dragon kill him?

So no, How to train your dragon is not “just a kid’s movie”. It’s a metaphor for humanity’s ability to turn those we don’t understand into monsters. Because monsters, we can handle with violence, and that’s simpler than admitting we’re wrong.

Finding Toothless wounded and unable to feed himself, Hiccup’s sympathy for the night-fury grows. But this type of thinking is not supported by his fellow vikings. Hiccup’s curious questions about dragons receive a harsh reaction from Astrid:

“Our parent’s war is about to becomes ours. Figure out what side you’re on.”

Act Two

Sequence C: Approaching Adventure (9.30mins)

27.40 Hiccup approaches Toothless. Throws weapon away. Toothless lowers his guard.
30.30 MONTAGE: Hiccup and Toothless sharing, drawing and playing.
33.00 Toothless allows Hiccup to touch him.
33.30 Gobber says to always go for the wings and tails. “A downed dragon, is a dead dragon.”
34.00 Announcement that one student will soon win the honor of killing a dragon.
34.30 Hiccup makes an artificial tail fin.
35.10 Hiccup distracts Toothless and applies the fin.
36.25 Toothless lifts, Hiccup still on.
37.00 As soon as Hiccup’s thrown off, Toothless crashes.

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The screenwriters of How to train your dragon master the art of showing vital information at a quick pace. The montage of Hiccup and Toothless approaching one another and letting their guard down is both informative and strikingly heartfelt.

Without excessive dialogue, we understand that these two are leaving their previous lives and beliefs behind to embark on an adventure together. Learning from one another, Hiccup and Toothless find that they both have a need for the other.

How to train your dragon once again give us an emotional message in physical shape. Take a look at how the filmmakers show this need, without actually telling us about it.

Hiccup builds a prosthetic tail fin for the disabled dragon and with combined efforts, the boy and the dragon manage to fly.

Ingeniously simple. If one crashes down, so does the other. Literally.

Sequence D: Progress through teamwork (8.45mins)

37.10 Dragon training: “Today’s about teamwork.” Hiccup shocks the others with newfound skills.
39.10 Hiccup sows a saddle.
39.20 MONTAGE: Hiccup develops steering system for flying Toothless whilst learning how dragons work and using it to shine at dragon training.
42.00 Astrid is suspicious and jealous of Hiccup’s skills.
42.30 Viking crew is back from failed mission. Stoick’s hears of Hiccup’s success in the arena.
43.30 Hiccup flies Toothless. Bumpy and difficult, reading instructions from cheat sheet.
44.45 Drops the sheet. Forced to rely on instinct, he flies beautifully.

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“Today, it’s about teamwork”. The first sentence perfectly sums up this sequence.

Whilst testing out methods of flying and steering, Hiccup and Toothless expand their friendship and evolve as a two-piece operation. What Hiccup learns from Toothless, he uses to succeed in the arena.

The worst viking in the world suddenly has a shocking way with the dragons. No longer worthless, our hero has become “someone” in the eyes of his fellow vikings. The question is; is this someone who he really is?

Furthermore; if the vikings like Hiccup, and the dragon is a good guy, then who is the antagonist of How to train your dragon?

Stoick‘s wishes for a perfect viking son stand in the way of Hiccup finding his true self. This makes him an antagonistic force. Even so, Stoick is proud of Hiccup at the moment, hence loosing some of his antagonism by being nice.

So at this point, the tribe, the dragon and the dad are all being nice. When everything is working nicely, why don’t we lose interest?

Because as Stoick grows kinder, Astrid becomes more aggressive. She’s determined to find out what Hiccup’s up to and prove that she, in fact, is the better fighter.

Stoick is actually a villain in disguise at this point, whilst Astrid is an ally in the shape of a villain. She seems “bad” because she’s the one who makes us nervous. We are protective of our hero, and don’t want his secret found out. But in truth, being found out is exactly what Hiccup needs.

The cheat sheet Hiccup uses to steer Toothless is also worth mentioning, having highly symbolic value. Hiccup has always taken instruction from outer forces on how to steer his life. Riding Toothless, he has a physical one. Using the cheat sheet, he keeps bumping into obstacles.

When he drops the sheet, however, he’s forced to rely on his instincts. As it turns out, they are brilliant. He’s just never trusted them before.

Hiccup’s actual identity is shining through. It’s been made clear that he’s not a dragon fighter. But could he possibly be a dragon rider? And on top of that, could he be a leader?

Sequence E: Midpoint (10.20mins)

45.55 Eating with Toothless, other dragons join. “Everything we know about you guys, is wrong.”
47.10 Proud, Stoick gives Hiccup a real Viking’s helmet.
50.00 Hiccup wins the prize of killing a dragon.
51.00 Hiccup is about to flee with Toothless. Astrid finds them.
52.00 Hiccups tries to make a frightened Astrid understand. “Let me show you”.
53.30 They fly, Toothless messing with Astrid before settling into a beautiful ride. Astrid: “It’s… amazing. He’s amazing.”

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We’ve arrived at the point in How to train your dragon where everything turns into something different. Everything.

Interacting with other dragons, Hiccup realizes that Toothless is not just a nice exception amongst a brutal race. He’s one out of many misunderstood, lovable, creatures. “Everything we know about you guys, is wrong.”

A proud Stoick presents Hiccup with a viking helmet, which says that he’s now one of them. Carrying the symbol of a viking warrior on his head, Hiccup is given the identity he’s always wished for.

So far, lying at dragon training has been a piece of cake. But now, being the best fighter, Hiccup must prepare to actually kill a dragon in front of his tribe. Something he’s incapable of doing.

Another drastic change takes shape as Hiccup and Toothless are discovered by Astrid. Although she’s highly reluctant, Hiccup shows her a world she could’ve never imagined. A world where dragons and vikings don’t kill each other on sight.

By trying too hard to be someone he’s not, Hiccup hasn’t won even an ounce of respect from Astrid. It’s not until he’s forced to drop his facade, that he wins her admiration. Astrid hasn’t actually disliked him, because she’s never met the real Hiccup before.

Hiccup has found identity at this point. The problem is, there’s two of them. At the one hand, he’s got the viking helmet and the respect of his father. At the other, Toothless and the respect of Astrid.

The day when he must slay a dragon is approaching, and until then, he must pick one.

Sequence F: The big reveal (10.15mins)

56.15 Toothless takes Hiccup and Astrid to the nest. “What my dad wouldn’t give to find this.”
58.20 A dragon “queen” tyrants the nest, controlling the other dragons.
58.50 Hiccup convinces Astrid not to tell anyone about the the nest.
59.30 Astrid punches Hiccup “That’s for kidnapping me”, kiss on the cheek “that’s for everything else.“
60.00 Stoick’s proud speech: “Today, my boy becomes a Viking.”
62.25 The dragon fight: Hiccup throws off his Viking helmet, refusing to kill. “I’m not one of them.”
62.50 The crowd’s furious racket scares the dragon into violence.
62.55 Toothless hears Hiccup screaming and defies his injuries to come for aid.
64.20 Hiccup stops Toothless from killing Stoick. Toothless is captured.
64.50 Stoick’s furious: “They’ve killed hundreds of us!” Hiccup: “And we’ve killed thousands of them.”
65.35 Hiccup accidentally mentions that Toothless can lead them to the nest.
66.00 Hiccup begs Stoick not to hurt the dragons “For once in your life, would you please listen to me?”
66.10 Stoick: “You’re not a Viking. You’re not my son.”

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The vital “eye-opener” of How to train your dragon has arrived. This is where we see the revealing of secrets and the finding of lost things.

We start out with two revelations right off the bat, as Hiccup and Astrid are shown the lost-for-centuries dragon nest and the queen hidden inside. Suddenly, we have a new, bigger, badder, villain. Even the dragons flee from this dragon. If you’re only human, you better watch out.

Coming back from dragon island, a vital step is taken by our hero as he openly trusts his own judgement above someone else’s. Astrid is frustrated that Hiccup wishes to keep the location of the island a secret, but respecting his never-before-seen assuredness, she accepts his decision.

It’s time for the big fight. Hiccup must choose whether to uphold his image and kill a dragon or to reveal himself and lose his newfound respect.

This is where we see proof of how far the hero of How to train your dragon has come. He makes the decision to throw his viking helmet aside in front of his entire tribe, stating “I am not one of them”.

The secret has been revealed. He, Hiccup, is not a viking. He is not, and never will be, an enemy of the dragons. Ready to lose everything, he admits his true identity in pursuit of uniting two races.

His attempt to prove the dragon race innocent backfires as the dragon is provoked into violence. This leads to the next revelation: Toothless.

Hearing that Hiccup’s in danger, Toothless too risks everything to come for aid. The always hidden dragon, the one nobody’s ever seen, positions itself in the midst of a sea of dangerous vikings.

Toothless withdraws from killing Stoick, trusting Hiccup’s judgement before his own, and is therefore captured.

Having won his own respect, although lost everyone else’s, Hiccup can finally stand strong against his father. He begs Stoick not to hurt the dragons. “For once in your life, would you please just listen to me?”

Stoick, truthful to his name and image, doesn’t listen, and decides to use Toothless in an attempt to find the nest.

“You’re not a viking. You’re not my son.”

Sequence G: Grim defeat (9.20mins)

66.30 Hiccup watches his tribe depart to find the nest, Toothless brutally tethered to a ship.
67.45 Astrid: “You’ve lost everything. Your father, your tribe, your friend.”
68.20 Astrid encourages Hiccup into forming a plan.
69.25 Vikings follow Toothless across the ocean.
70.30 Hiccup gathers the other kids to let them in on his plan.
71.10 The vikings arrive at Dragon Island.
71.50 Hiccup shows the other kids that they have nothing to fear from the dragons.
73.00 Stoick cracks the mountain open, find the nest and fight off a storm of dragons.
74.15 The queen arrives; much bigger than the other dragons combined.
75.00 The queen sets fire to the boats, one with Toothless onboard.
75.15 The Vikings are loosing.

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Hiccup watches his tribe, along with his dragon, fade before him as Astrid says out loud: “You’ve lost everything. Your father, your tribe, your friend.”

Back to feeling worthless, Hiccup’s ashamed to be the first viking who wouldn’t, not couldn’t, kill a dragon. Astrid, who’s had a change of heart due to Hiccup’s journey, sees this as an accomplishment rather than a failure. “First to ride one though”.

Encouraged, Hiccup gathers his team of fighters. From this point on, he has nothing left to lose. For once, he doesn’t care if he’s perceived as crazy or stupid for acting on his beliefs.

Although the all is lost-moment of How to train your dragon is short; it’s elongated through the storylines of Stoick and Toothless. Since it’s Hiccup’s goal to unite the two species, Stoick’s success in finding the island and cracking the nest open, is a continued failure for Hiccup. Even though he’s not in the scene.

We do feel a glimmer of hope, having seen Hiccup take charge and gain respect from the other kids. Even so, we’re at a dark part of the story. After a false victory for the Vikings, having beaten off the dragons, the queen appears.

Nastier than any threat before, Stoick and the tribe aren’t equipped to fight this dragon. Furthermore, the boats are burning, Toothless still onboard, and they’re trapped on dragon island.

Hiccup’s father, friend and tribe are all heading for death.

Act Three

Sequence H: The battle (9.35mins)

75.50 The kids arrive on dragons, using their acquired fighting skills against the queen.
78.10 Hiccup fails to free Toothless, who’s sinking.
78.35 Stoick rescues Toothless. Toothless pulls him out of the water.
79.00 Stoick begs Hiccup’s forgiveness: “I’m proud to call you my son.”
80.20 Riding Toothless, Hiccup lures the queen up in the air. They aim for the wings.
82.10 Toothless is hit by fire and his prosthetic fin burns.
82.25 In a last effort, Toothless kills the queen whilst shooting down towards the earth, creating a massive explosion.
83.15 As Hiccup falls off, Toothless follow him into the explosion.
83.45 Stoick find Toothless in the smoke, hurt but alive. Stoick: “I did this.”
84.15 Believing Hiccup to be dead, the tribe is mourning.
84.45 Toothless lifts his wing, revealing Hiccup underneath.
84.50 Stoick throws off his viking’s helmet to listen to Hiccup’s heart. He’s alive.
85.15 Stoick thanks Toothless.

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A while back, Hiccup had to sit at his own table in the dining hall. The first time we see Hiccup in this sequence, he’s surrounded by friends who not only accept, but follow him. Not because they’ve changed, but because he has.

Watching Hiccup and his friends arrive on dragons to fight the queen, Stoick is faced with hard evidence that dragons and vikings can work together. He is forced to admit his ignorance. Finally, he’s proud of Hiccup for the right reasons.

Trusting Hiccup’s judgement, Stoick rescues the dragon he’s been trying to kill for years. This is the moment when Hiccup is no longer ashamed to call himself a viking. Through Stoick’s heart-felt apology, Hiccup realizes that it’s possible to be both a good person and a viking. He doesn’t need to choose one or the other.

Hiccup and Toothless act as one being, as they use everything they’ve learnt to defeat the queen. Even though they succeed, they use every ounce of power they have, and end up falling to the ground.

Let’s rewind for a second, to the moment when Hiccup found Toothless wounded in the woods. Looking down at the dragon, he claimed “I did this”, showing the regret that would cause his future change.

Look at what happens now, when Stoick runs up to the wounded dragon. He stops, and looks at Toothless, saying “I did this.” Can it be, that Stoick is changing as well?

Remember the helmet Hiccup got from his father? The one he threw on the ground as a sign he was no longer a viking? Consider what Stoick does when he believes his son to be dead. He throws his helmet off. Why? To, literally, listen to Hiccup’s heart. This moment is so significant.

Suddenly, something else is more important than being a viking. He throws his image in the mud, so that he can listen to his son. This is Stoick’s journey. He is not just a viking, he is a father.

The last time Hiccup dared show his father what was really on his heart, he was ignored – “For once in your life, would you please just listen to me?” This time, Stoick listens. Hiccup is alive.

To top off Stoick’s character-change, Hiccup has gotten him to change his attitude towards an entire species. Not long ago, Stoick saw Toothless as the devil himself. Now he leans down beside him to, sincerely, thank him.

One member of each race, a boy and a dragon, has questioned the way they see each other. Now, the remainder of both species are following in their footsteps, hence ending a seemingly endless war.

Sequence I: A new life ahead

85.25 Hiccup wakes up back home, Toothless at his side.
86.10 Having lost a leg in the battle, Toothless helps him walk.
86.55 Going outside, he finds dragons and vikings living alongside one another.
87.20 Hiccup is greeted with admiration by the other vikings.
87.25 Stoick points at Hiccup: “All we needed was a little of… this.”
87.40 Gobber has created a new invention for Hiccup’s prosthetic leg to fit into Toothless steering gear.
87.45 Astrid punches him: “That’s for scaring me.” She kisses him, for everything else.
88.10 Hiccup flies Toothless, alongside his friends.
88.20 V.O: “This is Berk…”
88.55 THE END

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Hiccup wakes up, back in the village. The same place where it all began. But is it the same?

The first sign that something has changed, is that Toothless is inside his house. Scared for the dragon’s safety, Hiccup gets up to hide him. Only, he can’t get up, having lost one of his legs.

The symbolism of this cannot be over-stated.

Because of Hiccup, Toothless lost a tail-fin. Hiccup then helped the dragon fly without it. Now, because of Toothless, Hiccup has lost a foot. When he can’t walk, Toothless steadies him. If one crashes, so does the other. And if one can still get forward, then so can the other.

Together, they leave home – one with one leg, one with one tail fin – no one able to function without the other.

Everything is different. In the initial scene of How to train your dragon, we witness a rough world of raging war. Now, we see a fantastic place where vikings and dragons live in unison.

Rewarded for his bravery, Hiccup wins a kiss from Astrid, along with respect and admiration from his tribe. Gobber has even built him special equipment, so that his prosthetic leg fits perfectly into the steering gear of Toothless’ prosthetic fin.

Stoick proudly gestures towards his son “Turns out all we needed, was a little more of… this.”

So who, really, is Hiccup?

He is not a worthless toothpick, he’s not a blacksmith or a baker and he’s not a dragonfighter. Hiccup is a brave viking, a fierce leader, and a bringer of peace.

Furthermore, at his heart, Hiccup is a dragon rider.

-Camilla Beskow

How to train your dragon – Screenplay

Camilla Beskow

Camilla Beskow is a screenwriter, and former student at the Gotland based film school Storyutbildningen. Among her favourite films are Pan’s Labyrinth and Good Will Hunting.

“I don’t think writing is a choice. It’s not a career. It’s something that’s born of necessity.
If I didn’t write, I’d go bonkers.”

A question commonly thrown at screenwriters is the big and heavy why. Why does one write? Beau Willimon (House of Cards, Farragut North) responds passionately. An expressive speaker, Willimon doesn’t cower from telling the brutal truth about life within his profession.

“There’s a lot about writing that’s not very pretty. In fact, if you can do anything else, you probably should. It’s life that’s full with rejection and humiliation, self-loathing and self-doubt.”

Writing for the screen isn’t your typical nine-to-five work. It doesn’t ensure financial security, healthy routines or social acceptance. In spite of this, Beau Willimon has evidently “chosen” this profession, and agrees that some not only should, but must write.

“If you need to grab at the cosmic and without it you have no bearing, then it’s the life for you and those are the things you need to endure.”

What Willimon keeps coming back to is that writing is not a “want”, but rather a “have to”. Spectacular artists are invariably driven by a certain urge.

Those who need to express something through a particular art-form, whether it’s music or writing, painting or cooking, are the ones who’re born artists. Knowing that your art may kill you, but having to practice it anyway because if you don’t, you’re already gone.

“Why do you breath? Because the air is your sustenance, and without it, you die.”

Straying from your comfort zone

If you’ve entered the world of writing, and decided to put your feelings on a page for the world to see, you’re already brave. This might be enough to write a decent script or two.

But if you wish to further your development, consider challenging your courage. Enter the land of “what the fuck am I doing” and you might just have a chance of arriving at “holy shit, I did it!”

If you can discipline yourself to do this, you’re not just brave, you’re commendable. I applaud you.

“I felt like I needed to do something to make myself feel uncomfortable, to fail, to go into a zone of complete mystery and a place where I was completely ill-equipped”…”I’ll write a play, because I don’t know how to do that.”

Human beings, at their essence, are remarkable. We continuously aim higher and strive further than our predecessors. It’s in our nature to explore, challenge and cognitively learn from those who came before us.

Even so, lots of silent bystanders sheepishly allow themselves to be herded through life. If you wish to be one of them, by all means, carry on.

My guess is, you don’t.

Consider Beau Willimon’s words, and dare do something only because you don’t know how. It will be difficult, and you’ll probably fail. But you’ll certainly grow.

On the subject of hiring fellow writers for House of Cards, Willimon says:

“The only thing I was interested in when hiring my writers was not whether they knew anything about politics or not, but if I read something of theirs; a line, a scene, some image, that I never in a million years could have thought of or come up with myself.”

To develop, let yourself be judged by those who can give you the advice you could never give yourself. Showing your work only to fans, might give you what you want, but won’t tell you what you need to hear.

The confidence boost from positive feedback has value, but at its own, it can make you ignorant of your own issues. These may side-tackle you later on if you’re not aware of them.

Work alongside people who challenge you and whom you, in turn, challenge to be better.

Beau Willimon on writing politically

“I think all writing is political, because we all come to the table with a believe-system, and politics is infused in your writing whether you like it or not.”

How we portray (or don’t portray) certain things and people, even without political intent, reflect our personal view-point.

A film isn’t, say, racist, simply because it has an all white cast. But when the industry continuously chooses not to portray coloured people (at least not often or in a heroic context), it becomes an issue.

Take a moment to consider not only what you write, but what you continuously don’t write. Further reflect on whether this is a conscious decision or if you’re excluding something out of pure habit.

Avoid excessive dialogue

There’s this delusional idea that a screenwriter’s job is writing lines.

Constructing story, building worlds and developing character psychologies is our responsibility. Great dialogue is vital, but it’s equally important to convey what’s not being said.

“There’s so much storytelling you can do without dialogue. Because, if you get close on a person’s hands, that sometimes can say much more than the best monologue ever written.”

Talking represents a tiny percentage of human communication, leaving the remaining percent to body-language and other non-verbal expression. 

Consider a character is about to present a speech. He’s sweating, twisting his hands, pacing back and forth. There’s no need for this guy to say “I’m so nervous.” We get that.

Same rule applies when presenting the morals of a character. Never have a villain telling us he/she’s a badass. Show what the person does that makes him/her bad.

Writing for TV

Beau Willimon has the experience of having written for both film and television and explains some major differences between the two crafts.

”A movie is much more like a short story or a poem”…”It has to resolve itself within 90-120 minutes, and with a television show, it doesn’t.”…”If you really take your time with storytelling, you can dive into your characters in ways that are impossible to do in film, or even a stage play, because you have the time to do it.”

This is why television shows are so intriguing, for writers as well as audience. The characters develop alongside you, at a pace similar to yours. This allows you to connect with them on a personal level. 

Another capturing aspect of television, is the dreaded cliffhanger. Since there’s a continuation ahead, a TV episode doesn’t need to resolve all issues and reach a final goal.

”It can actually end in a place of total lack of resolution, but with the feeling that you’re heading somewhere.”

Haven’t you ever thought you’ve arrived at the end of an episode, when – BAM – an unexpected plot-twist? Your heart is racing, and then… end-credits.

So. Frustrating.

This creates an urge within you to watch another episode. You need to find out what happens. That urge is a brilliant tool for us writers, and a dangerous hook for our audiences. Make ’em sweat.

Beau Willimon on writing female characters

“I really am against the notion that a female writer should write the female characters and the male writers write the male characters. I mean, what is writing if not putting yourself in other people’s shoes?”

If we could only write characters similar to ourselves, every screenplay out there would be a dud. There would be no conflict, and nothing of interest. 

Whether your character is male or female, black or white, rich or poor, is such a small part of the actual character. That’s just the physical stuff. How does the character act under pressure? What does your character fear? These are the types of questions you need to ask.

“We are all limited by our own experiences. There are certain things I will never be able to access because of things that are genetic, things that are in my up-bringing, things that are cultural”…”But I think writing is an attempt to acknowledge those and sometimes get beyond them and find the universal in all our experiences.”

Now, this is crucial. Whether you’re writing a dark drama or an animated comedy, finding the universal in our experiences is key to creating emotion. 

People work differently, and that plays an important part in how you’re writing your characters. But there are certain emotions that we all experience, no matter who or where we are.

A white female lawyer in America can experience humiliation, loneliness or joy, just as well as a black male hunter in Africa. The fact that we are different does in no way eliminate our ability to understand each another.

Gender, ethnicity and status put aside, try to understand the inner workings of a human mind.

“I take a little bit of issue with strong female characters. Why do you have to put the word “strong” in front of it? There are strong male characters, and weak male characters. There are strong female characters, and weak female characters. There are strong and weak trans characters. I mean, they’re human characters.”

Finding story in everyday life

“You can see something on a sidewalk, like a man screaming. A homeless man screaming on a sidewalk; that’s research. If you absorb it.”

Being observant is a strong attribute for any writer. If you can see plot, character and conflict in everyday situations, your stories will find you.

Take every opportunity to absorb what’s already around you. Listen in on conversations on the subway. Notice how different people walk differently. What do people do when they think nobody’s watching?

It’s in your job description to be a little creepy and intrusive. Go right ahead.

Many writers, especially up-and-coming ones, have day jobs. This can take up a lot of precious writing time. So use it as best you can. Whatever you do, there are probably people around you. Observe them.

Even when you’re not writing, be a writer.

“Just think of what you do when you’re alone. Like, take an hour, in your house, when you’re alone, and just really objectively look at what you do. You do some really weird shit.”

You’re never as genuine as when you’re by yourself. Just like you, your characters will have things they do when nobody’s around. 

As a writer, you often try to find those special moments that define your characters. It’s just as important to find the ordinary moments. Or, should I say, the moments that are ordinary for that character, but may seem peculiar or interesting to us.

Any person, or character, can enter a house and proceed to the kitchen. But if someone, for example, has to stop by every mirror on the way to observe his/her own reflection, that says something about the character.

“I believe character is behaviour. That’s it.”…”Ultimately, all their character is, is what they do. Because that’s all we see.”

Finding you character’s needs

Just as Beau Willimon spoke of his own need to write, he similarly speaks of needs within his characters.

“If you know what they need, they don’t need to know necessarily, but if you know what they need, then all their behaviour will be dictated by that. And then their needs will conflict with other people’s needs, and that’s where you get the conflict of drama.”

One major difference between a need and a want is that people often are oblivious to their needs. Not knowing ones need is often a cause of being way too focused on the want (capitalism in a nutshell).

Even people who are aware of their needs can, out of laziness or fear, ignore to acknowledge them. It’s tough, because it means revealing your flaws, which is sensitive. However, doing so will most likely lead you to a more truthful existence.

When it comes down to your characters, try to separate the need from the want, and it will help you figure out which behaviour is suitable for which person in which situation.

“They’re not plot-driven. It’s not like, “this person needs to get a new job”- that’s plot. A need is, “this person needs respect”, “This person needs love”, “This person needs validation”, “this person needs warmth”.”

On getting shit done

“The only real advice I can give is to do the work.”

A seemingly obvious statement, which we must repeatedly remind ourselves of.

We all have heaps of un-finished work. No matter how great, nobody outside your private circle will consider reading it, unless you’ve actually reached “fade out”. 

“The only thing you can do, that is completely within your control and that will ultimately make you successful – at least financially or whatever – is having the pages and putting in the time.”

It’s not every day that you’re going to wake up and want to write. Inspiration seldom strikes when you wish it to. Beau Willimon has a rather original approach to self-motivation. 

“My first thought every day, like my mantra, as soon as I have a conscious thought, is “I will die”. Which sounds morbid, but it’s not. To me, it’s completely liberating, because it can’t get worse from there. You have that thought, and you go “Let’s get to work.””

What you do with your time is what will be remembered of you. If you don’t even take a shot at being extraordinary, how are you ever going to be brilliant? 

You have a limited time to show what you wish to be seen, and say what you long to tell. Better get crackin’.

So what’s next for Beau Willimon?

“I have some very concrete thoughts about that, and I have some really big and vague thoughts about that, and I’m not going to share those with you. That’s for me.”

A brave and wise response, from a brave and wise man. Willimon chooses not to stain his future stories with expectations until he’s ready to tell them and they’re ready to be told. All we can do, is wait impatiently.

Beau Willimon does, however, have one goal he’s willing to share with us. One we should all share with him if we ever want to reach places previously undiscovered.

“Ultimately, all I want to do, is figure out the secrets of the universe.”

-Camilla Beskow

Camilla Beskow

Camilla Beskow is a screenwriter, and former student at the Gotland based film school Storyutbildningen. Among her favourite films are Pan’s Labyrinth and Good Will Hunting.

The main issue (for me, not the film) is that The Help presents more than one character fighting for the title of Leading Lady.

Initially, it’s in-your-face clear that Aibileen (Viola Davis) is our protagonist. She opens the film, and spends it telling her story. She even uses voice over. So WHY does a majority of loglines out there open with “When a white journalist…”, or something along those lines, clearly implying that Skeeter (Emma Stone) is our hero?

Is The Help a story about a white journalist stirring up trouble by writing a book from the perspective of the black help, OR is it about a black maid who finds the courage to tell her story?

You could even present a third, slightly more atypical, option. Could it be – work with me here – that the book itself is our hero? Is The Help about the writing of a book on the lives of black maids in 1960’s Jackson, Mississippi? Hence following the ups and downs on its road towards publication.

Whatever the initial intent, fact is, the film is yours to view as you wish. My take is that Aibileen is, after all, the hero of The Help. Why? Skeeter’s got more screen-time, her own love story and presents a clearer goal. She is pro-active. So why not her?

Because Aibileen has a greater, and more defined, arc than Skeeter does. Skeeter is, from the start, gutsy enough to challenge the ideals of society, clearly opposing the set gender rules of the 60’s. Aibileen has something to learn from her.

So, now that we have our hero, let’s dig in.

Act One

Sequence A: Routine Interrupted (17.54mins)

00.00 TITLES.
01.10 White hand, taking notes.
01.24 Aibileen gives interview about life as a maid.
02.25 Aibileen’s work; raising white babies, “You is smart, you is kind, you is important”.
04.10 Skeeter drives. Aibileen (V.O): “Ms Skeeter. No man and no babies”.
05.00 Skeeter gets job at Jackson Journal, writing Miss Myrna-column.
07.16 Hilly’s measuring Minny’s toilet paper. Late for bridge.
09.00 Potty training, Elizabeth pulls girl off toilet.
10.00 Bridge Club: In the kitchen; Aibileen and Minny make fun of white women.
11.00 Bridge Club: Skeeter’s back. Sticks out amongst a sea of housewives.
12.35 Skeeter asks Elizabeth if Aibileen can help with column. “As long as it doesn’t interfere with her work”
13.20 Celia calls, looking for maid. Hilly talks smack.
15.45 Hilly announces bathroom-bill. Skeeter: “Maybe we should just build you a bathroom outside Hilly”.
16.30 Aibileen agrees to help Skeeter with Miss Myrna-column.

This is the point where Aibileen is pulled from her every-day work and chooses to enter a collaboration alongside a white woman. A choice that will ignite the entire storyline of The Help.

Initially, I had trouble picking out the first sequence break, thinking that the moment (see below) Skeeter calls her editor saying “I’d like to write something from the point of view of the help”, was the catalyst/call to adventure/whatever you want to call the initial spark that sets off a story. The reason for this, again, was rooted in my confusion about the main character. That would have been a clear break, had it been Skeeter’s story.

The first act is packed with important information, giving us beat after beat of skillfully crafted hints of what is to come. In just a few minutes, we encounter almost every relevant character. Obviously, Aibileen and Skeeter have been introduced, alongside the main antagonist, Hilly. Nothing special about that, but what’s intriguing is that we’ve also met a ton of minor characters, without being confused about it. They’ve even briefly mentioned Stuart, who doesn’t turn up as a character until about an hour into the film.

On top of that, a lot of future plot points have been hinted at during Bridge Club. Hilly’s mentioned the bathroom bill, Celia’s going to need a maid, Skeeter’s showed her first sign of going against Hilly “maybe we should build you a bathroom outside Hilly”, etc.

A small beat, barely noticeable and very overlook-able, between Aibileen and Minny deserves to be highlighted. Minny carries a white person’s TV, leaving the cords dragging on the floor, and Aibileen, admonishingly, picks them up for her. This may seem insignificant. Look again.

What does it tell us? It shows that Minny, slightly careless, doesn’t always think before she acts. Aibileen does. And does so for Minny as well. We hadn’t been too surprised seeing Minny write an angry book about the white ladies, but for our hero, the always careful Aibileen, it’s an enormous step. She has a long road ahead of her.

This tiny beat further shows that Aibileen’s care for Minny is leaning towards the maternal. Why that is significant, I’ll return to in a minute.

Sequence B: The Inner Dispute (23mins)

19.30 Skeeter’s sick mother disapproves of her lifestyle and new job.
22.40 Skeeter finds out Constantine was fired. “She raised me!”
23.30 Constantine flashback: “Every day you’re not dead in the ground, when you wake up in the morning, you’re gonna have to make some decisions”
26.00 Skeeter calls editor: “I’d like to write something from the point of view of the help.”
28.30 Aibileen’s asked to be interviewed for the book. Interrupted.
32.45 Hilly fires Minny for using inside bath.
33.30 Aibileen uses outside bath, hurries out to take baby girl: “You my real mama, Aibee”
35.20 Minny won’t tell Aibileen where she’s headed, carrying chocolate pie. “Y’all just mind you own!”
36.15 Aibileen declines Skeeter’s offer, terrified, but takes her number.
37.20 Skeeter reads Jackson’s laws – writing the book would be illegal.
38.00 Aibileen hears Minny get beaten over the phone, looks at Skeeter’s phone number.
39.30 Aibileen listens to sermon; “Love is to be prepared to put yourself in harm’s way for your fellow man”.

 We’re closing in on what our story really is about: the writing of a book. A book our main character isn’t quite ready to write yet. It’s too dangerous, too scary and maybe not worth the risk. This sequence centers around our hero debating whether the journey she’s been offered is worth embarking on.

Let me return to my previous statement about the significance of Aibileen’s love for Minny. Aibileen has already declined Skeeter’s offer, ruling the risk NOT worth taking.

BUT THEN

Aibileen listens to her best friend, the person she should care for and look after, being beaten for breaking the rules of the white. Because Minny is a black maid in Jackson, working under awful conditions, she can’t afford to leave a man who’s beating her. And Aibileen can’t do shit about it. Or can she?

Aibileen is hesitating, looking at Skeeter’s number. But she can’t build up the courage,

UNTIL

The pastor at her church talks of what it means to love. She loves Minny, we’ve seen that. So when Aibileen hears that “Love is to be prepared to put yourself in harm’s way for your fellow man”, she comes to an understanding within herself that it IS worth the risk.

She’s in.

Act 2

Sequence C: First Shot (15.36mins)

41.00 The first interview. “I thought I might write my stories down and read them too you”. Doesn’t answer questions about Elizabeth.
46.10 Yule Mae asks Hilly for loan, is shut down. “You’ll thank me one day”.
50.00 Minny, desperate for work, takes job at Celia’s. Celia announces pregnancy.
53.50 Hilly questions Skeeter about not having put bathroom-bill in newsletter.
54.20 Diner: Skeeter apologizes and agrees to go on Hilly’s set-up date with Stuart.
55.30 Yule Mae steals a ring from behind Hilly’s couch.
56.20 Aibileen wakes up baby-girl, she hasn’t been changed for 10 hours.
56.30 Aibileen: “I reckon I’m ready to talk about Miss Leefolt (Elizabeth) now”

 As mentioned, The Help cares for the smaller characters as well as the big. This particular sequence spends a fairly large chunk of time developing secondary storylines. Each one, no matter how small, is strong enough to hold its own, containing complex characters, goals and arcs.

I’ve previously found, when movies do this to a certain extent, that it can bug me a little. “Get back to the story already, I don’t care about these guys!” This is NOT the case here.

Although The Help centers around racial equality, I would state that it has a broader purpose. It shows us that most people don’t fit into the category in which they are placed, making “prejudice” the main theme. Therefore, I conclude that the additional storylines fit perfectly within the frames of this film.

For instance, we have a story about a seemingly flighty girl from sugar ditch, who’s in fact unyieldingly open-minded (Celia). Then, there is Skeeter, a woman who’s got higher ambitions than becoming your typical 60’s housewife. We even see, although briefly, a rich white male (Johnny), who doesn’t mind pulling out the chair for a black maid. The Help is all about presenting presumptions, and then breaking them.

This phase is simultaneously big and small for our hero. At the start of the sequence, Aibileen is ready to start talking. She isn’t, however, ready to risk everything by actually telling stories on her own boss, Elizabeth. She’s decided to try, but now she needs to let it all go and try harder.

What makes her do so isn’t a huge event, but rather a reminder that things aren’t okay as they are. The baby girl hasn’t been changed for ten hours. Elizabeth isn’t even capable of being considerate towards her own child. Simple though it may be, it tips the scale for Aibileen.

Sequence D: Aim Higher (10.46mins)

56.30 Aibileen takes charge of interview: “Ms Leefolt should not be having babies. Write that down.”
57.20 Aibileen: “Treelore always said we were gonna have a writer in the family… Maybe it’s gonna be me”
57.30 Minny’s in, starts telling her stories. “We got to get more maids.”
60.30 Skeeter’s mom turns Skeeter into a housewife-copy in preparation for her date.
62.30 Bad date with Stuart, tells him off for being sexist.
64.20 Minny teaches Celia to cook.
66.20 Celia eats with Minny instead of by the dining table, “I’m fine right here, Minny”.
67.10 Celia suggests they burn the chicken a little to throw off suspicion. “Minny don’t burn chicken!”

 There’s something wonderful about the relationship between Celia and Minny. One of them is prejudiced, but which one? Celia doesn’t see Minny as a “black maid”, but as a person, whilst Minny is very careful about upholding the rules of society; Celia isn’t supposed to eat with her in the kitchen, but by the dining-room table, like the white ladies do.

There’s also a rather drastic change taking place within Aibileen here. She doesn’t have a lot of screen-time, but she’s taking charge, and, step by step, becoming pro-active. She even orders a white person. She no longer just answers Skeeter’s questions, but demands she writes what she, Aibileen, wishes to tell.

Structurally, I do find this sequence slightly confusing. To me, it doesn’t have a clear ending. Why I chose to end it at this particular point is more due to the next beat being a definite midpoint-beat rather than this one being a clean-cut end-point.
Midpoint Sequence (12.04mins)

67.30 Editor likes the material, but “don’t send me anything else until you have more maids”
68.45 Aibileen: “Don’t give up on this Miss Skeeter!” – Tells the story of how racism killed her son.
70.30 Pool Party: Hilly tries to threaten Skeeter into putting bathroom-bill in newsletter.
73.40 Skeeter changes something in one of Hilly’s ads.
74.30 Skeeter goes on another date with Stuart, ends up kissing him.
78.30 People have dropped off their old commodes in Hilly’s garden, due to Skeeter’s ad.

 We have two clear points that, combined, conduct the midpoint-sequence of The Help.

Aibileen, who’s been quite private thus far, is challenged to tell her deepest, darkest story (the death of her son), finally breaking down all inner walls. It’s no longer Skeeter pushing Aibileen, but the other way around. “Don’t give up on this Miss Skeeter!”

The second half of the midpoint-sequence, some of you may argue shouldn’t be in there, but I’ll battle you till I’m blue in the face on this one. Skeeter changing Hilly’s ad, openly defying her, changes everything. But isn’t that the midpoint of Skeeter’s story, not Aibileen’s? Yes and no.

It’s Skeeter’s beat, no question. She drops all pretense and lets the world know she stands against Hilly. This is also part of Aibileen’s midpoint, simply because it changes the course of her story as well. The always-careful Aibileen has to stand by and watch as her life project is put at risk. If Hilly’s looking for a way to bring Skeeter down, the risk is far greater that she’ll find out what they’re all up to.

Sequence E: From this Point Forwards (10.35mins)

79.30 Aibileen comforts baby girl after beating. “You is kind, you is smart, you is important.”
80.10 Skeeter’s mom forbids her to watch civil-rights programs alongside the help.
81.10 A black civil-rights fighter is shot in the neighborhood.
83.30 Minny: ”What they gonna do if they catch us?” Aibileen: “We ain’t doing civil rights, we’re just telling stories like they really happened.”
84.30 Skeeter’s late on her column because she’s reading civil rights articles.
85.00 Celia has a miscarriage. Minny comforts her.
87.10 Celia buries the fetus under a rose bush, one amongst three.
88.00 Aibileen watches Yule Mae being brutally arrested for theft.
89.00 A black diner worker tells Skeeter to hurry on over to Aibileen’s house right away.
89.30 Aibileen’s house is full of maids, all ready to tell their stories.

 There’s one major thing standing in the way of the book being published. There aren’t enough maids participating. They’ve already asked everyone. Like Aibileen, they all find it too risky.

BUT THEN

Two events make the remaining maids realize that their lives are already at risk. A civil-rights activist is shot in their neighborhood. The threat is getting closer. Additionally, Yule Mae is brutally arrested because of racial laws. It’s no longer just the rebels who are at risk. Yule Mae is just like them; a maid who’s just trying to get her kids to college. Enough is enough.

Even Celia’s miscarriage is significant. Although it doesn’t necessarily bring the story forward, it takes it into a different, darker, direction. The flimsy blonde who doesn’t know how to cook is suddenly more than a cute, naive dimwit. Her story is more severe than that.

From now on, it’s life or death.

Sequence F: Risk It or Drop It (25.19mins)

90.00 Montage: maids telling stories.
91.20 Editor: book needs to be finished in 3 weeks. “And put something personal in there.”
92.00 Celia tries to befriend the others by bringing a chocolate pie, but is humiliated.
93.30 Minny tells Celia about Hilly’s jealousy towards her. Celia helps clean Minny’s wounds.
96.00 Kennedy assassination; mourning amongst both whites and blacks.
96.30 Minny: “Maybe we need us some insurance” Tells pie-story.
100.00 Aibileen and Skeeter think the story’s too risky. Minny: “Put it in or pull my parts out altogether.”
101.00 Benefit ball: Hilly wins chocolate pie and think Celia’s taunting her. Celia makes a drunken fool out of herself.
107.00 Celia’s ready to move. Minny tells her pie-story, “If you leave, then Miss Hilly’s done won the whole ball game. Then she done beaten me. And she’s done beat you.”
108.15 The book is typed and almost ready to go. Skeeter: “Only one story left to tell. Mine.”
108.40 The story of Constantine.

Where is Aibileen? Skeeter, Hilly, Minny and Celia get a ton of attention in this sequence, way more so than Aibileen. This almost made me lean towards the “the book is our hero”-theory, but I stay put in my decision. What happens to the book, and whether it gets published, is of vital importance to Aibileen’s success as well. So although we don’t see her much, everything is at stake for her.

The enemy is getting closer, the threat is growing larger and from this point on, we can either fail or succeed, but nothing in between.

Minny tells the shameful story of what she did to Miss Hilly. If it came out, it could get her killed. Skeeter dares put some of herself into the book. Celia’s about to give up, letting Hilly “win”. So much can go wrong now. We’ve reached the critical point where what they’ve been fighting for is right in front of their feet.

Sequence G: The Final Step (4.50mins)

115.15 Book in shop window. It’s published.
115.30 Minny and Aibileen receive their share of money from Skeeter. Minny burns chicken.
116.20 Hilly’s mother tell Hilly to read the book, “Sounds like Jackson, if you ask me.”
117.15 Grocery store: Aibileen and Minny sees someone reading the book. “There it is.”
117.45 Stuart leaves Skeeter for writing it. “You’re a selfish woman Skeeter.”
118.45 Elizabeth buys the book.
119.00 Skeeter’s mother reads.
119.15 Black maids in bunks laugh about the pie-story.
119.30 Hilly reads, screaming hysterically.
120.00 The white ladies gossip about the book. Hilly: “The book is not about Jackson! ”

 A very short, but BIG sequence. They’ve done it. The book is published.

This doesn’t just affect the characters in it, but EVERYBODY. The book makes a difference on an international scale.

One beat in particular tells me that everything has changed. Previously, Minny has stated that no matter the situation “Minny doesn’t burn chicken”, but as an effect to the book coming out, she does. What used to be at the top of the list in the lives of these maids, isn’t any longer. Even Hilly, who stayed poised throughout the film, is showing her first sign of unraveling. Another drastic change.

Now that they’ve done what they set out to do, the goal is reached. There’s an enormous question hanging in the air. Will they get away with this? What are the consequences of what they’ve done?

Sequence H: Rewards and Consequences (17.16mins)

120.15 Hilly receives a check from Celia, addressed to “Two Slice Hilly”.
120.50 Hilly drives, disheveled. Drinking and smoking fanatically.
121.10 Skeeter receives job offer from New York-magazine.
121.30 Hilly, a mess, threatens Skeeter, who uses pie-story as insurance. Hilly: “That was NOT ME!”
123.00 Skeeter’s mom throws Hilly out; “You get that raggedy ass off my porch!”
124.30 Skeeter’s mom: “I have never been more proud of you.”
126.00 Minny meets Celia’s husband, who, instead of beating her, shows gratitude.
127.30 Celia’s prepared a perfect dinner for Minny. “You’ve got a job here for the rest of your life”
129.00 Aibileen (V.O): “That table of food gave Minny the strength she needed. She took her babies out from under Leroy, and never went back.”
129.40 Church: Aibileen and Minny are met by gratitude and praise. Everyone’s signed the book.
131.10 Aibileen and Minny show Skeeter the signed book. Skeeter: “I can’t just leave you two here.” Aibileen: “If bad things happen there’s nothing you can do about it. And now it’s for a reason we can be proud of… Go find your life Miss Skeeter.”
133.00 Aibileen’s fired.
135.20 Aibileen stands tall in front Hilly: “Ain’t you tired, Miss Hilly? Ain’t you tired?” Hilly breaks down.
136.00 Aibileen says goodbye to baby girl. “Remember what I taught you?” Girl: “You is kind, you is smart, you is important.”
136.50 Aibileen walks away from her life (V.O): ”My boy, Treelore, always say we were gonna have a writer in the family one day. I guess it’s gonna be me.”

 As beautifully as they were presented in our first sequence, each storyline is tied together perfectly in the final one. Rewards and consequences are dealt out and each arc is completed.

Celia’s realized that the place she’s tried so hard to fit into isn’t a place she wants to be at. Instead of sucking up to Hilly, she sends a check addressed to “Two piece Hilly”. On top of showing complete disregard to whether Hilly likes her or not, she puts herself above Hilly by proving that she knows something that gives her control. A tiny scene, Celia’s not even in it, but a fantastic pay-off.

Hilly, the embodiment of “perfection”, is falling apart in front of our eyes. She is going so far to keep her dignity, that she loses every ounce of it.

Although the job-offer represents a clear reward for Skeeter, I wouldn’t claim it her biggest price. Neither is the signed book or the gratitude of the black community. A flashback shows her personal flaw from the very beginning, even from a young age. She doesn’t believe herself good enough because she was never able to be her mother. Therefore, her biggest pay-off is her mother telling her; “Courage sometimes skips a generation. Thank you for bringing it back to our family,” and stating “I’ve never been more proud of you.” The words she’s been longing to hear her entire life.

Minny, who sees no value in her own existence, is the honorary guest at a private dinner party, prepared for her only. A white woman has stayed up all night, cooking for her. A white man pulls out her chair, offering her a life-long job there, and adding the small, yet remarkable “if you want”. Her life is her choice. The realization of this is her reward. She dares leave her husband, choosing something better.

Sadly, I can’t go into detail about every single character and the finale of their journey, but, as you know, there’s one left.

Aibileen is left speechless when faced with an entire community gathered to thank her. Neither gratitude nor the prospect of being considered “brave” is comprehensible to her. But let’s not forget that, along with her rewards, Aibileen suffers awful consequences for her choices. The Help doesn’t have an altogether “happy-ending”.

What’s lovely is that the journey she’s traveled throughout the film has prepared Aibileen for said consequences. Had she been fired at the start of the film, she would’ve reckoned it a travesty. Now, she welcomes it, even though leaving a beloved child behind in a cruel world goes against her very nature.

Taken care of others her entire life, Aibileen, for the first time, considers herself. In the opening scene, Aibileen’s asked “Did you ever dream of being something else?” Aibileen nods, but doesn’t even dare answer, since the answer would be unthinkable.

It’s not unthinkable anymore.

Now, walking away from everything that was her life, she states “My boy, Treelore, always said there was gonna be a writer in the family. I guess it’s gonna be me.”

She’s still got a long road ahead, quite literally in the final image, but she’s ready to walk it.

-Camilla Beskow

Camilla Beskow

Camilla Beskow is a screenwriter, and former student at the Gotland based film school Storyutbildningen. Among her favourite films are Pan’s Labyrinth and Good Will Hunting.

“If what you’re doing does not have the possibility of failing, then by definition, you’re not doing anything new.” – Charlie Kaufman

Taking center stage at Göteborg International Film Festival (Sweden), Charlie Kaufman seems about as comfortable with the attention as would his namesake character in Adaptation. When the host expresses hope of learning something from him, Mr. Kaufman even lets out an anxious laugh before claiming “Then, you’ve come to the wrong place”, humbly oblivious to his own ingenuity.

Charlie Kaufman on how to write

“It doesn’t appeal to me to have a kind of a formula, for writing anything.”…“I’m not interested in going in with a frame work. I think it inhibits the possibilities for me.“ Even though seeming opposed to structure within his own work, he admits that “It’s helpful for some people and I wouldn’t tell people not to do it if they want to do it”.

Many writers have opposed feelings towards the idea of structure within their stories. It “inhibits the possibilities” whilst simultaneously being “helpful”.

Structure can, if allowed, inhibit a writer, but can also un-inhibit an already inhibited one. Consider a map. If used to keep you on the exact path you planned out from the start, it’ll hinder you from stumbling upon the unimaginable. If, however, you ignore the map completely and find yourself lost, you’ll end up wandering in circles.

So, my advice would be to dare stray from structure, that’s where you’ll find the parts of your story that only you can tell, but keep it in mind in case you get lost in your story and need to return to its core.

Charlie Kaufman is no traditional man, or writer, and does not wish to be so. His approach is highly original, both in process and product. Not only does he stray from structures and guidelines, his actual films aren’t exactly your typical blockbusters either.

Kaufman’s works aren’t, seemingly, intended as commercial, and can therefore afford to explore angles unexpected.

Charlie Kaufman about ‘Adaptation’ (2002)

“The main character in this movie is the screenplay itself. The evolution of the screenplay from its initial intents to its ultimate corruption. To me that’s the tragedy of this creature that is this screenplay, that never was able to reach the fruition that Charlie had hoped. He was never able to write a movie about flowers”.

Kaufman describes his works as “self-conscious”, a very on-point description. Although giving the impression of being a highly introverted individual, Kaufman’s films are all but so.

I would even go so far as to say that the feelings and thoughts he doesn’t display in his personal life are extroverted through his work. To showcase one’s inner life like that is not only brave, but also heartwarmingly earnest.

“I think that you have the responsibility to be truthful. You’re going to put something into this world that so many people are going to get stuck in their brain”.

On Romance

Opposed to the idea of Hollywood Romances, he implies that dishonest works can even be right-out damaging to real life relationships, something he’s experienced personally.

“It sets up unreal expectations, which I think you then project onto your partner and it destroys the possibility of an actual conversation between people.”…“If you do something that is truthful, truthful in the subjective personal sense, not in any kind of larger sense, maybe someone else in the world can hold on to it and not feel like they’re a complete freak for not living in this “Romantic Comedy world.””

Romance is one of the most sought after genres. So why, if these films set up un-relatable characters and worlds, are they so attractive?

“The Republicans of the United States have a theory that the reason that they can get support from people who they’re not helping at all is because these people aspire to the American Dream.“…”It’s like this hopeful thing, that you’re going to be living your life to a soundtrack.”…”It’s appealing in a short-run sort of way, but then you know you have to go back to the actual business of living your life and you suddenly feel like you’re really Less Than. And I don’t think that’s ultimately helpful for people.”

Movies and fiction have the ability of taking people away from reality, of offering a less mundane alternative to the everyday 9 to 5. An “escape” like this may have an almost drug-ish effect in that its extravagance makes the actual world seem bleak in comparison.

This doesn’t mean that fantastical movies or great escapes are necessarily bad, as aspiring and dreaming of better things aren’t necessarily so, but they have the potential.

As a writer, you need to consider the ideals you’re setting. If soldiers are presented as heroes, children may dream of the day they get to hold a gun.

A lot of us creative types are hopeless introverts and can, as Kaufman himself, fully master the art of being awkward.

Collaboration

“Situation comedy writing… you sit in a room with a bunch of other comedy writers and you pitch jokes. The first job I got, I didn’t say a word for six weeks and every day I, I would go home and think I was going to get fired that day. I was so scared, and so shy, and so inhibited.”

Charlie Kaufman may have been mortified when put in a situation where he was expected to showcase his skills, but by showing up every day although he’d rather go hide in a closet, he came out on the other side. My guess is, stronger.

Kaufman explains that even though working in big groups isn’t ideal for him, he did learn a lot.

“You don’t know what the other person is going to say, so you’re bouncing stuff against the unknown. I think that’s the good thing about collaboration.”

If he works alone, the product feels like a more sincere reflection of himself. Even so, he did have trouble going back after having worked with Paul Proch.

“I became very paralyzed”…”I couldn’t surprise myself, in any way. So the thing I did, and I did it with Being John Malkovich, is I decided that I was going to collaborate with myself, and the way to do that, I thought, was to get myself off of that track that was very familiar.”

Trusting your instincts

When you’re working on your own, nobody else is going to push you to try what you haven’t tried before, and it’s not always easy to dare trust yourself.

How do you know what works and what doesn’t when nobody’s telling you? About writing Being John Malkovich, Kaufman says:

“I trusted that it was funny because I thought it was funny.”

It’s remarkably simple, yet quite refreshingly optimistic. If you think your work is really good, then chances are that at least some of those who see/read it, will do so too.

The people who’ll appreciate your work are probably those who, on some level, would understand your inner workings. Write for them.

A lot of your ideas, especially the great ones, are probably going to be a little crazy. Crazy’s not bad, so don’t worry. But how do you keep them from coming off as silly?

Charlie Kaufman about relatable characters

“There’s gotta be a real emotional basis for what’s going on with the characters. If there isn’t anything, then it’s just silly, and it’s weird, and it feels frivolous to me. It has to be about something.”

An essential part of almost any story is making your audience feel alongside your characters. Nobody will care on the behalf of a character that’s not relatable. By relatable, however, I don’t mean that he/she needs to look or even act as you or me, but the inner feelings, or the “emotional basis”, needs to feel real.

Take The Lion King as an example. The characters are lions, nobody’s pretending otherwise, so they’re obviously not relatable in any physical sense. Even so, the world cried when Simba lost his father. Because he gave us a real emotional response.

Something that keeps coming back throughout this interview, whether because of Kaufman in particular or because it’s a common issue is hard to say, is the concept of taking risks.

“I think it’s kind of the job description, for me. I think that’s what I have to do. I don’t think I’m doing my job if I don’t do that- But still, it’s scary.”

“If what you’re doing does not have the possibility of failing, then by definition, you’re not doing anything new” […] “So the only way that you can do anything new or interesting is to open yourself up to that risk of failing.”

On Failing

The concept of failing, or being a failure, is terrifying. It is, however, how you learn. If you never break down, you can never understand what’ll get you up. There may be things you want to tell that haven’t been told before in ways that haven’t been shown.

These are the scariest stories to tell because of the prospect that people won’t understand them. These are also the stories the world needs to hear, and the ones you need to tell.

Charlie Kaufman rounds off this particular topic with this rather quizzical, yet, if you manage to overlook the odd wording, astoundingly on-point statement:

”This is the only way that it’ll be worth anything at all. Maybe it won’t be, but it won’t – definitely won’t be – if I don’t do that.”

I consider this statement the key to Charlie Kaufman’s success. Giving the world something it’s already ready for eliminates the possibility of presenting it with what it needs to go forward.

When asked about the possibility/impossibility of telling a story, Kaufman’s answer will once again make the structure aficionados out there want to jump off a cliff.

“I’m not really interested in stories. Because I think stories are things that are kind of polished and seen from a distance, and I want to try to do stuff where it’s like it’s immersed. Where I’m immersed in it when I’m working on it. And the audience will experience that immersion, that chaos and confusion of actual existence, as opposed to a story with a beginning, a middle and an end.”

Charlie Kaufman expresses the importance of being truthful. His approach seems to be that films shall reflect the real world instead of an impossibly perfect alternative to it.

A lot of the films being made today can often seem frighteningly foolproof, being just a little bit too shiny. Sure, these can be stunning to look at, but my interpretation of what Charlie Kaufman is telling us is that he doesn’t want to create something that is beautiful from afar, but rather something you could imagine existing inside of.

If you’re a creative person, chance is you’ll have a lot of ideas. That’s fantastic, keep ’em coming. It can, however, come a time when you find yourself hindered by the sheer number of them. Asked how he’d solve the problem of facing too many ideas at once, Kaufman answers:

“My kind of way of solving it, is I just add more ideas… I like the idea of density and opening things up. When I’m writing, I don’t have an outline, generally, where I’m saying I have to go from this point to that point. I find that kind of constricting… If I have a new idea, that excites me, I’ll include it, if I can.”

I think I just heard every screenwriting professor out there to cringe as Charlie Kaufman said this, but it just proves once again that we all work differently in our creative process.

Whether you add up all your ideas and turn them into a story or construct a story first, and then figure out which ideas fit into it, is up to you. Most ideas do work, in some context. They may not, however, necessarily work within the project you’re currently working on.

The most terrible idea could be magnificent, if put into the right concept.

Charlie Kaufman on Rewriting and Feedback

On the topic of rewriting and receiving feedback, Kaufman spoke of being faced with questions about his work from director Spike Jonze (Being John Malkovich) during their reading-sessions.

“It put me in a position of having to explain it, and either I explain it or I can’t, and then we can change it if I can’t. And then I feel fine with changing it, because we’ve talked it through.”

Receiving and accepting feedback is one of the most vital parts of becoming great. It’s also one of the most difficult.

Taking feedback on a paper for school is one thing, but when it comes to something that’s so close to your heart that it’s almost a part of you, it becomes personal. The feelings you portray best are probably those you’ve experienced yourself, and if someone doesn’t understand them, it may be hard to hear.

The advice I would give is to connect your heart strings to your keyboard whilst you’re writing, but once it’s time to sort out what makes sense and what doesn’t, you may want to disconnect. If you find that you can’t explain to your reader why something needs to be the way it is, consider the possibility that it doesn’t.

So what about your inner critic?

“I really need to train myself to let myself write the stuff that isn’t gonna work out. Because if I’m editing and being a critic while I’m writing, I just sit there. Which I do a lot of.“

Ending up not writing at all for fear of writing something that isn’t good enough is highly common. It’s also astonishingly ludicrous. We’ve all done it, don’t fret, but it’s a pattern that will most likely hinder you.

If you have something finished, even if it’s shit, you have a starting point. You’ll end up having to rewrite the first draft anyways, so there’s no need to get it perfect the first time. Just get it done. Then make it perfect.

Conclusion

Throughout this masterclass, it ‘s been fairly evident that Charlie Kaufman values artistic integrity far higher than commercial appeal. It is vital that you don’t try so hard to write what people want that you forget why you’re writing. But as an un-known artist without much credentials, how to face skepticism because your work isn’t “sellable”?

“I think tenacity is really the only thing. What happens with tenacity is that the more people that see your stuff, the more times you get to talk to people, the greater the chances you’ll hook up with somebody who gets it and wants to do it.”

If you’ve found something about yourself that is special, show it or you eliminate the possibility of someone else finding it too. There is lots of ignorance out there, my friend, and if you are extraordinary, that’s something you’ll have to learn to either face or ignore.

A lot of people won’t understand you, but are they really who you’re writing for? Consider why you write, and then do so shamelessly.

When asked why he writes movies, Kaufman awkwardly stumbles on the words before offering the most honestly beautiful response yet.

“I don’t know why I do it. I don’t know what else I’d do.”

If you liked this, check out more videos about screenwriting or filmmaking. And if you know of a great video on Screenwriting, let us know in the comments. Thanks!

Camilla Beskow

Camilla Beskow is a screenwriter, and former student at the Gotland based film school Storyutbildningen. Among her favourite films are Pan’s Labyrinth and Good Will Hunting.