Sometimes I watch a movie and a week later I have forgotten everything, except for one single scene. Do you have that, too? Invariably, this happens more often with movies that have an unusual narrative structure.

After watching Charlie Wilson’s War, I forgot everything except for a handful of masterful scenes and the ‘zen master’ ending.  To me, one scene stood out above all else. It is an instant classic, and a class example of expert use of dramatic construction, exposition and subtext.

You could do a whole masterclass, just on the scene structure of this moment.

Charlie Wilson’s Fail

Charlie Wilson’s War is by all standards a solid film, but most people will agree this is not a great movie.

With Sorkin on story, a budget of $75m, and Tom Hanks’ & Julia Roberts’ star power, the studio must have looked at the domestic result of $66m as a big disappointment. If a film of this calibre doesn’t reach the mainstream, usually the filmmakers are to blame.

But if you’re a discerning viewer, you don’t want the studios to stop making these pictures.  In fact, if you love political intrigue, you’re on the left of the political spectrum, and you enjoy great dialogue, then this film is pure delight.

Sorkin has said that he never has an agenda when he writes. Really? Charlie Wilson makes a pretty darn strong statement.

Out of its contemporary 2007 political context – the West fighting a heavily armed Taliban in Afghanistan – this is a straightforward hero movie with a happy ending. Add the zen master perspective, and it becomes a wry satire about the bungling and moral murkiness of American politics.

The stuff of great drama.

Why Didn’t It Work?

Satire is a tricky genre at the US box office, particularly if it’s just smart, and you leave out the primal elements.

Borat worked – primal allover – but what other satires do you know that broke out and went big?

Charlie Wilson’s War recounts the eponymous Texan Congressman’s lobbying in the arms race during the Soviet-Afghan war of the late 70’s.

What started as a covert operation with a budget of $5m spins out of control to an all-out war effort spending more than a hundred times that amount.

With stars like Tom Hanks, Julia Roberts, Philip Seymour Hoffman and Emily Blunt, a screenplay by Aaron Sorkin and Mike Nichols at the helm, this is nothing short of a dream team. Still, the movie didn’t made its money back.

In my view, one reason the film didn’t work is because it ends ironically. (The reason it did work for me, is Sorkin’s addictive dialogue, and his masterful sense of scene structure)

In the McKee sense of the word, the resolution is a tainted victory. There is no clear happy ending. Wilson wins his war, but at the end of the film we are reminded of where the resources of this arms race ended up: with the Mujahideen – and by extension, the Taliban.

We don’t really need McKee to explain that this is also pure, literal irony.

Flawed Movie – Fabulous Scene

If Sorkin’s movies lack cinematic arcs, their individual scene structure makes up for it. Borrowed from stage theatre, he creates sweeping mini-movements that put the best visual screenwriters to shame.

How often do we find a well-constructed, meaty, dramatic scene these days? Pressured by the kinetic editing rhythm of today’s action movies, scenes are often kept too short.

This movie moment from Charlie Wilson’s War is the exception: a classic three-act scene structure with a spectacular climax, and the entire event clocking off at three minutes sharp.

Interestingly, the protagonist is absent; the scene introduces the supporting character of CIA spy Gust Avrakotos.

Hero For One Scene: Gust

In a spectacular collision between Gust and his superior Craigley, we learn all there is to know about Gust.

His CV is substantial, and he gives us all the fine detail. Yet, we happily swallow the expositional subtext, as the drama keeps us at the edge of our seat.

The exposition is subtextual because at the surface, it all starts about an apology. But when Gust arrives at the Langley office, the last thing he wants to do is apologise.

The function of this scene is simple: to introduce the character of Gust.

In my classes, I explain how the most important character aspects are (in order) psychology and sociology. Craigley tells Gust to his face that the reason he lost the Finland job is because he is coarse.

In the scene’s final act, Gust speaks five words that sum up his character’s function (or sociology) in this movie, as well as the scene’s reason d’être: “I am an American spy.”

This has been the subtext of the entire argument, ultimately floating to the surface in the climax.

Scene Structure – Mini Hero’s Journey

When we understand that the argument is no longer about the apology, but about Gust’s missed career opportunity, Sorkin signals this with a First Threshold: a tradesman opens the door, and interrupts the conversation. Scene structure emphasised by action and setting. Beautiful.

If you don’t believe this constitutes the mythical curtain between the scene’s first and second act, do read on.

Gust builds his argument, with tension increasing to the boiling point. At the mid point, things get personal. Gust goes so far that he risks losing his job – and in Hero’s Journey terms his identity – when he attacks Craigley ad hominem, by revealing he knows about an affair. This is the scene’s lowest point, or Ordeal.

Time for the Final Threshold, and guess what Gust does… He opens the door again, to find the tradesman!

What follows next, you’ll need to watch for yourself. Too good to spoil. Let’s skip to the aftermath moment.

In the Hero’s Journey, after the hero has completed the quest, he brings the elixir back to his people (here: “How was I?”), and he is hailed by the community for his achievement: thumbs up!

Pure class.

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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Okay, he is among the most interesting screenwriters alive. In fact, he wrote the one scene I study the most with students in my own screenwriting classes. In exactly three minutes, that scene shows Sorkin’s genius in its dramatic construction, exposition and subtext.

Heck, I love the guy. So let’s make it the Sorkin Weekend on The Story Department – and get it over with. (If you come back tomorrow, I’ll show you that scene.)

So Sorkin is doing this Masterclass.

And you’re dying to part with 90 dollars, because he is going to teach you how to … be Aaron Sorkin.

You won’t be alone forking out the bucks.

How many others do you think? I reckon in the order of 10,000. So once you’ve completed the class, you will write a script following the method he teaches, and you’ll be competing with those other 10,000 who have done the same.

I still think you should do it, for the same reason I told you to spend even more to see McKee.
These guys are the Rolling Stones of Screenwriting. You spend your money, not to become the next great writer, but to have some guilt-free, good quality fun.

Do it. Seriously.

The 5 hours you will be watching and listening to Sorkin, you will have a great time. He is a fascinating character, and his unique style is greatly entertaining. From that perspective, $90 is actually great value. You may even learn a thing or two, but better consider that a bonus. They are probably things you already knew but had forgotten, or things you could have learned elsewhere, for less.

The other reason why you should take the class, is you can brag about it afterwards! You will be at the centre of attention as you share Sorkin’s tricks with your screenwriting friends. And when you send your script to a producer, you can whet their appetite by claiming you learned the skill from Aaron Sorkin!

In hindsight, scrap that last thing.

How Aaron Sorkin Learned His Craft

Why am I cynical about actually learning the craft from the Masterclass?

First, because Sorkin is essentially a brilliant dialogue and scene writer. This is why he broke onto the scene with The West Wing.

Grand story arcs are not his forte. The Social Network was released with amazing timing. Yes, it offered spectacular dialogue, but ultimately delivered on the back of the global Facebook hype, and the star power of Mark Zuckerberg.

Steve Jobs came too late for the hype. It really consisted of only 3 scenes, written completely in the theatrical tradition. It cost $30m to make, and returned barely that from its cumulative worldwide box office. Given that major pictures need to return 2.5 to 3 times their budget to break even, it means it left the studio a huge loss.

And Charlie Wilson’s War was brilliant in my view, but sadly also a commercial flop.

More importantly, you know how Aaron Sorkin learned his craft?

Immersion.

His parents took him to theatre plays from an early age. He was immersed in the world of story, and learned it by osmosis. As a child, he fell in love with the sound of great dialogue, and he is still working to emulate this every day.

Of course all this doesn’t mean you can’t have your fun and do the Masterclass. Go ahead, and spend the $90!

If you think it’s too much money for entertainment, then watch this fabulous, free one-hour masterclass with the man:

If you really want to learn screenwriting the Sorkin way, immerse yourself.

And come back tomorrow for my favourite Sorkin scene, which I’ll play to you – for free.

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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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!

[youtube https://www.youtube.com/watch?v=S78RzZr3IwI&w=600&h=374]

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!

by Jenny Frankfurt

For some of course, this is not a hard task; they know how the world of entertainment works whether they be in LA, London, Australia or NYC and they follow the rules with the help of a representative like myself.

Some people however, want to be in this world and don’t have the ‘in’. Here’s a little help in the right direction. What everyone is looking for: A good script that tells a tale that will be commercial or poignant and will appeal to a big enough audience to get financed. If you think a story about an alien in disguise who sells ice cream to pensioners in an old folks home is going to sell you’re likely wrong.

You don’t have to think big but you have to see a broad appeal.

But how to get started while you already have the skills but not the contacts to get to these people who are going to help? It’s the old joke of not being able to get a job unless you have an agent and not being able to get an agent unless you‘ve had a job. For me at least, for writers, this isn’t necessarily so. I am always open to listen and to read. I will know fairly quickly if you’ve got what it takes.

It takes talent, it takes a clear vision and it takes a willingness to listen and be guided. Easier said than done! To me though, just as if someone hadn’t heard Barbra Streisand sing they wouldn’t know she could have, all writers with talent deserve the chance to be read to see if you might be the next Aaron Sorkin or Julian Fellowes and just haven’t been found yet.

Preparation for being read is very important.
It’s just as important as preparing the story to be written.

Make sure, if you are pitching to the US that your script is formatting appropriately for America.

The more classes and seminars you attend the better, as more and more professionals are teaching and speaking at classes. If you have something good to sell and approach people correctly and with your passion on your sleeve you will be heard. As long as the instructor is someone who has worked in the business and had a script sold or has gotten to some form of development they can likely lead you down the right path.

If you haven’t structured it right, no respectable rep will read it. It tells me right there you’re not really that serious about what you’re doing and since I’m going to help you and hope you’re going to help pay my bills, you better take it seriously. There is formatting and act breaks for television and character arcs and A and B stories, etc… It’s a job so prepare for it like one. Get it to the best place you believe it can be and have some people read it. Go to networking events, make friends with assistants. HUSTLE.

When it’s truly ready, continue to work the schmooze. Get involved with other writers and intern at companies. Hang out with the people who are doing what you’re doing; at a Writer’s Store, a university, a friend of a friend or through researching on the Internet, you will get it to an agent or manager. There are many websites in the US where you can have your screenplay on show and managers, agents or production companies can take a look. Make sure you write a clear synopsis.

If you are going to send a query letter, do it as carefully as possible. If there is anything impersonal or out of sorts with a query letter I will not respond to it. I have accepted scripts via query and some have been good! Everyone needs a break and I understand that; but not everyone will.

I will read scripts from friend’s abroad, a suggestion from a client or anyone. I am honest and you have to prepare yourself for cutthroat criticism. If your script is not at its best you will know it soon enough.

It’s easier than ever to contact people now that there is Twitter, Facebook
and other social media sites giving you almost instant access.

The good news is that the industry outside of Hollywood is smaller and therefore more people are looking for new talent. Also, some places like Australia and London have great film commissions and sending your scripts to them in hopes of getting financing already puts you ahead of others, without a rep.

It all comes down to the work you’ve done. If you’ve got it right so far, then nothing can stop you.

-Jenny Frankfurt

Jenny Frankfurt has been a literary manager for the past twenty years, and runs her own company Highstreet Management, based in Los Angeles, where she represents writers and intellectual property around the world.

Prior to this she was Head of the Literary Department for Handprint Entertainment and has worked at both The William Morris Agency and ICM.

Jenny also blogs and tweets.

_______________________________

With thanks to Sol. Enjoy!

Karel

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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