“I’m just a writer, so I get to avoid the fundraising and groundwork…”

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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!

In a brief 2008 talk, Wright about the strenuous demands he places on his writers – by asking them to personally invest in their scripts.

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by Sergeant Hauville

There is one last quality that could determine whether a film is for real or not: commercialism. A real movie would surely arise from pure artistic intent, not from a cynical desire to churn out sellable product. Sadly, once again this idea overlooks a fundamental truth, this time the fact that all feature-length films are a product.

Unless you’re making movies under a communist regime, then your film will be directly subjected to market forces whether you like it or not. Even small, independent studios have to make money, in order to stay afloat and keep making movies: their funds usually come from investors, and investors demand a return. The film industry as a whole only makes movies for two reasons: to make money and win awards. And the main reason they want to win awards is so they can put the words “award winner” on the DVD box and hopefully sell a few more copies.

And there’s another wrinkle to the relationship between real movies and commerce: what if the corporate, mass-merchandised Hollywood product turns out to actually be good? For instance, Matthew Vaughn’s X-Men: First Class was very much a cynical business exercise: it was rushed into production by 20th Century Fox in order to prevent having to hand the lucrative X-Men license back to legal owners Marvel Comics. By all rights, the film should have been an abomination.

Instead, it got positive reviews, boosted the careers of Michael Fassbender and Jennifer Lawrence and reinvigorated the franchise. The Harry Potter films are another example, starting out as a cash-in on the bestselling books under the safe hands of Chris Columbus, but then directors Alfonso Cuaron and David Yates turned the series into something grand and beautiful.

And of course the reverse is also true: it’s possible to go into a shoot with the highest artistic intentions and produce a load of unwatchable garbage.

Your film will be directly subjected to market forces whether you like it or not.

At this point one can’t help but feel whether it’s right to even use the “real” in relation to movies. After all, the vast majority of movies are inherently untrue, that is, they’re fiction. Some are based on true stories or the lives of actual people, but even then the filmmakers often have to resort to creative license to fill in narrative gaps, or their sources might be inaccurate.

Even documentaries are not 100% real, as what they show you is actually the director’s version of events, and important information that could change everything may get edited out, overlooked by researchers or suppressed by a filmmaker pushing an agenda. So it may be that, well, no movies are real movies.

There is, however, another way to look at it, and that is to take the polar opposite approach: to accept that all movies are real movies. The mistake everyone makes – critics, artists and fans alike – is to assume that anything they find unappealing must be invalid. Ergo, any genre or trope they find unappealing must not be how movies are supposed to be.

In reality, to be a bit glib, all movies are movies, regardless of whether they’re realistic or fantastical, arthouse or commercial, even whether they’re good or bad. Yes, bad. The straight-to-video pap, the insipid, opportunistic sequel to a Disney classic, even the cheesiest porno in the shelf – they’re still movies.

So my advice to you is, don’t worry too much about trying to keep it real, or how things are supposed to be. Whether you have a grand master narrative within you, or you’re happy to work for hire, just tell the stories you want to tell, as often as then producers will let you. The satisfaction you get from seeing your ideas done well on the silver screen – that’s real enough.

So it may be that, well, no movies are real movies.

A year after his column from Cannes, Roger Ebert followed up on his comments on real movies. It occurred in what was possibly the last place people were expecting it: in his review of Joe Johnston’s Captain America: The First Avenger.

In the review Ebert wrote:

It was a pleasure to realize, once “Captain America: The First Avenger” got under way, that hey, here is a real movie, not a noisy assembly of incomprehensible special effects. Of course it’s loaded with CGI. It goes without saying it’s preposterous. But it has the texture and takes the care to be a full-blown film. You know, like with a hero we care about and who has some dimension. And with weight to the story.

So, it turns out that an action movie, featuring a superhuman with an indestructible shield fighting a mutated Nazi who possesses an all-powerful space-battery, based on a children’s comic book, scripted by writers for hire (and an unaccredited rewrite from a TV scribe) featuring lots of CGI and converted to 3D, can be a real movie after all.

I was glad to hear it.
(I’m not being sarcastic, by the way. I loved Captain America.)

-Sergeant Hauville

Sergeant Hauville is a writer and aspiring filmmaker from Wollongong.

He is not affiliated with the military or police, but he occasionally does volunteer work for Christian charities despite not believing in God.

Photo Credits: Graphic Stock

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

by Sergeant Hauville

“We should start a Campaign for Real Movies. These also would not be carbonated by CGI or 3D. They would be carefully created by artists, from original recipes, i.e., screenplays. Each movie would be different. There would be no effort to force them into conformity with commercial formulas.”

The term “Real movie” crops up now and then, usually on the lips of actors or directors who are tired of the type of films they currently make and hope to move on to more award-friendly fare. But how do you define “real movies”? The best definition I can think of is “movies the way movies are supposed to be.” But what is this way?

I found myself rather ambivalent about Ebert’s definition above. Sure, I’m all for variety and not conforming to formula, but who’s to say that a proper movie can’t have CGI or 3D? Ebert’s definition smacked too much of his own personal preferences: for instance, he openly disdained 3D movies, so naturally he would claim that 3D disqualifies a movie from being a “real” one. It made me wonder if there was a more objective way to determine what a real movie is and what isn’t.

There would be no effort to force them into conformity with commercial formulas.

A good place to start is the script. A real movie would surely have a good script, and a good script requires strong narrative and strong characterization. So, logically, a real movie must have a good plot and good character development.

With that in mind, does Sofia Coppola’s Lost In Translation count as a real movie? This is a film with a premise – a platonic relationship between two Americans visiting Tokyo – but no actual plot. It is almost pure character, revolving around the relationship between Scarlett Johansson’s Charlotte and Bill Murray’s Bob, deliberately lacking in dramatic twits and shocking revelations.

Even Bob cheating on his absent wife is virtually a non-event. The movie’s dramatic highlight is Charlotte stubbing her toe – and that happens off-screen. Yet the absence of plot didn’t stop the film from becoming critically acclaimed.

On the other hand what about Stanley Kubrick’s 2001: A Space Odyssey? This classic film is the polar opposite of Lost In Translation, being almost completely plot. Its protagonists are merely along for the ride, not really relating to one another, instead reacting to events as shaped by the alien monoliths.

“I started out with very little to say,” said actor KeirDullea of his performance as astronaut David Bowman, “and ended up with even less.” For all its 2.5 hour running time, 2001 contains roughly five minutes of character development – and that’s shared between an ape and a computer. Yet again, a seemingly “deficient” movie went on to become an all-time masterpiece.

And what about montage films like Baraka and Koyaaniqatsi? These films have neither plot nor characterization, just documentary footage arranged into a stream of consciousness rather than any kind of narrative. Does their non-story status disqualify them from “real film” status? The critics who gave them positive reviews don’t seem to agree.

A good place to start is the script.

If the nature of the story cannot help us determine which films are real films, then maybe we can try subject matter. A real film would surely strive to be art, and never lapse into bad taste, never resort to vulgar depictions of sex, violence and bodily functions.

By that logic, Mel Brooks’ Blazing Saddles isn’t a real film, with its proud use of innuendo, horse-punching and mighty bean-farts, Monty Python and the Holy Grail and Life of Brian would also struggle to qualify, and anything by John Waters can just forget about it.

Turning to more serious fare, the gratuitous deviance of Pier Paolo Pasolini’s Sal? (or the 120 Days of Sodom) or the aggression of Martin Scorsese’s Taxi Driver and Raging Bull would also be grounds for disqualification, yet many viewers insist that these films rank among the highest of cinematic art.

Maybe we should think semantically and assume that “real movie” implies realism – realistic characters, realistic environments, and realistic situations. Right off the bat, this would mean that any film set in Middle-Earth, the Land of Oz, or a galaxy far, far away doesn’t qualify, no matter how good they are.

But it also overlooks the fact that the concept of the fantasy story is much broader than people think, that it means far more than the usual ideas of other worlds, magic powers or fire-breathing dragons.

For instance, It’s a Wonderful Life, with its angelic visitor and altered timeline, is a fantasy film. Being John Malkovich, with its head-invading mystery portal, is a fantasy film. Many of Woody Allen’s films have fantastical elements: the Greek chorus in Mighty Aphrodite, time travel in Midnight in Paris, even the metaphysics in Annie Hall. And woe betide anyone who claims that Ingmar Bergman’s The Seventh Seal (playing chess with Death?!) isn’t a real movie.

The concept of the fantasy story is much broader than people think.

Of course, it can be noted that the films just mentioned don’t rely on visual effects, and visual effects have long been used to deny “real” status to certain types of movie (an attitude that has increased significantly since the advent of CGI). Curiously, this is not applied to movies that are 100% visual effect, i.e. computer animated, so I guess that Pixar’s living toys, talking fish and blue-collar monsters are real enough for most people.

However, elaborate visual effects as a justification to deny real moviehood means avoiding awkward questions like “does that meant Ang Lee should give back his Best Director Oscar?” After all, he won it for Life of Pi, in which he surrounded his protagonist with a digital ocean and paired him with a digital tiger.

Same goes for James Cameron recreating the Titanic or Robert Zemeckis turning actor Gary Sinise into a double amputee in Forrest Gump. And don’t forget about Natalie Portman growing feathers in Black Swan or Armie Hammer playing both the Winklevoss twins in The Social Network. Somehow visual effects stop being an issue when they’re used for something other than an action movie.

Action movies! Surely they’re not real movies? After all, action films are often help up as the ultimate examples of style over substance, favoring visceral viewing experience over content. Unfortunately for the haters, this argument overlooks one of the fundamental truths about cinema: that most people go to the movies for the experience, not the content.

They go for the thrills and spills, the rollercoaster ride, or occasionally for a good laugh. What’s more, it’s always been this way, ever since the Lumiere brothers frightened audiences with their footage of a train rushingtowards the camera. This is also a major reason why studio blockbusters consistently out-gross independent dramas and Oscar bait.

Besides, it feels strange to deny real filmhood to Die Hard. Or Raiders of the Lost Ark. Or The Dark Knight. Or Goldfinger. Or The French Connection. Or The Bourne Identity. Or Iron Man. Or The Terminator. Or Skyfall. Or Predator. Or Spider-Man 2. Or Lethal Weapon. Or the first Pirates of the Caribbean. Or Crouching Tiger, Hidden Dragon. Or The Avengers. Or…

Part 2 Continues on Friday.

-Sergeant Hauville

Sergeant Hauville is a writer and aspiring filmmaker from Wollongong.

He is not affiliated with the military or police, but he occasionally does volunteer work for Christian charities despite not believing in God.

Photo Credits: Graphic Stock

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

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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!

Rory’s Story Cubes

This addictive little app has kept me entertained all week. It’s a virtual version of the original product: nine six-sided dice, each with a different image on them.

Every time you shake, the dice fall into different combinations of pictures, guaranteed to get your imagination working and combat the dreaded writer’s block. There’s pictures of keys, planes, lightning, sheep, question marks, footsteps, clocks and speech bubbles to name a few.

Because of the symbolic nature of these pictures, there are millions of ways you can interpret them. You can use them at any stage of your writing project, whether you need a kick-start idea or you’re halfway through and feeling uninspired.

A depressed man finds a key to an abandoned house
that contains a mysterious book.

I challenged myself to come up with a logline based on one combination and came up with this: A depressed man finds a key to an abandoned house that contains a mysterious book.

You can take photos of your cube combinations for later reference too. Easy!

This one is definitely worth the $2.49 it costs.

Celtx

Finally! Celtx is available on iPhone!

This fantastic screenwriting program has everything you need for a beautifully polished, professional looking script. If you already use Celtx on your computer, it’s perfect for when you’re on the go and inspiration hits. You can sync it up to your computer so the script you’re working on updates.

Finally! Celtx is available on iPhone!

The only concern that one reviewer had with this app is that it doesn’t include index cards which are helpful in building the story as you go. This is true, however I think you could easily use a basic note-taking app for that (try Stick-it eNotes, a nifty little free app).

The app version of its free online counterpart is ironically $12.99 but I guess they have to make the moolah somehow, the cost is still nothing on Final Draft!

Methodology-Oblique Strategies

Another great writer’s block tool, this app uses the famous Oblique Strategies: a series of flashcards developed by Brian Eno and Peter Schmidt.

Each flashcard has a cryptic phrase or word that will force you to think laterally. They’re especially helpful when looking at the overall creative process, when you’re thinking about your project as a whole. For example, ‘merge two different ideas’ can relate to an element of your script itself or the overall story.

Each flashcard has a cryptic phrase or word
that will force you to think laterally.

These kind of writer’s block tools I’ve found are much more helpful in sparking your imagination then other kinds that randomize storylines and limit your scope.

For over 100 new flash cards, this one is only $2.49.

Leonard Maltin Movie Guide

What screenwriter isn’t an avid lover of film? Leonard Maltin brings his extensive film knowledge and criticisms to the bite sized world of the iPhone apps.

This is a fantastic app that rivals IMDB with Leonard Maltin’s extensive movie knowledge. On the opening page, he gives a list of his own current picks, movies both old and new.

He may be the nerdiest looking guy on the Internet
but he knows his movies!

You can watch the preview for the film straight away and read Leonard Maltin’s review. There’s also a function that enables you to keep track of your favourite movies and list the movies you want to see, a handy tool when someone’s raving about the latest blockbuster!

He may be the nerdiest looking guy on the Internet  (his mug is the app picture) but he knows his movies!

If you’re a fan of the man, it’s worth the $2.49.

Contour

This is another app based on a full sized product of the same name. Contour is a program developed by Jeffrey Alan Schechter, an L.A. based screenwriter.

Its aim is to help you flesh out your story and characters using tried and true development methods.

For example, it will take you through four questions that are at the core of every good story: Who is the main character? What are they trying to accomplish? Who is trying to stop them? What happens if they fail? The app gives about seventeen screenplays put through this process.

I found this a valuable part of the app, especially as the movies are recent and well known (Slumdog Millionaire, Star Trek and Up to name a few). It also provides a structure for breaking the screenplay into three acts as well as a structure report and beat sheet.

Contour offers a similar service as the Save The Cat app reviewed last time on The Story Department but at a much more writer-friendly price.

Contour will set you back $5.99

Cherie Lee

I studied acting for three years and hold a graduate diploma in writing from Sydney’s UTS. My interest in film and writing was solidified through interning at The Story Department and gave me the opportunity to fine tune my skills. I’ve been involved with several film projects, the most recent of which was shortlisted for Tropfest.

With the knowledge gained from university and my experience at The Story Department, I’m now specialising in professional feedback on short films and documentaries.