The Real Reason Hollywood Makes Bad Movies – II

bad movies people bored

Stupid movie executives purchase bad screenplays, make them worse using Blake Snyder’s storytelling formula, and as a result Hollywood produces bad movies full of explosions instead of non-formulaic, original films like The King’s Speech…. Right?

Let me catch you up on the discussion of why Hollywood makes bad movies.

Is Blake Snyder To Blame For Bad Movies?

Recently, Slate movie critic Peter Suderman opined that screenwriting teacher Blake Snyder’s Save The Cat screenwriting method is partly responsible for “bad” movies coming out of Hollywood.

I responded that blaming Snyder’s method is like blaming a book about “how to write a business plan” for the failure of most small businesses.

Many of you agreed with me. Some of you did not. Overall, you made many interesting points in the comments, via email, and to me in-person.

I love the discussion—thank you to everyone who commented!

In this follow-up post I’d like to talk about the patterns in the comments and feedback I received and talk about some specific things you can do to make original material easier to sell.

Film Executives Are Often Number-Crunchers – True!

A widely-held belief is that executives are bean-counters who don’t understand (or really care about) story, e.g.:

  • Paul wrote, “The age of studio mavericks like Robert Evans is long gone, his ilk replaced by bankers/lawyers/analysts who have reduced the green-light process to one of best-possible-ROI-mathematics. Save the Cat is [a] hack [that executives use to] minimize risk and maximize their potential ROI, and as a result we’re suffering through a cinematic drought.”
  • Jim wrote, “The problem is that too-popular books, one-stop gurus, and structure guides are used as cheat sheets by non-writers to drive development [and] all they know about storytelling they got in a book or a weekend McKee course.”
  • Stephanie wrote, “If there is a finger to point, it might be at today’s young and/or inexperienced studio execs or even independent producers who are not all familiar with story structure, and who have taken Blake’s suggested structure as “the rule” of screenwriting as opposed to a tool that should help all of us get a clearer picture of what the audience expects.”

There is definitely a lot of truth in this point of view.

While “bean-counters” isn’t my favorite descriptor, many film executives are knowledgable about the business aspects of filmmaking. They do look at financial models and are “money-people.”

Like you, I wish that more of the “money-people” involved in making movies would take the time to learn more about story. I also believe that “story-people” should learn more about the business aspects of filmmaking.

Writers should try directing, directors should try acting, and everyone should try producing. It doesn’t take long to figure out that each aspect of the business requires expertise and deserves respect.

If more film executives had creative experience or training, I think this would help them to see the potential revenue in more original material.

However, executives – even if they are “money-people” – know a lot more about story than you might think.

Executives read a lot of scripts. They see a lot of movies. They meet with lots of professional writers. And with very rare exception, they work extremely hard, long hours. (I remember when an executive emailed me about a script three hours after she gave birth).

So an executive may be a “money-person.” He or she may be young, inexperienced, and using Blake Snyder’s checklists as a way of evaluating your work. But this is also a person who, in the last month, has likely:

  • Read at least thirty scripts
  • Considered lots of pitches
  • Watched a dozen movies
  • Met with some of the top screenwriters in the business

Part of the problem is that while an executive may have a good instinct for story, if a project isn’t pitched to them in a way that also makes sense to them from a business perspective, they are going to say “No.” It doesn’t mean they don’t get it—it means that you didn’t persuade them effectively.

Therefore, learn to pitch in the language executives understand.

I don’t mean talking about foreign pre-sales or the way you calculate the size of the potential audience. Instead, pay close attention to how you identify successful precedents and comparisons for your project. This is a way of talking about money without talking about money.

Film Executives Are Afraid of Originality – True!

I know that many of you feel strongly that film executives are biased against original work, e.g.:

  • Mike wrote, “You haven’t addressed the underlying point of Suderman’s article, which is that homogeneity is bad in fiction. It does a disservice to human ingenuity for everyone to work from the same formula.”
  • William wrote, “A movie [that is] truly original will break convention and be something with no precedent.”
  • B. Rosson wrote, “Studios shy away from risk and the making of highly imaginative, original films…. I wonder how producers convinced investors to make a film about a stuttering British King (The King’s Speech)? The script was NOT formula, nor Save the Cat structure.”

In broad strokes, I agree with this idea.

Film executives, in general, ARE biased against original work IF the way you pitch the story makes it seem extremely risky.

Often it’s appropriate for film executives to be scared of originality.

What? Did I just say that?

Yes. Writers value and emphasize originality. That’s important. The desire to do something original stimulates others to innovate, entertains audiences in new and challenging ways, and holds a mirror up to new aspects of our culture.

However, originality scares film executives for good reasons. Something that is 100% original has no precedent that proves it can work.

Imagine…

  • Investing your life savings in a stock that was billed as “totally original, unlike any financial product that’s ever been invented before.”
  • Driving your newborn baby in a car that was “original and ground-breaking in every respect.”

Of course, you wouldn’t invest your life savings in some new-fangled thing, and you wouldn’t drive your newborn around if you couldn’t be confident in the safety of the vehicle.

Original things are not safe. They are exciting because they are risky.

This is why, when an executive hears when you say, “This is a completely original, groundbreaking script unlike anything you’ve read before,” they hear:

WARNING: This has never worked previously. This could get you fired, ruin your reputation, and end your career. BEWARE.”

Therefore, learn to pitch your work by giving it a familiar context and using the right comparisons to demonstrate a successful precedent.

You can learn more about how to pitch and sell an original idea from David Simon’s pitch for The Wire. I think of The Wire as being one of the most original projects in any medium. But Simon didn’t emphasize the originality of the project. His pitch starts like this:

The Wire is a drama that… will be, in the strictest sense, a police procedural set in the drug culture of an American rust-belt city, a cops-and-players story that exists within the same vernacular as other television fare.”

Movies Used To Be Better Because They Were Original – False!

For some people, the movies used to be better, e.g.:

  • Michael wrote, “Why did the Hollywood Renaissance take the nation by storm in the 60s and 70s? They did it because the writers, directors, and producers took risks making the films they wanted to make, films that had messages and morals…. Hollywood needs to take risks on well-written stories [instead of an] endless parade of sequels, prequels, reboots, and over-milked gimmicks like 3D.”

A lot of people feel this way. They look at exceptional movies from the 60’s and 70’s and think:

  1. The films are successful because they are so original.
  2. Today’s films would be better if they were equally original.

There’s only one problem. This argument doesn’t take into account all of the movies from the 60’s and 70’s that were highly original and FAILED.

I don’t think I’ve ever used the words “logical fallacy” before, but this argument (that movies used to be better because they were more original) is a logical fallacy with a name: The Halo Effect.

The Halo Effect means that often what we believe has contributed to a movie’s performance are often attributions based on performance.

In other words, because the old movies we like are original and were successful, we assume that the originality caused the success. But the originality and the success are correlated, not causative. To determine causation, we would need to a) measure originality in way that has nothing to do with financial success and b) evaluate a large, random sample of the movies from the 60’s and 70’s.

Most People Agree – Blake Snyder’s Work Is Not The Problem

Most people got my point that the reason bad movies are made isn’t because of Snyder’s formula—it’s because movies are incredibly hard to make.

  • Bill Lae wrote, “Most cakes use the exact same core ingredients (otherwise they would not be cakes.) Is that why bad cakes are bad? Using Suderman’s [argument], his [own] essay sucks: “The reason op-eds, reviews, critiques, and essays these days stink is because they all follow the exact same formula: introduction/premise ending with thesis statement, body of arguments, and a conclusion. Voila. Crap! So formulaic; I was bored. SAVE THE EDITORIAL!”
  • CJG53 wrote, “There’s a name for this; it’s called STURGEON’S LAW. The late Science Fiction novelist and screenwriter, Theodore Sturgeon, was once asked back in the early ’50s why 90% of Science Fiction was ‘crud.’ His response: 90% of EVERYTHING is crud. Sturgeon wrote: ‘Using the same standards that categorize 90% of science fiction as trash, crud, or crap, it can be argued that 90% of film, literature, consumer goods, etc. are crap. In other words, the claim (or fact) that 90% of science fiction is crap is ultimately uninformative, because science fiction conforms to the same trends of quality as all other artforms.’”
  • Colin Holmes wrote, “The other side of the coin would then be that since some movies are terrific, all the credit should go to Blake Snyder as well, right? STC is just a template, not a formula. If it was a formula and it worked, then every movie would be using it and every movie would be great.”

The King’s Speech Saves Two Cats

A number of people have brought up The King’s Speech (or a movie like it) that they believe represents a non-formula movie that has nothing to do with Save the Cat.

Well….

  • The story does fit into the Save the Cat model. Here’s one version of a beat sheet breakdown.
  • Bertie (The King) has a “save the cat” scene starting on page 13 of the script.
  • Lionel (the voice coach) also “saves a cat.” His “save the cat” is the whole movie.

Bertie is the cat, and Lionel is saving him. The whole film is one giant “Save The Cat.” That’s part of what makes it so compelling.

Blake Snyder Would Have Loved This Debate

Blake and I talked frequently when he was writing the Save The Cat series. I think he would be thrilled by how successful his books have become, how many writers he has helped, and how intensely people have been debating the value of his contribution (or lack thereof).

He knew what he was saying was going to ruffle feathers within the Hollywood community and he was okay with taking that risk as long as he was helping writers.

I feel the same way. I understand that as a former executive, you might assume that I am biased in favor of the executive’s position in this argument about why “bad” movies are made.

I am a former executive. I’m an also an executive who left her job and career to work with and help writers. Many of my friends are writers. My husband is a writer. I care about writers and am highly sympathetic to the writer’s position.

That’s why I want to explain what’s happening as clearly as possible so I can help you to make good decisions and achieve your goals.

Of course, whether you think I’m right or wrong, I hope you’ll let me know in the comments. Thanks!

. . . . . . . .

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55 Comments

  1. I didn’t know there was a script-writing formula. But I will take issue with your analogy. Business plans are tailored to the business which should be unique to the situation. Unless, of course, it’s a franchise. Even then, the plans change. Getting formulaic about the writing promotes staleness. Today’s movies are stale carbons of old formulas and concepts. In fact, I’ve seen the same story lines in different movies. Even that makes me feel cheated. Hollywood is burying itself. I agree with the bean-counter analogy. That right there is a guaranty of staleness. Other story lines are absurd, (like Revenge and Pretty Little Liars), because they create very, very unrealistic scenarios, ( like blacking out cities, a security-less billionaire’s mansion where friend and foe alike wander at will, entire cities and schools all getting e-mails at the same time, cameras all over people watching on their phones, cameras that have no receivers for their signals, I might add. The list goes on. These scripts are totally insulting even if they are fiction. Oh, the camera in the hospital thingy on Revenge. I could just go on and on. Most of the cast on both shows have roles that make them out to be total sociopaths. This is what the bean counters approve? A lot of scripts are so predictable, I figure out 9.5 tenths of the movie in the first 10 minutes, like ‘Nonstop’. Movies today are corporate creations rife with propaganda. The originality isn’t even remotely there. Let’s take the movie about a ‘sex tape.’ That’s about 10 years out of time. What’s up with that? So, they do take chances…bad ones. A painter may spend hours painting and spend a great amount on supplies. They are taking 100 percent risk. That’s what it’s all about. 50 years of Marvel comics? Really?? Re-boots and re-dones is right. There are no original writers, formula or no formula. Most of their ideas are stolen.

  2. Hollywood films today are execrable. There hasn’t been a great film made in decades. I watch mostly films from the 30s and 40s, because they knew how. Hollywood is a disaster. Stupid, mindless formulaic crap we have seen a thousand times before. Unwatchable. Last decent film I saw was Happy Texas.

    “The Fountain” was so bad it may have been the worst film of all time.
    “Running with Scissors”…I wanted to go up to the projection booth and pull the plug!

    I have quit attending films, as it is a complete fucking waste of my very precious time!

  3. Your blog post is packed chock full of Truthiness, and I could not agree more.

    The quality of TV and movies today is far, far better than 20 or 30 years ago. Fire up youtube and watch two minutes of The A Team, Knight Rider, Dallas, The Six Million Dollar Man or anything else we think of as being classic. They’re unwatchable today, at least without a Costco-size stockpile of tequila and a double-injection of hipster irony.

    Same with the 007 films. Just watched the boxed set, 50 years worth of Bond, and my God, the first Sean Connery ones we think of as classic are sloppy stinkers, while even the worst Timothy Dalton 007 film was decent.

    Blake Snyder and others haven’t killed Hollywood–they’ve made it better. Nicholas Cage and Sylvester Stallone, fine, you could make a case for those two guys being responsible for repeatedly trying to crash the Entire Movie Bus into a ditch. But we won’t let them, not when beautiful stuff like Breaking Bad is still being created.

  4. Thanks for your article. While I believe that knowing how to pitch a story is important and necessary, there are a couple of things worth noting. First, how many execs today have read the classics or even pop culture novels? Not having a concept of literature makes it hard to appreciate a screenplay even if you understand the nuts and bolts. Second, execs are under pressure in a hierarchy that no longer is entertainment based. The interests and priorities of faceless conglomerates are different from stand alone entertainment companies. Third, the art of small talk and schmooze is disappearing. Writers are so bent on getting bought or optioned they forget to first make friends. Execs want to do business with writers/persons they like. You have to take general meetings and learn how to develop verbal relationships with people before trying to sell them. These issues are what I address in my lectures and on my website at http://www.howtocreatepull.com

  5. Thanks for your article. While I believe that knowing how to pitch a story is important and necessary, there are a couple of things worth noting. First, how many execs today have read the classics or even po culture novels? Not having a concept of literature makes it hard to appreciate a screenplay even if you understand the nuts and bolts. Second, execs are under pressure in a hierarchy that no longer is entertainment based. The interests and priorities of faceless conglomerates are different from stand alone entertainment companies. Third, the art of small talk and schmooze is disappearing. Writers are so bent on getting bought or optioned they forget to first make friends. Execs want to do business with writers/persons they like. You have to take general meetings and learn how to develop verbal relationships with people before trying to sell them. These issues are what I address in my lectures and on my website at http://www.howtocreatepull.com

  6. I’d like to comment on the alternatives to the current Hollywood model.

    My former home-country, Finland, uses public financing for up to about 70 % of the film budget for most Finnish language projects.

    What that has led to, is that most movie scripts in Finland are done to please just a handful of bureaucrats (and as a result, the greenlighted scripts are downright awful).

    And film financing has become a form of social income support for the artists.

    Once the filmmakers get the grant from the public entity, it doesn’t even matter if anybody sees the movie and horrible projects get repeated year after year under different titles.

    Contrast that to the Hollywood model, where scripts and projects have to be justified on all levels based on the end customer (the moviegoer) in mind.

    If people don’t come to see a type of a movie, those won’t get made anymore in Hollywood. If people flock to see a genre, it blooms very rapidly.

    The Snyder / McGee / Hauge schools of script analysis are popular because they work. People pay year after year for movies based on these models.

  7. Thank you Stephanie for including a section about film executives. It’s often not clear that the executive is the primary creative person in the project. By setting the financial goals, funding, and schedule, he or she shapes the creative decisions thereafter. Those decisions must be made in the material world and work within the physical and temporal limits of that world. All art is shaped this way. An important and exciting aspect of the creative process is figuring out how to do that. A good executive producer understands this and makes it happen.

  8. Hi Stephanie,

    Great article as always. Everyone has to remember it’s called show business for a reason. It’s a business and nothing more. Business sole purpose is to make profits for its owner(s), not to create jobs, etc. It’s all about the money. With that said, you have executives that must play the game just like ever other player on the field. When an executive looks at a project to green light he/she ask one question the means the world to them. “Will this get me fired?”. Remember these men and women have worked their butts off, most of them, to get to that position, such as studio chief, SVP of Development, etc. They have to answer to the the next person above them and for the top guy/gal they answer to the board. If they green light a hand full of projects that end up bombing then their job goes bye bye. That means the multi-million dollar salary, performance bonuses, company cars, jets and lets not forget the power and respect that goes with top jobs in Hollywood. All of that is gone with one or a few simple mistakes.

    This behavior breeds assembly line development and production. Executives don’t hate originality, they love it as much as we do, the question is can they sell it and keep their job. Movie studios are no longer self running companies, they are owned by large corporations. This means they are a line item on the summary sheet. Back in the day a $50 million profit for a self run studio was a great year and all were happy. Now, $50 million profit on a summary sheet next to other line items such as electronics, appliances, theme parks, etc. can be a very small thing. As an executive if you are not showing value in your division you can be fired. It’s all fear based.

    Lastly we as consumers are the ultimate deciding factor. This year we have complained more than any year that we are tired of dudes running around in capes yet we all rushed out to see them. So what does Hollywood do, order up more of the same. YA books are the craze now since Hunger Games and Twilight made so much money. Yet this year most of them bombed as we voted to not go see them.

    Bottom line, vote with your dollars and Hollywood will be forced to make what movies you want them to make. Better yet support the emerging crowd funding trend that is allowing professional filmmakers to make indie films for specialized audiences without having to rely on the studio system.

  9. Stephanie,

    As a first-time producer and 1st AD of a micro-budget indie I really appreciate your comments because, to a great degree, every single film takes a huge risk. The money people risk their capital which could arguably be better spent elsewhere, the creative people risk their egos praying that someone “gets it” and remembers them — and the production staff hopes that they can pay next months rent.

    These huge risks always require a bit of a hard heart because the financial payoffs aren’t always there and the blistering reviews can sometimes be soul destroying. To expect that a film will turn a profit is only one of the ways the participants can be rewarded, but it’s the one that makes other attempts possible (not to mention buying groceries etc). When has this not been true?

    Probably part of what’s driving the blandness of films today is the international markets. Big budget action flicks transcend language barriers and foreign governments aren’t interested in political commentary and other deep issues.

    In terms of what makes it though, what’s true in film is what’s true in life: Aim small, miss small. Spielberg didn’t succeed by accident.

    Learn everything you can, hone your craft to laser-beam intensity, over-prepare, try to insure that your work maintains it’s “voice” and isn’t watered down by well-intentioned (but uninformed) suggestions, be a nice person and have fun because no one wants to works with asses, believe in yourself and your friends creativity, risk your *own* capital and pull from the utmost depths of your well of determination because you’re going to need it.

    Sometimes that actually works.

    Have a better one…

  10. Great Post Stephanie! Love it! Give ‘em hell. :D

    When someone tells me they have an “original idea that’s never been done before” I immediately don’t want to hear it. LOL! I find it a bit arrogant and somewhat naive. Hopefully every story has some originality. And every story has some familiarity. Sometimes I wonder if “original” should be replaced with “self-indulgent”.

    I also think there’s too many variables to compare movies today to the 60′s and 70′s. For example, There were almost as many films released in Jan 2011 as there were in the whole year of 1970. Never mind the available platforms now. Besides, stories cater to the times. Perhaps people who prefer the “oldies” also preferred that time? Just sayin’. I generally much prefer today’s movies. It’s all subjective.

    Anyway, your post had me nodding my head the whole read. Thanks for sharing it on Stage 32 as well! :D

  11. Hollywood does seem very worried about money and fearful of owning new media. What is Hollywood ran a youtube channel showing awesome teasers? that’s a guaranteed income stream and loss leader right there. Channels could cobble together some great webseries based on edited-down versions of great series like Boardwalk or breaking bad or mad men. Few people have the time to watch the oroginals cause they’re all t home working on their computers. To actually tempt someone to go a theatre and park their car and spend good money – you got to have some something so special story wise or with such dazzling special effects people can’t resist. The old models are dead: theatres and studios no longer have monopoly on content. Get with the program.

  12. Yeah I totally agree with this. Movies are bad because they are hard to make. It’s a business and business has a high failure rate. Business start ups are a creative effort where you can have a great brand, great team, be fully capitalized, and a great location and still only survive six months. If there was a sure thing formula everyone would do it and no business would ever close it’s doors. I think too many people have been lulled into the romantic notion that Hollywood has created about itself that movies are ‘magic’ and that because someone is an artist you should just give them whatever they want to make their art. That’s absurd. This is a business where the goal is not to just make a movie but to make a second one. Creating a business is just as much an art form as telling a story and in some ways a more noble one because a business actually employs people and puts food on their table. A movie may not be a ‘success’ but if it gave a couple of hundred people a job for two or three years and can possibly make a return on its investors money so they can do it again then I say make all the crappy movies they want. Maybe they’ll get lucky and strike gold and make a lot of people rich. Until then though at least one can hopefully keep a lot of people employed with their terrible movies. That seems noble to me. I’d rather see people try and fail then sit around and do nothing.

    I think the point about the 90% rule is key. Failure and success are born from the same beginnings. Emerson wrote a great poem that describes this perfectly. If nature can’t even get it right 99 times out of 100 why do we think we can?

    “Nature makes fifty poor melons for one that is good, and shakes down a tree full of gnarled, wormy, unripe crabs, before you can find a dozen dessert apples; and she scatters nations of naked Indians and nations of clothed Christians, with two or three good heads among them. Nature works very hard, and only hits the white once in a million throws. In mankind she is contented if she yields one master in a century. The more difficulty there is in creating good men, the more they are used when they come.” – Ralph Waldo Emerson

  13. “Writers should try directing, directors should try acting, and everyone should try producing.”

    Seriously? Where’s my coat with the fuzzy collar? Where’s my megaphone and my monocle? Where’s a jillion dollars to try even one of those things? Or are we talking a new RPG? I like the concept.

  14. I may not read your blog writings often but as a screenplay and script writer only dreaming of a future in film, everything you bring up is always informative and leaves me with more questions I should be asking.

    Considering that one shouldn’t pitch a movie with the direct comparisons like “Jaws In Space” (although that clearly worked)… are there any tips as to how one can make comparisons to successful films when describing their script to anyone who will listen?

    An example I have for my 3-movie epic masterpiece would be “300 (Zach Synder movie) meets Enter The Dragon”. How could I describe something like this in 3 sentences or as few as possible? Thanks for all your work.

  15. What makes a movie a good movie is not the structure of the writing, the economics and cost, or the experience of the executives. What makes a good movie is the audience – what they like, what they come to the theater to see. It is the psychology, the nervous system of the brains watching the movies. Harry Cohen, the former head of Columbia Studios who green lit Frank Capra’s movies had a rule of thumb (actually a rule of butt). If, while watching a movie, he begins to wiggle in his seat, the movie is bad. Why? As long as his mind was locked into the story, he was unaware of his body. But when his butt began to wiggle, his lock with the story had been broken. Something was wrong with it. Think of Old Yeller, the Disney movie of the 1950s. Did you cry when Old Yeller had to be killed by the boy? Did you cry because the dog was going to die, or was it because he got rabies for his valiant, unselfish sacrifice? And so, it was pitiful and unfair that Old Yeller had to die. It was this conflict that made me cry, and after all these years I still remember the movie. A good movie moves us. It dives deep into our soul, and wrings our emotions – whether tears or laughter. Save The Cat simply understand that the audience must be pleased, and pleased within a limited time from of 120 minutes.

  16. The sad truth is there is no single reason why movies today, in proportion, are so much worse than years ago. There are many reasons, one of which is money. With more money invested, the studios feel the need to round out the edges, or voice of a film to reach the largest possible audience. The LCD (lowest common denominator ) or Leno factor, as it is often called. Comedy is more broad, drama more telegraphed, and just blah. While everyone says “No one sets out to make a bad movie,” the problem is they set out less and less to make a good movie. By compromised choices made in aiming for the first goal above.
    The studios are out of the quality film business, because they don’t move the stock price like billion dollar Marvel picture, leaving it to the independents…and thank God for that. The saddest thing tho, is they don’t even give a shit.

    • Hi Ken, Although I appreciate that everyone has their own opinion and experiences on this, my personal experience is that the execs I know all care very deeply about making good movies that will hit a particular market favorably (maybe not all markets, or not your market). I’ve worked in the industry for 20+ years, I’ve been around big budget visual effects films for a while, and I guarantee you, everyone is hoping it’s going to be good when it comes out. There’s too much work that goes into these films to ever think that people don’t care about that. You’ve made some grand sweeping statements that don’t take into account personal taste, the love of movies people in the business have, and the hope that everyone will be proud of what they’ve slaved over. And the disappointment when it doesn’t work. My two cents.

  17. Wonderful article Stephanie. Balanced and extremely helpful. I also think that some of the problem relates to the pressure of the current model of distribution and box office demands. The changing modes of consumer access to films and TV just may allow for a wider variety of stories reaching audiences that may not have considered a trip to the cinema but will make a trip to the internet.
    Even so, we writers should always shoot for great story and structure – it just makes for the best cinematic experience for our audiences – whatever the medium. Engage me and take me away . . .

  18. A wonderful essay and thanks for sharing it. Much good to know here; except I think a true logician could rip apart all the logical fallacies posing as logic related to the save the cat issue. STC is a wonderful guideline on how to make a safe, entertaining and in the end, “B” movie; (write what you know… And the wonderful Mr. Snyder did, rest his soul.)

    which truth be known, B movies are more often made than not and sought more to make than not.

    you have to walk out on a wire to make a great movie that also might become a blockbuster. it requires more of everything from everybody; and it requires a great script or idea, unless it has to do with superheroes or some such.

    STC is a fine rule book on how not to write, if you are wishing to write a truly great script. so… it is necessary reading.

  19. GOOD EVENINGAND THANK YOU FOR YOUR VERY VALUABLE INFORMATION, I HAVE A REALITY TV SHOW THAT I PRODUCED AND HAVE A SIZZLE REEL I WOULD LIKE TO SHOP TO THE NETWORKS WHAT IS THE BEST WAY FOR ME TO APPROACH THIS ALMOST IMPOSSIBLE TASK WITHOUT HIRING A PRODUCTION COMPANY OR AN ETERTAINMENT AGENT WHO SEEM VERY INTERESTED IN THE PRODUDCTION AND NOT SELLING MY SHOW, ALSO PLEASE LOOK AT MY SIZZLE REEL AND GIVE ME YOUR HONEST OPINION ON WEATHER THIS SHOW WOULD BE INTERESTING TO WATCH
    THANK YOU
    TYRONE SUTTON

  20. “WARNING: This has never worked previously. This could get you fired, ruin your reputation, and end your career. BEWARE.”

    An insightful and amazing quote that answers perhaps the most common criticism about this present movie era, which is a “lack of originality.” Original things no matter how well-applauded and well-received, after, they are successful; they all started out as huge risks, and movies are no different.

    Movies required a high investment meaning dozens of people, from executives,to producers, to directors, actors, and to writers take an enormous risk, of their careers and livelihoods, to make a film, in the mere hope that it will be successful. An enormous risk that has a high probability of failure, even under the best of circumstances, and the risk is even higher if the movie is from an “original idea.”

    Such a risk, is too high for many, which is the why the majority of filmmakers and their investors, decide to use an established and successful work that already has a large audience, to begin with, before they adapt the work into a film. It’s a safer bet that has a higher chance of success, than an original but unproven idea does because it would mostly likely be a successful film than a failure.

    These are the main factors in why “originality” is pass aside because of the high risk of failure, and your quote sums it up the best.

  21. Screenwriters and film makers in general are in the entertainment business, and to acknowledge this fact is to ask the question, “What is it that entertains us and why?” The crisis facing the industry has less to do with “formula vs. non-formula” approaches to story as much as it reflects a precipitous decline in cultural literacy. Granted, whether as original stories or adaptations, scripts have seldom if ever qualified as great works of literature. And yet it’s disturbing to realize that the primary target for the big-budget blockbusters is a single male, 24 years of age, with a fixation on comic books and a worldview more appropriate to an 11-year old.

  22. I think my friend and colleague Phillip Mottaz said it best. It was something like — “I have an adult relationship with SAVE THE CAT.” It’s not the Bible and it’s not a plague on Western civilization. The best thing to come out of it (for me) — and a lot of books of its ilk — is an interesting and useful vocabulary for discussing common screenwriting issues. Without a specific language associated with specific problems, story element, techniques, etcetera, a lot of critical analysis could easily sound like most of the nonsense critiques on DANCING WITH THE STARS.

    • Your comment made me laugh, Adam. I think the Dancing with the Stars critiques seem poetic in comparison to some other shows. I love the expression, “I have an adult relationship with Save The Cat.”

      • I’m sure you’re right on the DANCING WITH THE STARS critiques. I’ve heard some pretty poetic analysis on the random channel surf, but I’ve never really watched any of those shows in their entirety. There could actually be a “double mumbo jumbo” equivalent in dance and I would be totally oblivious.

  23. I especially like what you have to say about (if I may call it such) the need for cross-pollination of jobs in filmmaking.

    Writers who have not seriously spent time watching actors work on their craft don’t understand that many actors will be attracted by even small parts if the character itself is interesting. That’s why some major actors may show up in what turns out to be an otherwise poor picture — they wanted to play THAT character. If the writer doesn’t realize this side of acting, he won’t always make sure that even minor supporting characters are interesting.

    But also the matter of production concerns is another factor that writers should learn more about. I was recently approached by someone with a story idea for a science-fiction tinted feature film. It was obvious that this would be low-budget, but I liked the idea. So I asked what would we “have” in terms of locations and sets that he wanted to see in the film. I don’t think it occurred to him before-hand. But for me, knowing what can be done gave me some things to run with (“Oh goody, we can blow up a warehouse!”). But knowing the production limits helps me shape the story to make the best, most exciting use of the resources we will have, instead of trying to write something that will throw the whole budget out of whack.

    I would rather write a script that can make a low budget feel exciting and moving and terrific than one which reads epic and spectacular and would cost more than a moon-landing mission to produce.

  24. Hollywood may make bad movies, but you’ve never made a bad blog entry. Thanks for another great post!

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