Sunday Picture Post 19 / Dreams
photo credit: Jule_Berlin
For The Sunday Picture Post, we are going to flip upside-down the saying: “A picture is worth a thousand words.” Thousands of words are great if you are writing a novel, but if you are writing a screenplay, you need to do the opposite and be as concise as possible.
Each Sunday I will post a picture. For your screenwriting practice in brevity, in the comments section, please post one or all of the following:
- A title for this movie
- 1 word describing the theme, mood, or scene
- 1 sentence to describe the scene
- A pitch to sell the entire movie
The more colorful and creative you are, the better! Use any genre.
A good screenwriter is laconic, using a few words to say a lot.
SCREENWRITING TIP OF THE DAY: DREAMS
To create a story, you may use day dreams: things you think about while you are awake, your ideal life, your dream world, a place you would rather be than here.
Strange dreams from your sleep are also great to inspire an original script.
Or, for your screenplay, you can use your haunting or recurring nightmares.
Keep note of your dreams and browse through them from time to time to see if one jumps out at you as a compelling and engaging story.
Dreams are a fantastic source for unique ideas.
Never Too Late to Catch the 3:10 to Yuma
by Jaden
3:10 to Yuma (2007), directed by James Mangold, gives the original film a run for its cattle.
I watched the 1957 version of 3:10 to Yuma at the New Beverly Theater shortly before receiving the 2007 movie screener. Assuming the Yuma remake would pale in comparison, I didn’t bother watching it until last night, a year later, when there was nothing new left in my cabinet.
Sadly, we are well past voting season because I was completely blown away by the acting performances of Christian Bale, Russell Crowe, Logan Lerman, and Ben Foster that were downright dirty sexy good.
When I see good acting, credit must also be given to the writers and director; dialog, editing, sound, and instruction all play into a fine cinematic performance.
Elmore Leonard wrote the short story from which Halsted Welles wrote the screenplay for the 1957 3:10 to Yuma .
Screenwriters Michael Brandt and Derek Haas successfully met the challenge of reworking the script for a modern audience, capturing the ghostly voices of our wild western past.
Though most reviewers agree that acting and cinematography are stellar in both movies, the scene actions of the 2007 script are up for debate.
Gary North says, “3:10 to Yuma may become a screenwriter’s classic, moving from scene to scene like an accelerating tidal wave of implausibility.”
Joel Haber wrote of the 2007 version, “ultimately I felt the movie failed because it was simply unbelievable.”
Nicklaus Louis commented to Joel Haber’s post:
“I started writing my thoughts on what I felt was a pretty darn good ending (that would be the one you hate), but it got too long for a simple comment and it turned into a blog post.”
I agree that the 2007 version becomes increasingly outrageous, but I do not see this as a negative, rather I see it as a positive. My jaw dropped for the second half. “What — did that really just happen?!” Having surprises jump out of an old movie was great fun for me.
Since I was not expecting something realistic when I watched Yuma, I enjoyed the wild thrills of the new script and the heavy dose of moral meaning that was maintained from the original story. Thrills and morals are what westerns are all about, aren’t they?
My favorite script lines from 3:10 to Yuma:
Ben Wade (the villain): You look kinda skinny.
Woman (barmaid): I don’t feel skinny.
Ben Wade: I don’t mind skinny girls, so long as they have green eyes. Do you have green eyes?
Woman turns around slowly, eyes downcast, slowing turning as Man puts his hand on her cheek. Finally, she raises her head, and opens her eyes, brown.
Ben Wade: That’s okay, they don’t have to be green.
Passionate kissing.
The original 3:10 to Yuma is first-rate; I did not think it could be any better.
For the 2007 version, the writers layered in several strong new subplots and exciting twists. Some new scenes were over-the-top Hollywood style, but overall, the 2007 film seemed more accurate in its depiction of the 1800s, it felt like a lot of research had been put into the new version. Fantasy based on historical fact pleases me most.
To escape reality, grab yourself a bottle of whiskey and sit yourself down on the couch to watch 3:10 to Yuma. Watch the 1957 version first, then some time later, saddle up for a wild ride to Yuma 2007 style. Yee-hah!
Interview with Artist Mark Yates
Better Parking, Better Perspective
by Jaden
You have a charming house near the famous Hollywood sign, great friends, and always seem happy.
Despite your hands and legs not functioning properly, you are an international traveler, accomplished sculptor, storyboard artist, and now director.
Considering how successful you are, using the words disabled or handicapped feels wrong when I am talking to you, but you do have one of those blue cards hanging from your mirror, don’t you?
Do you like getting rock star parking everywhere you go in Hollywood?
I get it everywhere I go on earth. I’d choose ‘flight’ over ‘invisibility’ in most cases but when it comes to being a rock star I would choose ‘invisibility’ every time.
What is the name of your physical condition?
It’s called being ‘Tetraplegic’ but I’m called ‘Incomplete’ because I had some nerve recovery. I broke C5 and C6, which are the 5th and 6th vertebrae in your neck. The nerves inside them were the damaged ones. They pretty much control everything from that point down.
How and when did it happen?
I was being a kid on a bike. I did the perfect half-somersault off of a ramp.
Have you ever felt defeated or have you always had a positive outlook?
I suppose I’ve always had a positive outlook. Everything is an adventure. I had a time when my self-confidence was pretty low. The best way to learn how to swim is to just leap in right. It’s just not like me to feel defeated.
While directing, have you encountered any prejudice or obstacles because of the wheelchair?
Everyone is reassuringly good about it. My faith in human nature is constantly given a little boost.
How about in Hollywood in general?
Even total assholes are cool about my chair. It does get a bit old though on a dance floor constantly being fondled.
When did you start drawing?
I remember now drawing a car in hospital and thinking it was actually quite amazing. 
I think that’s when I started to consider it as anything other than doodling. My grandfather taught the advanced life drawing students at the Royal College of Art in London. Both him and my Dad were very encouraging.
For what movies have you done storyboards?
I don’t generally draw movies unless it’s a friend I’m working with. I much prefer the one-day turn around of a 30 second commercial. The last movie I drew was Friday the 13th, the one before that was 300.
How do you storyboard? Working straight from the script alone or with a director’s guidance?
The director’s guidance is always good to hear. You have to hear the rules before you disregard them.
When storyboarding, do you notice anything screenwriters do with their scripts that annoys you?
I always find it amusing when a writer has to explain how the audience is feeling in a particular moment of their script. It generally means that they won’t be.
Is there anything a screenwriter should do that would enhance their script and facilitate storyboarding?
To get a story that is as clear in part as it is as a whole, what more could one ask?
Tell me about your experience of moving from storyboarding at a desk to the active world of directing.
I was a pretty active storyboard artist but after drawing 300 I realized that unless I made a drastic change I was going to die at my desk drawing someone else’s stuff. When I draw I am in the drawing, living out what was going on in the scene. It got to the stage where after a dozen years of that, that it was not enough anymore. As a music video director I could shoot my own ideas my own way. Also being surrounded by so many people who are there to help you is the opposite of the lonely drawing board. It feels like a natural progression and the right thing to be doing.
What projects have you directed?
Just the [Chicane] music video from last April and I just got back from 3 1/2 months in Austin shooting 2nd unit on Friday the 13th with director Marcus Nispel.
On what projects are you currently working, if you can say?
The next thing is helping Marcus with the edit on Friday the 13th. There are some re-shoots scheduled maybe for November. It’s released February 13, 2009, a Friday of course. I have been really taken back by the kindness, faith, opportunity and trust shown by my friend Marcus Nispel. He directed the Texas Chainsaw movie and also Pathfinder but I have worked on commercials for him for many years. What more could you be given by a friend than the freedom to create your art.
When a person once asked you why and how you are always in such good spirits, I heard you said, “I don’t wake up happy everyday, I choose to be happy.” Is that true?
I want to know what bastard has been spreading such nasty rumors about me! I am always happy damn it!
Sunday Picture Post 18 / Population Control
For The Sunday Picture Post, we are going to flip upside-down the saying: “A picture is worth a thousand words.” Thousands of words are great if you are writing a novel, but if you are writing a screenplay, you need to do the opposite and be as concise as possible.
Each Sunday I will post a picture. For your screenwriting practice in brevity, in the comments section, please post one or all of the following:
- A title for this movie
- 1 word describing the theme, mood, or scene
- 1 sentence to describe the scene
- A pitch to sell the entire movie
The more colorful and creative you are, the better! Use any genre.
A good screenwriter is laconic, using a few words to say a lot.
SCREENWRITING TIP OF THE DAY: POPULATION CONTROL
In real life, you might have hundreds of friends, but for your screenplay, that could get confusing to read or watch on the screen.
1 to 7 main characters is a good range within which to stay.
If you are basing your story on people or stories from real life, combine 2 to 10 people into 1 character, using only stories and traits that create a cohesive story and believable multi-dimensional personality.
You have a short amount of time to introduce your characters and build sympathy for them.
Don’t muddy your script with too many characters or story tangents.
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