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Archives for 2011

On Google, and evil

January 20, 2011 Genres

A few months ago, I was approached to write a movie about Google. The producer had rights to a book, but more importantly seemed to have access to significant people with connections in the company, both at its founding and today. I was intrigued.

I think Google is one of the most fascinating success stories of the last few decades, and certainly worthy of big-screen (or small-screen) exploration. The producer wanted to focus on the early days, which is understandable: it’s an underdog story, with scrappy geniuses inventing the future. He was particularly keen on Google’s “Don’t Be Evil” philosophy.

I jumped in: “And then, of course, the second act is about how they become evil despite themselves. It’s like Animal Farm. The pigs make all these noble rules, and then systematically subvert them.”

*Crickets.* I won’t be writing the Google movie.

But it’s remarkable how much my appreciation for Google has shifted over the last year or two. I use their products, but I don’t love the company anymore. In fact, I’m kind of nervous about them. It’s a small thing, but I stopped syncing my address book through Google. I don’t want all of my stuff in their cloud.

Some of what I’m feeling may just be the need to have a technology villain. As an Apple user, that’s long been Microsoft, but it’s hard to feel threatened by a company that keeps tripping over itself. When Microsoft has a big success — Kinect, for example, is amazing — I find myself rooting for them.

I’m not the only one noticing something has changed about Google. They [cozy up with Verizon](http://www.nytimes.com/2010/08/05/technology/05secret.html) on net neutrality. While cheering for openness, they embrace Adobe’s proprietary Flash format. They have valid competitive reasons to do both, but it’s inconsistent with their stated philosophy.

They launch services that seem under-thought and over-engineered, like Google Wave and Buzz. Meanwhile, they’ve actually become worse at the thing you mean when you say “google.” For example, Paul Kedrosky tried to compare dishwashers, and found nothing but [spam and gibberish](http://paul.kedrosky.com/archives/2009/12/dishwashers_dem.html):

> Google has become a snake that too readily consumes its own keyword tail. Identify some words that show up in profitable searches — from appliances, to mesothelioma suits, to kayak lessons — churn out content cheaply and regularly, and you’re done. On the web, no-one knows you’re a content-grinder.

How do these content-grinders make money? Largely through Google ads. It’s created a situation in which inferior search results make more money for Google. Yes, they still want to organize the world’s information, but it’s become easier to see the gray text after it: “…so we can sell ads next to it.”

The Android operating system it makes for mobile phones has become a viable challenger for Apple’s iOS. But for all the talk about it being “open,” they’re not giving it away out of the goodness of their hearts. Explains [Kyle Baxter](http://www.tightwind.net/2011/01/android-isnt-about-building-a-mobile-platform/):

> Android isn’t an attempt to build the best mobile platform and sell it on its merits; it’s a play to control the vast majority of the mobile market, secure eyeballs for Google advertising and eliminate any threat to Google.

At Google board meetings, do they discuss whether they should aim for smaller market share? I doubt it, though if asked about any other industry, they would stress the importance of robust competition.

Narratively, that’s the story I find most interesting about Google. At a certain point, do you become so large and powerful that evil is unavoidable?

I love the United States, but it’s easy to see why many actions our country takes in its own self-interest appear evil to other parts of the world. We want to raise the standard of living worldwide — but not at the cost of American jobs. We believe strongly in human rights, unless we’re talking about suspected terrorists, in which case we go Jack Bauer in a hurry.

Espousing freedom is easy except when it threatens your own dominance. That’s the conundrum Google is in at the moment, though I wonder if they even recognize it.

Are music videos worth the bother?

January 19, 2011 Directors

questionmarkI am an aspiring director. If my true passion lies in films (action-adventure in particular) and not in music videos or commercials, should I bother trying to make a run at being a music video director? Would learning how to tell a story with no dialogue in under three minutes be worth it to me?

Or should I just stick with the indie film route and write a low-budget film?

— Tyler Leisher

As a general rule, don’t waste your time building a proxy career.

Every director needs practice with visual storytelling and composition. You can do that homework by shooting as much as possible: photography, short films, docs, etc. Study how others do it. Read books. Learn VFX.

Watch movies with the sound off. I’ve learned a lot by not putting my headphones on while staring at random inflight movies. For whatever reason, you particularly notice matching eyelines this way.

If your goal is to direct the next Once, I suspect these smaller steps would be enough.

But in your case, Tyler, genre matters. To direct movies with loud trailers and explosions, you’re going to need a director’s reel that shows size and scale and sizzle. Music videos and commercials are a great way to do that, as are spec shorts with a lot of visual FX. [Modern Times](http://vimeo.com/17631561) will get Ben Craig more attention than a nicely-observed indie would:

Yet it’s a misconception that Hollywood is eager to hire music video directors. They really aren’t.

Studio execs want to hire directors they believe can get the movie on the screen as effectively and cheaply as possible. Music video and commercial directors tend to have great-looking reels that showcase high production value for low production costs. And they’re hungry: they’ll work their asses off to land a feature directing assignment, even shooting spec scenes to show what they can do. ((And yes, this drives established directors crazy. It creates that expectation that directors should have to audition for jobs.))

So if you, Tyler, want to direct these kinds of big movies, you’ll need to show you have the visual chops to pull it off. You could do that with music videos or commercials, or a small feature like Gareth Edward’s Monsters. Also consider television: the walls separating film from TV have never been lower, particularly given the quality of many one-hour dramas.

Whichever path you take, remember where you’re trying to head. It’s all too easy to get stuck on treadmill of small assignments that never lead to your intended destination.

All yourselves belong to us

January 13, 2011 Psych 101

I saw The Social Network again last week — the first movie this year I saw twice in the theater.

On second viewing, you notice how often the movie answers questions across a cut (such as in the overlapping depositions) and how often people run across a campus, or up a flight of stairs. For subject matter that might seem well-suited for a play, the filmmakers were determined to never let it feel like one.

Reading Lev Grossman’s [profile](http://www.time.com/time/specials/packages/article/0,28804,2036683_2037183,00.html) on Mark Zuckerberg for Time, it’s clear that the actual guy isn’t quite the character portrayed in the movie, particularly in terms of his social skills and motivation. That’s not a criticism at all; I’m sure the actual Henry V wasn’t much like the character in Shakespeare’s play. In both cases, I’m happy the writer’s first allegiance was to the audience’s enjoyment.

Beyond its rounder, softer profile of Zuckerberg, what I appreciate most about Time’s article is its concise description of what makes me uneasy about Facebook in its current form: the binary definition of friendship, and unified version of identity.

> Facebook runs on a very stiff, crude model of what people are like. It herds everybody — friends, co-workers, romantic partners, that guy who lived on your block but moved away after fifth grade — into the same big room. It smooshes together your work self and your home self, your past self and your present self, into a single generic extruded product. It suspends the natural process by which old friends fall away over time, allowing them to build up endlessly, producing the social equivalent of liver failure. On Facebook, there is one kind of relationship: friendship, and you have it with everybody. You’re friends with your spouse, and you’re friends with your plumber.

In the seven years I’ve been running the blog, I’ve noticed the online version of myself drifting closer to the “actual” version. ((I’m sure a CS student could write a script to compare my usage of “me” and “I” over time.)) But there is still a difference, and that’s deliberate. Even though this site has my name on it, it’s still a fairly controlled product: *a ton of useful information on screenwriting.* You’re getting the screenwriter John August, not the Eagle Scout, the cook or the Real World/Road Rules Challenge completist.

I mostly write about screenwriting and the film industry. When I do go off-topic, I generally put it in the Off-Topic section or flag it as [Random Advice](http://johnaugust.com/archives/category/random-advice). ((I set up a Posterous blog to handle longer-form musings, but haven’t yet used it. I’m not sure I can split the streams any further.)) But I’m not an absolutist. It’s my blog, and I write about the things that interest me. When I see complaints about articles that don’t concern screenwriting, I happily offer readers their money back. (Oh, wait.)

Profiles in ambivalence
—-

I’ve found it harder to decide who I am on Facebook. Am I the writer of this blog, the sponsor of a [Malawian charity](http://www.fomo.co.uk) or the guy who went to Fairview High School? While they are physically the same person, their social worlds barely overlap. Screenwriting students don’t want to see vacation photos from Ohio, nor do I want them to.

I could limit Facebook to actual friends. Granted, “friend” is a slippery definition, but I might define it as someone I’d be glad to connect with at a moment’s notice and happy to hang out with for several hours. College and high school friends, whom I see rarely but would like to see more, would still fit nicely in this box.

The trouble is, actual friendship isn’t always so reciprocal. Am I hard-hearted enough to deny a friend request from my college roommate’s wife?

For the time being, I’ve decided to limit Facebook to “people I know in real life.” While that’s a fairly low bar, it seems to help cull the numbers a bit.

[My Twitter account](http://twitter.com/johnaugust), on the other hand, is come-one-come-all. Anything I tweet is open for the world to see. It’s less specifically about screenwriting, but still a version of Work Me. I’m circumspect about revealing much personal information, like travel plans or dining companions.

I’ve enjoyed meeting folks I follow online in real life, though it’s awkward to decide on levels of familiarity. I hugged [Melanie Lynskey](http://twitter.com/melanielynskey), but then, LA is a hugging town.

The most unnerving aspect of both Facebook and Twitter is following people you know well. It’s odd to learn about your husband’s day through a status update, or watch a friend take an odd side in a political discussion.

In real life, we carefully tailor which topics we discuss with which friends. Particularly on Facebook, that’s hard to do. We’re forced to be one person to more people. That affects what we say, and may ultimately affect who we perceive ourselves to be.

How much screen time does the hero get?

January 13, 2011 QandA, Story and Plot

questionmarkMy question deals with the amount of screen time the main character(s) receives in a script. In other words, how much screen time can be devoted to the main character(s)? Is there a unspecified limit as to how much face time a main character gets on screen?

The reason I ask is because I feel as if the viewer needs breaks from constantly seeing the main character(s) on screen.

For instance, the script that I am currently writing has two main characters that receive relatively the same amount of screen time. The two characters lead separate lives and do not meet until about page 60-65, of a planned 110 page script, where their lives intertwine.

So, is it feasible that these two characters are seen in every scene of the movie (be it that they share or do not share the scene together)? Or is it better to develop minor characters that serve as breaks in the film which would serve the purpose of moving the story forward as well as give the viewer a break from seeing the two main characters on screen?

— Nick
Long Island, New York

Your hero can be on-screen 100% of the time, as Ryan Reynolds is in Buried. There’s no rule that you need scenes centered around other characters.

In fact, many high-concept comedies focus almost exclusively on their heroes. Consider Groundhog Day or Liar, Liar. There’s hardly a scene in which the hero isn’t front-and-center.

But it’s true that in most stories, you’re going to want something else to cut away to: a villain, a supporting character, an asteroid headed this way. Cutting to something is a crucial part of pacing, and you generally gain more energy by cutting to something new than following a single character through a series of actions.

Part of planning your story is deciding which characters are allowed to take the wheel and drive scenes. In your case, it sounds like you’re ping-ponging between your two main characters, which is a well-accepted structure. As long as the story feels like it’s moving forward, your audience probably won’t object to the distribution of screen time.

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