John August

Education

In other news

Education

Hugh Hefner is [giving $2 million](http://www.variety.com/article/VR1117976032.html?categoryid=13&cs=1) to the USC School of Cinematic Arts, funding an exhibition area in the [new complex](http://cinema.usc.edu/facilities/complex.cfm) currently under construction, along with an archive. I’m on the alumni board for the school, so I’ve had a chance to see a lot of the plans for much-improved facility, and take a hard-hat tour.

Between you and me, I’m sick with jealousy for the students who get the new building. Not only is it finally big enough, but it manages to capture the feeling of a studio lot, with all the California Mediterranean details and great attention to the hidden infrastructure — physical and digital.

What does he want?

Education, QandA, So-Called Experts

questionmarkWhich screenwriting rules can you break and which ones can you not?

I have read so many times that your character has to have a goal and an opposition and so on and so forth. In these books and classes, they really limit examples to scripts with relatively simple solutions. I have heard everything from Indiana Jones to Romancing The Stone to Ghost. Of course we can pick out the goals and oppositions here.

For instance, in your script for “Go”, who is the central character and what is their goal and opposition? I get so stuck on these rules and it really discourages me in my writing because I don’t feel I have the right answers. I don’t know, but I am so afraid of being one of these awful writers described on your site.

-Robert V Gallegos
Chicago, IL

You might be an awful writer, but it’s not because you have a hard time figuring out how to implement the so-called rules. Most of them were dreamed up by non-writing film enthusiasts, who decided there had to be an underlying template behind all great movies.

I think there’s a place for the guidebooks, but only to degree the help lessen the stress of “getting it right.” There’s one I [recommend, with reservations](http://johnaugust.com/archives/2007/hollywood-standard). And it’s important to be able to talk about “second act breaks” even if you don’t really believe in them, since you’ll be hearing terms like that for the rest of your career.

In terms of the specific rule you cite, I think it’s always fair to ask, “What does this character want?” The answer to that question may or may not be the driving force of your story, but if you can’t answer the question at all, there’s probably something fundamentally wrong with your script.

Let’s look at Go. You have to approach it as three separate stories, each of which has a central character (or duo).

* In Part One, Ronna wants to make a very tiny drug deal in order to get enough money to pay her rent. Every decision she makes after that point stems from that desire.

* In Part Two, Simon wants to go wild in Vegas. That seems like a nebulous goal, but he’s weirdly aggressive about fulfilling his vision of a perfect night in Vegas.

* In Part Three, Adam and Zack want to finish the terms of their deal with the police. Individually, they each want to know who the other one is sleeping with, which becomes the primary goal once the business with Burke is finished.

None of these stories have a classic protagonist/antagonist setup. The central characters experience great obstacles, but the movie deliberately undercuts any sense that, “This was the night that everything changed.” A bunch of shit happens, then it’s over.

Asking what the characters want is something real screenwriters do. In two of the projects I’m writing at the moment, the biggest decisions are about exactly this issue, since that informs every action and the overall tone of the story. Often, the best answer is the simplest: something physical and achievable.

Advice for terrible writers

Education, Psych 101, QandA

questionmarkI looked through your archive and saw that you suggested [bad scripts serve a purpose](http://johnaugust.com/archives/2005/does-bad-work-spoil-mine), and after a year of being a reader, I can see why they’re helpful. At the same time, they’re killing me. I feel emotional destruction every time I read another page of these godawful things.

It wouldn’t be so bad if the worst of these didn’t come from my screenwriting class, where I have to critique other’s screenplays. I’m trying so hard to be nice and also give suggestions but it gets harder each time I read the same, unchanged terrible screenplay week after week. How can I emotionally remove myself from the situation? Because it seems too personal right now.

— Kathleen

The reader’s job is frustrating: You’re forced to finish and summarize nearly-unreadable scripts. But at least there’s the veneer of anonymity, since you likely don’t know the writer, and they have no idea you’re writing coverage on their crapterpiece.

In a class situation or writing group, all of that anonymity is stripped away. So you need to find a way to offer constructive criticism while defending your belief in what good writing is. Here are a few suggestions:

1. **Ask questions.** Rather than saying, “This character’s choices make no sense,” ask the writer why the character is doing this specific thing at this specific point.

2. **Focus on points of confusion.** Be clear and direct, especially if the script isn’t.

3. **Use analogies.** It can be painful to talk about terrible writing, so talk about good movies that do the kinds of things you’re talking about.

4. **Quit the class.** At a certain point, if all you’re getting out of the class is negative energy, stop going.

From Russia with Questions

Education, International, QandA

questionmarkMy name is Nerses, I am from Moscow, Russian Federation. I have two questions and I hope you will find time to answer on some of them.

I am 16 and next fall I’m going to apply to US universities as an international applicant. But before getting into film school (like USC or UCLA), I want to receive my bachelor in something not connected with filmmaking. That’s one of my problems, as I haven’t yet decided what other specialization I can be good at. Right now I am thinking about undergraduate Advertising and Public Relations in Chapman University (by the way, it also has very good film programs). But my question is, can I get into Screenwriting or Producing program of graduate film school, if I already have BFA in Film Studies (a.k.a. Critical Studies) or Television & Broadcast Journalism?

And, my second question is, did any of your friends from USC get into Hollywood film industry and become successful filmmakers being international alumni? I am asking this question, because I didn’t hear much about famous people, who had similar situation to mine (kid from another country trying to find his way to get noticed)?

— Nerses

Advertising is a great and relevant degree to choose for undergraduate studies. You’ll learn a little bit of production (probably shooting some commercials on video), but most of your time will be spent writing and pitching, which are skills you’ll be using a lot of in the film industry. Having some marketing classes under your belt will also be a help.

I speak with first-hand experience: I was an undergrad Advertising major, with a minor in English.

However, if you find an undergraduate film program that appeals to you, don’t dismiss it out of hand. I strongly believe you should pursue what fascinates you at every stage in your education (and life). I don’t think it would affect your chances of getting into a film graduate program regardless.

As for your second question, yes, we had several international students in my film school class who went on to be quite successful. For instance, [Miles Millar](http://www.imdb.com/name/nm0587692/), the executive producer of Smallville, hails from England. In my class of 25 students, four were international students, and three of them are still working in the industry.