Could it get made today?

psycho-house
“Another “boy and his mother” story? Pass.”

Originally, this post was going to be about the multiple changing of protagonists in PSYCHO (which is another great potential future topic), but the more I read about the film and thought about the impact it’s had since being released way back in 1960, it triggered a totally different train of thought.

Every once in a while, when a classic film is brought up in some context or another, the phrase “That could never get made today” will get thrown in. After the recent death of Gene Wilder, his talent was lauded via the mention of several of his most well-known roles. Willy Wonka. The Waco Kid. Victor Frankenstein (“That’s Fronken-steen.”). His performances were vital parts of each film, which no doubt contributed to making them “classics”.

But, as always, it starts with the script. (Incidentally, I don’t think Wilder gets enough credit for co-writing YOUNG FRANKENSTEIN.)

Examining the stories being told, each one has something truly unique about it, and then some. The writer (and subsequently the filmmaker) wasn’t afraid to take a chance and try something completely new and different. Sadly, the studios today aren’t as open to it. Better to play it safe then take too big a chance, which is why we’re seeing so many remakes and re-imaginings. Of course, that doesn’t always work out either (e.g. 2015’s PAN, the recent BEN-HUR remake).

While there are always original and innovative scripts floating around, it’s a lot of time, effort and money to make a film. The only recent original film I can think of is SWISS ARMY MAN, which I admit I haven’t seen yet.

Who hasn’t read a “truly original” script or about one getting a lot of attention, but a lot of the time the writer will go on to work on other projects while the script that started the whole thing gathers dust?

The best exception to this that I know of is Travis Beacham’s spec A KILLING ON CARNIVAL ROW, which drew a lot of heat when it sold in 2005, then continued to garner praise while it languished in development for years before ultimately becoming an upcoming series on Amazon – at last check, anyway.

Budgets are getting higher, and the gap continues to grow between microbudget features and mega-budget tentpoles. It’s getting harder for original material to get noticed, let alone something that screams out “NEW!” It also doesn’t help that the chances decrease if the script isn’t based on pre-existing material. This could be why today you’re more likely to see an original film that’s a low-budget independent, probably written by the filmmaker themselves.

Before that, your best bet of seeing something groundbreaking would have been at the hands of established filmmakers, only because they had that kind of leverage (and the budget) to get their projects made. An unknown writer doesn’t have that kind of luxury. All we can hope for is to connect with somebody who likes the script (and our writing) so much that they’re actually excited to help us take things beyond the “Sure, I’ll read it” stage.

That’s our objective as writers: to write something that’s not only compelling and involving, but so eye-openingly original that the reader is compelled to the point that they need to see this as a movie. Doable, but definitely not easy.

Homework time! Part one – find a script you really consider a game-changer for the same genre as yours and give it a read. Can you identify what made it so unique? What really stands out for you? Plot? Story? Characters? A little of everything? Another option is if that script has been produced, then watch the film and follow along with the script. Are they the same? Totally different? Do you think the changes add or take away from the script?

Part two – without blatantly copying the style of that script, work on applying a similar originality to yours. Did reading that script inspire ways for you to make yours really stand out?

Don’t be afraid to take chances. Strive to offer up something we’ve never seen before. The results might surprise you, too.

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Leaving an indelible impression

footprint
Not expecting it to last millions of years, but wouldn’t complain about it either

As an avid fan of summer movies, this year has been one big disappointment after another. Granted, I haven’t seen a few of the latest releases yet (STAR TREK BEYOND, SUICIDE SQUAD), but barely remember anything since CAPTAIN AMERICA: CIVIL WAR, and that came out in early May.

Remember all the hoopla preceding the GHOSTBUSTERS reboot? Kind of died off quickly, didn’t it? We saw it opening weekend, mostly because V wanted to, and it was…okay. I don’t attribute it’s lack of success to angry fans of the original, but because it just wasn’t that great a movie.

Was anything from this summer truly memorable? So far, not really (although I’m still holding out hope for the exquisite-looking KUBO AND THE TWO STRINGS).

It honestly seemed like everything simply wasn’t up to standard. Despite what the various marketing assaults might indicate, the end products felt too slapdash and that too many projects were focused on being ready for the release date rather than making sure the script was rock-solid.

Based on this and almost-daily reports of forthcoming reboots, remakes, and overall more of the same-ness, breaking in as a writer of original material suddenly seems significantly harder. Not only does your script have to really wow ’em, but it better pack a significant wallop on several levels.

A great, new story with phenomenal characters, all told in the most captivating way possible. Simple, no? I realize that a lot of films start with great scripts, but the process that leads up to the film being unleashed on the public can drastically affect it – too many times not for the better.

I’ve always seen my objective as to not only tell you a story that hasn’t been told before (or at least tell an old one in a totally new way), but to tell it in the most entertaining way possible. I want you to not be able to get those images out of your head (in a good way, as opposed to a dear-God-please-make-the-nightmares-stop kind of way).

I’ll be the first to admit that I’d love for one of my scripts to be one of the surprise hits of a summer season, but if recent releases are typical of what kind of material I’m up against, my work is more than cut out for me, if not potentially impossible.

It wouldn’t surprise me if somewhere down the line, my script got turned down because it was deemed “too original”.

A scary, sobering, and all-too-possible thought.

 

Unfortunately, more of the same

What? A new, original idea? That's crazy talk!
What? A new, original idea? We don’t know if our brains can take it!

“Don’t remake good movies. Remake bad movies and improve them.” – John Huston

As a writer and fan of original material, it’s quite disturbing how many remakes and reboots keep appearing or are announced, with no sign of it coming to an end.

Sadly, this is how the industry works, with most of the studios afraid to take a chance on something new and original, as opposed to something that’s already proven itself.

But apart from a few exceptions, how many of those trips back to the well have been successful?  On top of that, there’s no avoiding a comparison to the original, with the remake usually found lacking.

Putting this in perspective – I’m a huge fan of the original ROBOCOP, which will have a remake released in February. I have no desire to see it because the trailer doesn’t make it look that interesting, and I don’t see the point in remaking it in the first place.

Counter to that, the forthcoming GODZILLA remake/reboot looks great because it appears to be a smart, new approach to the story, and definitely feels like a significant improvement over the one from 1998. I really hope it doesn’t fall victim to PACIFIC RIM syndrome – big build-up, followed by big letdown.

Now they’re announcing Ed Helms as Frank Drebin in a reboot of THE NAKED GUN. Have they no shame? Apparently not.

The movie-going public wants, no, craves new stories.  Look at The Black List, or the latest batch of Nicholl finalists. This is high-quality stuff, people. Just about any one of them would make for a great film.

There’s a ton of fantastic original material out there, but all we can do as writers is keep writing and hope somebody believes in it enough to drum up the courage to do something with it.