Ever wondered how screenwriters do their thing? Lots of people have, and there’s a whole genre of books out there devoted to helping up-and-comers understand the arcane art of movie-writing. Despite all the screenwriting panels and workshops and books and DVD commentaries in the world — all the billions of words printed about screenwriting and how it’s done — when it comes down to it, most writers are relatively private about the nitty-gritty of their process.
That’s why I love reading John August’s blog. August’s credits include Big Fish, Go, Charlie and the Chocolate Factory, Prince of Persia and Corpse Bride, among others (so he’s definitely not one of the many screenwriting book authors or teachers with flimsy/ancient credits) and one of the best things about his blog are the videos he’s been making. They’re essentially long-form screen captures of John writing or editing scenes, and talking as he does it. It really gets you into the mind-flow of a writer to watch what he types as he types it — mistakes and all — and I think it’s often better than any screenwriting book/class/whatever. One of my favorites is his most recent, in which he takes a scene from a screenplay written by a fellow at one of last year’s Sundance labs (in which promising young folk come and work on their material with bigshot industry mentors) and makes it, to my mind anyway, better. (The scene was written by Lance Edmand, from a yet-unfilmed movie called Bluebird.)
So here’s how to take a good scene and make it better. It takes eighteen minutes — that’s fast for a scene rewrite! But hey, that’s why he gets the big bucks.
Writing better dialogue from John August on Vimeo.
This is so cool! I took a script writing class when I was in college, but I learned more from John August in 18 minutes than I did in a whole semester. Very informative.
posted by DaveK on 9-2-2010 at 11:44 am
Wow you really made the scene much much better!
posted by Alana on 9-2-2010 at 6:32 pm
I was confused. I thought the rocking winnebago meant they were being attacked by a bear. Maybe the next draft clarifies this.
posted by woundedduck on 10-17-2010 at 12:28 am
Interesting that out of all the films mentioned (Big Fish, Go, Charlie and the Chocolate Factory, Prince of Persia and Corpse Bride) not a single one of them is actually known for having anything approaching good dialogue. They’re all films that are structured more on their visuals and broad story as opposed to any scene specifics or pointed insights via the dialogue. Ancient writing credits they are not, but flimsy in terms of any quality is certainly appropriate.
posted by Flimsydialogue on 11-20-2010 at 5:58 am
Great idea, agreed. This is pragmatic and illustrative. Also agree with Flimsy that while John’s good at the practicals, the artistic potency is 3rd.
He has the cut and paste down. He would work well with producers and he would get the job done, because he doesn’t have 2nd guesses.
But yeah, the dialogue suffers like a missing art. struggle to fully engage, hard.
posted by kira on 6-22-2011 at 12:18 pm