Index
A
Accused, The, 204
Ace in the Hole (The Big Carnival), 183
Action
action lines, 5–6
vs. characters, 213–226. See also Characters
vs. meaning, 339–340
rising action, 6
subtext-action-character relationships, 6, 200–212
Active (energetic) vs. passive (reflective) characters
antagonists, 175–176
case studies, 169–176
catalyst characters, 171–172
definitions, 165–166
description, 164–166, 176. See also Characters
medium characters, 174–175
narrative drive and energy, 168–169. See also Narratives
observer characters, 172–173
outsider characters, 174
real vs. dramatic characters, 166–168
split characters, 175
Adaptation, 49
Adaptations
evaluation, 353–354
moral ambiguity, 358–363
reference literature, 364
successful, 353
voice, 353, 353–358. See also Voice
Adventure films, 91–92
Affair of Love, An, 103–104, 149, 151
African Queen, The, 184
After Hours, 41
Afterlife, 149
Agency, 247
action agency, 247–248
character, 249–259
description, 247
narrative distance, 261
patterns, 261–265
reflective agency, 247
withheld agency, 260
Aguirre, 216–218
Aiello, Danny, 210
Air Force One, 107–108, 110, 116
Akutagawa, Ryonosuke, 215
Alda, Alan, 138–139
Alexie, Sherman, 361
Aliev, Arif, 113
All About Eve, 2–3, 98, 100, 103, 191, 293
All Quiet on the Western Front, 90
All the President’s Men, 126, 182
Allen, Woody, 9, 59, 87, 138–140, 199, 307, 367
Altman, Robert, 95, 164, 308, 362
Ambassadors, The (novel), 313–314, 318
Ambiguity, 46–47
America, America, 370
American Beauty, 102–103, 112, 163, 325, 327–328, 334
American Werewolf in London, An, 140
Amistad, 59–67
Amplitude, dramatic arc, 100–101
Anders, Alison, 305
Anderson, Lindsay, 145
Anderson, Paul Thomas, 103, 112, 145, 154, 156–158, 160–161, 309
Anderson, Robert, 100
Angel at My Table, An, 217, 296
Anhalt, Edward, 374–375
Antagonists, 41–42, 60–61, 69, 78, 106–107, 175–176
Anti-narratives vs. narratives, 58–75. See also Narratives
Antipathy, empathy, and sympathy, 177–179, 188–189
Antonia’s Line, 102
Antonioni, Michelangelo, 152, 215
Apache, 81
Apartment, The, 87, 140, 169, 201, 211, 229, 231, 246, 293
Archer, Anne, 204
Arlington Road, 108, 117, 143, 155
Arthur, 87
Asian and European films, 214–216
Asphalt Jungle, The, 120
Assante, Armand, 208
Atmosphere, 5, 11–12, 291–292, 303–304
Atwood, Margaret, 380
Audience, 76–77
Audrard, Jacques, 103
August, Billie, 371
Auster, Paul, 103
Australian films, 216–218
Autumn Moon, 152
B
Baby It’s You, 1
Back to the Future, 204
Backdrops, 34–35
Background vs. foreground, 12–13, 200–210, 216–226
Backstories, 335–336
Bad Girls, 123
Badlands, 42–43
Balalaika, 34
Balance, 204–206
Ballad of Little Jo, The, 113, 123, 134–135
Ballard, J.G., 60
Bang the Drum Slowly, 93
Barhydt, Frank, 362
Barry Lyndon, 294
Baum, L. Frank, 146
Baxter, Anne, 191
Baxter, C.C., 201
Beaches, 86
Beats and beat staging, 245
Beattie, Ann, 35, 187, 379–380
Bedroom Window, 179
Before the Rain, 159
Belenky, Mary Field, 8
Benchley, Peter, 60
Berenger, Tom, 291
Bergman, Ingmar, 214–215, 218–219, 367
Best in Show, 149
Best Intentions, The, 100
Best Years of Our Lives, The, 90, 102, 193
Beyond Rangoon, 107–108
Big, 87
Big Carnival, The (Ace in the Hole), 183
Big Parade, The, 90
Big Sleep, The, 82
Bill, Tony, 99
Biographical films, 94
Birds, The, 15
Bishop, John, 205
Black Rain, 204
Black Sunday, 108
Black Widow, 126
Blair Witch Project, The, 149, 322–325, 334
Blake, Michael, 223
Blatty, William Peter, 109
Blow-up, 152
Blue Velvet, 12, 40–41, 126, 129, 179, 187, 293, 337–338
Blume in Love, 183
Bluteau, Lothaire, 173
Bodrov, Sergei, 113
Body Heat, 84
Bolt, Robert, 92
Bonnie and Clyde, 43, 74, 83, 120
Boogie Nights, 103
Book of Life, The, 333–334
Borgnine, Ernest, 122
Borsalino, 216
Boyle, Danny, 353
Boys Don’t Cry, 98
Bracken, Eddie, 294–295
Bram Stoker’s Dracula, 89
Brazil, 309
Bread and Roses, 151
Breaker Morant, 217
Brewer, Craig, 53
Bride Wore Black, The, 216
Bridge on the River Kwai, 92, 181
Bridges, Beau, 209
Bridges, Jeff, 209
Bringing Up Baby, 85
Broadcast News, 379
Brooks, James, 379
Buffalo 66, 54
Buhagiar, Valerie, 306
Bullets Over Broadway, 88
Buñuel, Luis, 154
Burnt By the Sun, 165
Butch Cassidy and the Sundance Kid, 1, 122
C
Calendar, 152–153, 327–328, 334
Campaign Manager, 268–269
Campion, Jane, 217, 296, 383–385
Capra, Frank, 88
Careful, 152
Carné, Marcel, 215
Carrière, Jean-Claude, 13, 215–216
Carson, Hunter, 196
Carver, Raymond, 35, 95, 362–363
Case studies
active (energetic) vs. passive (reflective) characters, 169–176
documentaries, 270–288
genres, 104–105, 110–112, 118–119, 128–140
historical and political films, 269–270
narratives vs. anti-narratives, 58–75
non-American screenplays, 218–226
short films (shorts), 383–389
subtext-action-character relationships, 6, 206–212
Cassavetes, John, 149
Catalysts
characters, 171–172
events, 79
Celebration, The, 101, 330–334
Chandler, Raymond, 14, 142, 215, 353
Chant of Jimmy Blacksmith, The, 217
Chaos, 148
Character, 99
Characters
vs. action, 213–226. See also Action
active (energetic) vs. passive (reflective) characters
antagonists, 175–176. See also Antagonists
case studies, 169–176
catalyst characters, 171–172
definitions, 165–166
medium characters, 174–175
narrative drive and energy, 168–169. See also Narratives
observer characters, 172–173
outsider characters, 174
real vs. dramatic characters, 166–168
split characters, 175
alignment, 26
assertion, 24
binary psychology, 33–34
central, 20–21
change, 20
documentaries, 268–288
goals, 98, 105–106, 369, 377–378
heroes, 373
historical themes, 268–288
identification
case studies, 184–189
charisma, 182
description, 61–62, 69–70, 177, 189
reference literature, 189
sympathy, empathy, and antipathy, 177–179, 188–18
tragic flaws, 182–183
mad characters, 372
main characters
ambivalent characters, 187
case studies, 185–187, 193–198
negative characters, 185–187
marginal characters, 372
movement ahead, 23
narratives vs. anti-narratives, 58–62, 64–69
non-linear, 160–161
vs. plots, 371
political themes, 268–288
reference literature, 199
secondary characters
case studies, 193–198
subtext-action-character relationships, 200–212
tone, 290, 294–297. See also Tone
types, description, 190–199, 372–373
victims, 373
Chariots of Fire, 93
Chase, Borden, 121
Chayefsky, Paddy, 10, 145, 210
Cher, 210
Children of Paradise, 215
Chilly Scenes of Winter (Head Over Heels), 187
China Syndrome, The, 168
Chinatown, 38–41, 43–44, 84, 247–248
Choose Me, 294
Cimino, Michael, 122
Citron, Michelle, 387–388
Claire’s Knee, 218
Clear and Present Danger, 116, 216
Clement, Rene, 118
Clockers, 83
Clockwork Orange, A, 294
Clooney, George, 144
Close Encounters of the Third Kind, 67
Close to Eden, 222–224
Closure, 340–342
Coen brothers (Ethan and Joel), 66, 74, 102, 136–137, 368
Coffee, Lenore, 111
Collee, John, 186
Colonel Redl, 219
Color Purple, The, 63
Comedies
screwball, 84–85
situation, 87–88
Coming Home, 102
Conflicts
description, 3–4
internal and external, 21–22
location, 337–338
relocation, 341–342
Conrad, Joseph, 92
Consequence, 24
Consistency, tone, 31. See also Tone
Constant Gardener, The, 51–52
Contemporary literature, adaptations, 352–363. See also Adaptations
Contender, The, 116
Conventions
action lines, 5–6
characters, 4. See also Characters
conflicts, 3–4. See also Conflicts
description, 2
discovery, 7
foreground vs. background, 12–13. See also Foreground vs. background
narrative strategies, 14–15. See also Narratives
premises, 2–3
reversal, 7
subtext, 6. See also Subtext-action-character relationships
turning points, 7
Cook, The Thief and The Lover, The, 152
Coppola, Francis Ford, 12, 113
Counter-structures, 38–47. See also Structures
Crichton, Michael, 60
Crimes and Misdemeanors, 9, 87, 138–140, 199, 307
Critiques
restorative three-act structures, 29–37. See also Restorative three-act structures; Structures
rewriting, 347
Crossing Delancey, 86, 169, 178
Cruise, Tom, 161
Crying Game, The, 135–136
Culloden, 149–151
Culpepper Cattle Company, The, 81
Current events influences, 120–141
Curtis, Tony, 183
CUT TO, 235
Cyrano de Bergerac (play), 290
D
Dahl brothers, 66
Dalí, Salvador, 154
Dancer in the Dark, 114
Dances With Wolves, 222–224
Dangerous Liaisons, 289
Dardenne, Jean-Pierre, 103–104
Dardenne, Luc, 103–104
Daughter Rite, 387–388
Daughters of the Dust, 8, 46, 157–158, 287–288
Davis, Andrew, 106
Day at the Races, A, 15
Day of the Jackal, The, 136
Day the Earth Stood Still, The, 89
de Broca, Phillipe, 216
Dead End, 121
Dead Ringers, 179
Decision-making spaces, 32
Defoe, Willem, 127
Delaney, Dana, 127
DeLillo, Don, 379
Demerest, William, 296
Demme, Jonathan, 126, 293, 304–305
Design for Living, 293
Dialogues
tone, 290–291, 297–303. See also Tone
Diamond, I.A.L., 201, 229, 231, 293
Dick Tracy, 141
Dickens, Charles, 201, 219, 312
Die Hard II, 141
Digital features
intertextuality vs. formalism, 321–333
mixed media, 322–325
multiple frames (quadrants), 328–330
narratives, 330–333. See also Narratives
reference literature, 334
voice, 330–333. See also Voice
Dilemma, 370
Directionality, 27
Discovery, 7
Discreet Charm of the Bourgeoisie, The, 216
Dmytryk, Ed, 65
Do the Right Thing, 199
Docudrama, 149–151
character, 149–150
structure, 150–151
tone, 151
Dogme, 149
Donaldson, Roger, 217
Dostoevsky, Fyodor, 214–215
Double Indemnity, 84, 142, 215,
Double Life of Veronique, 220–221
Dovshenko, Alexander, 152
Dowd, Nancy, 102
Down and Out in Beverly Hills, 294
Downhill Racer, 93
Dr. No, 91
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, 90, 144–146, 309,
Dramatic action, 79. See also Action, 240–244
Draughtsman’s Contract, The, 152–153
Dreamlife of Angels, The, 103, 112
Driving Miss Daisy, 216
Duel, 63
Duigan, John, 99
Dunaway, Faye, 10
Duvall, Robert, 370
E
East of Eden, 86
East/West, 114–115
Eastwood, Clint, 122, 124, 178, 184
Eclipse, 316
Eduard Munch, 149–151
Egoyan, Atom, 152–154, 156–158, 327, 361,
El Topo, 216
Elephant, 55–56
Emigrants, The, 181
Empathy, sympathy, and antipathy, 177–179, 188–189
Emphasis vs. minimization, 46–47
Empire of the Sun, 59–60, 62–63, 65–66, 128
End of the Affair, The, 147–148
Enemies: A Love Story, 373
Enemy of the State, 108
Energetic vs. reflective characters. See Active (energetic) vs. passive (reflective)
characters
Engel, Samuel G., 375, 377–378
English Patient, The, 363
Enright, Nick, 111
Epic films, 92–93
Erin Brockovich, 59, 67–68, 70, 73, 75
Eszterhas, Joe, 137–138, 206, 368
Europa Europa, 67, 90, 224–226
European and Asian films, 214–216
Events vs. motives, 35
Exaggerated three-act structures, 40–41
Excalibur, 147–148
Experimental narrative, 151–153
character, 152
structure, 152–153
tone, 153
Expositions, 337
EXTeriors and INteriors, 232–234
Eyes on the Prize: Mississippi, 1962–64, 270, 282
8½, 152
F
Fable, 146–149
character, 147
structure, 148
tone, 148–149
Fabulous Baker Boys, The, 209–210
Face in the Crowd, The, 142, 182
FADE IN, 235
FADE OUT, 235
FADE TO BLACK, 235
False solutions, 23
Family Gathering, 388
Farrelly brothers, 155
Fast Times at Ridgemont High, 86
Fatal Attraction, 204
Father, 219
Favreau, Jon, 263
Fellini, Frederico, 59, 152, 214–215, 218–219, 367
Femme Infidele, La, 110
Ferris Bueller’s Day Off, 204
Feu Follet, Le, 218
Field, Syd, 38–39, 48–49, 57, 367
Final Draft (software program), 232
Finch, Yolanda, 123
Fire, 98
First Blood, 91
Fistful of Dollars, A (Yojimbo), 216
Fitzcarraldo, 216
Flaiano, Ennio, 214
Flesh and Bone, 209–210
Flight of the Phoenix, 115
Flirting, 99
Foner, Naomi, 99
Fonteyne, Frederic, 103–104, 149
Ford, Richard, 380
Foreground vs. background, 12–13, 38–42, 200–212
Foreign films. See Non-American screenplays
Formalism vs. intertextuality, 321–333
Forms
screenplays. See Screenplay forms
structures. See Structures
Forrest Gump, 12, 87, 147–148, 296
Forsyth, Bill, 11
Four Friends, 4, 170, 174, 176
Four Weddings and a Funeral, 155, 307
Frames, multiple, 328–330. See also Digital features
Franklin, Howard, 291–292
Franzoni, David, 60
French, German, and Hungarian films, 218–219
French Lieutenant’s Woman, The, 293
Friedman, Ken, 123
Friedrich, Su, 152, 215, 385–386
Frye, Northrup, 293–294
Fuch, Daniel, 68
Fugitive, The, 106–108, 132–133, 137, 141, 195
Full Metal Jacket, 7–8, 64, 91, 128, 196, 199, 294, 306–307
Funeral, The, 145
Fusco, John, 203
G
Gallipoli, 217
Gallo, Vincent, 54
Gandhi, 92
Gangster films, 82–83, 124–126
Garber, Victor, 127
Gas Food Lodging, 305
Gegauff, Paul, 118
Gelbart, Larry, 180
Geller, Boris, 113
Genres
adventure films, 91–92
ambiguity, 46–47
antagonists, 78
anti-narratives vs. narratives, 66–67, 73–75
audience, 76–77
biographical films, 94
case studies, 104–105, 110–112, 118–119, 129–140
catalytic events, 79
comedies
screwball, 84–85
situation, 87–88
current events influences, 120–141
description, 76, 95–97, 120–121, 140–141
documentaries, 268–288
dramatic action shapes, 79
epic films, 92–93
gangster films, 82–83, 124–126
historical themes, 268–288
horror films, 88–89
melodramas
case studies, 104–105, 118–119
character goals, 98
character layers, 98–100
characteristics, listings, 97
dramatic arc and amplitude, 100–101
issues of the day (social vs. political values), 108–109
vs. thrillers, 97
trends, 112–114
variations, 111–112
voice, 103–104
mixed genres, 224–226
case studies, 128–140
motifs, changing, 121, 128–129
narratives, shapes and styles, 80. See also Narratives
political themes, 268–288
protagonists, 78
resolution, 79
satires, 95
science fiction films, 89–90
sports films, 93–94
thrillers
antagonists, 106–107
case studies, 110–112, 118–119
character goals, 105–106
dramatic arc, 108
issues of the day (social vs. political values), 108–109
vs. melodramas, 97
plot dominance, 107–108
tone, 109–110
trends, 114–117
variations, 111–112
voice, 142–149
docudrama, 149–151
experimental narrative, 151–153
fable, 146–148
non-linear, 154–163
satire, 145–146
Gere, Richard, 305
German, French, and Hungarian films, 218–219
Gidding, Nelson, 228–231
Gladiator, 71
Godard, Jean-Luc, 45, 154, 189, 215–216, 341
Godfather, The, 82, 113, 124, 207, 289
Gold, Steven, 182
Goldman, Bo, 294, 304–305, 372
Goldman, William, 1, 49, 57, 106, 112, 122, 126, 365
Goodrich, Francis, 146
Gordon, Dan, 374
Gottlieb, Carl, 60
Gould, Elliot, 164
Graduate, The, 22, 33, 40, 337
Grana, Sam, 188
Grand Canyon, 95
Grande Illusion, La, 90–91, 215
Grant, Hugh, 307
Grant, Susannah, 67
Gray, James, 113
Gray, Pamela, 100
Great Escape, The, 169
Greenaway, Peter, 152–153
Greenwald, Maggie, 113–114, 122, 134–135
Greystoke: The Legend of Tarzan, 92
Grierson, John, 149
Griffith, Andy, 182
Griffith, Melanie, 1, 133, 197
Guest, Chris, 149
Guiness, Alec, 181
Gunfight at the OK Corral, The, 376–377
Gunga Din, 143
Guns of Navarone, The, 92
H
Hackett, Albert, 146
Hail the Conquering Hero, 145, 294–295
Hairspray, 339
Hale, Scott, 123
Hallstrom, Lasse, 100
Hand that Rocks the Cradle, The, 89, 109–110
Handmaid’s Tale, The, 1
Hannah, Darryl, 290
Happiness, 102–103, 112, 158, 161–162
Harris, Richard, 122
Harris, Thomas, 108
Harron, Mary, 149
Hart, James V., 89
Hartley, Hal, 333
Harvey, Lawrence, 185
Hasford, Gustav, 196
Hawks, Howard, 215
Head Over Heels (Chilly Scenes in Winter), 187
Heart Like a Wheel, 93
Heathers, 31
Hemington, Rowdy, 205
Heroes, 373
Heston, Charlton, 122
High and Low, 216
Highsmith, Patricia, 118
Highway 61, 306
Hirokazu, Kore-eda, 149
Hitchcock, Alfred, 14, 59, 62, 64, 106, 109–110, 114, 116, 168, 179, 189, 315–317
Hodge, John, 353
Hogan, Paul, 217
Holden, William, 10, 81, 122, 181, 183, 191
Holland, Agnieska, 67, 98, 224–226
Home Alone, 88
Hood Swarthow, Miles, 123
Hope and Glory, 128
Horror films, 88–89
Hoskins, Bob, 370
Hour of the Gun, 374–375
Hugo, Victor, 132
Hungarian, French, and German films, 218–219
Hunter, Holly, 136
Hunter, Lew, 49
Huppert, Isabelle, 177
Hustle and Flow, 53–54
Hustler, The, 93
Huston, John, 184
Hutton, Timothy, 208
I
I Never Sang for My Father, 100
I Shot Andy Warhol, 149
Ibragimbekov, Rustam, 223
Ice Storm, The, 158
Identification, characters, 61–62, 69–70, 177–189. See also Characters, identification
Idiot, The (novel), 215
In the Company of Men, 102
In the Mood for Love, 144, 152–153, 162
In the Realm of the Senses, 216
Independence Day, 86
Indiana Jones and the Last Crusade, 64, 378
Indiana Jones and the Temple of Doom, 63, 91
Indiana Jones (series), 12, 60–64, 66, 91–92, 378
Indifferent three-act structures, 42–43
Inside Moves, 2–3, 172, 176, 373
INteriors and EXTeriors, 232–233
Internal voice, adaptations, 353–358
Intertextuality vs. formalism, 321–333
Invasion of the Body Snatchers, The, 89
Irony
atmosphere, 303–304
characters, 294–297. See also Characters
description, 293
dialogues, 297–303
genres, 304–306. See also Genres
ironic structures
three-act, 40–41
two-act, 43–44
non-American films, 220–221
vs. satire, 309
Irving, Amy, 178
Issues of the day (social vs. political values), 102–103, 108–109
It Could Happen to You, 88
It’s a Wonderful Life, 126, 146–148
Itami, Juzo, 145
J
James, Henry, 312–313, 317, 386
Jones, James Earl, 174
Jones, Laura, 296
Jones, Robert C., 102
Jones, Tommy Lee, 107, 132, 205
Jordan, Neil, 68, 136, 147, 370
Joy, Robert, 124
Julius Caesar (play), 182
Jurassic Park, 20, 34, 60–63, 66–67
K
Kalmar, Bert, 10
Kanal, 90
Kaplan, George, 109
Kaplan, Martin, 205
Kar-Wei, Wong, 143–144, 152–153, 162
Kasdan, Lawrence, 60, 374–375, 377–378
Kauffman, Phillip, 60
Kazan, Elia, 370
Keefe, Barry, 124
Kernochan, Sarah, 305
Kies´lowski, Krzysztof, 220–221
Kilmer, Val, 203
King Is Alive, The, 115
King Lear (play), 35, 115, 215
King of New York, The, 82
King of the Hill, 59, 67–69, 72, 74, 98, 305
King Rat, 183
King, Viki, 49
Kinski, Nastassja, 196
Kline, Kevin, 206
Kloves, Steve, 209
Kubrick, Stanley, 64, 144–145, 196, 293, 303–304, 306–307, 309, 379
Kurosawa, Akira, 215–216
Kurys, Diane, 100
Kusterica, Emir, 101, 161–162, 219–220, 225
L
L.A. Confidential, 352–354, 356–358, 360, 363
La Femme Infidele, 110
La Grande Illusion, 90–91, 215
La Sarrasine, 297
LaBute, Neil, 102
Lacombe Lucien, 218
Lady Eve, The, 169, 294–295, 297, 301
Lady Vanishes, 109
Land and Freedom, 149–151, 167
Landau, Martin, 138
LAP DISSOLVE TO, 235
Lasker, Alex, 107
Last Action Hero, The, 92, 167
Last Temptation of Christ, The, 92, 366
Last Ten Days of Adolph Hitler, The, 182
Launer, Dale, 193
Laurel, Stan, 294
Lauzon, Jean Claude, 308
Law, Clara, 152
Lawrence of Arabia, 92, 181–182
Le Carré, John, 51
Le Feu Follet, 218
Leach, Ken, 149
Leacock, Richard, 268
L’Eclisse, 316
Lee, Ang, 158
Lee, Spike, 11, 15, 199, 215, 365, 367, 371, 379
Left-Handed Gun, The, 121, 134
Lehman, Ernest, 106, 109, 142, 155, 183
Leigh, Janet, 168, 179, 316, 336
Leigh, Mike, 167
Le Mat, Paul, 294
Leolo, 308
Les Liaisons dangereuses (novel), 289
Les Miserables (novel), 132–133
Letter to Three Wives, A, 293
Levring, Kristian, 115
Lewis, David, 371
Lewis, Jerry, 294
Lewis, Judy, 371
Libra, 379
Life is Beautiful, 147–148, 162
Life of Emile Zola, The, 93–94
Life of Louis Pasteur, The, 94
Light Sleeper, 127–128
Lighthorsemen, The, 217
Linearity vs. non-linearity, 65–66, 72–73
Literature, adaptations, 352–363. See also Adaptations
Little Caesar, 120
Little Foxes, The, 175–176, 373
Local Hero, 11
Lone Ranger and Tonto Fistfight in Heaven, The (short story collection), 361
Lonely Are the Brave, 120, 123, 370
Long Good Friday, The, 124
Long Goodbye, The, 164
Lord Jim, 92
Lorenzo’s Oil, 86, 111–112, 217
Lost Weekend, The, 126
Lost World, The, 63
Love with the Proper Stranger, 192
Lower Depths, The (novel), 215
Lowry, Sam, 68
Lubitsch, Ernst, 293
Lucas, George, 60
Lumet, Sidney, 208
Lurie, Rod, 116
Lust for Life, 94
Lynch, David, 12, 187–189, 293
M
MacLachlan, Kyle, 187
MacLaine, Shirley, 202
MacMurray, Fred, 201
Mad characters, 372
Maddin, Guy, 152
Madigan, 124
Magnificent Seven, The, 216
Magnolia, 154, 156–157, 160–161
Main characters
ambivalent characters, 187
case studies, 185–187, 193–198
negative characters, 185–187
Major Dundee, 122
Malick, Terence, 154, 156, 158, 160, 162
Maltese Falcon, The, 39
Mamet, David, 12–13, 124–125, 180, 207, 210
Man Bites Dog, 149
Man for All Seasons, A, 92–93
Man Who Knew Too Much, 109
Man with the Golden Arm, The, 126
Manchester, Milcho, 159
Manchurian Candidate, The, 120, 126, 168, 185
Mankiewicz, Joseph, 98, 100, 103, 191, 293, 379
Mann, Anthony, 121
Marchand, Gilles, 116
Marginal characters, 372
Marlowe, Andrew, 107–108
Marriage of Figaro (opera), 329
Martin, Steve, 290–292
Marvin, Lee, 124
Masculine/Feminine, 45–46
Mason, Bobbie Anne, 35
Masterson, Mary Stuart, 294
Matewan, 168
Mathison, Melissa, 60
Matrix, The, 147
Mattock Tarule, Jill, 8
May Fools, 13
McBain, Ed, 214
McDowell, Andie, 193
McDowell, Malcolm, 294
McGann, Paul, 186
McQueen, Steve, 192
McVicker Clinchy, Blythe, 8
Mean Streets, 44–45
Mediaeval Odyssey, A, 217
Medium characters, 174–175
Meeting Venus, 219
Meirelles, Fernando, 51
Melodramas
case studies, 104–105, 118–119
character goals and layers, 98–100. See also Characters
characteristics, listings, 97
dramatic arc and amplitude, 100–101
issues of the day (social vs. political values), 108–109
vs. thrillers, 97
trends, 114–117
variations, 111–112
voice, 103–104. See also Voice
Melvin and Howard, 294, 304–305, 336
Mephisto, 219
Meyer, Nicholas, 305
Meyjes, Menno, 60
Micklin Silver, Joan, 187
Microsoft Word (software program), 232
Middlemarch (novel), 312–313, 318
Midnight Run, 74
Mighty Wind, A, 149
Miner, Michael, 132
Minghella, Anthony, 118–119, 221–222
Minimization vs. emphasis, 46–47
Miracle of Morgan’s Creek, The, 145
Miserables, Les (novel), 132–133
Misery, 106–108
Mistress, 95
Mixed genres
case studies, 128–140
Mixed media, 322–328. See also Digital features
Mixed modes, 45–46
Mo’ Better Blues, 7
Modern Times, 146–147
Modine, Matthew, 128, 196, 294
Moffat, Tracey, 288–289
Moll, Dominik, 116
Molly’s Pilgrim, 383–385
Moment, The, 210–212
Montegna, Joe, 207
Moonstruck, 13, 180, 210–211, 371
Moore, Demi, 221
Moore, Dudley, 87
Moral ambiguity, reduction, 358–363
Moravia, Alberto, 186
Morris, Errol, 368
Moscow on the Hudson, 87
Motifs, changing, 121, 128–129
Motivation, 32–33
Motives vs. events, 35
MTV style, 162
Mueller-Stahl, Armin, 206
Mukherjee, Baharati, 380
Muni, Paul, 93
Muriel, 216
Murmur of the Heart, 218
My Beautiful Laundrette, 86, 211–212, 339–340, 350
My Bodyguard, 99
My Brilliant Career, 217
My Darling Clementine, 165, 375–378
My Life as a Dog, 100
My Name is Joe, 149–150
My Own Private Idaho, 170–171
Mystic Pizza, 175, 193–194, 211
N
Nabakov, Vladimir V., 304
Naked and the Dead, The, 65
Naked Jungle, The, 89
Narratives
action and meaning, 339–340
vs. anti-narratives
characters, 58–61, 64–66, 67–70. See also Characters
genres, 66–67, 74–75. See also Genres
linearity vs. non-linearity, 65–66, 72–73
plots, 63–64, 70–71. See also Plots
reference literature, 75
structures, 62–63, 70. See also Structures
tone, 73–74. See also Tone
voice, 66, 73–74. See also Voice
conflict location, 337–338
description, 1–15
documentaries, 270–288
drive and energy, 168–169
expositions, 337
linear, 154–156
non-linear, 156–160
character, 160–161
MTV style, 162
plot, 161
voice, 162
shapes, 80
structures and tone, 292–293. See also Structures; Tone
styles, 80
voice
adaptations, 353–358
backstories, 335–336
build, 338–339
closure, 340–342
conflict relocation, 341–342
development, 338–340
vs. dramatic, 311–314
focus, 338–339
openings, 335–337
writing, 335–343
Narrators, effaced, 36
Nashville, 46
Natural Born Killers, 159, 162
Navigator, The, 217
Net, The, 106–108
Neumeier, Edward, 132
Newman, David, 74
Newman, Walter, 183
Niagara, 336
Nice Coloured Girls, 388–389
Nichols, Mike, 40
Ninotchka, 293
Nolte, Nick, 86, 171, 195, 208, 294
Non-American screenplays
Australian films, 216–218
case studies, 219–226
European and Asian films, 214–216
foreground vs. background, 216, 221–224. See also Foreground vs. background
German, French, and Hungarian films, 218–219
ironic structures, 220–221. See also Irony
mixed genres, 224–226
Non-linear film, 154–163
Non-linearity vs. linearity, 65–66, 72–73
Nonconformity, 370–371
North by Northwest, 15, 106, 109, 143, 155
Novak, Kim, 179
Noyce, Philipe, 216
O
O Brother Where Art Thou, 144
Oblomov, 169
Observer characters, 172–173
O’Connor, Donald, 294
Odd Couple, The, 373
On the Waterfront, 3–4, 190–191
One-act structures, 44–45
One Flew Over the Cuckoo’s Nest, 372
O’Neal, Patrick, 208
O’Neal, Ryan, 294
Only Angels Have Wings, 143
Open City, 90
Openings, 335–338
Other, the, 247–267
complexity, 266
description, 247
Out of Sight, 59, 68–69, 71, 74–75
Outland, 77
Outlaw Josey Wales, 81
Outsider characters, 174
P
Pacino, Al, 125
Package, The, 106–108, 205–206
Painted Bird, The, 226
Paper Mask, 185–186
Papillon, 169
Parallax View, The, 126
Paris, Texas, 196–197, 199, 379
Passion Fish, 100
Passive vs. active characters. See Active (energetic) vs. passive (reflective) characters
Peckinpah, Sam, 121–122
Peel, 383–385
People, David, 122
Perfect Storm, A, 109
Personal scriptwriting
characters
description, 369, 372. See also Characters
vs. plots, 371. See also Plots
types, heroes, 373
types, mad, 372
types, marginal, 372
types, victims, 373
writer attitudes towards, 374
charisma, 370
dilemma, 370
market, 379–380
narrative strategies, 378–379. See also Narratives
nonconformity, 370–371
vs. other arts, 379
real drama vs. unreal life, 369
reference literature, 380
vs. seduction, 374–377
short films (shorts)
case studies, 383–389
personal experiences, 382
reference literature, 390
story, 366–367
structures, 367–369. See also Structures
Peters, Charlie, 180
Peyton Place, 86
Phoenix, River, 170
Piano, The, 217
Picturing Will, 379
Pinelli, Tullio, 214
Planet of the Apes (remake), 77
Plein Soleil. See Purple Noon (Plein Soleil)
Plenty, 10
Plots
anti-narratives vs. narratives, 63–64, 70–71
vs. characters, 371. See also Characters
description, 50
dominant, 107–108
non-linear, 161
Plummer, Christopher, 130
Poe, Edgar Allan, 88
Points of no return, 22–23
Polanski, Roman, 247
Polyester, 339–340
Poor Cow, 149
Premise, 2–3
Presumed Innocent, 204
Prévert, Jacques, 215
Princess and the Warrior, The, 144, 147, 161–162
Prisoner of the Mountain, 113
Protagonists, 78
Psycho, 15, 109, 168, 179, 316, 336
Pulp Fiction, 154, 157–159, 161, 163
Punchline, 182
Purcell, Gertrude, 102
Purple Noon (Plein Soleil), 118–119
Puzo, Mario, 124
Q
Q & A, 207–209
Quadrants, multiple, 328–330. See also Digital features
Quaid, Dennis, 209
R
Rafael, Frederic, 147
Rafaelson, Bob, 92
Raging Bull, 84, 93, 127, 129, 155, 184–185
Raiders of the Lost Ark, 60–61, 63, 66–67
Raising Arizona, 129 136–137, 368
Rambo (series), 92
Ramirez, Bruno, 297
Ramis, Harold, 193
Randall, Tony, 294
Rascoe, Judith, 195
Rashômon (novel), 215
Ratcatcher, 149–151
Rattigan, Terrence, 99
Ray, Satyajit, 214
Rayfiel, David, 108
Rear Window, 179
Rebel Without a Cause, 86
Red Heat, 83
Red River, 80
Red Violin, The, 159
Reflective vs. energetic characters. See Active (energetic) vs. passive (reflective) characters
Reid, Kate, 124
Renoir, Jean, 41, 91, 214–215, 218
Reservoir Dogs, 82
Resnais, Alain, 215–216
Resolution, 79
Restorative three-act structures, 16–27. See also Restorative three-act structures; Structures
Reveral, 7
Reversal of Fortune, 194–195
Rewriting
critiques, 346–347
reference literature, 351
sample exercises, 347–350
Rickman, Alan, 221
Ride the High Country, 121
Riegert, Peter, 12
Rising action, 6
Ritchie, Michael, 268
Ritter, John, 87
River Runs Through It, A, 86
Rivette, Jacques, 215
Roberts, Julia, 193
Robocop, 132
Rocky, 93
Rodat, Robert, 60
Rogers, Mimi, 291
Romeo is Bleeding, 84
Rookie of the Year, 22
Rosemary’s Baby, 88
Rosetta, 103–104
Ross, Gary, 206
Rossen, Robert, 142–143
Roth, Eric, 103, 112, 147, 296
Rubenstein, Bill, 107
Rubin, Bruce Joel, 221–222
Rubin, Danny, 193
Ruby, Harry, 10
Rudolph, Alan, 294
Rukov, Mogens, 101
Rule Goldberger, Nancy, 8
Rules of the Game, 41
Running on Empty, 99
Russell, David O., 248
Russia House, The, 83
Ryan, Meg, 209
S
Salvador, 178
Sammy and Rosie Get Laid, 293
Sample exercises, critiques, 347–350
Sands of Iwo Jima, The, 296
Sargent, Alvin, 126, 129, 142, 379
Sarrasine, La, 297
structure, 145–146
tone, 146
Saving Private Ryan, 8, 60–62, 64, 66–67
Schamus, James, 158
Scheider, Roy, 178
Scene sequences and transitions, 235–236
Schellenberg, August, 173
Schepisi, Fred, 216–217
Schindler’s List, 59–60, 62–63, 65–67, 90, 113, 141, 224–226
Schlöndorff, Volker, 215
Schrader, Paul, 9, 76, 92, 126–128, 184, 366–367
Schulberg, Budd, 142–143, 182, 190, 199
Schulman, Arnold, 192
Schultz, Carl, 108
Schwarzenegger, Arnold, 181
Science fiction films, 89–90
Scofield, Paul, 93
Scott, George C., 181
Scott, Randolph, 121
Screenplay forms
alternatives, 245
basics, 232–233
beats and beat staging, 245
CUT TO, 235
dramatic action, 240–244. See also Action
FADE IN, 235
FADE OUT, 235
FADE TO BLACK, 235
INteriors and EXTeriors, 232–233
language, 236–238
LAP DISSOLVE TO, 235
non-American, 213–226. See also Non-American screenplays
points of view, 238–240
reference literature, 246
scene sequences and transitions, 235–236
script shooting, 228–231
software programs, 232. See also Software programs
structures. See Structures
subtext-action-character relationships, 200–212
WIPE TO, 235
Screwball comedies, 84–85
Scribe, Eugene, 17
Script shooting, 228–231
Scriptware (software program), 232
Scriptwriting, personal. See Personal scriptwriting
Searchers, The, 80
Secondary characters
case studies, 192–198
Seduction vs. personal scriptwriting, 374–378
Segal, George, 183
Seger, Linda, 49
Self-Made Hero, A, 103
Semple, Jr., Lorenzo, 108
Sense and Sensibility, 102
Sergeant York, 91
Seriality vs. time dichoctomies, 46–47
Serpico, 124
Serreau, Coline, 149
Seth, Roshan, 211
Seven Pillars of Wisdom, The, 92
Seven Samurai, The, 216
Seventh Sign, The, 88, 108–109
sex, lies, and videotape, 59, 68–69, 71, 73, 169–170, 384
Shadows, 149
Shampoo, 85
Shanley, John Patrick, 13, 210, 365, 371
Shelley, Mary Wollstonecraft, 88
Shepard, Sam, 13, 196, 203, 210, 371, 379–380
She’s Gotta Have It, 11, 15–17, 28, 33, 43–44, 337–338, 343, 371–372
Shoot the Moon, 372
Shootist, The, 123
Short Cuts, 95, 145–146, 308–309, 330, 362–363
Short Film About Love, A, 169, 221
Short films (shorts)
case studies, 383–389
personal experiences, 382
reference literature, 390
Shyamalan, M. Night, 108–109
Silence of the Lambs, 113
Silent Tongue, 172
Silver, Ron, 194
Simon, Roger, 373
Singin’ in the Rain, 294
Situation comedies, 87–88
Six Degrees of Separation, 305
Sixth Sense, The, 108–109
Skin Deep, 87
Slacker, 46
Sleepless in Seattle, 12
Sluizer, George, 110
Smith, John N., 188
Smith, Robert, 111
Smoke, 103
Smoke Signals, 361–363
SOB, 146
Soderbergh, Steven, 58–75, 98, 169, 305
Software programs, 232
Solondz, Tod, 102–103, 112, 158
Some Kind of Wonderful, 204, 294
Some Like It Hot, 293
Someone to Watch Over Me, 125, 291–292
Something Wild, 1, 8, 85, 129, 133–134, 140, 197–199, 211, 304
Sontag, Susan, 76
Sophie’s Choice, 177
Sorcerer, 115
Soward, Jack, 200
Spaak, Charles, 215
Spader, James, 129–130
Spellbound, 109
Spielberg, Steven, 58–75, 224, 338
Splendor in the Grass, 370
Split characters, 175
Sports films, 93–94
Sprecher, Karen, 154, 158, 162
Spy Who Came In From the Cold, The, 82
Stalking Moon, The, 129
Stanley, John Patrick, 180
Stanton, Harry Dean, 196
Star Trek: The Wrath of Khan, 130, 200–201
Star Wars: Episode III – Revenge of the Sith, 319, 333
Star Wars (series), 12, 77, 176
State of Grace, 83
Steinbeck, John, 370
Stevens, Leslie, 121
Stevenson, Robert Louis, 88
Stewart, James, 81, 121–123, 179, 181
Stockwell, Dean, 196
Stone, Sharon, 137
Stoppard, Tom, 60
Story vs. texture, 30–31
Stranger Than Paradise, 45, 349
Streep, Meryl, 177
Strick, Wesley, 129
Striking Distance, 205–206
Structures
anti-narratives vs. narratives, 62–63, 70
conventions
action lines, 5–6
characters, 4. See also Character
conflicts, 3–4. See also Conflicts
description, 2
discovery, 7
foreground vs. background, 12–13. See also Foreground vs. background
narrative strategies, 14–15. See also Narratives
premises, 2–3
reversal, 7
rising action, 6
subtext, 6. See also Subtext-action-character relationships
turning points, 7
counter-structures
description, 38–39
documentary randomness, 42–45
emphasis vs. minimization, 46–47
foreground, 38–42
genre ambiguity, 46–47. See also Genres
mixed modes, 45–46
one-act structures, 44–45
seriality vs. time dichoctomies, 46–47
three-act structures, exaggerated, 40–41
three-act structures, indifferent, 42–43
three-act structures, ironic, 38–40
two-act structures, ironic, 43–44
description, 1–15, 20, 29–30, 37–38, 50
documentaries, 268–288
historical themes, 268–288
political themes, 268–288
reference literature, 28, 37, 47
screenplay forms, 227–246. See also Screenplay forms
subtext-action-character relationships, 200–212
three-act structures, restorative
advantages, 25–27
backdrops, historical, 34–35
build, 26
character alignment, 26
character assertion, 24
character change, 20
character psychology, binary, 33–34
characteristics, act one, 22–23
characteristics, act two, 23–24
characteristics act three, 24–25
characters, central, 20–21
characters, movement ahead, 23
conflicts, internal and external, 21–22
consequence, 24
critiques, 29–37
decision-making space, 32
description, 17–20, 29–30, 37–38
directionality, 27
false solutions, 23
focus, 26
motivation, 32–33
motives vs. events, 35
narrators, effaced, 36
points of no return, 22–23
skeleton structures, 25
step-by-step writing process, 25–27
story vs. texture, 30–31
tone, 31, 289–291. See also Tone
vs. voice, 314–317. See also Voice
Sturges, Preston, 145, 293–295, 379
Subtext-action-character relationships
balance, 204–206
case studies, 206–210, 211–212
foreground vs. background, 200–210. See also Foreground vs. background
moment, the, 210–211
Sudden Fear, 111
Sullivan’s Travels, 294–295, 298
Summer, 218
Sunset Boulevard, 127, 142, 169, 183, 191
Superman (series), 92
Swayze, Patrick, 221
Sweet Hereafter, The, 360–361, 363
Sweet Sixteen, 149–150
Sweet Smell of Success, 142, 183
Swingers, 263
Sympathy, empathy, and antipathy, 177–179, 188–189
Syriana, 266
T
Talented Mr. Ripley, The, 118–119, 363
Tally, Ted, 13
Tamahori, Lee, 98
Tana, Paul, 297
Tarantino, Quentin, 11, 143, 154, 157–158, 163
Taussig, Michael, 266
Taxing Woman, A, 145
Taylor, Lili, 193
Tender Mercies, 370
Terminator, The (series), 12
Texture vs. story, 30–31
That Man From Rio, 216
There’s Something About Mary, 87, 155
They Were Expendable, 90
Thief, 124
Thin Blue Line, The, 368
Thin Red Line, The, 154, 156–158, 160, 162
Thirty Two Short Films About Glenn Gould, 159, 307–308
thirtysomething, 86
Thousand Clowns, A, 210
Three-act structures
aggressive vs. relaxed, 51
contemporary films, 48–56
exaggerated, 40–41
indifferent, 42–43
ironic, 38–40. See also Irony
relaxed vs. aggressive, 51
restorative
advantages, 25–27
backdrops, historical, 34–34
build, 26
character alignment, 26
character assertion, 24
character change, 20
character psychology, binary, 33–34
characteristics, act one, 22–23
characteristics, act two, 23–24
characteristics act three, 24–25
characters, central, 20–21
characters, movement ahead, 23
conflicts, internal and external, 21–22
consequence, 24
critiques, 29–37
decision-making space, 32
description, 17–20, 29–30, 37–38
directionality, 27
false solutions, 23
focus, 26
motivation, 32–33
motives vs. events, 35
narrators, effaced, 36
points of no return, 22–23
skeleton structures, 25
step-by-step writing process, 25–27
story vs. texture, 30–31
tone, 31, 289–310. See also Tone
Three Days of the Condor, 108
Three Kings, 248
Thrillers
antagonists, 106–107
case studies, 110–112, 118–119
character goals, 105–106
dramatic arc, 108
issues of the day (social vs. political values), 108–109
vs. melodramas, 97
plot dominance, 107–108
tone, 109–110. See also Tone
trends, 114–117
variations, 111–112
Throne of Blood, 215
Thunderheart, 203–204
Tidyman, Ernest, 123
Time dichotomies vs. time, 46–48
Time of the Gypsies, The, 101, 219–220
Titanic, 150
To Kill a Mockingbird, 100
To Sleep With Anger, 47
Tone
characters, 290, 294–297. See also Characters
consistency, 31
genres, 80, 109–110. See also Genres
irony
atmosphere, 303–304
characters, 294–297. See also Characters
description, 293
dialogue, 297–303
genres, 304–306. See also Genres
vs. satire, 309
narrative structures, 73–74, 292–293. See also Narratives; Structures
narratives vs. anti-narratives, 73–74
reference literature, 310
thrillers, 109–110
Tootsie, 85
Topo, El, 216
Torn Curtain, 109
Total Recall, 141
Towne, Robert, 92
Tragic flaws, 182–183
Trainspotting, 352–353, 356, 360, 363
Transitions and scene sequences, 235–236
Trintignant, Jean-Louis, 178
Tripplehorn, Jeanne, 137
Trouble in Paradise, 293
Trouble with Harry, The, 109, 116
True Believer, 180
True Lies, 92
Truffaut, François, 215–216
Truly, Madly, Deeply, 221–222, 226
Turning points, 7
Two-act structures, ironic, 43–44
Tykwer, Tom, 143–144, 147, 152–153, 161–162
13 Conversations About One Thing, 154, 158, 162
2001: A Space Odyssey, 89, 303
U
Un Chien Andalou, 154
Underground, 161–162
Unmarried Woman, An, 87
Untouchables, The, 12, 82, 124
Uris, Leon, 375–376
V
Van Diem, Mike, 99
Varitations, genres, 111–112
Verdict, The, 16–19, 22, 29–30, 33, 51, 313, 336, 343
Vertigo, 106–107, 179, 315, 317, 343
Vertov, Dziga, 149
Victim characters, 373
Victor, Victoria, 140
Vidal, Gore, 121
Viertel, Peter, 184
Vigo, Jean, 215
Vinterberg, Thomas, 101, 330–332
Viva Zapata, 370
Vivre sa Vie, 341–343
Voice
adaptations, 352, 353–358. See also Adaptations
anti-narratives vs. narratives, 66, 73–74
characters. See Characters
description, 311–314, 317, 335, 342–343
digital features, impact, 330–333. See also Digital features
dramatic voice, 311–314
genres, 142–153
docudrama, 149–151
experimental narrative, 151–153
fable, 146–149
non-linear, 154–163
satire, 145–146
importance of, 162
internal voice, 352
melodramas, 103–104
MTV style, 162
narratives
action and meaning, 339–340
adaptations, 353–358. See also Adaptations
build, 338–340
closure, 340–342
conflict location and relocation, 337–338, 341–342
development, 338–340
vs. dramatic, 311–314
expositions, 337
focus, 338–340
openings, 335–338
writing, 335–343
reference literature, 318, 343
vs. structures, 314–317. See also Structures
Von Trier, Lars, 114
Von Trotta, Margaret, 215
Vow of Chastity, The, 334
Voyeurism vs. identification, 179, 187–188
W
Wages of Fear, 115
Wagstaff Gribble, Henry, 102
Walk on the Moon, A, 100–101
Wall Street, 21–23, 29–30, 32–33, 51, 71, 315, 341
Walsh, Des, 188
War Game, The, 149
WarGames, 168
Wargnier, Regis, 114
Warhol, Andy, 169
Warshow, Robert, 76
Washington Square, 98
Wasson, Craig, 174
Waters, John, 339
Watkins, Peter, 149
Webb Peoples, David, 122
Weekend, 216
Weekend at Bernie’s, 372
Weir, Peter, 217
Weller, Peter, 132
Welles, Orson, 196
Welsh, Irvine, 353
Where’s Poppa?, 372
White, 221
White Heat, 83
White Hunter, Black Heart, 184
Who’ll Stop the Rain?, 90, 126, 170–171, 176, 195, 199
Wild Bunch, The, 8, 81, 107, 121–122, 371
Wilder, Billy, 84, 142, 183, 191, 201, 215, 229, 231, 293, 379
Winkler, Irwin, 106–107
Winslow Boy, The, 99
WIPE TO, 235
Wise, Robert, 228
With a Friend Like Harry, 116
Wittliff, Bill, 109
Wizard of Oz, The, 146–147
Wood, Natalie, 192
Word (software program), 232
Working Girls, 45
Wright, Teresa, 175
Wrong Man, The, 109
Wyler, William, 121
Y
Yards, The, 113
Yasui, Lise, 388
Yojimbo (A Fist Full of Dollars), 216
Yordan, Phillip, 121
Young, Sean, 131
Young Lions, The, 65
Z
Zaillian, Steven, 60, 65, 113, 224–225
Zemeckis, Robert, 64
Zinnemann, Fred, 64