Archive for Robert McKee

Dynamic Conflict

Posted in FILM, literature with tags , , , , , , , , , , on February 13, 2018 by dcairns

I got Dan O’Bannon’s Guide to Screenplay Structure for Christmas, and it’s quite good — one of the best of these damn screenwriting books. I can’t bear Syd Field’s books, the man thinks “sets up” is one word, spelled “setsup” like “catsup.” True, he has slightly more screen credits than Robert McKee, but no feature film ones, and his TV writing credits are for a show he produced: in other words, he gave himself the job.

O’Bannon actually wrote movies, and had the debilating health problems to prove it. This is from Michael Wiese Productions, who do good film books by actual filmmakers, and it shares a melancholic quality with editor Sam O’Steen’s Cut to the Chase: it’s been published post-mortem, with much work from other hands to make a book of it. O’Steen had his wife, a fellow editor, to interview him and prompt his memories, O’Bannon has co-author Matt R. Lohr. I’m going to go ahead and blame him for getting the plot of King Lear wrong.

But the selling point here is O’Bannon’s unique take on the three-act structure. I’m with actual writer Ed Solomon on this one — reading screenwriting books before you start writing will just do your head in. If you write something decent, the books can sometimes be useful to help tighten it and make it work better. I’d encountered O’Bannon’s theories before in an interview he gave to a screenwriting magazine. There’s not much new here, certainly not enough to fill a book, but NONE of these manuals have enough in them to fill their page count. All you can hope for is that the good stuff will actually be good.

O’Bannon’s chief innovation is to better define the Act Two Curtain — in his formulation, at this point, “the doors close” — before this approximate three-quarter mark, leading into the climax, the protagonist and antagonist could theoretically have walked away from their conflict (yes, as always, the assumption is that this will be a conflict-based narrative: see Mackendrick’s On Film-Making for a bracing alternative). After this curtain, the characters are locked in to their struggle. Sometimes one has committed an act so awful towards the other than vengeance is now imperative; sometimes, one has been revealed to pose an existential threat to the other. I guess in JAWS, when the boat starts to sink, Sheriff Brody is committed to seeing the thing through.

In that same old screenwriting mag I read another movie hack claim that DIE HARD was all third act from about fifteen minutes in, but O’Bannon’s theory disproves this nicely. It may seem to be all climax, but just where a Second Act Curtain should be, our hero is told he can relax and leave it to the FBI now, and then discovers the terrorists are going to blow everyone up and ONLY HE CAN STOP THEM. Classic O’Bannon, though written by three other guys.

One always finds oneself talking about really commercial, manly stuff when attempting to prove screenwriting theories. One successful guide uses THE KARATE KID as its paragon. This alone should make us skeptical. But if you’re interested in screenwriting, test O’Bannon’s theory against movies you love. I might try this in a follow-up post.

O’Bannon’s other best point is where he blasphemously trounces the idea that Acts One, Two and Three should end or begin on a specific page, or a specific minute of screen time. He points out that the audience doesn’t know what time it is. He’s right. I think we DO get a sense, when we’re watching a film, that This has been going on a long time and we still don’t know what it’s about, when the first act is a long time in reaching its curtain. But we can get that feeling in fifteen minutes, if the first act is really boring, as I just did with a screener I was viewing for Edinburgh Film Festival, a would-be horror movie that began with half an hour of conversations. And sometimes we can get to the end of a film without once having that feeling, and STILL not know what the film was about, as I did with another movie, a thoroughly convincing and beautiful art-house job.

The surest ways to avoid activating the audience’s internal clock is to tell an engaging story or unfold a tapestry of cinematic beauty. And let the curtains fall where they will.

Dan O’Bannon co-wrote DARK STAR, ALIEN and TOTAL RECALL.


The Hogmanay Intertitle

Posted in FILM with tags , , , on December 31, 2017 by dcairns

1. OK, that’s the intertitle (from THE GOLD RUSH).

2. Now for the film grammar lesson. It’s said that, because we read from left to right, the positioning of characters in frame has a dramatic meaning that depends on which direction they’re pointed in. A character aimed right is going somewhere, a character aimed left is, ahem, strong and stable, has arrived where they were going. Presumably in other cultures like Japan where they read right to left, this is reversed, but I haven’t gotten around to checking.

I was a little skeptical of this idea when Robert McKee said it in a close analysis of a scene from CASABLANCA — every time McKee talks, I will him to be wrong. But it seems to hold up. And it doesn’t seem to matter how skilled the filmmaker is, it appears to occur unconsciously/automatically. Which makes it, I guess, a lesson you can’t do anything with, unless you’re a director and you get paralysed by doubt in setting up a scene: it might unblock your blocking. The complacent Mr. Sheldrake isn’t going anywhere, physically or spiritually.

Miss Kubelik doesn’t know it yet, but she has a visit to pay.

3. OK, that’s the film grammar bit. Now for the mash-up —


4. Now for the benediction: whichever of these images most closely resembles your New Year’s Eve activities, may the new year bring you peace and wisdom and kindness and joy.

And movies!

Card Tricks

Posted in FILM, Mythology, Painting with tags , , , on December 20, 2014 by dcairns

I’ve only made three of my usual cinephile Xmas cards this year, owing to time restrictions.


As usual, what you should do is cut the illustration out of your computer monitor with a pair of round-ended scissors and paste the cracked rectangle of liquid crystal display to an old Christmas card with the names inside crossed out. This will totally result in an ace Christmas card.


Then, tape a piece of newspaper over the gaping hole in your screen, using sticky-backed plastic, and simply work around the newsprint area.


If you’re viewing these on your phone, forget it! It’ll never work!