You've
heard "write what you know." It of course refers
to the philosophy that we are much better off while new
to writing, to stick to stories in which we have personal
insight.
While
it's probably better to use this concept when dealing
with characters' emotions than let it restrict on what
sort of story to tell, there is a truth to it that is
useful whenever writing anything new.
Low-budget
filmmakers have a unique dilemma: They must write a screenplay
of quality that can be shot competently, realistically
and compellingly within the capacity of the filmmakers'
bank account.
However,
rather than look to this as a hindrance, true writers
should take up the challenge of writing within the confines
of a budget, location or available actors with pleasure.
It forces the writer to make more interesting characters
that do more interesting things because the emphasis isn't
on what money can buy (and it never should be, no matter
what the budget).
Let's say this is a first film, with very few actors available
(perhaps of varying degrees of talent) and just enough
budget to cover the equipment and some basic comforts
such as props, food and miscellaneous needs that crop
up on shoot days. The writer of this film must write a
good, strong story that the available actors can convincingly
portray. Remember, even high-budgeted movies are destroyed
by bad acting. So, in addition to making sure the writer
is of talent, the actors must be of talent. With good
actors, the writer is free to cover just about any circumstances
or emotions.
Make
sure the director knows or is willing to learn (at least
to some capacity) how to direct actors. No matter how
great an actor, she might say, "Why is my character
doing this?" If the director and writer agree that
she should be doing this, the director should be able
to explain why easily and offer the actor any additional
information she needs to do her job.
Directors
are so much linked to "filmmaking," that the
theatrical heritage of directing is sometimes forgotten.
Study directors such as Elia Kazan, a true actor's director,
for insights on filmmaking and directing actors that more
cinema-oriented directors never even think about.
The average good writer should have several concepts he's
contemplated enough to be convinced it would be a decent
movie if done right. This is the very best place to start
because it is likely that a respectable amount of passion
exists behind these ideas. Is every existing idea needing
of a huge budget, such as the space epic or Western he
may have in mind? Not necessarily. The question now becomes,
"Can the story be transplanted to a no-budget scenario?"
For
example, if there is a story about some sort of power
struggle in space, could the story be transplanted to
say, a community situation? Instead of the Emperor, it's
the mayor. Instead of the armies, it's the cops or an
underground group of Internet freaks. This is but a single
and not very creative example. My next no-budget film
is in a genre I can afford using the same story I was
going to tell in a genre that would've required a large budget. It's
definitely worth considering.
If
this doesn't work and you have no stories and no ideas
that can be done for a low budget, there are still many
options. Find out what classic stories are available for
public domain and adapt a version. Ask the actors or anyone
else involved if they have any ideas. Watch movies (especially
and always, the classics) and be inspired by them. Read
the news, read books, read, read, read. Listen to music
that inspires emotional reactions. In the end, it's an
emotion that a screenplay leads to and it's the emotion
that should inspire the entire project.
Create
a memorable character. If having trouble with the story
per se, what about creating a memorable character such
as Indiana Jones … or Bridget Jones, for that matter?
A character that the audience will love, that can be in
many situations and it's interesting simply because the
character is in it.
If you've never seen it, the original "Kolchak: The
Night Stalker" series, now on DVD, is a show that
worked around a great character, played by Darren McGavin.
Other examples are Fox Mulder, Colombo or Mr. Spock. And
these are all males. The possibilities become even more
interesting when a female is the lead character.
Let
the actors available either inspire or get directly involved
in the creation of this character. Know what genre the
film will be made within and then create a great character
that will take the audience through it. Since the best
writing is when characters' decisions determine which
direction the story will take, strong characters are necessities--whether
the idea of the story came first or not.
If the writer has a pretty good idea who can realistically
be in this film, it can help shape the character's personality.
For example, knowing Harrison Ford would play Indiana
Jones probably made the writers of the sequels write him
a little more specifically to Ford than Lawrence Kasdan
did on the original, Raiders of the Lost Ark.
If
the movie is to be cast using professional actors, obtained from
agencies or colleges, then focus on the characters without
any restriction as to who might play him.
If
an actor comes along that is good but currently not exactly
right for the existing parts, consider revising the part
to get the actor. Scripts can be changed, words can be
changed, etc. Decent actors who work for near nothing
are not easy to come by and again, their competence will
give the picture a necessary credibility.
