Prognosis of a Movie Unmade
by Michael Steven Gregory
Compared to a novel, say, writing a screenplay is easy. The parameters in which one has to work are so clearly defined as to leave little room for deviation or bent. Point-blank: Action takes place at a location; dialogue facilitates the action. But for San Diego's independently produced breakthrough movie to rise above the studio-waged behemoths and achieve recognition and box office luster, only a story will ensure a breakthrough.
Although the last segment of our series addressed writing an effective script, the fact remains that even the most cleverly cut ride cannot veil a weak or non-existent story. That's not to say it must be as densely woven as The Godfather or Lawrence of Arabia--a very simple story can work just fine: boy meets girl; boy loses girl; girl decapitates boy. What is crucial is that it's a complete story, with a solid beginning, middle and end.
A problem with many attempts at breakthrough pictures is that, for one reason or another, the filmmakers' ambition to make a movie of great, lasting social significance outweighs their drive to simply tell a good story. Indulging in an agenda that is nothing short of cerebral masturbation, they completely disregard the needs and expectations of those who must part with cash-money to see it--the audience. As a result, most of these films never find an audience. Though making movies rife with driving issues which spark debate is a noble pursuit, the makers of a breakthrough movie are first cognizant of the needs of their audience. And like the professional writer, a filmmaker--the director--must accept three irrefutable burdens of the job: 1) Obligation; 2) Responsibility; and 3) Accountability.
Regardless of genre, be it comedy, romance, action-thriller, horror, psycho-sicko-feel-good-love-story, etc., the filmmaker first has an obligation to entertain his or her audience. For whatever reason they respond to a picture's release, when an audience steps into a theater, or rents a video, their investment is fueled by certain expectations, on many possible levels. The successful breakthrough picture delivers on those expectations.
The validity of a screen story is often dictated by the accurate depiction of an environment and its denizens, caught up in engrossing circumstances. Capturing that reality, or at least suspending the disbelief of a reality presented, is only one part of the big picture. To portray a subject matter in as authentic a light as possible, without compromising its integrity or essence merely to satisfy a hidden agenda, is unquestionably the responsibility of the director. Despite what many prefer to believe, audiences are not stupid. You and I, for example, are an audience.
When the end result of the toil of many finally ignites a screen, as tolerant and empathetic as an audience can be, when it comes down to it they really don't care much that the reason your story didn't work is because you spent the money allotted for a crucial shot on a gross of toquitos to prevent a 2 a.m. crew mutiny! Whereas the "brilliance" of any movie can usually be credited to many, its aesthetic failure lays on the director's shoulders. You are not going to be able to attend each screening in every auditorium your movie shows in across the country to make excuses--this isn't a student film showcase. If what's up on the screen works, be proud. If it doesn't, you must accept accountability and do better next time.
If you're given a next time.
What is the breakthrough story? That's for you to determine. The possibilities are limitless.