Most directors that I’ve met can quickly tell you how to direct an action sequence, but few can elaborate on developing the subtle nuances of the theme. Thankfully, 70-80% of a movie is driven by the action plot line and most writers create a theme that finds its way to the surface regardless of the director’s experience level. There is, however, a significant difference between great films and the not so great, which can be attributed to directors who strengthen their story by nurturing their themes.

I recently read about a wedding party where the host miscalculated the number of guests or the amount of wine they would drink. The party was about to see an embarrassed host, but thankfully the hero quietly arrived in the background. Once requested, he told the servants to fill the five empty ceremonial vases with water, dip a cup into it, and take it to the head server.

The head server tasted the “batch of wine” and was startled. He made a big deal of the great tasting wine because the culture always switched out the great wine for some two-buck chuck after everyone was tipsy, figuring that no one would notice. But, this host held back the best for last, which was worthy of praise. The crowd loved it and the host was held in high esteem.

Aside from the mysterious miracle performed by the hero, the story has a great subplot that carries a strong theme. It’s about a hero coming to the aid of someone in need. Not someone who lost their house in a flood, or barely survived a blood curdling car wreck, but someone who was about to be embarrassed based on their own shortsightedness. The hero had a great deal of empathy and was very diplomatic on behalf of the host.

Our hero didn’t grandstand and perform the miracle for everyone to see, which would have put him in a great place in the public eye and devastate the host who had botched up. But instead, the hero kept everything low key and allowed the host to take the credit. In other words, the hero was more concerned about the emotional well being of the host, than meeting the needs of the crowds. We learn that our hero is very personable and interested in the little things in life — A great role model.

When a director focuses on the action to the detriment of the theme, he misses some of the most important life changing moments that can give the audience a reason to contemplate the movie time and time again. By focusing on the theme, a director can bring the humanity of the film to life. Without it, the film is left only with the fun factor and visual energy of the story, which can actually get old at times.

Have you ever gone to a movie that was really well made, but it didn’t compel you to think about anything or inspire you to take some form of action? Those movies are typically helmed by directors that lose sight of their theme or allow it to be overshadowed by gimmicks and effects in order to bring in larger audiences. It’s important to note that only theme enriched films plant the seed of life changing ideas in the audiences mind, giving them food for thought and a desire to watch the movie again.

Copyright © 2012 By CJ Powers
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 Yesterday I read the “Indian Jones: The Last Crusade” screenplay. Having recently read “Avatar”, it was obvious that the length of scenes have greatly shortened over time. Audience attention spans being greatly reduced over the past two decades might have something to do with it, but even with the cutting edge action in “Indiana Jones”, many of the scenes would be considered too long by today’s audience.

During the screenplay workshops I’ve conducted worldwide, one question arises in the middle of every session, “How long should I make the scene?” No one likes my answer, “As long as it needs to be, in order to tell your story in the best way possible, but not long enough to bore your audience.” I’ve never been thanked for that advice, no matter how much they accept the truth of it.

So I’ve decided to create some guidelines to help writers calculate the answer for themselves:

1. A scene should only make or reveal one key storyline point. Every writer I’ve met has struggled with this concept because most think that in order to make a great film every scene needs to be complex and filled with information. However, the simpler the scene, the easier it is for the audience to follow complex ideas. Therefore, it is better to break up a three point scene into three scenes.
2. Focus on the Main Character’s goal. Most long scenes became long when the writer lost track of the actor’s goal and started developing a supporting character to the same level as the main character. We sometimes forget that the only reason a supporting character is in a film is to reveal something about the main character. By focusing on his goal, the story shifts our attention to only the things of importance, clarifying the message.
3. Review the previous and next scenes. Every story has a pace and rhythm that shows up in the length of the film’s scenes. If the scene falls into a faster section of the story, the scene will be just as short as the ones surrounding it. If it is in the middle of more relaxed paced scenes, it too will conform to a similar length. The exception is when a scene is put in to change the pace. If during a high action sequence the writer feels a need to let the audience breath, he inserts a longer scene to accomplish the task (possibly the lull before the storm). The opposite can also be effective when a short scene is slipped in between scenes representing a more status quo type of pace (An emotional jolt to regain the audience’s attention).
4. Everything is said that needs to be said. Expanding a scene just because the writer likes it, is the kiss of death, especially in Act 2 where stories have a tendency to die on their own. Once all the right information is in the scene, it is at the right length, unless the writer added in all kinds of additional information that’s irrelevant.
5. Make the subtext clear. The more obvious the scene, the shorter it can be. However, the more subtext used, the more interesting the scene and the more length is required for the interchange. During the age of “the shorter the scene the better,” writers sometimes forget that a scene twice as long with great subtext feels shorter than a short scene written on the nose.

Motion pictures are a collaboration of the arts and sciences. This overarching fact gives rise to the screenwriter who must put his heart on the page, while scientifically structuring it in a way that the audience can receive the message and be moved by it. The same holds true for the length of scenes.

The writer must find the exact length that allows him to share his passionate message, while entertaining the audience. That perfect balance, which is only achieved by less than 10% of the screenplays I read annually, makes the difference between a great film worth watching numerous times and a common film.

Copyright © 2012 By CJ Powers

Many faith and values films are actually religious films in disguise. They are typically written, directed and produced by a person who has a specific message to get across. He typically desires to use film rather than a pulpit, and isn’t well versed in the craft of story telling.

In mid July, I will be teaching two workshops at Karitos 2012 on developing story for film, to a faith and values audience. The number one thing I will attempt to share is how to integrate a message into a great story, rather than trying to attach a story to a message.

The first rule is to make sure the main plot line is filled with some form of a protagonist or hero taking some proactive action. This plotline is called the Action Plotline. The second rule is that the message can NEVER be a part of the Action Plotline, but MUST be a part of the “B” Plotline.

The typical argument I get is that the message is very important and therefore needs to be in the Action Plotline instead of a secondary plotline. However, while a book might be able to succeed in this manner, films typically fail. The reason for this consistency of failure is due to messages being good or wholesome and Action Plotlines needing conflict and consequences to survive and progress.

Rarely will an author risk his key message in a sea of conflict. It is much easier for the hero to learn it during a lull in the Action Plotline. In this way the hero can find a unique application for it in order to save the day by the end of the film, making the storyline and climax of the film more valuable.

By applying the message in this way through the “B” Plotline, the audience gets a glimpse on how to translate the message into their lives. It becomes a perfect demonstration for multiple types of applications based on each viewer’s life experience. The message instantly becomes a tool for use in life.

However, many Christian filmmakers put the message into the Action Plotline, which slows down the story and causes the audience to feel preached at. And, few people will accept a message that is preached at them rather than shared with them.

We all like to feel close to our pastor and listen to him share his message as a good friend or a person of wisdom who wants the best for us. But, the hero or main character isn’t our friend unless he is specifically crafted to connect with us.

This skillful style of writing requires subtext and no preaching, relegating the message to the “B” Plotline. This combination will not only inspire faith, but it will energize the viewer to consider some form of action in their own life – Making the story and the message a great experience.

Copyright © 2012 By CJ Powers

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