Let’s hear it for the boys…
One of the most consequential pieces of dialogue within the TV show “Buffy the Vampire Slayer” was in the final episode of series 7. Buffy has to produce a morale boosting speech in order to keep her closest friends, and the young women who are in training, on a clear path of self-belief that they will win the fight in the end:
BUFFY: So here’s the part where you make a choice. What if you could have that power, now? In every generation, one Slayer is born, because a bunch of men who died thousands of years ago made up that rule. They were powerful men. This woman is more powerful than all of them combined. So I say we change the rule. I say my power, should be *our* power. Tomorrow, Willow will use the essence of this scythe to change our destiny. From now on, every girl in the world who might be a Slayer, will be a Slayer. Every girl who could have the power, will have the power. Can stand up, will stand up. Slayers, every one of us. Make your choice. Are you ready to be strong?
I think we can safely say that this is an emblem of female empowerment in a nutshell. A couple of days ago marked the 19th birthday of when the show originally started, and coincidentally International Women’s Day was celebrated on Tuesday 8th March where there was a strong air of awareness for gender equality.
Yes, Buffy’s dialogue did take centre stage within the episode ‘Chosen’, but I couldn’t help but notice the men within the scene as well, all loyal and strong in their own way, who at some point supported the protagonist in her journey. The old saying that behind every great man there’s a great woman well it works both ways. Behind every great woman there’s a great man. Both sayings work when ignorance and narcissism are left at the front door, for both women and men.
The key male figures within the scene were Giles, Xander and Spike, who are strong because:
Giles: He is Buffy’s mentor and a father figure. He cared for her as if she was his own daughter. Giles never talked down to her or treated her with disrespect. He always knew her potential and encouraged it.
Xander: He has been in love with Buffy from the very beginning but instead of feeling any kind of resentment or animosity, he stood by her side through thick and thin. He would rather love Buffy and have her in his life than risk losing her over jealousy and selfishness.
Spike: Even though he put Buffy through hell, both physically and emotionally, he learnt how to control the animal within whilst spending the last of his days trying to repent. He would rather sacrifice himself then cause any more pain.
Another male character within the Buffy universe that needs a mention is Angel. Whenever I think of any key dialogue I always think of this where he needed to be strong in order to stand up to his own son:
Angel: What you did to me was unbelievable, Connor… But I did get time to think… about us… about the world. Nothing in the world is the way it ought to be. It’s harsh, and cruel. But that’s why there’s us – champions. Doesn’t matter where we come from, what we’ve done or suffered, or even if we make a difference. We live as though the world is as it should be, to show it what it can be. You’re not a part of that yet. I hope you will be.
[Angel walks right up to Connor and stares at him]
Angel: I love you, Connor. Now get out of my house.
He is teaching Connor that as long as you are living on this planet you must take responsibility for your actions, and this scene showed how he was strong enough to tell a few home truths.
Yes, Buffy is an amazing example of female empowerment but in the same sense we can’t be ignorant as to deny the strength of the male characters that played their part throughout. Taking a step back we could event suggest that it did not matter whether a female or male character was ‘strong’. Instead, look at them as an individual.
We can celebrate and be reminded of inspirational women on International Women’s Day, and we can also celebrate inspirational men on International Men’s Day on November 19th. As previously mentioned, if we leave ignorance at the door then our time could be better spent working together.
Film review – ‘BURNT’
Bradley Cooper plays a highly driven, highly strung alpha male chef ‘Adam Jones’ who is determined to banish the wrong doings of his convoluted and messed up past. Jones is his own worst enemy but simultaneously it’s his drive to prove himself that makes him a perfect protagonist. The film begins at a point where Adam has slaved away in a small dive in New Orleans in order to redeem himself following his drug taking and destructive actions at a former workplace in Paris. Adam is pre set as a character fully aware of the damage he has caused but what he must now learn within this chapter of his life is that in order to repent you cannot afford to exclude other people from your life. Ultimately, who and what are you really fighting for if you are not even able to open up your heart to those you care about. A character that needs to lower their defences and understand that by putting faith and trust in other members of the team then you will inevitably achieve success.
The aesthetics are very eye pleasing, especially the focus on the presentation of the dishes and the vibrant lighting in Adam’s kitchen. As the movie progresses the lighting and mise en scene become more colourful representing the team as they are slowly brought to life whilst working together. As the film culminates, Adam’s kitchen exudes a completely different tone to his arch rivals kitchen which is plain, cold and lifeless, symbolising that bereft of your team you are nothing, alone and empty.
Adam becomes engrossed as he attempts to amalgamate old acquaintances from Paris with new talent in London and through this we acquire an in depth look into the stresses and tribulations faced by those in this type of industry. Wherever the characters go they cannot evade the sense of food and the burden of forever needing to improve and learn new techniques. Adam Jones demands perfection from his team (Sienna Miller, Omar Sy) and loyalty from his former maitre d’ (Daniel Brühl) in order to earn a third Michelin star. However, his temperament and aggressive behaviour wearies the team and as the film develops it is strikingly obvious that each character has a part to play in neutralising Adam to make him a more patient, humane but firm leader.
‘Burnt’ is a stylish culinary drama/comedy with a strong cast and an effortlessly edible script.
Icons – Scorsese: New York New York
Scorsese is one of my favourite auteurs and one of the best decisions he ever made was associating with the “movie brats” of the 1970s, in particular Brian De Palma who introduced him to legend Robert De Niro. After Taxi Driver, Scorsese decided to make his first big-budget movie, New York, New York, which would be a personal tribute to his hometown and his love for the classic age of the Hollywood studio musical. The theme song is one of my favourite movie soundtracks and the lyrics reflect Scorsese’s aim of making a brand new project where only his own hometown would allow him to achieve success, “My little town blues/ They’re melting away/ I’m gonna make a brand new start of it/ In old New York…”
On V-J Day 1945 a young singer, Francine (Liza Minnelli), meets an egotistical saxophone player, Jimmy (Robert De Niro), in a New York City nightclub and as their careers begin a long uphill climb their romance becomes strained. From the moment they meet there is instant opposition; Jimmy would keep pestering for her phone number while Francine kept resisting. It is only when she accompanies him to an audition that their chemistry takes an unexpected turn. The range of tracking shots, coupled with the over-use of medium long shots, is very artificial and at times claustrophobic. With the lack of close-ups it is at times difficult to get a sense of character emotion, but the rich colours Francine and Jimmy wear juxtaposed with their warring dialogue makes up for the tight space of the setting. Jimmy wears a tropical shirt connoting relaxation and calmness; however his dialogue is very direct and agitated thus tricking our sense of what he is like. The same is applied to Francine for she wears an exuberant black and white stylish dress connoting elegance and straight thinking because it is highlighting no shades of grey; what you see is what you get. In contrast, her dialogue is meddling and at times questions Jimmy’s performance. This, coupled with her devotion to her son later on, changes but she still tries to be successful in the music industry; juggling career with family has shifted to shades of grey. The way their representations change highlights the theme of you only ever really know yourself when you act in a situation you weren’t expecting.
The only bond they truly share is their love of music, but as they become immersed in the music industry they drift apart and Jimmy is not ready to take care of Francine and their new baby boy. As the movie progresses there is a real sense of tragedy because the city they had come to love and rely upon in order to feel alive and achieve success unwittingly becomes the catalyst for their broken marriage. It’s as if the films purpose was to say that in order to be happy in this town you have to be selfish and only think of yourself. This outlook on life, coupled with the use of basic enclosed studio settings suffocates the characters to a point of entrapment and in a way reflects what was happening to Scorsese during filming. His love for New York was that extreme he risked his usual filmic style for a more personal project, but became trapped and bound to a certain way of filming thus ending in disaster.
Unfortunately the movie had a weak reception and plunged Scorsese into depression and cocaine addiction until Robert De Niro encouraged him to kick the habit and focus on making Raging Bull. It was one of the best decisions he ever made, because unlike New York, New York that used expressionism to convey characters’ points of view, Raging Bull maximised his gritty style while employing complex tracking shots and a highly advanced distortion of perspectives in the boxing ring; his film-making had risen to new heights. Scorsese went back to the thematic concerns he was best at conveying: violence, redemption and insecure males, with notable examples being Mean Streets and Taxi Driver.
However, New York, New York is one of my favourite Scorsese films because it was different from his usual gritty realism and was rather a dedication to his hometown, thus making it more personal and nostalgic. I loved his representation of New York and coupled with a tragic romance successfully conveyed the price of fame and the effect it can have on your personal life. I would definitely recommend this Scorsese film and, as the title song says, “Start spreading the news…” for New York, New York is one of those classic gems that has to be unearthed.
Icons – Eastwood: True Crime
Having directed over 30 films, Clint Eastwood is high up there with other auteurs and true to form he never stops delivering. Making an array of dramas, westerns and action films, he is simply a Hollywood icon. I remember the first films I ever saw him appear in, The Good, The Bad and The Ugly and Unforgiven. His presence on screen was compelling and thought provoking, always intending to communicate with the audience through the power of filmmaking. Eastwood’s style of directing is opposed to the conscious attempts of others who insist on multiple re-shooting of scenes. He is renowned for maintaining the budget, efficient directing and reducing film time but most importantly Eastwood considers the imagination of the audience by using minimal script background in order to allow the viewers to connect with characters on a more personal level.
As an actor he is an emblem of the macho movie star who rides into ‘town’ as the troubled hero, battling his inner demons whilst overcoming the odds to protect those in need. But the ‘town’ does not have to be in the Wild West, it is more so symbolic and a common auteur trait of Eastwood’s which underlies the complexity of his narratives. The ‘town’ can be applied to the 1999 movie True Crime which was based on the 1997 book by Andrew Klavan of the same name. As well as directing True Crime he also starred as the main character Steve Everett, a journalist and recovering alcoholic from Oakland asked to investigate the execution of Frank Beecham, a convicted murderer played by the mesmerising Isaiah Washington.
When Steve meets Frank, the beauty of Eastwood’s directional style is expertly played out through the minimal use of dialogue, gritty lighting and close ups of the characters, leaving them both exposed. This coupled with the use of a ticking clock instils a race against time for Steve to prove Frank’s innocence. What is tenderly unique about their relationship is the setting up of opposites when really they are more alike than they know. Both have inner demons and a desire to change the past but however much you try it is the acceptance of ones self and actions that truly set you free. Franks emotional turmoil through alcoholism and the affect it has on his family resonates well on screen and provides heart warming support for the protagonist.
With Frank, he needs to come to accept the misunderstandings and evidence against him whilst also coming to terms with how his actions and possible execution can have consequences for his family. As the narrative progresses it becomes clear that one of the underlying themes of True Crime is if you had twelve hours to live would you be prepared to do whatever it takes to sort your life out. The hero and villain are set up at the beginning but in true Eastwood fashion the narrative gets flipped on its head. Steve fails as a family man whilst Frank is spared execution and is reunited with his loving family. When the two characters subsequently bump into each other at Christmas it evokes a bittersweet moment of human complexity as both characters are trying to move on from the ordeal.
Whether Clint Eastwood is a dirty cop, a pure romantic, cowboy, action star, boxing mentor or a troubled soul, he is arguably one of the most talented and creative directors in film. His directing is famously known for shooting first and asking questions later, an approach that gets the job done. Symbolically, this also reflects the kind of hero he encompasses and what we have come to know and love.
Icons – Caine: Alfie
What makes Alfie so interesting is its convoluted and troubled protagonist and the year it was released, 1966. The 60s were a time of dramatic, cultural change and no film depicts this better than Alfie. It offered a perfect rendition of the shift from traditional, middle class culture towards a dominant, working class one. Innovations in fashion, cinema and pop music targeted the young working class. At the same time, traditional class boundaries started to break down and new consumer values began to take shape. Alfie’s attitude towards clothes and women symbolised the diminishing importance of a privileged background or education.
The swinging 60s was a time of liberation for men and women. In keeping with current trends, Leeds girl Allie moves to London to seek work and romance. She is immediately snapped up by Alfie, whose battles to be liberated himself thwart her desire for freedom and mobility. The film may suggest he is the very emblem of male hedonism but I see Alfie as much more than that; he is a sensitive soul trying to carve his own path in a very uncertain and unruly time. The conflict is evident in one scene where the once rosy cheeked and bubbly Allie is replaced with a very grainy, dull and domestically bored female. Her code of dress shifts from confidence to the stereotypical apron and hair pinned back as she attempts to cook a steak and kidney pudding for Alfie. Michael Caine is brilliant as the oblivious boyfriend unable to comprehend why Allie does not want to cook and clean for him while he has the freedom to pursue outlandish behaviour.
Alfie doesn’t realise his actions will have consequences until it is too late and this is shown within one scene where a woman he gets pregnant has a back-street abortion. This scene is very important because for a brief moment we see Alfie’s vulnerable side as he looks down on the aborted foetus. The close up of his horrified face strikes a chord and instead of breaking the fourth wall and addressing the audience in a ‘cheeky chappy’ way, we see him alone and afraid. A curtain separates him from the woman so only the audience can see his reaction. It is extremely voyeuristic as we witness an important moment in his journey; this scene is very moving and shows his sentimental side.
In a bid to change his ways, Alfie attempts to settle down with a sophisticated older woman but discovers she is seeing a toy boy. This revelation further confuses him as to what his purpose in life is. The shift in societal values preys on Alfie’s vulnerable side, causing harm to those around him and ultimately himself as his bid for freedom concludes with him more restricted than before. The final scene is left open to interpretation as Alfie throws a red rose into the Thames, pondering what life is all about. The red rose is very symbolic as it symbolises passion and romance, for Alfie is a ladies’ man. But like Bret Michaels said, “every rose has its thorn” – and as the flower is carried off it’s a metaphor for how easily dreams can be washed away. “What’s it all about? You know what I mean.”
Screenwriting tips and how not to annoy a script reader
1. Dialogue
Dialogue is a vital component within your script but the lack of it can also be just as effective. The repetition of lines laced with stilted conversations can lose the attention of the reader. Please don’t turn us against your characters; if they have a point to prove either direct or subtle we will pick this up. Dialogue is useful when required but sometimes actions speak louder than words which is a great learning curve for your script. It demonstrates you are creating and evolving your scenes without hastily resorting to the use of ineffective dialogue.
2. Character Arc
I want to know if a character has learnt something. The sprinkling of plot points and beats throughout, either obvious or subtle is vital. It is disappointing when the ending is anti climactic and the protagonist hasn’t evolved (only in rare circumstances can this be achieved but requires a level of audience satisfaction rather than a sense of feeling cheated). Each character however large or small their role also needs to play their part and have a purpose. A poor character hastily created just to flesh out a scene or to interact with the protagonist in some way, exudes laziness. Bottom line, each character matters
3. Raising the Stakes
What does your character stand to gain or lose? When I read a script I instinctively want to know whether the protagonist is moved in such a way by what is at stake. Don’t lose the interest of your audience because ultimately if your character doesn’t care then why should they? The stakes need to significantly deteriorate as the protagonist journeys to hell and back. They need to feel that all is lost, in order for them to truly prove they deserve to win a reward that is unforgettable and life changing.
Les Misérables Review
A strapping Hugh Jackman set against a back drop of French political turmoil, heartache and sweet disposition ignites an epic musical drama whilst kick starting a heavy contender for the 2013 Oscars.
I admit to never having seen the stage play and to be honest I was sceptical. I knew a little about the story encompassing rather depressing undertones so the thought of spending a hearty seventy pounds at the theatre to ball my eyes out had never really appealed to me. Let’s face it, of all the musicals you could go to see whilst strutting down Shaftesbury Avenue in high heels with your girlies this would probably be way down the list. I personally would rather sing my heart out to Rock of Ages which at least has a sprinkling everything; Rock anthems, Rebellion and Obscenity… Now that’s my idea of fun.
However, when Les Misérables arrived at the cinema I got to wondering… why has the stage show been the world’s longest running musical? Seen by over 60 million people in 42 countries? Hmmmm……
Hugh Jackman playing a wrongly convicted heartthrob in 1815 is enough of a stereotype to sate the needs of the entire female population. A hard done by hero running from the law who finally escapes and assumes a new identity. His promise to take care of Fantine’s (Anne Hathaway) illegitimate daughter embodies a true sacrificial male love interest. Despite this I was hoping for something more from the film and it didn’t disappoint. Rather than focusing on dear old Hugh to divert my attention from the depressing story I was willingly subjecting myself to, I started to hum along to the songs… damn my low self control! If I wasn’t surrounded by a hundred or so people in the movie theatre I swear I would have constructed a weapon out of drink straws, leapt on my seat, and charged at the first symbol of authority whilst sticking two fingers up to ‘the man’; sorry staff at VUE it’s nothing personal.
The most resonating words of all were;
“Do you hear the people sing?
Singing a song of angry men?
It is the music of a people
Who will not be slaves again!
When the beating of your heart
Echoes the beating of the drums
There is a life about to start
When tomorrow comes!”
Wow! That was intense and I’m not being sarcy like I usually am; some seriously intense stuff was evolving on that screen. Thoughts were racing through my head. What should I be fighting for? What is worth fighting for? And most importantly shall I brave it and spend those seventy sodding pounds to witness the full experience on stage; I have a sneaky feeling I would probably enjoy it!
Summing up Les Misérables, it would be a New Years resolution revolutionary film. But looking to the future take comfort in these words; no matter how many times you may get knocked down, you’re gonna keep coming back stronger and harder. Oh! And a nice added bonus would be to meet Hugh in the flesh… now that would be the icing on the cake.
Spotlight ‘Luther’
Luther is a British television crime drama starring Idris Elba as Detective Chief Inspector John Luther, with season 1 in 2010 comprising of 6 episodes. The show returned for a second series from June 14th through to July 15th 2011 comprising of four episodes and this will be the focus of my critique.
What draws me to the character of Luther is the fact he is considerably active, extrovert and obsessive which are positive qualities for a protagonist employed in this type of genre. Also the concept of Luther as an ethnic sleuth sheds a new, fresh and interesting light when juxtaposing with elements and conventions
within a typical crime drama. He has reputable traits similar to those of Sherlock Holmes and even Columbo that exudes quirkiness and out of the norm which sets them apart from the rest of society; both a blessing and a curse. A sleuth with passive traits would arguably not be quite as inviting due to the
fact the audience is more likely to root for a highly pro active hero with individualist quirks that make an interesting and gratifying character development and arc.
The death of his wife Zoe still haunts him. This adds to Luther’s complexity and results in him being even more troubled than ever which is a good story technique. It is similar to the concept of author John Truby’s ‘Ghost’ technique where the hero is plagued by physical and/or metaphorical demons from the past that inhibit their actions in the present. In the first episode he is faced with the task of apprehending a serial killer whilst also trying to save the daughter of an old acquaintance. This purposefully forces
Luther to face his own demons since he has just lost someone dear to him also and is under pressure to intensify his focus in order to prevent a similar thing happening to his friend. This provides additional substance to his character rather than having the danger of him becoming just another Sherlock Holmes-esque wannabe.
The second series has a similar structural framework to Columbo where the killer is revealed at the beginning but Luther’s storylines are grittier with a heavy emphasis on his personal life and the protection of those closest to him which is usually his colleagues. This theme is similar to Bones where the team has more than a working relationship and they are more akin to a family which is mirrored by Luther’s determination to protect those around him, not unlike the character Seeley Booth. This is what I like considerably about Luther; the clever balance between conventional crime story structure and the unique variation of other shows which makes Luther stand out from the already established sleuths such as Sherlock Holmes and Poirot.
Over the entirety of the four episodes the dialogue flows well and the forming of relationships between the characters is pacey and straight to the point. For example, in the first episode Luther attempts to recruit Justin Ripley who works in a police station whilst metaphorically doing ‘time’ himself
for his past mistakes. The interaction between them is a successful mix of humour and seriousness that never detracts from the purpose of the scene. Luther’s dialogue is convincing and straight to point to place emphasis on showing rather than ‘telling’ the audience whilst the close ups of the characters relay the emotion extremely well.
However, the pace of the script seemed disjointed and convoluted at times by the fact that not only does Luther have to deal with the serial killer contained within the episode but he is also mired in a multitude of sub plots such as helping Jenny Jones to conceal a body whilst protecting her from gang members. There just seemed to be too many beats underlying one another that detracted from the three dimensional potential of Luther where it seemed a little overpowering and subsequently hindered his development. He had to deal with such a variety of sub plots that the script lost focus at times, even to
the point where at the moment of truth the expectation of a viable comeuppance for the killer seemed rushed and bordered on nonsensical. The killer had originally used basic weapons such as knives but by now had converted to highly advanced explosives. This coupled with Luther’s approach to stopping the villain seemed out of place, as shown by the dialogue he used which was somewhat disjointed and had the opposite effect of calming the killer down as he referred to him as the controller in charge of a video game. The bomb jacket worn by the antagonist further complicated matters raising the question of whether he is in fact a suicide bomber or not which was never clearly explained. The tension and
suspense leading up to the moment of truth was effectively built up but was then slightly diffused by the laid back approach of the killer which put into question whether he really had a strong enough intention to hurt anyone. The lack of payoff coupled with other subplots ran the risk of hindering the
development of Luther and the team.
The future potential of this drama may be problematic for it could become too rigid and formulaic; not breaking away from the Columbo-esque technique may have the effect of dragging the material down and thus becoming too repetitive. A suggestion for the script would be to have had two murders at the beginning that seemingly tie in with one serial killer. Then at the end it can be revealed that someone else was in fact responsible for one of the murders unbeknown to Luther or the team. One of them could develop into a Moriarty type figure that would become a strong and formidable nemesis throughout. Even though Luther had to deal with the gang harassing Jenny, the level of power and authority they wielded
in relation to the type of crimes they were committing would arguably not be strong enough. There needs to be a mastermind separate to the individual episodic villains who provides a substantial threat not only to Luther but his team also. This is incorporated within Bones where recurring antagonists appear throughout the series that brings the team closer and enhances the forming of a close knit family. And there is nothing more rewarding than a hero breaking the rules into order to protect the ones they love in heart wrenching and painful fashions as opposed to a conventional solution.
Personally due to 21st century technologies and the vast array of choices available within television there is constant competition for attention and I think you simply cannot afford not to challenge traditional
conventions within dramas, in order to make them unique, interesting and marketable. Also, in the modern age multiple sources such as the printed media and social networking sites provide ample opportunity to debate, criticise and expose any weaknesses within a programme. Luther has interesting elements. He is a likeable, ethnic sleuth who is obsessed and close to breaking point. He also has a recognisable team who defend and offer support whilst also questioning his morality and how far you should go to catch a killer. However, the script is somewhat conventional as in the case of Colombo and Sherlock Holmes whereby the same story beats are taken and incorporated. Most notably amongst these is knowing who the killer is at the beginning and also the extreme course of action taken by the sleuth in catching the killer. Therefore finding the right balance between established and new formats is essential as it allows us to take to and recognise the kind of genre we are watching but at the same time observing new and fresh material.
New short ‘Aya’
“Aya’s deep viridian eyes focus upon the miraculous clock, its gold rim encrusted with amethyst crystals as it hovers above a clear glass table. Indeed the authorities constantly profess amethyst as being essential for the preservation of flying in and out of Selmina, the cosmopolitan capital of Mayka and home to the Ember Citadel; the palace of fire and fortitude. There can be no doubting the visual attractiveness of amethyst but its real beauty lies in the uniqueness of its properties such as telepathy enhancement and an increase in wisdom but most importantly it has the power to reach the guiding hand of the Maykan’s spiritual ancestors. For an airport hub of this magnitude the crystals are also essential for the protection of its position as the central gateway, otherwise known as the “Crux” which links the crucial network of bases on Mayka…”
“The Writer’s Journey” aka The Call to Adventure
When one chapter ends. A new one begins. The past has gone and is unchangeable, the future is not yet written. We live in the now. And in the now we must savour the moments and lock these moments away in our memory bank. A writer’s journey has as many twists and turns as their own stories. The work shifts, it grows and develops on the page. Our voices change as a result of new experiences, meeting new people and forming new relationships. When you look back on your work ask yourself….. How did I get from there to the place where I am now?
the creative writer space 