I try not to edit any of that as much as possible and just dive in headfirst. I’ll set a timer for 30 minutes and write as if I were that character writing in a journal, just talking about my hopes, my dreams, my background, and where I’ve come from. I’ll write a stream of consciousness from their point of view, in first-person. It doesn’t always work, but I certainly used it for the characters of Eva and Will. If people aren’t invested in these characters, then it doesn’t really matter what happens to them. For someone who applies a structure to his movies, I need to constantly remind myself that it’s all about the character. Become your characters.Ĭreating relatable characters is always my biggest concern. So, it’s about starting with the ending and whatever that feeling is and then going back and doing a ton of research to figure out what tools other writers have used. I like to deconstruct things and examine how those stories were structured. I’ll look at a Pixar film or a horror movie. Some of those movies are in completely different genres, too. I try to dissect some of the films that had endings that emotionally rocked me to my core. Then, from a structural standpoint, I look at a bunch of movies and read a bunch of scripts. So, I started with that swirl of emotions and that imagery. That was the image for me, with this darkened sky in the background, ash falling around her, and this electric-yellow suit starkly in contrast. It was the image of Eva, who’s our main character, standing on a rooftop and ripping off her hazmat suit and exposing herself to this disease moments before Will, her boyfriend and protector, is able to stop her. For this film, I didn’t have a single word, but I did have an image. I heard an interview with Francis Ford Coppola talking about The Godfather and how he chooses a single-word theme. I have to find the North Star of the film. So, for me, I often times have to figure out what the ending of the film is first. Find your North Star and follow it.įor people who haven’t seen this movie, it’s certainly not structured in a traditional fashion. But will it last five years of motivation? I have to be really, really invested in the emotional core or theme of the film. That may last me six months, or maybe even a year, of motivation. If I think an idea is cool, that only gets me so far. It allows you to bounce back from the heartbreak that’s inevitable when financiers fall out of a project. There are so many ups and downs in independent filmmaking, but if I feel like I have a deep emotional connection with the material it allows me to ride those waves. Writing is a therapeutic way for me to work out those issues, or at least get them on paper. ![]() Normally, it’s a question or problem or some kind of event in my life that I’m still trying to process, that I’m still asking questions about. Here are five key aspects of building a believable story from Writer/Director Takashi Doscher. But, he has some tools and tricks he’s learned that can make the process just a little bit less destructive. ![]() In my opinion, I just don’t feel like movies actually want to get made. The transition from page to screen is an incredibly violent and destructive process. “In my opinion, I just don’t feel like movies actually want to get made.” “The transition from page to screen is an incredibly violent and destructive process,” he told us. It’s a simple, well-executed premise and when we saw he also wrote the film we thought he’d be the perfect person to talk to about writing for film, mainly because he gets how difficult it can be: and Freida Pinto, the film explores a couple’s relationship in the face of a dystopian future, in which women are quickly going extinct. When we were screening films at Tribeca Film Festival this year, his film Only stood out to us as one of the most relatable, believable stories out of the bunch. But, as we’ve argued before, it’s maybe the most important thing a filmmaker can do.Īnd Director Takashi Doscher is proof of that. There just aren’t many people who write and even fewer people who write well - particularly when it comes to screenwriting. That’s why it can be a huge advantage, too. William Goldman once said, “The easiest thing to do on earth is not to write” and he was absolutely right. In fact, there are many things actively resisting anything resembling momentum, starting with that looming blank page. Writing is maybe the most difficult of all creative pursuits.
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