20 WINNING STORY FORMS
THE INNER GAME OF
g n i t i r w w n n e e er S c r SANDY FRANK
MICHAEL WIESE PRODUCTIONS
CONTENTS Par† One INTRODUCING THE INNER GAME OF SCREENWRITING
1
CHAPTER ONE
THE INNER GAME OF SCREENWRITING
2
CHAPTER TWO
A SUCCESSFUL INNER GAME — THE QUEEN
15
CHAPTER THREE
LACK OF INNER GA GAME ME
Par† Two THE TWO TYPES OF IN INNER NER GAME
19
25
CHAPTER FOUR
THE MORPH ARCHETY ARCHETYPES PES
26
CHAPTER FIVE
USING THE ENNEAGR ENNEAGRAM AM TO CONSTRUCT MORPH INNER GAMES
43
CHAPTER SIX
THE MY MYTH TH ARCH ARCHET ETYPES YPES
53
vii
Par† Three STRUCTURING ST RUCTURING YOUR SCREENPLAY SCREENPLAY,, FOCUSING ON THE INNER GA GAME ME
77
CHAPTER SEVEN
WEAVING THE MORPH INNER AND OUTER GAMES
78
CHAPTER EIGHT
CONSTRUCTING THE MY MYTH TH STORY
92
Par† Four ADAPTA ADAP TATIONS, TIONS, SEQUELS, AND REMAK REMAKES ES
97
CHAPTER NINE
ADAPTATIONS
98
CHAPTER TEN
SEQUELS
104
CHAPTER ELEVEN
REMAKES
Par† Five WRITING WRI TING FOR TE TELE LEVISION VISION
108
113
CHAPTER TWEL TWELVE VE
TELEVISION TEL EVISION — MORPH, MY MYTH, TH, AND HY HYBRID BRID
114
CHAPTER THIRTEEN
TELEVISION TEL EVISION SPINOFFS
viii
122
Par† Six TWIS WISTING TING THE PAR PARADIGM ADIGM
125
CHAPTER FOURTEEN
SOMETIMES SOMET IMES THE INNER GA GAME ME IS IMPLIED
126
CHAPTER FIFTEEN
SOMETIMES SOMET IMES THE OUTE OUTER R GA GAME ME IS ENOUGH
129
CHAPTER SIXTEEN
SUBVERTING SUBV ERTING THE MODEL
Par† Seven X-RAY TH THAT AT SCREENPL SCREENPLAY AY
133
137
CHAPTER SEVENTEEN
DOING A SCREENPL SCREENPLAY AY X-RAY
138
CHAPTER EIGHTEEN
SUMMARY
147
CHAPTER NINETEEN
WHERE TO GO FROM HERE
154
ABOUT THE AUTHOR
156
ix
e n O t r a P INTRODUCING THE INNER GAME OF SCREENWRITING This book will introduce the concept of the Inner Game of Screenwriting . It’s a “big picture” theory, theory, describing not the hundred h undred things your screenplay needs, but the single biggest thing a screenplay needs to be successful — an Inner Game. It’s strategy, strategy, not tactics. This first part of the book will describe the Inner Game of Screenwriting in detail.
1
CHAPTER ONE
THE INNER GAME OF SCREENWRITING
H
ow can you use this book? I ’ — p — pl p p ’ l l m g pl. B I ’ ’ l m , ’ ’ j. Y m g llg . S ’ l W g L’’ mp. A g ll L g gl, pl , ’ gm pl. S g ll gl l. T pp m . H ll m l gm l. L l “Kp ” “Kp l l g.”
2
PART ONE | INTRODUCING THE INNER GAME OF SCREENWRITING
T g p . H g g lg g pg g m . H j p gg . Fll, g pl gm, 160. (I ’ ml gl, ’ ll, ll .) W l N g l m, mg didn’t ll m — j gm g ll l m . N m m ll, . B , l j — ll high pl, l ml . O gm ’ ml , m Jp gm G. I’ l l G l l, lg m m, lg gm. T p pl gl l objective , lml g mpl. I mm l m — ’ g xl ’ g . S , mm mm ’, ’ . A ’ g pl, l xp Sm, S m, pll ’ ’ gg p, ll ll ’ g ll 110 pg ppl m p lg. I mm g, m — ’ ’ , , — l m m j pl. pl. A m I l
3
THE INNER GAME OF SCREENWRITING | SANDY FRANK
g lg p , I m . H m : pg pg pp 110. N xl I lg .. O mg ll ’ ’ g g ll g , j g q “W’ g ” A ll, pl mg I’ l’ m g . T pl gppg l’, . T’ l m g , T’ ll l g l: p lg pp, l, pg 30 90. B xpl ultimate goal : , mpl m, g N ’ ’ g g p , ’ . A ll, m m — ll ll knew — m pl g, l’ g l’’ pl p g I, “” l “ ” pl, ll g g lm , ll --m. E g g pl g l x. S ’ ’ mg m m p. T llg g pl g , mpl. A ll, l p ll , g pl , p m ll , pl ll . A p g -llg l pg g pg O . B I ’ mg pl l. W
4
PART ONE | INTRODUCING THE INNER GAME OF SCREENWRITING
I ll Inner Game. T mp (, g g l l m), lg l , ’ l ppl j. Y’ g , j l m p ll ll g. H l p p l l l — - Sp - Alp. T ’ ’ lp lg. H’ H’ g ll . W ll pl ’ g, l. A g m , q, p. H’ H’ ’ ’ lp mplm l l. T g g’ ll . I q l g, mg ll p l pl-l . O l p g . C, l g m m , l p ll g p p , , ll lg m. I l p m , l l g. B , ’ m. T’ g — l. B, , both j. F,, F pl ; m ll p pl pl.. T lg: g g
5
THE INNER GAME OF SCREENWRITING | SANDY FRANK
lg. Ag, ll — m g , g . I’ m l m p mzg , l p lx l lg. A I’ m l m p g plg lg, l’ l’ l . W , lg mp m lg . B m, ’ gg l ; ’ j gg l g. S l p mp g, ll m mp. T , lg. I’ “g p.” I’ x, m ll g; ’ gg, g g. I g g Amz g , I lg g g l g g ( m mp), g l lg l 112 Ways to Make Your Screenplay g Sizzle . A pl pll g g g lg. T l l ll p p pl . T - , l g mp, . Pl x g , , , pg m pl l. B g g lpl. I m l l g m m m. I , ll, mp l g lg l pp
6
PART ONE | INTRODUCING THE INNER GAME OF SCREENWRITING
pl. B m mp g m q . Y, m, ’ m mp. S g pl L’ g p lg: pl p, I’ll I’ ll ll I Gm O O Gm. T Outer Game ll pl. I’ ’ gg , l. T xmpl m The Queen: O Gm Q Elz II l g P D. T q g l ml ml , ll, g . S’ m pl m, g mpl m g. B Pm M lz ’ ’ Egl g q g g- j m. Fll, mg m, xl . All ll, l g , ll g Hl M Elz. B ’ ’ l . W ll m l g I Gm — ’ gg inside H Mj. Elz m m l, mgl l m m g pl lp. B m g. S pl mp m p mg m l m m m. A l pl: ’ g g. A g I Gm, p .
7
THE INNER GAME OF SCREENWRITING | SANDY FRANK
W g m I Gm Sg ppl: L A relentless focus on the Inner Game is the key
to
writing a successful screenplay. WHY THE INNER GAME?
W m — l W W l m g W l m g pll g B l ppl g g g g. N lll, . A ll, ll l m P D’ . B plm g m ’ plm, ll l m ll symbolize plm. All m g l m m. W m ggl m W l. E plm , p m. C Liar Liar . Jm C’ , Fl R, plgll lg l l l l. N,, 99% l l lg N l g mll ml l g l g. W lz lg g ’ m pl plm. B plm. M ’ l, l, g. Ul ’ p, ’ g mg, ’ g ppl, m m. Smm , mm l, l, gg p. S R l lg, mpz lg, ggl.
8
PART ONE | INTRODUCING THE INNER GAME OF SCREENWRITING
W l g g m l g W g, . I m mp g l. F m , ’ l lml . N pl’ O Gm mpll mp. B ’ mp pl : : O Gm p pp m g g I Gm. A, , pp m . Mg I O Gm .. I l gg — l l l — Hl pl O Sl S l l m p. B x m Schindler’s List , ’ xl pp. T m l pg I Gm O. I l pl m m m Hl m l m. O m M 9/11 x l . B m p : O Gm mpl x I Gm. I’ m H’ MG. T H, MG pl m , x xpl mp. T mpl g MG mp. A l xmpl “l “ l ” ” Casablanca. I m, m , g m g g. I I Gm , O Gm , , MG. W ll m I Gm,
9
THE INNER GAME OF SCREENWRITING | SANDY FRANK
m g g ll g. I ’ ’ ll m m g g g g lg m, g mg. E , ’ I Gm . Ag, ’ O Gm ’ m ll, ’ l m g I Gm m O Gm, ll l m l. T plm l g l O Gm, g q l, m g , pp pg m m m g , . . L’’ l xmpl m g I Gm L m l O Gm: Juno, O B Ogl Spl S pl.. Juno — g gl ll g pg g g p p — mg m l O O Gm lm. I pp ( ll m g ) m J’ J’ q pgl m l mpl N. I pl pl mg J’ J’ q m g U, . T , J g p m pp. N gl m ll “Y ’ .” B l’ l ’ mg ’ ’ ll m p l O Gm g l pl pg g g p p. W’ ’llll ll lg m Bizarro Juno.
10
PART ONE | INTRODUCING THE INNER GAME OF SCREENWRITING
F, g l m, gl l pl pp. Sm pp g p p pl ’ . H ll Cl’ Cl’ S S yes no ’ Dpm, m g yes p p N l’ l ’ m plm l — l l’’ pl Bz J p ’ m g m Cl’ S S , g m p l l . B m m l ,, l xpl m m m …. Wl Bizzaro Juno g m I pp ’ ’ pl, I ’ ’ l l’’ g g . Y O Gm m pl . S , l O Gm, l Juno ll N pgl, ’ ll I Gm. A gg m, J MG (Ell Pg) , ’ l l -pg, ll pg ppl l . H lp , pll p; ’ m pm, ll mg pg ll ; mpg p m’’ lg ( l gl), m . m . B m, g m g O Gm, g g p p, J m — ’ ’ l l ; ’ ’
11
THE INNER GAME OF SCREENWRITING | SANDY FRANK
pm, m, g, lg p ll ; lp lm l. S l l g m m - lg g m. A A I Gm g mg m g . N , , ’ ’ g g g pp. B pp l pp, l. T pp’ pp lp O O Gm, l ll p m g I Gm. I pp’ g , l ’ g , m m g I Gm, m pp. S . O I ’ p I Gm — g l l . . B B ’ ’ m p — g I Gm g O Gm, ’ll I Gm m. A ll, l p — g O Gm xpl mll l’ l’ l , mll, q O O Gm pl , g g p g I’ 80/20 l. I g I Gm g, pg--pg g ’’ g, ’ll p m. I p I Gm, lg l, ’ll m ’ . S, mm I Gm ppl: L A relentless focus on the Inner Game is the key
writing a successful screenplay. 12
to
PART ONE | INTRODUCING THE INNER GAME OF SCREENWRITING
A l mp mp.. W pp l p m, ’ ll “pl” m; m’ mg. I , p l m “Y “ Y m’ , ’ ,” l pl l p. T l g p: ’ ’ lg pp m, ’ lg lg l g mg. I’ g m’ O Gm, ’ g I Gm. Ppl, lg , O O Gm , , g ll ll m, gg mlm mlm m I Gm. Mg , ’ll ’ll g l “The Hurt Locker p m.” I m ’ l l m ll . Wl Moby Dick p l m Sm ’ m m m g O Gm g l m. Ol I Gm mlm, ll g Animal Farm l l ml. A m l l I Gm. T mm m m J Y Y m m Newsweek Dinner for Schmucks: T mp m Am m pg g g, g l pl l m … Tg pm Dinner for Schmucks pl l, pp lg, lg ll
13
THE INNER GAME OF SCREENWRITING | SANDY FRANK
m pg m. T Hll ’ g g m, .
A p l l m I Gm ll ll,, mm g lg m . T m l, , ll lmgl lmgl pp l I Gm. O lz ll lg , g xp. A , ’ , j l pl m , ll xpl . Y’ll j g m lzg m, ’ll j g m p. ???
T ll l I Gm Sg, I Gm Ap, l m. EXERCISE
M l m. T (mm) m m. H m g I Gm m
14
CHAPTE R TWO
A SUCCESSFUL INNER GAME — THE QUEEN
T
o revisit the difference I O Gm, l’ l m l I Gm: The Queen — mll lm l x- , g m $120 mll l m g $15 mll. L’’ l g lm’ O L O Gm. The Queen l-l g P D g . T Q Elz pl . I Elz’ m, D — m P Cl — lg mm Rl Fml, l p m: pl m, lg lg l-, ll l l. B D’ g pl g, Pm M T Bl l Q g lg . T O Gm .
15
THE INNER GAME OF SCREENWRITING | SANDY FRANK
T I Gm m ll O O .. T I Gm Elz’ ml . T lm’ Q, Q , B pp lp, pg, ml g. T T’’ pl l, m lg l g xp m pl. T O Gm, l g, ’ gg ll U.S. . A ll, Am ll gg B m D O Q Pm M g pp B are gg Elz, m’ m , m plgl/ ml l, mlz ggl l. I’ I Gm ll pl. W g m mll ll ml, ll l m g. T’ ggl ll , ’ ll lp p. E l m: Q’ lp j pl, Pm M, , m, l, gl. S’ l m lml m: m m, ml m, g, m mll l p p . I , m lp, m g. I O Gm, ll l D, l l ml pp l D’ . B — , g — mp g O Gm, I. W Q pll mp,
16
PART ONE | INTRODUCING THE INNER GAME OF SCREENWRITING
l ll ’ gg . W g why g. S j l D Q — m pl p — l l lg. I j — m — lg D. N N l l pl p l p, gl l. T q g, m p, . A I Gm , m x p. A pg lp O I Gm : O Gm I Gm l pl. T O Gm, ’ ’ I Gm g pl pp l m mg. T m p, The Queen l m lllp I Gm. T O O Gm — lg D D — ll ’’ , , ll l g lz mm ml p pp Elz g g I Gm. T I Gm — ll Q m m mll p — ll ll . A p m ll. Wl pl l pl p l pl l ml p, p m ’ ggl m any l. H l m m l, I’ g pl m . L m mpz m g — I’m g O Gm mpll mp. A, A, ,
17
THE INNER GAME OF SCREENWRITING | SANDY FRANK
p ll- ll- ll-g lg. T ’ pm g I Gm sufficient , l ’ ’ necessary. The Queen xpl m m lg I Gm gppg g ppg O Gm. I’ p xmpl l m . T ll xpl I Gm m pl , ’ g l. EXERCISE
S The Queen. M l ll l l I Gm Elz’ Elz’ ml g, m m l l m p. I’ I’ mp m mml lm m m mp I Gm O.
18