Backwards movies

stuckupmyownera · Jun 3, 2008

I'm starting to write a movie told backwards, like Memento and Irreversible, so that each scene takes place before the previous one. But its really difficult to get to grips with how to guarantee a satisfying story for the audience.

I mean, by reversing the 'reality' of the characters' experiences, it means that the story begins with a conclusion and ending for the characters, and the end, while showing how it all started, must at the same time conclude things for the audience...

Thus, it must be best based on revelation rather than action, I think, and I have it pretty much planned out, but I wondered if anyone had any thoughts to help clear things up in my head.

I didn't find Memento or Irreversible satisfying at all, but I reckon I can do better

What's your take on how to make this kind of ending satisfying?

icerose · Jun 3, 2008

I'm confused, you're trying to take a formula of two movies that you hated and are trying to make it successful?

stuckupmyownera · Jun 3, 2008

I didn't set out to write a backwards movie, I just had an idea which really lent itself to the format. Now I don't want to make the same mistakes.

Just looking for input.

icerose · Jun 3, 2008

stuckupmyownera said:
I didn't set out to write a backwards movie, I just had an idea which really lent itself to the format. Now I don't want to make the same mistakes.

Just looking for input.

Okay, I can understand that. I haven't seen either movie and I've never seen a backward movie so I can't help you that way. But thanks for clearing up my confusion.

slcboston · Jun 3, 2008

stuckupmyownera said:
I didn't find Memento or Irreversible satisfying at all, but I reckon I can do better What's your take on how to make this kind of ending satisfying?

Didn't see the second one, but as for the first I will point out that, even though the events we see on film are progressing in reverse, there is very much a story arc that proceeds forward from the beginning of the film.

I won't venture into spoiler territory, but the forward arc is very much a "how did we get here" tale - much like certain classic pieces of film noir, such as "Sunset Boulevard" or "DOA" (the original) - that reveals itself in a linear fashion even as the events of the film go backwards. There is also the issue of who Terry is, and how he fits in, etc... all of which follow the traditional story direction.

You still have to follow the rules of the game, that is, telling a story that will keep your viewers interested and provides them with some sort of resolution when the credits roll.

Ginosion · Jun 3, 2008

Remember, even though the film is in reverse, the three acts should still be there in order.

stuckupmyownera · Jun 3, 2008

And therein lies the problem. How do you turn a conclusion into an inciting incident, and vice versa?

mario_c · Jun 5, 2008

I saw Macbeth performed this way, off Off Broadway. Hated Irreversible, haven't seen Memento. Good idea though...
The trick of this kind of storytelling, like Rashomon, is to keep the audience not guessing what is going to happen next, but imagining what the setup is for what they are seeing. It's like the start-with-the-ending trick, that's been around since well, Citizen Kane actually.

Raghu · Jun 5, 2008

You are trying to break the rules of screenwriting ! Laudable effort but keep in mind one rule that cannot be broken ever ;

You cannot be boring for too long !

Give us a brief synopsis of your screenplay and we will be able to give you more feedback.

NikeeGoddess · Jun 6, 2008

i suggest you go back and study Memento.

Remember, even though the film is in reverse, the three acts should still be there in order.

the character arc is traditional in the three act structure. in Memento his goal was to find his wife's murder in reverse. but forward it was about a man figuring out how to utilize his short term memory problem (with tattoos and photos).

also, there was an episode of Seinfeld told in reverse. the one when they went to India for a wedding and Kramer had a curse of death put on him.

LIVIN · Jun 6, 2008

mario_c said:
keep the audience not guessing what is going to happen next, but imagining what the setup is for what they are seeing.

I co-sign, as I believe that statement hit the nail on the head.

GigiZ · Jun 10, 2008

I thought that Memento used the backward element to create suspense but ultimately, I personally didn't care about the main character. I was too preoccupied with trying to figure things out.
In Irreversible on the other hand, I foudn the way the characterization unfolded very fascinating. Not giving anything away, but it was interesting to watch the characters go about their daily lives before (after in the film) all the bad stuff happens and understand what the filmmakers were trying to say about who of them loved the other really, who was capable of killing in spite of appearances etc.
I think that if your story is a psychological drama you might use this format in a very effective way. Memento seemed to me to be just an exercise. Impressive but ...

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