Vigorish9
02-04-2005, 06:06 AM
all excerpts are from scenario magazine: this is so ironic, as i posted my previous post about outlining i was reading the 10 page question and answer about the movie training day with the writer david ayer, and scenrio magazine
I had read earlier that he didn't outline, but he was actually talking about he movie training day, not his other scripts.
scenario magazine is incredible, it gives you the blow by blow of the making of the script and how the writer wrote it.
scenario magazine: another thing that might of not rang true with the reader is how alonzo got jake out of the car and in the house.
david ayer: that one ran around with the producers for years. it was about, there was no way in hell that JAKE is going to follow alonzo into that house.
Scenario magazine: but there're two things that make it work - that you give up the charity boxes in the trunk, and that there is a little girl at the door. it's like, ohh, there're kids here? No one's going to kill me here.
david ayer: Right, exactly. You know, when i was writing the script, i was stumped there. i didn't know where i was going with it. i din't have a complete outline when i i started. i outlined half of it, and then it just went off. it just totally took off. it's the only script i've done like that, it's scary. it was seat of your pants screenwriting. i was like, damn, what am i going to write next.
----------------
the absolute beauty of reading the script then getting a ten page breakdown of how the writer, wrote it is invaluable. i've read 45 of these in two months. it's helped my writing more than i could have imagined.
if you really want to know what works and what doesn't, what got cut and why. what is exposition, and what is subtext, and what the writer thought he was writing, you have to do this.
one more excerpt:
scenario mazazine: why did you choose the one-day frame?
david ayer: it's real time, i wanted to explore the philosophical notion of what happens in a corrupt world when one guy says no and then, as a writing exercise, i thought, why not compress it into one day.
he also discusses why he opened up the movie with the alarm clock and never once mentioned that it was the oldest movie cliche in the world.
vig
I had read earlier that he didn't outline, but he was actually talking about he movie training day, not his other scripts.
scenario magazine is incredible, it gives you the blow by blow of the making of the script and how the writer wrote it.
scenario magazine: another thing that might of not rang true with the reader is how alonzo got jake out of the car and in the house.
david ayer: that one ran around with the producers for years. it was about, there was no way in hell that JAKE is going to follow alonzo into that house.
Scenario magazine: but there're two things that make it work - that you give up the charity boxes in the trunk, and that there is a little girl at the door. it's like, ohh, there're kids here? No one's going to kill me here.
david ayer: Right, exactly. You know, when i was writing the script, i was stumped there. i didn't know where i was going with it. i din't have a complete outline when i i started. i outlined half of it, and then it just went off. it just totally took off. it's the only script i've done like that, it's scary. it was seat of your pants screenwriting. i was like, damn, what am i going to write next.
----------------
the absolute beauty of reading the script then getting a ten page breakdown of how the writer, wrote it is invaluable. i've read 45 of these in two months. it's helped my writing more than i could have imagined.
if you really want to know what works and what doesn't, what got cut and why. what is exposition, and what is subtext, and what the writer thought he was writing, you have to do this.
one more excerpt:
scenario mazazine: why did you choose the one-day frame?
david ayer: it's real time, i wanted to explore the philosophical notion of what happens in a corrupt world when one guy says no and then, as a writing exercise, i thought, why not compress it into one day.
he also discusses why he opened up the movie with the alarm clock and never once mentioned that it was the oldest movie cliche in the world.
vig