Film Courage: When do you start thinking about the structure of the story, key beats, turning
points?
Shane Stanley, Author/Filmmaker/Instructor: I think you need to keep a reader engaged.
I don’t think there is a set time but if you are 15, 18, 20, 25, 30 pages in and we
still have no idea what is going on or there hasn’t been that moment I kind of think
you need to rethink some things.
There is the old saying that when you watch a movie it’s that 42 to 46 minute point
that usually becomes a slow burn no matter what the movie is.
So I know a lot of writers and filmmakers try to make sure that point of the film doesn’t
lack spark or an interest because that’s a lot of times where people…they are not
going to give up on the film but they tend to get a little restless.
It seems a lot of people take a really long time to get to the point and I’ve learned
that as an independent filmmaker when you sell your material it’s more about we have
to remember this is a business and now in days with phones and tablets and distractions
and pets and kids and everything else under the sun going on we are constantly interrupted.
Audiences when they see your film unless they are really at a movie theater and truly turn
their phones off are never really 100% immersed in your story, there is always something,
there is a noise outside, there is a cat knocking over a vase, it’s a kid who is crying because
he didn’t get his way and he is hungry and you have to realize that as a filmmaker what
you are up against and I think to just kind of lull along to tell your story it’s very
rare that you are going to be able to compete with anything.
So I think to be able to throw some twists and turns to engage your audience into some
new layers or elements or characters or what is the point of this movie a little sooner
than we are used to I think needs to happen more often and I a lot of writers are starting
to figure that out.
Film Courage: So then you wouldn’t be working some of this out in the treatment stage?
It’s once you start the actual screenwriting?
Shane: I’ve gotten to the point now when I work with writers that I tell them it’s
sadly there is kind of an 11-minute rule abroad that we kind of need to know what this is
about, what’s going on and what we are signing up for in the first 11 minutes of the actual
movie which is going to tell somebody what’s going to happen in the first 12 to 15 pages
of the script and I don’t like telling stories that way but I’ve also learned the hard
way.
I’ve had some projects that you know hey if you do this it will sell.
Hey if you change this it will move and what I’ve learned is the faster we get to the
point in storytelling and I know this goes against everything from telling great stories
of the old days but we are living in a new time and it has really gotten to be about
get to the frickin’ point.
What am I signing up for early?
They want to know, it’s like I’ll give you an example in the film that I just is
coming out BREAK EVEN it’s about four kids who find 50 million dollars while scuba diving
at a remote island and we developed this opening and this whole thing and this backstory and
why are these kids here and who are they and what is their relationships?
And it was basically Yeah…we need to find the 50 million dollars by 12 minutes in.
It’s like wait a minute, that doesn’t come in until page 30.
Well it needs to come in at about 12 minutes in.
So you have to restructure some things, you have to cut scenes, you have to cut backstory
because at the end of the day when you are selling a movie around the world they are
signing up for something and if you’re selling an action film, if you’re selling a thriller,
if you’re selling a suspense story, you better get to it because there is too much
competition, there are too many things that are moving fast that will hold attention because
it moves so fast.
That’s where that MTV generation of cutting came from is we don’t know how to tell a
good story so we are going to cut a bunch of stuff really fast so you are afraid to
take your eyes off of the screen and that has now found its way I think its found a
balance and storytelling with films a little better but we need to get to the point and
if you look at the older films most of the ones that I grew up with you know CHARIOTS
OF FIRE, THE BLACK STALLION, ENCHANTING APRIL you are look at like 25, 28, 35, minutes in
until you really kind of have an idea.
If you watch the BLACK STALLION they don’t introduce Mickey Rooney’s character until
about 48 minutes in.
The kids alone at the island for 30 minutes for crying out loud and then he gets home
and he’s got to reintegrate in school and then all of the sudden the horse runs away
and then he goes on this trip to try and find the horse and then there is your co-star.
It was also that way with ON GOLDEN POND.
They don’t bring Jane Fond in until 25 minutes in so I don’t think those play as much any
more, not saying the films don’t hold up as great cinema but we want to meet the players,
we want to know that the game is a lot quicker now.
Film Courage: Or even with The Stepford Wives [1975 version] the original one.
Shane: Well the original one.
Film Courage: Right, long driving scenes with the soundtrack and there was something comforting
about that.
I don’t know if it would work today?
Shane: Well Quentin [Tarantino] did it in ONCE UPON A TIME IN HOLLYWOOD.
I think he really exploited the driving scenes but we’re looking at the back of Brad Pitt’s
and Leonardo DiCaprio’s heads so that makes it a little different.
But what I try to tell the independent filmmakers if you’re not getting Brad or Leo as your
stars and I don’t even get them as my stars, your international buyers want to get to the
point.
And we are at a point now where we are able to lock picture and we don’t make different
cuts for different markets or parts of the globe.
We have kind of learned what works comfortable everywhere.
You know there are 54 territories that we sell to around the globe.
What is it 170 countries and in that you have 54 territories and you want to try to do something
that is going to appeal to everybody and it’s hard to please all the people all of the time
but getting to the point quickly is one that you can really help sell that movie a lot
better if people know what they are signing up for in the first 15, 20 minutes tops.
Film Courage: Well that’s interesting because people seem to get upset when we say or we
interview people that say if a script isn’t good by 10 pages in, most people will stop
reading it.
And so then the comments are “You’re not giving it a chance.”
Shane: Right.
People just don’t have the patience anymore.
You know again I hate to revert to it but you go back to look at CLOSE ENCOUNTERS OF
THE THIRD KIND.
Brilliant film…that is a slow burn.
I think if that movie was made today that would be a lot different.
Not taking anything away from Steven Spielberg who did a great job writing the script.
It was based on an experience he had as a kid and a great job directing it but you’re
going to tell me that that movie today would play at that pace, I don’t think so.
And you’re right a lot of people are “Well you’re not giving it a chance.”
And most readers will say if he doesn’t get me by page eight I am done.
I think you kind of have to know the executives you know there was a trend where all of the
executives are saying to you you’ve got to find that hook, it’s got to be edgy.
I want it to be edgy and grab me.
Shake me by my lapels by page eight!
So everybody came up with the edgy, crazy opening that just shocked everybody.
I don’t think shock and awe is what makes people watch a whole movie.
People want to be drawn in, they want to care about characters, they want to go along for
a journey and they know what they’re signing up for but you have to make that journey interesting,
you want to put some bends in the road, you want to have some interesting things that
they are going to pass and I think you need to occasionally give them a flat tire, throw
a rod in the engine, they are going to have to get out, grab their bags, hitchhike, find
a ride.
I think that is just where we are now.
People are just so bored I mean you look at Twitter.
Twitter has an auto feed now.
I can’t even go on it anymore because the second I try to read what somebody tweeted
it automatically scrolls and I can’t find the tweet I was reading.
There is no way to stop that.
That is how we are getting our information now and we’ve got to find a balance in storytelling
but that is kind of what is working right now and it’s frustrating.
It’s a hard pace to keep up with.
Question For The Viewers: What is your reaction to the 11-minute rule, do you agree?