WGF Summer of Screenplays: Our Six Fave Road Movies

I find it helpful to view a story as a jagged line between two points. Like a map, the line is the road a character takes to get from point A to point B. That road is often demarcated by landmarks, stops, highs, lows, setbacks, and unexpected changes of plans. The events – foreseen and unforeseen – along the road are moments of personal transition and transformation. The trip can be internal and/or external. It might even be an external manifestation of an internal conflict. Either way, one thing is certain. The characters won’t be the same after the events of the story when they reach their inevitable destination. The journey, the story and the road fundamentally change a person.

I've heard many writers posit that, in a sense, all movies are road movies. Some movies just happen to be more road movie-ish than others. With the spirit of travel and wanderlust in the Summer air, I offer you my favorite road movies and their screenplays, all of which you can read and study in the WGF Library.

IT HAPPENED ONE NIGHT (1934) Screenplay by Robert Riskin; Based on the Short Story Night Bus by Samuel Hopkins Adams

IT HAPPENED ONE NIGHT is the Ford Model T of road movies. One of the most influential films of the 20^th Century, it lays the pavement and establishes the tropes and characteristics that so many other road movies follow. A recently fired newspaper reporter vows to reunite a spoiled heiress with her millionaire fiancé if she promises to give him exclusive access to her story. Through traveling down the road, staying in shoddy cabins and hitchhiking rides – including one in a Ford Model T – the pair of opposites unexpectedly falls for each other (which leads to trouble when they arrive at their destination).

I love the title of this movie. It illustrates how on a casual evening, somebody you dislike can do something that changes your opinion of them. On a casual evening, you can surprise yourself by feeling compelled to do something out of character yourself. As writers, one of the most essential things we can strive to capture is the moment that it happens one night, “it” being subtle, consequential character change that causes the story to shift course.

THE GRAPES OF WRATH (1940) Screenplay by Nunnally Johnson; Based on the novel by John Steinbeck

In many of his stories and novels, John Steinbeck helps to define the very idea of the American road narrative. In THE GRAPES OF WRATH, a family of “Okies” leaves their dustbowl-ravaged home, hitting Route 66 in a beat-up homemade Sedan-truck combo. Their objective? A better life, picking fruit in California. In the driver’s seat sits Tom Joad -- the second son in the Joad family -- who comes home after serving jail time for a homicide. Traveling west with his folks, Tom undergoes a radical personal transformation. He begins the story a convict, but after witnessing the humanity and inhumanity of his fellow Americans on the road, he becomes a crusader for social justice. Nunally Johnson's adapted screenplay illustrates how the American dream doesn’t always come true and that reaching your destination doesn’t always equate better life, but getting there can help a person realize their soul. It’s a great script to study for character arc.

PAPER MOON (1973) Screenplay by Alvin Sargent; Based on the novel by Joe David Brown

PAPER MOON feels like Charlie Chaplin’s THE KID (1921) set on the road. When a young girl’s mother is killed, a con man resolves to return her to her Aunt in St. Joseph, Missouri. Along the way, he finds the stoic, streetwise kid to be an asset to his cons and to his life. I’m including this script on my list as it’s a near perfect depiction of a father/daughter pair of opposites who quarrel with one-another, but ultimately create a familial bond on the road. Traveling in a Model A convertible, the pair finds that their destination doesn’t necessarily resolve their problems, thus they choose to keep moving along down the road. It’s a screenplay that recognizes the line doesn’t end at point B, but rather transforms into a new storyline that ventures on to other points.

THELMA & LOUISE (1991) Written by Callie Khouri

It’s a road movie that feels like a country music ballad. THELMA & LOUISE flips classic outlaw road movies like BUTCH CASSIDY AND THE SUNDANCE KID and EASY RIDER on their heads. The southern-set film tells the story of a waitress and a housewife who use the road to liberate themselves from their repressed lives. Like Tom Joad in THE GRAPES OF WRATH, at different junctures, their eyes are opened to new skills, capabilities and a fighting spirit they never knew existed dormant within themselves. In her script, Callie Khouri proves exceptionally adept at creating setbacks for her characters. Beginning with Louise shooting a man who assaults Thelma in a honky-tonk parking lot, the friends evade capture in a 1966 Ford Thunderbird and save each other one trial and low point after another. By the conclusion of the story, the outlaws make the ultimate escape and their trip never really ends.

THE STRAIGHT STORY (1999) Written by John Roach & Mary Sweeney

I’m including THE STRAIGHT STORY on this list because who says that characters must travel exclusively by car in road movies? Here, the protagonist, Alvin Straight (deemed too sick and infirm to drive) inventively takes to the road in a John Deere tractor to see his faraway brother who’s recently suffered a stroke. Part of his motivation for taking the trip is just to prove that he can. Like the best road movie characters, Alvin meets all manner of people on the road. While discovering small-town America, he discovers himself. The sweet, salt of the earth nature of John Roach & Mary Sweeney’s screenplay makes THE STRAIGHT STORY one of director David Lynch’s most enjoyably “straightforward” films.

WILD (2014) Screenplay by Nick Hornby; Based upon the book by Cheryl Strayed

I can’t conclude this list without also mentioning 2014’s WILD. Adapted by Nick Hornby from Cheryl Strayed’s memoir of hiking the Pacific Crest Trail, the script and the film challenge the very molecular structure of road movies. Like Dante climbing the mountain of Purgatory in his DIVINE COMEDY, Cheryl takes to the PCT to face her vices and demons after the death of her mother. The resultant story uses Cheryl’s brain to jump in and out of memories, feelings and hallucinations. In a culture saturated with images and narratives about male wayfaring, Wild is a road movie about the spiritual evolvement of a female vagabond.

I truly could continue to ramble on and on about road movies. If you’re looking for a few more to round out this list, I recommend CENTRAL STATION (1998), A GOOFY MOVIE (1995), THE LAST DETAIL (1973) and REMEMBER THE NIGHT (1940).

Safe travels! - Lauren

WGF Summer of Screenplays: Our Five Fave Romantic Comedies

What can I say—I'm a sucker for rom-coms. Some might consider them formulaic and frivolous, but to me, that is the epitome of a fun summer flick. Plus, so many romantic comedies are filled with incredible wit, nuanced observations, and memorable characters that are as likely to be found in more "serious" fare. Because I'm such a fan of the genre, it was truly difficult to pick just five to recommend. These choices are in no particular order. They all just happen to pass my test of "Could I watch this movie over and over without tiring of it?" Answer yes to these five picks and read their screenplays in the WGF Library this summer.

Clueless (1995) - Written by Amy Heckerling 

I was a teenager when this movie came out, so I was definitely its target audience. While there may have been updates in cell phone technology and girls aren't quite pining after Luke Perry anymore, this movie, inspired by Jane Austen's Emma, still manages to bring in serious laughs with unforgettable catch phrases ("As if!") and one-liners. Admit it, "You're just a virgin who can't drive" remains one of the most epic takedowns ever. Clueless includes the requisite romance, both unrequited and not, but you mostly fall in love with Cher's colorful world and take on life.

The Devil Wears Prada (2006) - Screenplay by Aline Brosh McKenna, based on the book by Lauren Weisberger

Speaking of epic takedowns and classic lines, this 2006 gem not only introduced us to the brilliant Emily Blunt, but also gave us the gift of withering clapbacks care of steely editrix Miranda Priestly (played by Meryl Streep). The true romance (okay, maybe it's more of a love-hate relationship) that's revealed is not between any two characters, but rather with fashion and its ability to transform as well as masquerade our inner selves. McKenna's screenplay also blessed us with a monologue that had us all ruminating over the greater meaning behind those lumpy blue sweaters.

Love Actually (2003) - Written by Richard Curtis

I know this is considered a Christmas or holiday movie, but I don't care. LOVE IS SEASONLESS. AND IT'S EVERYWHERE. And that point is clear from the movie's first lines: "If you look for it, I've got a sneaky feeling you'll find that love actually is all around." If the charming English ensemble cast nor the numerous sweet (and sometimes speechless as seen in the scene below) proclamations of affection don't melt your heart, then why on earth are you reading a list of rom-coms?

The Philadelphia Story (1940) - Screenplay by Donald Ogden Stewart, based on the play by Philip Barry 

I had to include this classic, which launched my woman crush on Katharine Hepburn. Playwright Philip Barry wrote the character of Tracy Lord with Hepburn in mind, which not only imbued the independent, sharp-tongued socialite with the confidence that the actress naturally commanded, but also with this surprising vulnerability. It made lines like below even more impactful. Almost eighty years later and Tracy's sentiment still rings true in almost every  romantic comedy out now.

Under the Tuscan Sun (2003) - Screenplay by Audrey Wells, based on the book by Frances Mayes 

Whenever I have a bad day or feel overwhelmed by horrible news headlines, I watch this rom-com to live vicariously through the main character Frances (played by Diane Lane). Sure, there are tons of films that take place in the land of la dolce vita, but the whole premise of leaving life's mess behind for a Tuscan villa and romance on the Amalfi coast is peak escapism. I especially loved the small moments that gave the movie local color and held in themselves a bit of romance as well.

Browse these screenplays plus more in our Library catalog. Vive l'amour!  - Enid

WGF Summer of Screenplays: Our Five Favorite Horror Films

With warm temperatures upon us and TV fellowship deadlines passed, we've noticed that many of our library users are interested in reading feature screenplays. Thus, we've started a Summer blog series dedicated to recommending our favorite films and scripts across a myriad of genres and topics to give you inspiration for your next perusal of our shelves. This week, everyone's favorite Library Manager Javier Barrios scares up his five favorite horror films. Michael Gingold, managing editor and then editor-in-chief for 20 years of Fangoria Magazine (It's okay if you've never heard of the publication) famously said, "1979 was the year horror became mainstream again with the premiere of Alien." That comment seems true since a slew of notable (and not so notable) horror films followed. Their titles are recognizable even to those who've never actually seen them—Evil Dead, Friday the 13th and A Nightmare On Elm Street, just to name a few.

Since the birth of film, the horror genre has risen and fallen repeatedly in popularity. It has been said that horror films are truly great when times in society aren’t so great. Today, even with hit titles such as The Conjuring, A Quiet Place and Get Out, it’s not exactly clear if horror is “back” or not, but one thing that seems constant throughout time is that a well-reviewed (and scary) horror film almost always manages to draw a crowd. With that spirit in mind, I thought I’d talk a little bit about 5 horror films that seem to fit these criteria.

The Cabinet of Dr. Caligari (1920) - Written by Hans Janowitz and Carl Mayer

Caligari has many claims to fame. It is considered to be the very first true horror film (Nosferatu was released two years later). The film is also credited as being the quintessential example of German Expressionism. Expressionism, with its non-realistic sets, crazy geometrical angles and painted walls and floors representing both shadows and light, is said to have paved the way for film noir in the United States. To me, the most interesting aspect of this cinematic gem is that it contains one of the first twists in cinema. Twists are a ploy used in many horror/thrillers and I won't spoil this one by revealing it here.

The Omen (1976) - Written by David Seltzer

Taking a cue from the element that made Rosemary’s Baby and The Exorcist so deliciously frightful, The Omen contains one of the scariest ingredients you can possibly use in this genre—Satan. I mean, doesn’t everything evil come from or lead to hell and Satan? The scene where the nanny commits suicide—apparently commanded by Satan—is one of the creepiest and disturbing scenes in horror. But to me, the most interesting aspect of this film is that—even though the script was commissioned—writer David Seltzer is still credited with an original screenplay. That may not seem like a big deal, but if you look at almost any credit from horror films during the 60s and 70s, most of them were based on novels.

Halloween (1978) - Written by John Carpenter and Debra Hill

A good friend of mine claims that he watches Halloween once a year. Before I can catch myself saying, "That’s weird," I realize I sort of do too. This same friend calls Halloween a “horror machine,” and he's right. That’s exactly what this film is. The film doesn’t bother wasting time setting up how Michael Myers got to Haddonfield after he escaped. Somehow, he's just able to drive a car 150 miles (having never driven a car before) to start his killing spree. But we don’t care, because from the moment he begins to stalk Laurie to the final frame of the film, we are literally at the edge of our seats. And even though this script was written some 40 years ago, it reads very modern with little description but lots of suspense.

The Lost Boys (1987) - Screenplay by Janice Fischer & James Jeremias and Jeffrey Boam; Story by Janice Fischer & James Jeremias

It’s quirky—funny at times, scary at times. It’s kind of a mess, but ultimately, it’s The Lost Boys! What more can you say? The style of this film is spectacular and if you were a teenager in 1987, you definitely went to see this film and loved it... or thought you loved it. To me, the most notable aspect of this movie is that it’s 80s nostalgia at its absolute purest. One could say, it had the look!

The Conjuring (2013) - Written by Chad Hayes & Carey W. Hayes

Aside from it being one of the scariest films I’ve ever seen (with a surprisingly emotional scene thrown somewhere in there), what I found most impressive is how the writers, who are twin brothers, were able to keep the action and scares confined to the house. There’s a lot of talk these days about keeping things contained (I assume for budgetary reasons), and this is a great example of how to do that, but with honors. They use every nook and cranny of that big old house and managed to freak out enough people to launch a franchise.

The next time you have 10+ free hours, go ahead and watch some of these gems. Or better yet, come read the scripts right here in the library!

Sweet dreams! - Javier

5 Tips for Studying Scripts

If you're aspiring to become a writer (or perhaps aspiring to become a better one), some of the most helpful advice you'll ever receive sits in plain sight at the WGF Library. You just have to know where to look. Hint: Look at the cork board directly to the right of the glass door when you exit. Tacked there, is a three-page document entitled "Notes on Writing by Gene Roddenberry." In it, Mr. Star Trek himself lays out a simple, personal manifesto on what it takes to learn the craft and persist as a screen storyteller.

Here's a passage:

In the early stage of my career, I began outlining every television play or motion picture or novel I had seen. In the outlines, I would try to analyze what caught my interest, why I identified with a certain person, why that person became important to me, what needs kept me intrigued, how the story built to a climax, and so on. While doing this, I continued to write my thousand words a day... and more of it crap than I care to remember. One day, some of it began to come together, and I found myself becoming able to read my own work and criticize it as if it were someone else's.

I share this because Mr. Roddenberry has a point. That's why we keep his wise words posted to the wall.

The Billy Wilder Reading Room reminds me of a high school dissection lab. Except here, people aren't cutting into rats or cats, they're dissecting scripts. They're hunched over our Grant Tinker / MTM Writers' Room Table reading everything from Casablanca to episodes of Atlanta, trying to catch a glimpse of the inner workings, trying to figure out what makes it tick, trying to find inspiration.

To know how to create a blueprint for what will become a movie or TV show, a screenwriter must become intimately familiar with such blueprints. A screenwriter must study scripts.

And just like there's no wrong way to eat a Reese's, there's not really a wrong way to study a script. There are, however, a few practices you can abide by to respect the work of fellow writers, to respect the integrity of the profession and to really ensure that you gain something from the experience. When you find yourself lucky enough to get your hands on a script that speaks to you (either in our library or someplace else), here are a few tips to help you get the most out of it.

1. FOCUS ON YOUR FEELINGS RATHER THAN OBSESSING OVER FORMAT

When you sit down with a script, focus on how the writer uses words and technique to make you experience the full range of emotions in the story along with the character. Why do you feel for the protagonist or another character? What is the writer doing to make you feel that way? How does the writer construct the character's arc, step by step? How does the writer evoke a sense of atmosphere and movement with limited words? How does the writer ramp up tension to keep you fascinated as you read? What's the obligatory scene in the movie or the emotional promise of the show that keeps you turning the page?

In the library, I sometimes notice that patrons who are writing spec scripts for certain series feel the urgent need to read the most recent season or look at scripts for very specific episodes. They feel they must emulate the format, style and wording to a T for their spec to be deemed successful. My advice is: Don't fret so much about crossing your t's and dotting your i's. Remember to focus on how the writing of the show makes you feel (giving attention to structure and tone). You can get all the information you need from actually sitting down and watching the show and taking notes. Having access to the scripts then becomes a great bonus to get your spec looking and sounding as true to the original as possible. Your objective, above all else, should be to tell the kind of story that they tell on that series—and to tell it so well, readers feel the same way they feel when they watch the show. Your feelings (and how the writer elicits them) are the most important things to extrapolate.

2. TAKE NOTES BY HAND

Bring a notebook and pen to the library or to your couch when you sit down to watch something. When you write by hand, you slow down and retain more information. Taking notes by hand also ensures that you're in your own thoughts rather than copying someone else's. You're paying attention to your gut and jotting down what grabs your attention and why.

It might sound obvious, but it needs to be said: Copying is detrimental to the craft of writing. The age-old adage is true: Immature artists copy while mature artists steal. Most of us aren't even cognizant of doing it. When an amazing writer hands us a perfect line of action or character description, we're sometimes apt to use the exact same words in our own scripts. Earlier in the year, I wrote a blog post about how a lack of original word choice can perpetuate cliches, stereotypes and harmful behaviors in the wider entertainment industry. Using someone else's exact words dumbs writing down to the point that lots of scripts can start to feel very similar to each other. Your own words are valuable in that they are unique. Use them.

Type when you're writing your own script. Write by hand when you're taking notes on somebody else's. In fact, write by hand as often as you can. It just encourages more thoughtfulness.

3. ATTRIBUTE! ATTRIBUTE! ATTRIBUTE!

Recently, there's been a surge in online articles that focus on descriptions in screen and teleplays. If you're going to quote someone else's (by the way, unpublished) work for the fair purpose of critique, the absolute least you can do is credit the writer. This is like copying the text of a tweet rather than just re-tweeting it. Failing to acknowledge the author, completely disrespects the original thought as well as the very hard work of the person who wrote it.

Even if you don't mean to, it seems like you're trying to pass the thought off as your own. While this sort of behavior is rampant in our all-access, online culture, you'd hate it if somebody did this to you. It lessens the very value of thoughts and ideas. Historian Danielle McGuire puts it in better terms than I ever could in this great article for the Columbia Journalism Review.

4. DON'T EVER STOP READING AND DON'T BE AFRAID TO READ OUTSIDE YOUR COMFORT ZONE

Read a ton. Don't ever stop reading. The more you read, the more stories, styles and information will have an impact on you. Read scripts outside your wheelhouse and aspirations. Your genre of choice might be romantic comedy, but you can still become better at writing description by reading the Alien screenplay. Your style might be more atmosphere or action-oriented. That doesn't mean you can't strengthen your understanding of dialogue by reading screwball comedies or The West Wing. If you regularly read all sorts of scripts, you'll have more tactics to draw on when you sit down to write and, as a result, you'll have a richer voice.

5. IF YOU'RE SUCCESSFUL, SHARE

Remember that writers learn from reading and if you're in the enviable position of having written a film or TV show that has an effect on people, share what you know. A very simple way to give mentorship to aspiring writers is, of course, to provide access to your scripts by donating them to a script library. (Wink wink.)

And if you're eager to see the rest of Gene Roddenberry's thoughts on writing, come visit the WGF script library sometime soon.

Job Posting: Events Coordinator

Application period closes March 23, 2018. THIS APPLICATION IS NOW CLOSED.  Looking for your occupassion?  Tired of throwing events for causes that don’t inspire you?  Love dealing with all the nitpicky details that set great events apart from good? Want to work at the nexus of the arts and entertainment and public service?  Willing to read a longish job spec and submit a resume that’ll make us want to meet you? Look no further!

We are looking for a motivated, detail-oriented, organized, emotionally intelligent person to help us plan and execute our yearly calendar of events, from panels, screenings, and Write-A-Thons to our yearly WGFestival conference.  This full-time position is ideal for someone with 2-3 years of experience in non-profits, events planning, political campaigns, or marketing/public relations.

The Writers Guild Foundation is a non-profit that serves current and aspiring members of the Writers Guild of America, West. In this role, you will assist the Events & Communications Director with everything related to producing and expanding the Foundation’s events throughout the year.

This is a job for someone who will never make excuses, has a contagious sense of humor, and is willing to roll up their sleeves. THIS IS NOT A WRITING OR FILM/TV PRODUCTION POSITION. You made it this far.  Now decide if the daily responsibilities are ones where you have both experience and interest.

DAILY DUTIES:

• Schedule and coordinate all internal and external events that WGF produces and hosts
• Liaise and correspond with panelists, moderators, VIP guests, vendors, and representatives
• Help staff events, coordinate volunteers, and interface with attendees
• Make all the people you interact with super happy that they know you
• Manage event ticketing check-in and RSVP/guest lists
• Track events expenses and invoicing
• Facilitate events-related initiatives such as gift certificates, Golden Tickets, and All Access Passes
• Work with Events & Communications Director on marketing and events promotion
• Build and cultivate relationships with outside venues, vendors, and potential partners
• Assist with pretty much anything else happening in the office, because you’ll be “that person” for everyone
• Make your colleagues laugh (seriously, we are fun and we want someone who is also fun; this is a non-profit, so we aren’t paid enough to be serious all the time)

QUALIFICATIONS:

• Bachelor’s Degree
• Excellent communication skills
• Disciplined, painstaking, precise, sharp, detailed, self-aware
• Spidey sense
• Comfortable multi-tasking without getting all frazzled
• Relationship builder with the flexibility and finesse to manage by influence
• Infectious laugh and sense of humor
• Sincere commitment to work collaboratively with all constituencies, including WGF and WGA staff, board members, volunteers, donors, events attendees, program participants, and other supporters
• Self-starter, able to work independently, not a whiner/complainer
• Able to work event hours. Your shifts will shift based on event schedules, so you must be able to work evenings and/or weekends based on our event calendar. The word “events” is in the job, after all, so that means you.

ASSUMED BASIC SKILLS:

• Proficient in Microsoft Office, basic computer stuff (I know, it is 2018, but I still gotta say it) and normal, professional office etiquette/behavior/experience
• Social media savvy (please know what a hashtag, IG story, and engagement mean. You’re the person that explains to your mom’s friends how the interwebs are used to sell ideas and tickets
• Able to charm and befriend on the phone and in person (and in your cover letter)
• Willing and able to learn and be coached
• Smart, witty, considerate, and professional
• Able to leap tall buildings in a single bound
• Like people. We mean really, really like people and enjoy meeting new people. You’re the person that makes friends while in line at the dry cleaners and gets that person to buy a ticket or sign up for our mailing list.
• Demonstrated ability to develop a plan of action, achieve buy-in, and execute to the plan successfully
• Getting stuff DONE (no muss, no fuss)
• Not raised by wolves, willing to pitch in even if it isn’t your job
• Able to think on your feet and manage through situations without ruffling feathers

THE BUREAUCRATIC BIT (a.k.a., the Blah Blah Blah):

Interviewees will be chosen very selectively. Please be sure you meet the qualifications before you apply.  Failure to follow the guidelines laid out in this posting is disqualifying. A persuasive cover letter or note describing your understanding of our organization and why you are a good fit will get our attention (and is required).

Getting your shining personality across will increase your odds (don’t be afraid to enjoy yourself and let us know who we might be working with; generic cover letters are as boring to read as they are to write, so take pity on the person screening 300 apps).  Thinking of a skill you have, that you know we need, but that we didn’t list above, will get you serious bonus points.  Referring to something specific from our website or this notice in your subject line will prove you read and understood this job posting; not doing so will prove that you just applied randomly to jobs by clicking on a job website (again, disqualifying). Submitting your cover and resume in one convenient, combined, printable document (PDF or Word) makes our lives easier and increases your chances of having both read.  In short, your email/cover matters.  A LOT.

While our salaries are very non-profity, our benefits are outstanding and include such parent-pleasing things as health insurance, paid time off, sick leave, a pension program, access to special screenings, a business casual environment (suits and ties make us nervous), and super way cool co-workers.  Plus, our offices are in a great part of town, across the street from the Farmers Market at 3^rd and Fairfax.

We are an equal opportunity employer. You must be eligible to work legally in the United States without employer sponsorship.  You must have a valid California driver license.  You must not be annoying. A job offer is contingent: hire is subject to the results of a background check.

SUBMIT BY EMAIL ONLY.  NO CALLS.  DO NOT EMAIL STAFF OR THE ED DIRECTLY (again, disqualifying).  We’re expecting a large volume of applications, so please be patient, and give us at least three weeks to get back to you.

Email your cover letter and resume to: wgf.careers@wgfoundation.org