She wanted to leave the party for the tour of the Mali pavilion so that we could steal their catalogs. I was terrified because I had just seen a documentary about how they kept criminals confined with their heads strapped together. But she was insistent, leaning forward, tightening her pants.Traffic was bad, both getting there and then with all of the magazines falling over from their stacks, and there was a roadblock at the bottom of the hill.I cursed her for getting me into this, and I almost turned off into the bushes. She laughed at me. “They don’t care about us.” And she was right.
Screenwriting is a most inconsistent proposition. While there are many films that have great scenes and characters, the work is often lacking in its overall story. Paul Thomas Anderson‘s films, including The Master, fall into this category as does the work of many modern screenwriters/filmmakers, such as Gaspar Noe, Terence Malick, Pedro Almodavar, Jim Jarmusch, and that other Anderson, Wes. I posted recently on Andrei Tarkovsky’s film The Sacrifice, and his struggle with story-telling. This too is an issue for many of the great auteurs: Francois Truffaut, Ingmar Bergman, Michelangelo Antonioni and, even my favorite, Werner Herzog; it’s the image, the motion, the atmosphere first and everything else after that. This is not say that the story arc of Hollywood should be subscribed to in any way. There is nothing so painfully innocuous as to be dragged along through the introduction, conflict, rising action, climax, denouement and all the pain-in-the-ass red herrings in the films of Christopher Nolan, Quentin Tarantino, Steven Spielberg, Jimmy Cameron or Clint Eastwood.But there is a middle ground out there, something between the poetic image and the Hollywood ride. It’s as hit and miss as the rest, although there are diamonds in the rough. One film that comes to mind is Greg Motolla’s Superbad (written by Seth Rogen and Evan Goldberg); as stupid as this movie can be, the story is true, the characters honest. Another surprising film is Lee Tamahori’s The Edge, written by David Mamet. This film is typical Hollywood, “Jaws with claws” as it was dubbed; however it is well-written. The story structure is effective – except for a weird denouement/climax #2 – and the arc is clear. The characters are engaging, even as types, and interact in an interesting way with both each other and their environment. The message is loud – We must face our demons! – but it’s a good film. And the bear is great. Really.