During today's show, Sandy and Terry will discuss Billy Wilder's 10 tips for excellent screenplay writing. Few screenwriters are as pedigreed as Billy Wilder, renowned as one of the most creative filmmakers of American cinema's Golden Age. Billy was nominated 21 times at the Academy Awards, 13 for his screenwriting and 8 for his direction. He won the Best Director award for his 1945 film "The Lost Weekend" and again 15 years later for "The Apartment". Thanks to the success of "The Apartment," Wilder became the first person to win an Academy Award as a producer, director, and screenwriter for the same movie.
Cameron Crowe said, “There’s no better film school than listening to what Billy Wilder says.”
The PAGE International Screenwriting Awards sponsors the WRITERS' HANGOUT.
Executive Producer Kristin Overn
Creator/Producer Sandy Adomaitis
Producer Terry Sampson
Music by Ethan Stoller
👍 If you enjoy the show, please remember to follow us and leave a review where you listen to podcasts.
📸 Check out our IG for photos @thewritershangoutpodcast💙 If you have an idea for the podcast or would like to comment, please get in touch with us @thewritershangoutpodcast@gmail.com
You can follow us on Twitter @pageawards.com and Facebook @pageawards
During today's show, Sandy and Terry will discuss Billy Wilder's 10 tips for excellent screenplay writing. Few screenwriters are as pedigreed as Billy Wilder, renowned as one of the most creative filmmakers of American cinema's Golden Age. Billy was nominated 21 times at the Academy Awards, 13 for his screenwriting and 8 for his direction. He won the Best Director award for his 1945 film "The Lost Weekend" and again 15 years later for "The Apartment". Thanks to the success of "The Apartment," Wilder became the first person to win an Academy Award as a producer, director, and screenwriter for the same movie.
Cameron Crowe said, “There’s no better film school than listening to what Billy Wilder says.”
The PAGE International Screenwriting Awards sponsors the WRITERS' HANGOUT.
Executive Producer Kristin Overn
Creator/Producer Sandy Adomaitis
Producer Terry Sampson
Music by Ethan Stoller
👍 If you enjoy the show, please remember to follow us and leave a review where you listen to podcasts.
📸 Check out our IG for photos @thewritershangoutpodcast💙 If you have an idea for the podcast or would like to comment, please get in touch with us @thewritershangoutpodcast@gmail.com
You can follow us on Twitter @pageawards.com and Facebook @pageawards
Hello, my name is Sandy, the social media director for the page, international Screenwriting Awards, and your host for the Writer's Hangout. A podcast that celebrates the many stages of writing, from inspiration to the first draft, revising, getting a project made and everything in between. We'll talk to the best and the brightest in the entertainment industry and create a space where you can hang out, learn from the pros, and have fun. And we're rolling. Hi, I'm Sandy Adamitis. And I'm Terry Sampson. How was your week, Terry? It was dandy. And you? it was pretty good. Coming over to the studio was very good because I started with, Zombie by Garbage and ended with Bruce Springsteen's Santa Claus is Coming to Town as I was coming down the street to the studio that was playing. Everybody being good out there. Oh, not many of you. Love Santa Claus is Coming to Town by Bruce Springsteen. I feel bad that I did not have it snowing here for you in that part of it. We have fall here. You have some crunchy leaves out on the driveway. Yeah, that's not what Bruce meant, but still nice. One thing I wanted to talk to you, this morning I had this, I had not a panic attack, I just was a little overwhelmed with something. I do not think I am ready to return to society. So it's off to the island with you? Yeah. Well pick a nice island. The holiday season is coming up and we're gonna have holiday parties. Uh huh I can barely get here Terry to the studio with my mind intact The pandemic when did it end? When did we go outside? It's officially not ended It's officially not ended. There's a pandemic. I was at home. The whole world was catered to being at home. And currently I am working at home. I don't go out much. It's the holiday season coming up. I have parties to go to. And I'm feeling anxious. I'm wondering if other people feel this way. Because last Christmas, we were just kind of seeing each other again. Correct? Yes. And there weren't that many parties. Right. We're back. Yeah. There's a lot of events that are giving me anxiety. Not enough anxiety to never go. It's not a problem that, uh, prohibits me from doing anything. But I'm wondering if anybody else out there is feeling the same way I am. I have to return to in person work in January. And I'm looking forward to it. And it terrifies me at the same time. I have to wear different clothes every day. What? I have to be polite. Oh, not that. I have to be nice. I have to Learn where I'm parking all over again in the parking structure. What level isn't busy? Which one can I zoom to? You, you go out every day and you just learn how to manage. And I haven't done that a long time. I'm, I'm Googling an AI implant for you. Okay, thank you. Terry, you can be honest. Am I being a little too sensitive? Do you have any of these feelings? Here's how I look at it. People with, and this hopefully is congratulatory to every person that's listening to this right now, anybody that's feeling like you has a certain intellect level in which they understand the conditions as a pandemic offers, which are horrible. And so you, you actually believe. in science that they have this kind of thing covered and you follow the rules, right? Because you'd like to live another day. Yes. Everybody thinks that's neat. Never had COVID. You never had COVID, wish I could say that. But, the, I waited way late to have mine. Yeah, you were a very late bloomer. Yeah, I've always been a little bit behind the curve. that's the key to it. Because you take certain things seriously. Now, the person that's sort of like, and I always wanted to be the guy that was in a fraternity who partied every weekend and went to some classes, when it was When it seemed like a good idea. Right. And didn't bother with a lot of crap. He just floated on top. He was always everybody's best friend. That guy got COVID two days in. He had COVID. He kept having it because he was out all the time. Now, hopefully he's still breathing. Yes, he is. Okay, well that's not a nice spin. I'm still in the. bubble of COVID where I can't get it or give it. Oh, that's right. Yeah. I've got another like 17 days. Right. Feeling pretty good about myself. Oh, I think I'm Superman. It's great. That's why I wear the cape. But, that will be over. And I'll, go out and get another shot. But there's like no point in it now, literally. Right. that's the thing about it. And it doesn't, nobody really rushes out of a disaster. That's a good point. They sort of have to saunter out from it and say, okay, this isn't going to happen. Okay. I appreciate that. And again, anybody out there, please, contact me at the writer's hangout podcast at gmail. com. If you have any thoughts about this or any ideas about, reentering society, feeling kind of a little. Off about it and just how you feel about it. On to the show. Yay. Today, we're going to talk about Billy Wilder's 10 screenwriting tips. Okay. Billy Wilder was one of the greatest writer directors in film history. Having co written and directed such classics as Sunset Boulevard, Some Like It Hot, The Apartment. and double indemnity. I just hit, hit, hit, hit, hit. It's just so amazing. what screenwriter would not want advice from Billy Wilder? Now, Billy Wilder's, screenwriting partner was Ernest Lubitz. Rule number one. The audience is fickle. Beautiful. Wilder cautioned against chasing trends and trying to predict audience preferences. So smart. Yeah. Now, what does that mean exactly? What would you say right now is very popular, out in the zeitgeist and movies? Bad examples, genies. Say there's three genie movies out and you go, I've always had a great idea about a genie. yours is coming out of a can of soup, which, that was the hook. That was the hook. I really like that. Yeah, yeah, but it's too late. Number two, Billy says, Grab them by the throat and never let them go. That's not dating advice. think of Indiana Jones, that, the boulder that you were, nobody was moving from the theater from the moment that movie started. therefore when working on your own screenplay, ensure that you try to emulate that same approach. don't waste 20 minutes introducing your character getting up in the morning, right? Or something equivalent to that parking their car, going up in the elevator, unless you're showing perhaps they're going to work and it's a big conglomerate and you want to. show that the parking structure is 20 levels tall, right? You can, you can start them in the morning. If a plane goes into their house. Exactly. Number three, develop a clean line of action for your leading character. One of the most important aspects of a script is the motivation of its characters, the motivation. Also inspires conflict in the story. If the main character doesn't have a clear objective and a plan to achieve it, it's difficult to expect the audience to care about their actions. It's ideal if all characters in the story have a clean line of action. This means each character should have a clear objective or motivation that drives their action throughout the story. Even the best friend in a rom com? Yes, absolutely. It could be smaller, but the best friend may be in love with the protagonist. So you want to make sure that they Have a clean line, and you know very early on that they're in love and then perhaps maybe they try to ruin the date that the Protagonist is gonna have with the love interest and then at the end The second banana falls in love But a clean line and make sure the audience knows that clean line. Okay, I get it. Does that make sense? Number four, know where you're going. To build on the previous point, these two kind of you could collapse them almost. it's important to outline your plot to ensure that your characters remain focused on their intended action. I know there are, ballers out there that just sit down and write. I respect that. You've got this really incredible brain, but most writers, and especially if you really want to keep turning things out, you really need to start outlining. It really shortens the process for you. If you have a year and a half to finish a screenplay, great! Maybe do a 375 page first draft. but you're going to have to whittle it down no matter what. If your characters appear to deviate from their purpose, the audience may Also become confused and disoriented. Sure. If you don't like to outline, try note cards or bullet points, how you choose to do it. Just make sure you do it. Also do emotional maps. Hopefully your characters will grow and change. say your character is a very jealous person You might actually map out through your whole story. On page 30, my character starts to emotionally change. Have you watched a television show or a film or something and a character is I hate doughnuts. I hate doughnuts. I hate doughnuts. And then in the third act they go, they just pick up a doughnut and eat it and go, eh, why not try it? Your, your character hasn't earned that. You need to lay the pipe in the first and second act or in TV and film in the previous acts. Yeah. You get him to a point where he has to eat a doughnut or he dies. Now that's moviemaking right there. There you go Terry, that's perfect. And even if it is a secondary character and it's not your protagonist, your audience is going to notice. I notice those things all the time. When you watch movies, side note, when you watch movies, do you take yourself out of the writing process? Oh, that's an excellent question. I don't think I can. if it's really well written and everything's clicking, I don't try to fix it. Bingo. But if I'm watching it and I go, Oh, nobody says that then. Yeah. My poor wife, she looks at me and she goes, we're not going to watch the end of this, are we? Nope. Every writer's Significant other deserves a holiday. To watch anything they want without me bugging them. Yes. I'm the same way. usually I can tell right away. I'm falling into a movie and I know nothing. I don't know what room I'm in. I don't know who's watching it with me. I don't care what is happening. I'm in, but when I don't like the movie, I'm just sitting there. mentally with my arms crossed. How dare you? Picking on everything. I saw a boom shadow. I saw a boom shadow. Okay. There goes the Oscar. Number five. this is one of my favorite rules when a writer knows how to do this. The more subtle and elegant you are in hiding your plot points, the better you are as a writer. Super classy. If you can do this as a writer, you can churn out material. It draws me in. It's almost like I have a secret with the writer. When he puts something out there, I go, wait a minute, I know where you're going maybe. You might be doing that. This would be cool if he, look, it just happened. Yes. Yeah, I love that. There is a very finite number of story types. Overcoming the monster. The protagonist must defeat an antagonist, usually an individual force or entity, that threatens them and the wider world. Number two, Rags to Riches. Number three, The Quest. Number four, Voyage and Return. Number five, Comedy. Number six, Tragedy. And number seven, Rebirth. Do you think you have a favorite in there, Terry, or a mixture of them? I like a clever rags to riches. Now, this is I'm trying to explain this as best as I can. The audience wants to see these stories played out the way we're used to seeing them played out, in a uniformed way. But they don't want to be made aware of it. Although the rhythm of the plot may be predictable, the notes, the way you do it, should come as a surprise. Absolutely. So don't reinvent the wheel. what's a classic? since it's December, the hair comb and the pocket watch, The, gift of the Magi. Gift of the Magi. You can do that whole story again, but let's not do it with a hair comb and a pocket watch. Number six. If you have a problem with the third act, the real problem is in the first act. This is one of Wilder's most quoted tips. As even experienced writers struggle to identify it. and correct it. The third act of the story usually marks the resolution of important plot points and the end of the character arcs. Remember that emotional arc? Right. You don't want to be at the end of the script. No. And your cantankerous lead is still cantankerous. if your first two acts writers haven't established a strong foundation heavy in the first act, the resolution will be forced and unsatisfying. Therefore having a well planned out outline during the writing process. Can prevent this common problem. Sounds right. Again, it's all kind of earning it. You don't want your third act for the two leads to fall in love when they haven't even spoken yet. I had a meaningful conversation. Yeah. And this is a tip from earnest. Billy's partner, let the audience add up two plus two. They'll love you forever. You kind of referred to that previously. Yeah, it is so much fun as an audience member to go, Oh no, they don't know the security officer slept overnight in the bank. You just love it. You think you're smarter than the writer and the rest of the audience And even if you're watching at home, you turn to the person Did you see that? You know what's going to happen, right? Oh, that's You know, that's why home viewing is so great because I will turn to my wife and go Did you see that guy in the background? Isn't that the security guard? What's he doing in there? Exactly. And she'll look up from her laptop and go, What? The right, the right, Ah, forget it. Forget it. number eight. In doing voiceovers, be careful not to describe what the audience already sees. Add to what they're seeing. Voiceovers can be an effective tool for advancing the plot as long as they serve that purpose. In case you find yourself stuck, consider using a voiceover to describe the emotional of the characters or hint at the upcoming events. I guess we don't have to say, There's Joe, he's sharpening a pencil, he's walking down the corridor, he's gonna go into his boss's office. Let's see what happens next. That's a crummy voice over. Right. you once told me. This I thought was such a funny idea for a voiceover. Do you mind sharing it the drunken guy? Yes. I love it in the time where there should be a voiceover, a guy shows up who's drunk, and you can tell he's drunk. And in this case, the actor who's walking through the scene hears him and shakes his head and then describes what he should have said. And then shakes his head again and goes, you know. Get him some black coffee, black coffee, a nap, whatever. Have him catch up with me later. And then he walks off, but he tells the transitional. Number nine. The event that occurs at the second act curtain triggers the end of the movie. Now, It's helpful, To include a major event, whether literally or metaphorically, that acts as a catalyst for satisfying the conclusion. This event should have the potential to grab them by the throat and keep them interested till the end. Now, I know that grab them by the throat sounds very, big, and you should always really go for what the top of your intelligence, the best thing that you can think of. It doesn't mean big in the way of a car has to go over a cliff. Will they survive? We'll find out at the end of the third act. He doesn't mean grab them by the throat, that means. it could be Little Miss Sunshine, is she going to get to, perform at the pageant? Right. that grabbed you by the throat, Number 10. The third act must build, build, build in tempo and action until the last event. And then that's it. Don't hang around. Yeah. Get out. Well, there are just some 10 helpful screenwriting tips. They're great. So I hope, the writers out there can take these tips with them the next time they write. Give them in mind.