Good Scripts, Bad Scripts: Learning the Craft of Screenwriting Through 25 of the Best and Worst Films in Hi story

In this unique volume, respected screenwriter Thomas Pope offers an innovative and practical approach to teaching the craft of screenplay writing, in the process providing an engaging, behind-the-scenes look at the way the film industry really works. Each chapter deals with a different component of the art of screenwriting, from character development, to the nurturing of subplots, to the fundamentals of good dialogue, illustrating everything through the virtues or mistakes of a particular film. The book encompasses the best and worst of films throughout the years, including Citizen Kane, Pulp Fiction, Chinatown, Singing in the Rain, Bonfire of the Vanities , and many others. With its trenchant analysis and keen insight into the reasons films succeed or fail, Good Scripts, Bad Scripts is not only an invaluable guide for potential screenwriters, but a rich resource for any student interested in film and film history. Cover......Page 1 Copyright page......Page 6 Contents......Page 7 Acknowledgments......Page 11 Preface......Page 13 Introduction: The Theory......Page 17 Part One: Structure......Page 25 1 The Abyss: The Narrative Spine Needs a Chiropractor......Page 27 2 Cutthroat Island: Shiver Me Structure!......Page 32 3 Inherit the Wind: The Play's the First Thing, the Screenplay's the Second......Page 38 4 Singin' in the Rain: The Perfect Film That Shouldn't Work......Page 51 5 Pulp Fiction: Reinventing Structure......Page 64 6 The Usual Suspects: The Great Script That Could Have Been Greater......Page 76 7 High Noon: Aristotle Goes Out West......Page 84 8 Citizen Kane: Flashback As Narrative......Page 94 9 The Bonfire of the Vanities: Third Act Suicide......Page 104 10 Last Action Hero: Deconstruction Self-Destructs......Page 116 11 Fargo: Satire Isn't Always What Closes on Saturday Night......Page 126 12 The Jewel of the Nile: Your Subtext Is Showing: The Problem of the False Second Act......Page 132 13 Groundhog Day: The Unexpected, Expected Structure......Page 143 14 The Searchers: The Third Act Hiccup......Page 149 15 The Verdict: Dialogue As Litany......Page 157 16 Tender Mercies: Less Is More, Lots More......Page 164 17 Some Like It Hot: Fewer Scenes, Bigger Laughs......Page 171 Part Two: Character......Page 179 18 Prizzi's Honor: The Passive Second Act Protagonist......Page 181 19 The Day of the Jackal: The Antagonist As Protagonist......Page 190 20 Network: The Catalytic Monster......Page 199 21 Chinatown: The Elusive Antagonist......Page 207 22 Casablanca: The Antihero As Protagonist......Page 217 23 Havana: Casablanca Lite......Page 228 24 The Treasure of the Sierra Madre: The Greatest Adventure......Page 234 25 Falling in Love: The Good Guys Ought to Be the Bad Guys......Page 247 Resources......Page 255 About the Author......Page 257 Ch. 1. Abyss: The Narrative Spine Needs A Chiropractor -- Ch. 2. Cutthroat Island: Shiver Me Structure -- Ch. 3. Inherit The Wind: Play's The First Thing, The Screenplay's The Second -- Ch. 4. Singin' In The Rain: The Perfect Film That Shouldn't Work -- Ch. 5. Pulp Fiction: Reinventing Structure -- Ch. 6. Usual Suspects: The Great Script That Could Have Been Greater -- Ch. 7. High Noon: Aristotle Goes Out West -- Ch. 8. Citizen Kane -- Ch. 9. Bonfire Of The Vanities: Third Act Suicide -- Ch. 10. Last Action Hero: Deconstruction Self-destructs -- Ch. 11. Fargo: Satire Isn't Always What Closes On Saturday Night -- Ch. 12. Jewel Of The Nile: Your Subtext Is Showing, The Problem Of The False Second Act -- Ch. 13. Groundhog Day: The Unexpected, Expected Structure -- Ch. 14. Searchers: The Third Act Hiccup -- Ch. 15. Verdict: Dialogue As Litany -- Ch. 16. Tender Mercies: Less Is More, Lots More -- Ch. 17. Some Like It Hot: Fewer Scenes, Bigger Laughs -- Ch. 18. Prizzi's Honor: The Passive Second Act Protagonist -- Ch. 19. Day Of The Jackal: The Antagonist As Protagonist -- Ch. 20. Network: The Catalytic Monster -- Ch. 21. Chinatown: The Elusive Antagonist -- Ch. 22. Casablanca: The Antihero As Protagonist -- Ch. 23. Havana: Casablanca Lite -- Ch. 24. Treasure Of The Sierra Madre: The Greatest Adventure -- Ch. 25. Falling In Love: The Good Guys Ought To Be The Bad Guys. Thomas Pope. Includes Filmography (p. 231-232). Explains how to structure a screenplay and develop characters for film, using as examples movies from "Citizen Kane" and "Casablanca" to "Cutthroat Island" and "The Bonfire of the Vanities"