Ray-Anne Carr

Entries tagged as Michael Clayton

Use of Opposition in Michael Clayton

March 4, 2008 · 1 Comment

michaelclayton_7.jpg

I first came across the technique of using an ‘Hierarchy of Opponents’ in a Screenwriting class given by *John Truby in London, and have used it ever since as a means of challenging the levels of conflict and Internal/External Opposition in my crime fiction.

It works something like this: 

  • Create an Hierarchy of opponents, which are linked together by alliances
  • Hide this Hierarchy from the hero and usually the reader - except for flashes which indicate just how much danger the hero is getting into.
  • Hide the TRUE Agenda of each opponent
  • Have the hero go up against a main opponent early in the story
  • As the conflict escalates, allow the hero to discover that there is a secret, STRONGER hidden opposition which then attacks him.

If you link this to a sequence of Reveals in the crime, this should help to increase both the personal stakes for the protagonist AND the plot. No sagging middles here, thank you.

Example - The use of Opposition in the recent movie Michael Clayton.

Although it could be argued that, in many ways, the antagonists for the first half of the movie are Micheal and Arthur, the story still builds around the use of Hidden, Stronger opposition.

Here are a few I have come up with. I have not added the moral dilemma, social drama aspects since these are conceptual but they are there for the audience of course.

Hierarchy of Opponents

Their True Agenda which is revealed as the pressure grows

Himself

His own self-disgust at having taken the bribe of 80K and a 3 year contract from his boss to forget that Arthur was killed and suppress any evidence.

He knows that Arthur was murdered. He found the evidence in the champagne glasses, the farmer girl Annie witness, and the report Arthur had printed up.

He knows that he can convince Karen to believe that SHE can buy him off because he is capable of it. Especially for 10 million.

‘I sold out Arthur for eighty grand and a three-year contract and you’re gonna kill me?’ 

For me, Michael becomes his own most powerful hidden opponent, since by going to the Police, he has almost certainly lost his job re the non disclosure contract he signed as part of the 3 yr deal. No job. No certainty as to what he will be doing next.

The head lawyer at the U/North Firm – Karen, played by Tilda Swinton

Karen knows that they are guilty and so is her boss, and has to cover up their joint culpability. And her own terrifying inadequate weakness and insecurity.

To do that, she has to remove the evidence = the audience knows that her henchmen followed Arthur and killed him, and are now following Michael and blow up his car.

Michael has no idea that he is a target, even when he starts to investigate Arthur’s murder.

THIS is one hidden, powerful opponent.

His boss at the law firm, Marty, played by Sydney Pollack

He needs to keep his biggest 3Billion dollar class action suit client. To do that he pays Michael off with the money he needs and a 3 yr contract.

Arthur – the Manic Depressive lawyer who is having a breakdown since he stopped taking the medication - but he craves the clarity and the obession.

Arthur has discovered that the firm they represent is guilty and cannot deal with it.

He has built up a relationship with one of the key witnesses Annie and believes that he loves her. Of course he also believes that he is ‘Shiva the God of Death.’

Arthur may be Michael’s friend, but he is going to bring him down and he cannot see the depth of that at the beginning - it will build.

The fixer, Zabel, who wants his money back on the restaurant

Just doing his job. His boss wants the money. Zabel is powerful enough for Michael to be afraid of him. And he wants to protect his brother Timmy. Possible physical threat.

His brother, Timmy, who has cost him his restaurant and his get-out money, which will drive him to take the bribe from his boss.

Family conflict. His closest social system.

Linked to his failure as a husband, as a father to Henry, as a brother to his cop brother, Gene, and as a son to his sick father.

The family are also the symbol of how far he has come. Humble beginnings to a public lawyer to private jets and the contacts needed to become a janitor lawyer in a 600 lawyer firm.

Any more?

** http://www.truby.com/

Categories: THRILLER WRITING TECHNIQUES · writing a thriller · writing craft
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Download the Michael Clayton Shooting Script

February 27, 2008 · No Comments

mich-clay.jpg

Michael Clayton Shooting Script

 Billie Mernit may have written a bestselling book on ‘Writing the Romantic Comedy’, but he also has an entertaining, but professional blog covering topical aspects of the Screenwriting Business and Craft.

I found his recent post ‘The Movie on the Page’ on Tony Gilroy and his script for Michael Clayton was particularly insightful.

 http://livingromcom.typepad.com/my_weblog/2008/01/the-movie-on-th.html 

“The primary thing in a screenplay is to make the reading experience as identical to seeing the movie as possible…  I want the prose to match the tone of the movie.  I want it to smell as much like the movie as it possibly can.” Tony Gilroy

Cinematic storytelling — the term that’s come to define this particular approach to screenwriting — involves a kind of three-step process (though these steps are often enacted simultaneously):

1)       you conceive your story in filmic terms,

2)       you see the movie in your head, and

3)       you write the story in a language that vividly communicates that movie’s sounds and images.

 ‘Their writers have put the movie in their minds on the screenplay page — so specifically that any director worth his lens-knowledge could tell what the movie was supposed to look, sound and feel like.

This technique is not new to Screenwriters – and it may surprise you to know that it is certainly not a new concept for writers of Fiction novels.

For Billie, these award winning screenplays ALL benefit from the technical skill and craft of the screenwriter to vividly and passionately transfer the images and scenes played out inside their own heads onto paper.

Three dimensional sensory images, sensations, settings must be accurately and faithfully re-created on the page so that the reader can re-experience them.

Otherwise, how can the reader – or in this case, cinematographer, recreate that emotional experience for themselves, and live through the life of that character?

That’s our job.  Want to read the Shooting Script for Michael Clayton – go here.

Well worth it. http://bigscreenlittlescreen.net/2008/01/30/michael-clayton-script/ 

For other Oscar movie scripts, try here; http://bigscreenlittlescreen.net/2008/01/10/get-your-scripts/ 

Miramax:

No Country for Old Men: script (PDF). Written and directed by Ethan and Joel Coen. Based on the book by Cormac McCarthy. Starring Javier Bardem, Josh Brolin, and Tommy Lee Jones.

 The Diving Bell and the Butterfly: script (PDF). Screenplay by Ronald Harwood. Based on the book by Jean-Dominique Bauby. Directed by Julien Schnabel. Starring Mathieu Amalric.

The Hoax: script (PDF). Screenplay by William Wheeler. Based on the book by Clifford Irving. Directed by Lasse Hallström. Starring Richard Gere, Alfred Molina, Marcia Gay Harden, Hope Davis, Julie Delpy, and Stanley Tucci.

pic = Warner Bros

Categories: Screenplays · THRILLER WRITING TECHNIQUES · fiction writing
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