IFP’s Made in NY Media Center<\/a> in Dumbo, Brooklyn about the state of the industry as he sees it.<\/p>\nAfter working for decades in the industry, one might think Schrader would hold onto more traditional ways of working. In fact, Schrader\u2019s wisdom revealed him more in line with Futurist rather than Luddite thought when he expounded on topics ranging from writerly advice to the changing future of entertainment.<\/p>\n
Schrader first addressed the construct of the two-hour feature film as an antiquated model<\/strong> in need of reinvention:<\/p>\nThe goal of a storyteller is not to invest in technology, it\u2019s simply to use the best tools available. If we come up with a better hammer, we use that hammer. The vessel of audio-visual storytelling has changed totally. The notion of the theatrical two-hour experience is a 20th-century model they came up with about a hundred years ago for economic reasons. <\/i>[At that time] people thought that movies were a projected image in a dark room in front of an audience. Maybe that\u2019s what movies were, but they aren\u2019t anymore.<\/i><\/p>\n
It\u2019s finally now that we\u2019ve broken away from the pillars of that 20th-century model. One pillar is length. To me, a Youtube cat video is a movie. So is <\/i>Mad Men. One is four minutes long and one is about sixty hours long, but they\u2019re both movies.<\/i> [The second pillar is] economics. You can\u2019t make your money showing in theaters, it\u2019s just not there. <\/i>[The third pillar is] the delivery system people prefer. <\/i>[Other services compete against] getting me out of the house. The kind of movies people leave the house for are for something big, or something that is really benefitted by the communal experience. The reason can\u2019t be, \u201chere\u2019s another movie like the one from last week.<\/i><\/p><\/blockquote>\n
Schrader maintained this broken 20th-century model carries over to our conception of the dramatic three-act structure used for ages:<\/p>\n
The mechanism of the three-act drama has become so rustic. You can hear the gears clanking when you\u2019re in the theater. People have seen so much audio-visual entertainment over the years. How many hours of drama did your father see? How many did his father see? By your 20s you\u2019ve seen tens of thousands of hours of longform filmed drama, and it\u2019s so old hat. Your father saw a fraction of that. How in the world can you get this mechanism alive?<\/i><\/p><\/blockquote>\n
One answer may come in the form of recent strides in television:<\/p>\n
One of the beautiful things about episodic television is that it doesn\u2019t have to climax in the third act. It can climax in the second, and the third act can be set up for next week. So we\u2019re going back to a kind of one-reel mentality.<\/i><\/p>\n
One of the things I\u2019m finding so restricting about screenplays is that the brutal 3-act structure is so boring. I\u2019ve started thinking about telling stories in a new way. I was thinking, if Fellini were alive today, how would he tell <\/i>La Dolce Vita? That\u2019s about the nightlife of Rome. People come and go, it\u2019s really kind of an episodic thing. I think he\u2019d do it as a 3-hour web series. Each episode only has to work for ten minutes with four to five scenes, one pop at the end and then you\u2019re out. So you\u2019re no longer making a 3-course, 3-act dinner. You\u2019re now doing canapes, hors d\u2019oeuvres and tapas. You give someone a <\/i>[little bite] and the next thing you know they\u2019ve eaten 20 of them! It\u2019s a different mentality.<\/i><\/p><\/blockquote>\n
The way we\u2019re reconsidering narrative is directly dependent on the way we now consume media. Schrader comments on its positive and negative aspects:<\/p>\n
You\u2019re cruising through the media all the time, and it gets very, very stimulating. That\u2019s the positive part. You\u2019re getting all these peeks into hidden corners of worlds. And if you read something interesting, you say, \u201cthere\u2019s a story in there.\u201d And of course with Google, research is so fast.<\/i><\/p>\n
The negative is pretty heavy. The negative side is that it\u2019s awfully hard to finish a book. I can\u2019t watch a whole movie anymore without going outside at some point and checking my messages. It\u2019s very hard to concentrate. I now go to a symphony in a way I never have before because I can\u2019t listen to a symphony at home. I just can\u2019t stand it. I don\u2019t have the concentration and attention span to do it any more.<\/i><\/p>\n
This overwhelming sense of media fatigue now defines how we process stories. The fact that we are rewiring our brains with our technology <\/i>[means] we can no longer have the same experience we might have a few years ago. We can no longer watch <\/i>The Godfather. The reason they\u2019re not making <\/i>Chinatown today is that no one will watch it. It\u2019s too slow, you know? I just feel this enormous media fatigue and I don\u2019t know how, if I were a young person, I would combat this.<\/i><\/p><\/blockquote>\n
Schrader hinted at the future of entertainment which might be found in the new generation that prefers to participate in their content<\/strong>.<\/p>\nThe great mystery of entertainment is audience participation. We have probably the most passive medium in the history of storytelling. You don\u2019t have to do anything to watch a movie. You don\u2019t even have to stay awake. You don\u2019t have to turn a page, you just sit there, it just pours over you. In reaction to this we\u2019re getting a generation that doesn\u2019t like to be quite so passive. They like to play video games and tweet with their friends. They like to have another little screen on the top which is a reaction to a screen they\u2019re watching. If they\u2019re watching the World Series, they can pop up and see a clip of the batter from another game.<\/i><\/p><\/blockquote>\n
The audience was quick to ask Schrader about his writing process, perhaps the aspect of the craft where he\u2019s most seasoned. When asked who he selects to provide feedback on a finished draft of a script, Schrader said:<\/p>\n
The answer is anybody. \u201cAnybody\u201d doesn\u2019t know how to read a script, but they do know how to hear a story, and that\u2019s where it starts. So i\u2019ll say to you, \u201cCan I buy you a drink? I\u2019m working on this idea and I want to tell you a story.\u201d And I\u2019ll tell you and watch you and read your reactions, change the story, redevelop it. I don\u2019t really care what you say. I just care about your eye contact, your body language. And if you can tell a story for 45 minutes and keep somebody interested, you have a movie. If you have any concerns about that, after a half an hour go to the bathroom and come back and don\u2019t finish the story. If they don\u2019t say to you, \u201cwhat happened then?\u201d you know you\u2019re in trouble.<\/i><\/p>\n
Your script should sing in the same way your oral presentation does. It\u2019s a pitch. Some poor reader somewhere is going to bring home 8 scripts on Friday and that reader is going to get through two of them. You have to make sure yours is one of the two. I would be very wary of handing a script to somebody. First off, they\u2019re going to lie. Second, they probably won\u2019t even finish it. Thirdly, they\u2019re going to blank out somewhere and miss whole sections of it, and you have no way to monitor how they\u2019re reacting to it.<\/i><\/p>\n
I don\u2019t think you should sit down and write a script until you\u2019ve developed it in an oral fashion, told it multiple times, outlined and re-outlined it so much that you know this works. After you\u2019ve told it at different lengths six or eight times, at some point the idea is going to say to you, \u201cI\u2019m dying.\u201d And that\u2019s your lucky day, because you\u2019ve just saved yourself six months of a script you shouldn\u2019t be writing.<\/i><\/p>\n
Or the idea will say to you, \u201cEnough of this telling. We want to exist.\u201d And then it will come. The moment an idea or a situation starts telling you, \u201cI\u2019m not happy,\u201d the alarms and the buzzers should all go off.<\/i><\/p><\/blockquote>\n
Schrader then further broke down his creative process:<\/p>\n
I write down every single scene. Usually there\u2019s between 40-50 things which happen during a feature-length movie. And so you write them all down and now you\u2019ve told this outline many times, you know the expositional pacing, you know the comic relief pacing, you know the action pacing. And then I predict how long each scene will be in terms of page count. If you\u2019re operating on a roughly page-a-minute scheme, you\u2019re looking for about a hundred to a hundred and five page script. And then you\u2019re breaking it down.<\/i><\/p>\n
By the time you\u2019re on scene 22, you know that\u2019s going to take place at page 45 or 46. Now you\u2019re writing, letting these scenes just live and pivot. You\u2019re inhabiting them. Sometimes a scene gets a little longer than you want, sometimes a scene doesn\u2019t have much gas, you thought it would be a three-page scene and it\u2019s barely a two-page scene.<\/i><\/p>\n
Now you have your projected as well as your actual page count. If these numbers start to diverge, something\u2019s gone wrong. And then you stop right then and there and say, \u201cwas I right during the outline stage and wrong on the script stage, or am I now catching it?\u201d If I\u2019m now catching it I need to re-outline, recalibrate, and get myself back into sync so I\u2019m back on the rails again.<\/i><\/p><\/blockquote>\n
Schrader warned against being arrogant about your memory, to remember to write solutions to scenes<\/strong> so you can sit down and write them the following day. But one of the most resonant pieces of advice was also a simple one: disable the Internet, even if it means going through fits of withdrawal.<\/p>\nI\u2019m a binge writer. Wait, wait wait and then boom, every day for three to four weeks in a row and then I\u2019m done. Real writers write every day. The rule of thumb is that you should write ninety minutes every day, even if you\u2019re only writing correspondence. You can\u2019t get out of shape. Just like an athlete, you have to do it every single day. Real writers who write novels and longform stuff believe in the sanctity of the room, and they lock themselves into it. If you want to be a real writer and not a binge writer, you really have to get that kind of discipline. You have to force yourself.<\/i><\/p><\/blockquote>\n
Whether you\u2019re an aspiring, binge, or serious writer, Schrader\u2019s words provide excellent insight into the creative process. Just remember to turn off that router.<\/p>\n","protected":false},"excerpt":{"rendered":"
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