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Having grown up surrounded by Hollywood I am not easily star struck. I do however love any opportunity to speak French which is why my hands began to sweat the moment I saw Jean Dujardin, the star of THE ARTIST. I was in Hollywood at the iconic Grauman’s Chinese theatre with fellow screenwriter and colleague, Shane Clark attending American Film Institute’s annual AFIFest and U.S. premiere of THE ARTIST.
Tiens c’est vendredi, et pour tout dire, j’avais la plume paresseuse. Mais finalement je vais surfer sur le soleil radieux qui baigne le jardin et dont les rayons pointent vers le pc dans un sous entendu qui en dit long. C’est entre le soleil et moi et il a gagné.
Everyone insists on how important a pitch is. But as for myself, I think every writer needs four different and necessary pitches.
First is the install pitch, the initial appeal of a conflicting contrast, a fresh situation around someone in relation with three essential entities : us, his world, and a vital necessity.
In a movie, the revelation of the backstory can be mind blowing or a miserable burden in the telling : how much, when, what for, from whose point of view, at what progressing rythm (Chinatown) or unique intensity (Runaway Jury, Psycho) is the ultimate identity and vision of the writer.
To some extent, the mastery of backstory is the central crossroad of the craft, the right path to any story, and the most personal artistic signature of the writer.
Let’s be clear : while the message of stories and even our intention as writers are most of the time noble and sincere, the « craft » is mainly about trickery, cheat, duplicity.
And it’s fun !