Millard Kaufman - Plots and Characters: A Screenwriter on Screenwriting
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Plots and Characters: A Screenwriter on Screenwriting
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Part Hollywood history, part history of the art of storytelling, this title is infused with Kaufmans wit, intelligence and love of words. The plots are those of classic films from the 1940s, and the characters are the bosses, bombshells and bad boys of the Golden Age of Hollywood.
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Copyright 1999 by Millard Kaufman All rights reserved. Printed in China. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher.
Photo and excerpt credits on page 263
Every effort has been made to locate copyrighted material that appears in this book as required under copyright law. For some materials, however, the publisher has been unable to identify or locate the copyright holder. In such cases, copyright holders are invited to contact the publisher, who will be pleased to make the necessary arrange ments at the first opportunity
Really Great Books, P O. Box 292000. Los Angeles. CA 90029 Visit our Web site at www.reallygreatbooks.com
First Printing May, 1999
10 9 8 7 6 5 4 3 2 1
Library of Congress Cataloging-in-Publication Data Kaufman, Millard Plots and Characters A Screenwriter on Screenwriting 288 p 15 2422 86 cm. ISBN 1-893329-03-8 1. Screenwriting2. Hollywood3. Film Industry I TitleII Kaufman, Millard CIP 98-89055
Cover design Amy Inouye Cover photograph: Larry Underhill
REALLY GREAT BOOKS are available at special quantity discounts to use as premiums, for educational purposes, and/or sales promotions For more information, please write to the Special Sales Department, Really Great Books, P.O Box 292000, Los Angeles, CA 90029
Page v
To my wife, Lorraine Paley Kaufman, with love and gratitude, for sharing and caring and pointing the way.
Page vi
ACKNOWLEDGMENTS
To Arthur Laurents, for all the talk and explorations past midnight, spanning more than fifty years.
To Dorris Halsey, my agent, whose discernment was always tempered with kindness.
To Nina Wiener, my editor, whose flights of logic and guidance were always on the wings of excitement.
To my daughters Mary and Amy, and their respective husbands, Scott and Bern, and to my son Frederick and his wife Lizzie, and to my grandchildren David, Kevin, Anschel, Jared, Ariela, and Phoebe, for all the fun I would have missed without them.
For the students of the Writing Seminars at the Johns Hopkins University and at the Sundance Institute, who gave as good as they got.
For the membership of the Writers Guilds of America, East and West, for questioning everything as writers should.
And in memory of the men of the Third and Sixth Marine Divisions in WWII, without whose expertise and sacrifice I'd never have made it this far.
Page vii
TABLE OF CONTENTS
Foreword
ix
I. The Business of Writing
1. Pitfalls and Pratfalls: You Know Who Did the Hair?
1
2. Top Dogs, Big Brass: Don't Show Up
21
3. Writing, and Writhing: Growing Corns on Your Ass
33
4. Running the Bases: You've Got To Hit It First
47
II. Writing in Hollywood (Or Anywhere Else)
5. Getting Going: Prejudice and the Script
59
6. Rewrites and Critiques: Arm Wrestling the Muse Is Not Enough
75
7. Speed and Stagnation: How Good Are You at Defrosting a Refrigerator?
91
III. The Script: Basics
8. From Greece to Hollywood: Why Aren't You Home Writing?
109
9. Catechism Beginning with Theme: Stick to It Like Grim Death
117
Page viii
10. The Three-Act Form: Surrender and We'll Give You a Second Act
125
11. Plot and Subplot: Thirty-Six Situations Including The Horse Will Help Her
139
12. Character: Heroes and Heavies Raising a Fist Against Fate
147
13. Anatomy of a Screenplay: Emotions Are the Only Facts
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2. Hollywood