Gerald Hanks Filmography

Wednesday, June 7, 2017

Screenwriting With The VOTE Method: Wonder Woman

The latest entry into the superhero movie genre, Warner Brothers' Wonder Woman, works so well on so many levels. Fans of the character get to see an iconic figure brought to life by Patty Jenkins' direction, Gal Gadot's performance, and Allen Heinberg's screenplay.

Those audience members who have never picked up a comic book will enjoy Diana's journey from a naïve new arrival into “Man's World” to a powerful source of inspiration for those around her. The supporting characters are also well-developed, despite the fact that the true antagonist remains a mystery until the climax.

One of the most appealing parts of superhero “origin stories” is how they fit into the VOTE template, and the story of Diana of Themyscira is no exception. Here's an illustration of how three of the major characters in Wonder Woman get their own VOTE:

SPOILERS FOLLOW

Diana (Wonder Woman)
Victory:
  • She wants to find and kill Ares.
Obstacles:
  • She doesn't know where to look.
  • Her involvement with Steve Trevor and his missions both complements and compromises her own goals. 
  • Her innocence about how “Man's World” works leads her into dangerous situations.
Tactics:
  • She charges across “No Man's Land” into heavy machine gun fire.
  • She barges into high-level meetings and berates Allied leaders. 
  • She follows Steve when his mission works along with hers, then disregards or fights him when he gets in her way.
Energy:
  • She needs to fulfill what she sees as her mission in life: to bring peace and understanding to the wider world.


Steve Trevor
Victory:
  • He wants to stop Luttendorf and Dr. Poison from launching their new weapon.
Obstacles:
  • Diana's headstrong tactics and naïvete compromise his mission as an undercover agent and his standing with his superiors.
  • His superior officer, Sir Patrick, orders him to stop his mission for fear of endangering the upcoming armistice. 
  • He's running out of time before the upcoming German gas attack.
Tactics:
  • He keeps Diana close so that he can prevent her from endangering his mission.
  • He disobeys orders and rounds up a ragtag crew to take out the gas factory.
  • He sneaks into Luttendorf's gala and attempts to seduce Dr. Poison.
Energy:
  • He needs to fulfill his mission: stop the war and bring and end to the suffering.

General Erich Ludendorf
Victory:
  • He wants to win the war for Germany with a final gas attack.
Obstacles:
  • Dr. Poison's formula isn't ready yet.
  • Allied troops are closing in on his position.
  • The politicians and generals are in the process of negotiating for an armistice.
Tactics:
  • He orders a gas attack on a nearby village.
  • He takes Dr. Poison's “steroid gas” to boost his energy and strength.
  • He sets up a gas attack on the generals negotiating the armistice.
Energy:
  • He needs to prove that he's right and the generals, politicians, and the Kaiser are wrong in seeking the armistice.
As an exercise, you can try to map the VOTE structure onto other characters in the film, including Hippolyta, Antiope, Ares, and Etta Candy. This exercise can show you the strengths of this simple system and how it can help you create strong, memorable characters in your scripts.

If you need help with your scripts, Story Into Screenplay offers a wide range of services. You can ask about our one-on-one consulting, script coverage reports, and script writing seminars.

Contact us at storyintoscreenplayblog[at]gmail[dot]com, or send a message through our Facebook page.

Good luck and keep writing!


Monday, May 22, 2017

Kill Basil Exposition

Last week, I had the privilege of speaking at the Comicpalooza Sci-Fi and Pop Culture Convention in Houston. I met a number of wonderfully talented writers, including C. Robert Cargill, the screenwriter for Marvel's Doctor Strange and the Sinister horror film series.

One of the things I encountered is that many writers, especially genre writers, attempt to sell their works based on their “high concept”. While the high concept makes for a great tool for pitching a script, it isn't the best place to start telling a story.

The biggest problem with a high concept is that it requires some explanation as to how the world works. In genre fiction, such as sci-fi and fantasy, the audience needs to understand how the technology works or the “rules of magic” in this setting. These scenes can require long stretches of exposition that can slow down your story and make the reader skim through these intricate details.

When you present these details in a novel, the reader will gloss over the pages until they get to the action. When you try in in a screenplay, the reader will toss the script and move on to the next package in the slush pile.

Techno-Babble-On


One of my favorite shows of all time, Star Trek: The Next Generation, was infamous for its conference room scenes filled with “techno-babble”. These scenes involved attempts to explain how the crew would apply 24th-Century technology to escape that week's threat to the U.S.S. Enterprise.

The Austin Powers movies even hung a lampshade on this tired trope with the character “Basil Exposition” (Michael York). Basil would explain the latest mission to Austin Powers,

With only a hundred pages (give or take a few) to tell your story in a feature-length script, you don't have time for techno-babble or Basil Exposition to explain your script's world. So how do you explain the rules of your world...without explaining the rules?

Damned If You Do, Damned If You Don't


One way to show how the rules work is to show what happens to your characters when they follow the rules.

  • What rewards do they receive for using your future-world's advanced technology according to the approved methods? 
  • What does it cost them to comply with the laws of magic in your fantasy setting? 

When you show the benefits and costs of following the rules, you get the reader to invest in both the characters and the rules of their world.

You can also use the flip side of that coin and show what happens when they break the rules. The most effective way to show the consequences is to place your characters in situations where they stand to lose something vital to them in either case.

For example, if your character follows the rules, a loved one dies. If they break the rules, the loved one lives, but the character faces a life-threatening punishment. When you make the stakes for breaking the rules high enough, the reader will sit on the edge of their seat waiting to find out which way they go.

Attitude Problem


Another way to draw the audience into the rules of your world is to show your character's attitudes toward those rules, especially if that character has a cynical or dismissive attitude toward those rules. While voice-over narration can be a sign of lazy writing in most cases, a few instances in classic modern films use it to great effect.

  • The classic “Rules” speech in Fight Club not only let Tyler Durden (Brad Pitt) establish the rules of his underground club, it also reveals his attitudes toward the rules of the mundane world. 
  • The weary tone of Rick Deckard's (Harrison Ford) narration in Blade Runner gives the audience a backstory on the replicants, while also revealing his cynicism toward his job.


Rules Are Made To Be Broken


Readers, agents, producers, and actors all relate to characters before they relate to rules. You can get your audience to understand the rules by showing how they tie to the character's VOTE:


  • How do the rules help or prevent the character from achieving their Victory?
  • How do the rules create Obstacles that stand in the character's way?
  • How does the character break or manipulate the rules as part of their Tactics?
  • What Energy drives the character into conflict with the rules?


These tools can help you maintain the reader's interest, reveal aspects of your characters, and keep the story moving forward.

Let Story Into Screenplay Help You With Your Story


If you need help in explaining the rules of your story world in ways that will grab a reader's attention, let Story Into Screenplay help you. We offer coverage reports, script notes, and one-on-one consulting services. We also offer seminars for writers' groups, both online and in person.

For more information, contact Story Into Screenplay at storyintoscreenplayblog[at]gmail[dot]com. You can also keep up with Story Into Screenplay through our Facebook page.

Monday, February 27, 2017

What Do Moonlight's Oscar Wins Mean For Aspiring Screenwriters?

FULL DISCLOSURE: I have not yet seen Moonlight. The only Best Picture nominees I saw were Lion and La La Land, two wonderful films, but I will try to see Moonlight at the earliest opportunity and post a VOTE breakdown when I get the chance.

Putting aside the blunder during the Best Picture award presentation, the multiple Oscar wins (including for Best Adapted Screenplay) for Moonlight carries some serious meanings for aspiring screenwriters.

The success of this film during awards season shows how so many rookie writers ask themselves the wrong questions. In too many cases, writers new to the craft ask themselves, “Is this hot in the marketplace?” or “Will this sell to a big studio?” or “Will this get me an agent?”

As a screenwriter, the questions you ask yourself as you write your story should revolve more around the story and less around the marketing hype that propels the Hollywood machine. In fact, every part of this script and its process sets itself up in direct opposition to the “conventional wisdom” of the marketplace.


  • The script tracks Chiron through three periods of his life (early teens, mid-teens, early twenties), rather than limiting the scope to a few days or weeks.
  • The main character is a “double minority” (African-American and homosexual), not exactly a “hot seller” in the traditional sense.
  • The script is based on an unknown, unpublished, unproduced play written by a drama student, with no “pre-sold” audience who would be familiar with the material and rush out to buy tickets.
  • Co-writer/director Barry Jenkins had only one other feature-length screenplay credit, 2008's Medicine for Melancholy.
  • Jenkins and co-writer/playwright Tarell Alvin McCraney were based in Miami, more than two thousand miles away from the Hollywood establishment.


So how does this little film, with a largely unknown cast and a budget of under $2 million, beat out the betting favorite (La La Land), the redemption story (Hacksaw Ridge), the big-budget sci-fi epic (Arrival) and the gritty modern western (Hell or High Water)?

In the immortal words of Alfred Hitchcock (who never won an Oscar in his long and illustrious career), “To make a great film, you need three things: the script, the script, and the script.”

Tell your story. Tell it as well as you possibly can. Don't let trends or money or “the market” tell you what you should write. The only one who can tell your story is you, so you'd better get to it.

If you need help in telling your story, Story Into Screenplay is here for you. We offer coverage reports, script doctoring services, and one-on-one script consultations. To find out more, drop us a line at storyintoscreenplayblog[at]gmail[dot]com, or send a message through our Facebook page.

Sunday, February 12, 2017

Screenwriting With the VOTE Method: Super Bowl LI Commercials

For those of you who don't know, Story Into Screenplay based out of Houston, Texas.

For those of you who don't follow pro football, or life in general, Houston hosted Super Bowl LI, along with a number of events that catered to prominent members of the entertainment industry in conjunction with the game itself.

While some writers may view such events as opportunities to network with celebrities, pitch script ideas, and get some "face time" with industry bigwigs in a festive atmosphere, I avoided the Hollywood hype train as it rolled into town.

Like most Houstonians, I treated the Super Bowl like the occasional hurricane that blows through town, forces residents to hunker down, and leaves tons of garbage lying around in its wake, which explains why this post comes a week after the Big Game.

However, like millions of other viewers, I watched the commercials that accompanied the broadcast with an increased level of scrutiny.

Some aspiring screenwriters make the mistake of looking down on commercials as “beneath them” on a creative level.

As a veteran writer of several short films on very short deadlines, I can tell you that it often takes more skill to tell a coherent story that covers a minute or less than it does for one that takes over two hours.

Here are some examples of how the VOTE method can be applied to characters in the most viewed commercials of the year:


Melissa McCarthy for the Kia Niro hybrid SUV:
V: Melissa wants to take part in environmental protection causes.
O: She has to deal with angry whalers, lumberjacks, and fragile ice caps.
T: She drives her “Eco-Hybrid” SUV from location to location.
E: She needs to feel like her actions are making a difference.



John Malkovich for SquareSpace
V: John wants to get the domain name JohnMalkovich.com for his website.
O: Another user, also named “John Malkovich”, has his domain name.
T: He writes emails, makes phone calls, and badgers the domain name holder.
E: He needs to recover the domain name, as it represents a part of his core (online) identity.



Budweiser 2017 Super Bowl Commercial: “Born The Hard Way”
V: Adolphus Busch wants to create a German-style lager beer in America.
O: He faces dangers in his travels and prejudice from Americans opposed to immigration.
T: He travels by any means possible to get to St. Louis, a frontier town where he can make his own way.
E: He needs to achieve his dream in America, since he was denied his chance in his native Germany.



Audi 2017 Super Bowl Commercial: “Daughter”
V: The girl wants to win the soapbox derby race.
O: She faces treacherous road conditions and aggressive driving from the boys in the race.
T: She uses her driving tactics and her own aggression against the boys.
E: She needs to show the boys that she's just as good at soapbox derby racing as they are.

While you can think what you want about any socio-political statements these ads make, you should look at these ads as a writer and examine how they create memorable messages through strong characterization. After all, isn't that what we all want to accomplish as screenwriters?

If you need help with your screenplay, whether it's a 30-second commercial or an epic feature film, contact Story Into Screenplay at storyintoscreenplayblog[at]gmail[dot]com, or through our Facebook page.

Monday, January 23, 2017

Screenwriting with the VOTE Method: La La Land

The film musical is a lost art. Most film musicals have been adaptations of Broadway shows and have met with varying degrees of success, from the multiple-Oscar winner Les Miserables, to the mediocre Tom Cruise vehicle Rock of Ages. However, original film musicals have been in short supply, especially in recent decades.

One of the issues surrounding the dearth of original film musicals stems from audience expectations of the characters. Audiences typically expect characters to react in realistic ways, even when they are in unrealistic surroundings. A film musical such as La La Land turns those expectations upside down, as evidence by both its Golden Globe wins and its impending Oscar buzz.

In this film, Mia (Emma Stone) is an aspiring actress battling confidence issues, while Sebastian (Ryan Gosling) is a struggling musician caught between his love of traditional jazz and the changing music scene. While both of these characters face realistic problems, the use of song and dance to communicate their issues gives the film a new way to convey character development to the audience.

Within this structure, at least in Damien Chazelle's script, the characters' only real antagonists are, in a sense, each other. Their conflicting dreams and their different means of reaching their goals threaten to drive a wedge between them.

Here's an example of how the VOTE method breaks down the character motivations.

Mia's VOTE would look like this:
V: She wants to be a successful actress.
O: After enduring several disastrous auditions, she lacks the confidence to continue pursuing her dreams.
T: She writes a one-woman show as a showcase for her talent.
E: She needs to prove to herself and her parents that her dreams of being an actress are more than just dreams.

Sebastian's VOTE would look like this:
V: He wants to launch his career as a jazz musician.
O: He lives for the glory days of jazz and refuses to recognize the changes in the modern music scene.
T: He joins a band with his friend Keith (John Legend) to make enough money to open his own jazz club.
E: He needs to prove to himself and his critics that his talents haven't been wasted on a dying art form.

You'll notice that love and relationships are not mentioned in their VOTE, nor are there any substantial antagonists standing in their way. In many romance films directed at teens, the pursuit of "true love" acts as the main victory, while a parent or authority figure often stands as the antagonist to the young couple's togetherness. (e.g. Romeo and Juliet)

In most adult romantic movies, the antagonist for each of the lovers is often the other half of the couple. In La La Land, Sebastian and Mia each struggle to find their own ways while trying to maintain their relationship. In a sense, the relationship itself acts as the antagonist, as their efforts to keep their love alive strain against their attempts to establish their careers.

The classic romantic story arc of “boy meets girl, boy loses girl, boy gets girl back” holds true for La La Land...to a point. The surprise ending (which I won't spoil here) puts a twist on that predictable formula, with some satisfying results for the audience. Each song from composer Justin Hurwitz illustrates the character's hopes, fears, and struggles, especially the climactic “Audition (The Fools Who Dream)”.

The key to the success of La La Land is that it conveys all the elements of the VOTE through the heightened reality of the movie musical. The songs serve the purpose of illustrating the character's desires, while the dance numbers act as a form of structured conflict that communicate the clashes between characters without words.

Regardless of if you're writing a stylized musical, a screwball comedy, an action blockbuster, or a serious drama, you have to invest time into developing your characters. All the beautiful songs and graceful dances in the world won't matter if you can't get the reader, the actor, or the audience to care about your characters. The VOTE method is a quick and easy way to give your characters the motivations, hurdles, and drive that will get your story noticed.

If you need help in developing the characters in your screenplay, novel, or TV pilot script, contact Story Into Screenplay at storyintoscreenplayblog[at]gmail[dot]com, or send a message through our Facebook page.

Thursday, December 8, 2016

Screenwriting with the VOTE Method: Miss Sloane

This post will mark the first in a series of film reviews geared toward teaching the VOTE method of character development. These reviews will not go into in-depth analysis of plot or story execution, but instead will focus on how you can see the VOTE method applied in current and classic films.

Each review will look at four principal characters: the protagonist, the chief antagonist, the protagonist's primary “helper”, and a minor character. This analysis will help you see how the VOTE method can be applied to nearly every significant character, which will help you create more realistic and believable characters.

The first film we'll examine is Miss Sloane, a tense political drama written by Johnathan Perera about a hard-driving lobbyist willing to bend the rules for her clients.

We'll look at how the VOTE method applies to the characters in Miss Sloane that fit in each type of role:
  • Elizabeth Sloane (Jessica Chastain), a fiercely competitive lobbyist
  • Pat Connors (Michael Stuhlbarg), Sloane's former colleague turned chief antagonist
  • Esme Manucharian (Gugu Mbatha-Raw), Sloane's fellow lobbyist and main “helper”
  • Forde (Jake Lacy), a male escort Sloane uses

Please keep in mind that this post will contain some SPOILERS for the movie.

Elizabeth Sloane's VOTE would look like this:

V: She wants to ensure enough votes to stop a filibuster on a controversial gun control bill.
O: She's facing off against both the “Guardians of the Second Amendment” and her former firm.
T: Her tactics range from planting documents to employing private detectives to investigate her colleagues.
E: She needs to show that she can win against the most overwhelming odds, regardless of who gets hurt along the way.

Pat Connors' VOTE would look like this:

V: He wants to have enough senators on his side to kill the gun control bill and keep his client happy.
O: He has to face off against Sloane and her arsenal of political trickery.
T: His tactics range from turning Sloane's former assistant against her to planting a “mole” at her new firm.
E: He needs to win over his client and his boss to keep his job.

Esme Manucharian's VOTE would look like this:

V: She wants to ensure enough votes to stop a filibuster on a controversial gun control bill. (same as Sloane)
O: She struggles with her past as a victim of gun violence.
T: She becomes the (reluctant) face of the gun control bill.
E: She needs to recover from her past and feel safe.

Forde's VOTE would look like this:

V: He wants to get Sloane to open up about herself.
O: Her reluctance to get close to anyone, along with the nature of his “occupation”.
T: He tracks her down at a formal event and tries to start a real conversation.
E: He needs to connect with her and show that he's more than just a body she can use.


When you write your script, every character should get a VOTE. If you need help applying these methods to your characters, contact me at storyintoscreenplayblog(at)gmail(dot)com, or through the SIS Facebook page.

Wednesday, December 7, 2016

Success Stories: Story Into Screenplay Year-End Update

First off, I want to thank everyone who has supported my projects and Story Into Screenplay in the past year. While I haven't posted as regularly as I would have liked this year, I plan to step up my game in every aspect of my screenwriting career, including finding new ways to help you with your scripts and relating my methods to current major films.

Past Successes

My most recent project, “We Are All Made of Stars,” was screened at Houston's Comicpalooza sci-fi convention in June and was selected a finalist for The Zone science fiction short film contest. Not bad for a film shot in the lead actor's living room in an afternoon!

My most notable project, 2014's “Dreamland Murders,” was screened at the Marche du Film at the Cannes Film Festival in May. It was also an official selection of the Director's Circle Festival of Shorts in November. 



The Story Into Screenplay blog was also selected as one of the “Top 50 Screenwriting Blogs and Websites for Screenwriters and Filmmakers” by Feedspot. Feedspot is a “modern RSS reader” that lets subscribers read all their favorite blogs in one place.



Future Projects

As for upcoming projects, I plan to add film reviews and story analysis of current films to this site. I plan to bring a new aspect to film reviews by using the VOTE method to break down the major characters.

I will also be serving as a judge for the TV One Screenplay Competition for the second straight year starting later this month. After the contest, I plan to share some lessons I've learned from the scripts I've read from other aspiring writers.

I will also be a regular contributor to The Buzz, the blog for the Virtual Pitch Fest site, which allows writers to submit their pitches and query letters directly to industry pros. My first piece, regarding how “Doctor Strange” will affect the Marvel Cinematic Universe, will be appearing on the site later this month.

I am also working on a book on how to help writers develop their characters, largely based on the principles outlined in my VOTE method. I expect to have the manuscript done in the spring, and I have been in contact with some small press publishers who have expressed interest in bringing it to market.

I will also be appearing at Comicpalooza again in May for another seminar, as well as on several film-related panels. Please keep checking back for more information as the convention date approaches. Get your tickets now!

During the most recent Comicpalooza convention, I was inspired to write a short script involving one of the most recognizable superheroes of all time. Last month, my producer staged a reading of the script for a group of local playwrights and screenwriters, where I received some very useful feedback. I'm not at liberty to say too much about it, but we are considering working with some Houston-area talent to bring this fan film project to the screen sometime next year.

Present Perseverance

As the holidays approach and the year comes to an end, I hope that you all continue to persevere in your efforts to create the best scripts possible. If you need any help in developing your ideas, creating your characters, or sharpening your dialogue, contact me here at storyintoscreenplayblog{at}gmail(dot)com or through the SIS Facebook page.

Have a wonderful holiday and a great new year!