From Idea to Script to Sale
Before I get to today’s blog…
Thinking about doing more with your writing? Why not join me in Paris June 2-7 for my Masterclass in Screenwriting? Come be part of a dynamic community of writers and literary agents to learn, to write, to network, to energize your literary goals—and just to have fun in the City of Light!
The Paris Writers Workshop is the longest running literary program of its kind. This program offers 6 masterclasses by renowned authors, each a specialist in their field—and I’ll be teaching the Screenwriting Masterclass—in English, of course.
The workshop will be held at Columbia University’s beautiful Reid Hall campus in the heart of literary Paris—Montparnasse.
Registration is now open: https://wice-paris.org/paris-writers- workshop
We’ll have a great time getting your story ideas off the ground!!
Musicals—7
Last week we talked about the transcendent An American in Paris [1951]. And as I’ve said, the 50s was a very good decade for music. But the indisputable star of the 50s was Singin’ in the Rain [1952] by Betty Comden and Adolph Green. If there’s a list out there that doesn’t rank this film as the best film musical of all time, I haven’t seen it.
Interestingly, Singin’ in the Rain has something in common with The Jazz Singer [1927]. The latter was the first talking picture, and it was a musical. Singin’ in the Rain explores that very transition, as it takes place just after The Jazz Singer has come out and all the studios are wanting to jump on the bandwagon of talking pictures—because after seeing their stars talk, no one’s going back.
Gene Kelly stars in this film, as he did in An American in Paris, and his character, Don Lockwood, is a successful silent film star, whose love interest in a series of films is Lina Lamont. But though Don has a great singing voice, Lina’s singing voice is like chalk on a blackboard. So they have to find a ‘double’ for her, someone who will sing her songs while Lina mouths them on film. They find Kathy Seldon, played by Debbie Reynolds, who is a chorus girl with aspirations to be something more. She and Don don’t get along at first, but that soon changes. Lina fancies herself as Don’s girlfriend but he can’t stand her.
The triangle love story is a staple of fiction and film. Why? Because it’s life. One person loves a second person, but the second person is interested in someone else. Or two people love the same person… however you work it out, the triangle is life. Remember in the 7th grade when Forrest Collins liked you and you liked him, but you also liked Billy Bacon? Well, that’s a triangle. Drama—and comedy—can ensue when one person loves another but the other feels differently and loves a third person more.
When I think about writing a musical love story, I want to keep that in mind. Because it’s a nice construct.
Known for its great music, take a look at the clip of the title song in the film: https://www.youtube.com/watch?v=D1ZYhVpdXbQ. A guy says goodbye to a girl he’s sweet on then heads down the street singing about it. It absolutely sparkles—both his over-the-moon happiness and the beautiful production. It even ends with a humorous twist, so it has it all.
This film has it all. Music, love, great production numbers… but why is it at the top of every “best musicals” list? One reason—it’s about the film business. And the people that do the rankings are people, well probably like you if you’re a film fan, and we love the business and glory in the film’s representation of the magic inherent in movies.
What kind of magic can you create in your film musical?
Copyright © Diane Lake
08Sep19
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Diane a question to Diane@DianeLake.com