A few years back I had the first draft of my first screenplay ever. Like a lot of folks who dream of Hollywood success, I was eager to share my work with the world. Problem was, I had no idea what I was doing. Through a friend of a friend, I was put in contact with an “entertainment attorney.”
To avoid having any one element of foreshadowing be too obvious, often the writer will throw in some red herrings–some things that could be foreshadowing but in fact don’t pay off or pay off in a different way than we expect. The person who has the gun in the drawer may become an immediate suspect in our minds, but later maybe we see him use it to light his cigarette and we realize it’s not a real gun (of course he may have a real one somewhere else….). That kind of misdirection keeps the audience guessing.
I think what we can learn from documentary makers is to pause before we launch into the obvious story and dig deeper to see if there’s a more interesting, perhaps more subtle, one lurking underneath…
As a filmmaker, one of the challenges you face is how to finance a film. When I was starting out, things were much different. Back then, if you wanted to finance a movie, you had to cross your fingers and wait for the gods to grant you permission…
You don’t really want totally arbitrary events in your script, but if you need to capture their attention, put it in and then in the next draft work your way backward in the story so it has some motivation…
When I was in NYC, we were going into production on a 1.5 million dollar movie. Then all-a-sudden the entire project fell apart. Something about the investors getting cold feet… Something about the actor’s mom… Dunno. Truth is, the reason the project fell apart does not matter.
