APRIL 1997:

WHAT'S WITH ALL THESE INDEPENDENT FILMS NOWADAYS?

Now don't get me wrong - I'm not gonna start ragging on independent films here. On the contrary, I think the independents are where the majority of really good films have come from the past few years. Independent filmmakers have less money, yet are willing to take bigger creative risks than the studios, who have oodles of money but none of the balls. Why is this? When I think of the films I've really enjoyed the past few years - and I mean REALLY enjoyed, films that made me remember why I wanted to be in this business in the first place - I think of SLING BLADE, CLERKS, SWINGERS, TRAINSPOTTING, CRUMB, LONE STAR, FARGO, METROPOLITAN, PULP FICTION... all independent films. Even THE ENGLISH PATIENT was an independent film, for chrissakes! THE ENGLISH PATIENT! This big, sprawling, epic, tearjerking, doomed romance-type of film that you'd think any studio would KILL to have on their slate. Nope. Studios wouldn't touch it. I guess they would rather make movies in which the hero CREATES burn victims rather than IS a burn victim.

Winner of nine Oscars - but not good enough for studio backing.

Instead we get leftovers from the studios. We get all the films that we've seen before, slightly repackaged and reheated so they look fresh and yummy... but they still manage to leave a stale aftertaste. Why is this? I'm sure there are many reasons - many sound business theories as to why the studios make the crap they make - but I have a theory that I want to put forth. They're making this repackaged junk because fewer and fewer people working within the system (writers included!) are trying to tell good stories. Any more our idea of a good story is anything that fits into Syd Field's paradigm. It has three acts with plot points on the correct pages and character arcs so basic that a five year old undergoes more change during a typical day in kindergarten? It's a movie! And more and more - it's a BAD movie.

Tom Arnold in 'McHale's Navy' - A sign of the Apocalypse.

I find it telling that the studios have turned to our last golden age of filmmaking - the 1970's - to rediscover the type of films they should be making. Now this doesn't sound so bad. The 70's were an exciting time, with a lot of fresh talent coming of age. Are the studios making more films like THE GODFATHER or TAXI DRIVER? Are they producing another ANNIE HALL, another DINER? Nope. They've gone back to the 70's and decided to make EARTHQUAKE again. And again. And again. I just KNOW someone's gone into a studio and made this pitch: "Roller blades are really popular with the kids - I think it may be time for a remake of ROLLER BOOGIE." And sadly enough, I fully expect it to show up in theatres sometime this August. (August because demographics have shown that late summer is PRIME roller blading season!)

So okay - SOMETIMES the studios make a really good movie.

How do we stop this? As writers all we can do is try and write the best scripts we can. Scripts that don't necessarily fall into a high concept, easily-pitched formula. We need to write from our hearts. And by that I don't mean that we all have to start trying to write THE ENGLISH PATIENT. We're all different. To one person 'writing from the heart' may mean turning out a triumphant story of the human spirit refusing to be broken, like SHINE. To another it may mean writing a triumphant story of the human spirit refusing to be broken, like KINGPIN. Whatever. Write what means something to you. Write stories you want to tell, not stories you think the studios want to hear.

Ewan McGregor proves himself TRAINSPOTTING's king of SPEW.

Now I know that sounds like idealistic, unrealistic nonsense to those still trying to break into the business, or those struggling to make the mortgage payments. But I feel I must say it again - I'm not telling you WHAT you should write, I'm telling you HOW you should write. Write something that is important to you. Something that matters. If that's INDEPENDENCE DAY, so be it. Terrific. You have commercial sensibilities, good for you! But if you simply write it to sell it, you're shortchanging yourself. Write from your heart. Write from your gut. Write what matters to you. Write because you're excited about writing, not about that million dollar spec sale. If we can all do that - write to the best of our abilities about those things we care about - I'm just hopeful enough to believe that movies may start to get better. A little at a time. And even the studios may start to realize that good writing - strong characters, tight plotting, crisp pace - need not be limited to the independents. Big commercial projects also benefit from a strong script - JAWS, anyone?

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