Drama / melodrama / comedy / farce

I love this definition of the big four genres, by Sidney Lumet in Making Movies:

In drama, the characters should determine the story.

In melodrama, the story determines the characters. Melodrama makes the story line its highest priority, and everything is subservient to story.

For me, farce is the comic equivalent of melodrama and comedy the comic equivalent of drama.

Travailler, toujours travailler.

Roding then took Rilke outside for a tour of the grounds. As they walked, Roding began to tell Rilke about his life, but not in the way one might speak to a journalist on assignment. He understood that Rilke was a fellow artist, and so he framed his stories as lessons that the young poet might take as examples.

Above all else, he stressed to Rilke, Travailler, toujours travailler. You must work, always work, he said.

“To this I devoted my youth.” But it was not enough to make work, the word he preferred to “art”; one had to live it.

That meant renouncing the trappings of earthly pleasures, like fine wine, sedating sofas, even one’s own children, should they prove distracting form the pursuit.

— from You Must Change Your Life: The Story of Rainer Maria Rilke and Auguste Rodin by Rachel Corbett

Bohm on creativity, order, art, and mediocrity

Epistemic status: these thoughts are based on a book that I’m still in the middle of. I’m more trying to work out my thinking than I am trying to tell you what to think or how to make movies. Also, I have taken three physics classes in my life and none of them had a lot of math.1

I’m reading On Creativity by David Bohm, which I discovered through Guillaume Wolf’s You Are a Message.

I’m only on page 34. It’s one of those read-a-page-and-then-think-for-10 minutes kind of books.

Bohm starts by talking about how the physical universe is ordered. It’s a structure of many ordered objects or systems within a hierarchy of orders.

(more…)
  1. In college I took an intro to physics class. The one memory I have is of the professor looking up to see a kid leaving in the middle of his lecture. In his thick Russian accent, he asked the student “where are you going?” and the student said “I have something important to go to” and with a bewildered look, the professor said “more important than Newton?” and I thought that was just the funniest thing. 

Sociological vs. Psychological Storytelling

From The Real Reason Fans Hate the Last Season of Game of Thrones by Zynep Tufecki:

At its best, GOT was a beast as rare as a friendly dragon in King’s Landing: it was sociological and institutional storytelling in a medium dominated by the psychological and the individual. This structural storytelling era of the show lasted through the seasons when it was based on the novels by George R. R. Martin, who seemed to specialize in having characters evolve in response to the broader institutional settings, incentives and norms that surround them.

What they did is something different, but in many ways more fundamental: Benioff and Weiss steer the narrative lane away from the sociological and shifted to the psychological. That’s the main, and often only, way Hollywood and most television writers tell stories.

This is an important shift to dissect because whether we tell our stories primarily from a sociological or psychological point of view has great consequences for how we deal with our world and the problems we encounter.

Reading this article made me realize why I love about my favorite TV shows, The Wire and Deadwood, and why I find it so hard to find any shows in the modern landscape that I connect with on the same level.

It also made me realize that the stories I tend to write have a tendency towards the sociological instead of the psychological (I don’t think any story is 100% on either side of the spectrum).

It’s hard for me to limit something to just one or two main characters — I usually get bored and want to bring in more characters or throw a couple characters into many different situations where they interact with people from different parts of society or with different POVs. Or I start with a collection of ideas that I want to work through comedically or dramatically, and then map the characters or the situations to those ideas.

And I honestly get kind of bored just thinking about a single character overcoming their demons or whatever, and the typical screenwriting advice of “put your character in a bad place and then make their life hell” kind of bores me as well.

So it’s really refreshing to have someone put a name on a different kind of writing that I knew existed but had never seen put into words.

And come to think of it, my love for sociological storytelling probably also explains my love for The Office, which inspired the amazing series of sociological essays, The Gervais Principle. And it’s probably why I love Buñuel so much.





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