What are the best movies to watch to help screenwriters?

Watch classics in the genre you want to write about.

Also, anything by Pixar if you are looking for standard structure stuff.

But most important, I think, is this, Steph: don't just WATCH the movies. Write down the plot points while you watch. Write down notes about observations, things that work.

After you do this for a lot of movies, it becomes second nature, and at some point you really don't even have to write much down. But doing this will help you see patterns.

Also, compare the structure to some of the standard models you probably have read by now. You will find that no single model applies. But the models will help you a little to gain insight on some of the patterns successful movies use.

I have watched a lot of movies on Netflix and youtube this way, and I seldom watch to the end. Often I watch the first half to get the set up and structure down.

I promise you, if you write out the main plot points, and there will usually be at least  one every 5 or 6 minutes, and do this for a couple weeks, you will come back to this thread and tell us you see movies in a whole new light. Good luck!

Quoted from KevinLenihan Also, anything by Pixar if you are looking for standard structure stuff.

You stole the words from my mouth, Kev. :)

Pixar movies are great examples of classic structure and always fun to watch let me add. Well, they have to be when you have kids. :P

If you're looking for good examples of dialogue, character development, etc, check out the Star Wars prequel trilogy. Structure/pacing? Transformers 3.

Wait...

Seriously, though, "Manhattan" by Woody Allen is a film I go back to over and over again. It's pretty extraordinary. What I'd give to write dialogue that witty and natural...

Also, anything written by Aaron Sorkin. He's a master.

Yeah, watch those animations like Kev mentioned. Some good stuff with structure there.

I'd also suggest giving The Big Lebowski a watch.

Check the IMDb Top 250 for reference to some "classics", but I'd definitely recommend Network above all others. It took the writer years to hone this slice of perfection - and it shows. Brilliant screenplay and film. Aaron Sorkin raved about it when winning for Social Network, which speaks volumes.

I still don't think much tops In Bruges for dialogue. I guess that's what you get when an accomplished playwright writes a screenplay.

Thanks everyone.. great tips!!!!

My advice, in all honesty, is to watch bad movies.  Really crapfests that are poorly written and poorly put together.

Why, you ask?  How in the world can that help?

It actually helps alot.  If you pay attention, you'll see exactly what doesn't work and why.  You'll wonder why in the world anyone would not see these obvious problems before releasing...before shooting, for God's sake.

Basically, it will help you understand what not to do in a script, and that's more than half the battle.

I have to agree with Jeff....every movie you watch...you can learn something...what did work..what didn't work...structured...poorly structured...movies are invaluable ....and reading scripts. Read as many scripts as you can.

I strongly recommend The Big Chill for dialog and character development.  All you have is seven people sitting around, talking.  Despite this, it's a movie that keeps your attention.


Phil

Watch the movies you love to see what makes them tick.  Chances are the scripts you're going to be writing, especially in the beginning, are for films that you would enjoy yourself -- it makes sense to understand these movies.

Quoted from mcornetto Watch the movies you love to see what makes them tick.  Chances are the scripts you're going to be writing, especially in the beginning, are for films that you would enjoy yourself -- it makes sense to understand these movies.

Yep, well said.  I agree 100%.

I do not agree about watching "classics".  Most of the classics from yesteryear would not work at all in these days.

Quoted from Dreamscale I do not agree about watching "classics".  Most of the classics from yesteryear would not work at all in these days.

...if "work" means "make a ton of money." Most of the "classics" from yesteryear are, as it turns out, classic. And extremely, extremely good.

A lot of great advice already put up.

Can't say I can add much but I suggest getting ahold of the script of some of your favorite movies and reading them.  Take special notes on your favorite scenes in particular.  What made those scenes so great?  How did they tie in with the rest of the story?

I think writing a great scene is a big step towards writing a great script.

They may be extremely good, and I'm not going to debate that, but movies are completely different now...and not in a better way for the most part.

For instance, if you believe by studying Hitchcock's movies, you will find success by imitating them, you've got another thing coming.

Times have changed and just based on what we're all able to see anywhere and everywhere at the drop of a hat, it's a new world, IMO.

Bad movies are most definitely a good way to analyse what doesn't work and it arguably easier to piece together than what does work in a good film.

If you're starting out, like script number 1, I would take Michael's suggestion and watch movies that you love. Make notes on every scene, especially the ones that hits a chord with you, whether you cry, laugh, get angry --

Then remember those notes and do your vomit draft. Just write / write till fade out.

Put vomit draft down for 3 weeks. Watch all the Pixar movies. Rewatch those favorite movies again. Then go back to your rewrite.

As you "specialize" or gravitate to your preferred genre, then go after those movies and scripts that are standouts for those particular genres.

My advice is no notes, and definitely no vomit draft.

Just keep watching your genre movies. Watch bad movies and see if after awhile, you can "see" improvements in what you watched.  See if it becomes a pattern.  Visualize in your head and when you're ready, sit down to write.

Write a scene and stop.  Read it back...several times.  Make corrections.  Start process again.

I'm sure most will disagree with this, but I am being totally serious.

Quoted Text Then remember those notes and do your vomit draft. Just write / write till fade out.

Completely and utterly agree. The 'finet uning' alternative ultimately leads most peope up blind alleys and allows them to cash in their excuses to stop writing. Anyone who suggests they enjoy writing is in denial! Davd Goyer gave an interesting view that I'm sure most can with to a degree:

http://www.scriptfrenzy.org/eng/node/3160709

"ROMANTICIZING WRITING…DON’T DO IT. Many beginning writers have a tendency to romanticize the act of writing. They imagine themselves as pint-sized Colettes or Hemingways or the screenwriter du jour.

But the dirty little truth is – most writing isn’t romantic at all. Real writing involves brutal, soul-searching, often isolating work. And I’ve found that most real, seasoned writers approach it as a craft, rather than a calling. "  - Monsieur Goyer

Quoted from Andrew Bad movies are most definitely a good way to analyse what doesn't work

Watching episodes of Mystery Science Theater 3000 is like taking a class on bad movies and you have an instructor explaining everything that's wrong.





Phil

Quoted from Andrew But the dirty little truth is – most writing isn’t romantic at all. Real writing involves brutal, soul-searching, often isolating work. And I’ve found that most real, seasoned writers approach it as a craft, rather than a calling. "  - Monsieur Goyer

^^^^^^

I agree 1000% with that.

Ghostie

Steph, I pulled a sample from my notes on films to show you an example. Some movies I take more extensive notes than others. Many I just take notes til about the midpoint. You will notice this film is sequenced, and the middle and ends of sequences are important points. Usually the midpoint, or turning point, of the sequence sets up the end point a few scenes later.

High Noon
- opening image of bad guys gathering outside town; cowboy image
- bad guys arrive in town, townspeople frighten; some rejoice
- retiring sheriff is getting married.
- bad guys go to the train station to wait for noon train
- marshal is nervous about turning in badge until new marshal arrives.
- the townspeople love the sheriff
- 9m marshal receives word Frank is arriving on noon train TP(turn point)
- marshal reluctantly leaves with bride
- deputy is eager to take over for sheriff; he dates the sheriff’s ex
- sheriff turns back on the road; does not want to be seen as running EP(end point) 12m

- deputy sorry to see him back
- if the sheriff does not fight Frank and his men here in town, they will just chase him and his wife down on the prairie.
- he hopes to deputize people in town to help.
- wife leaves for the train 16m(another chance to turn back)TP
- judge is leaving town; tries to convince sheriff to go to
- after buying ticket, wife goes to hotel to wait to be away from bad guys 18m
- friction between deputy and girl(Hernandez)
- deputy confronts sheriff Kane; blames him for being passed over; thinks it has to do with his being with his ex; he gives marshal ultimatum: support him to be new marshal, or he leaves. Kane refuses, so deputy leaves him alone. EP 22m

- Harnandez still has feelings for Kane; kicks out the deputy 24m; she plans to sell her hotel and leave town.
- wife arrives at hotel to wait for noon train
- first townsman shows to promise help; disappointed to find lack of help; Kane heads out to look for more help 27m(he knows he must go into the town to beg for help)TP
- Hernandez sells hotel
- Kane sees wife waiting; she has not changed her mind, though;
- Kane visits Hernandez;she still loves him, but there is anger; wife gets hint of their past.
- clerk tells wife he doesn’t like Kane; bars and hotels were busier with Frank in town, and many in town welcome him back
- one of the gunman visits the bar; the bar crowd is eager to see him
- Kane visits bar, hears them predicting his death; he tries to raise posse in bar 38m  people in the bar reject helping him; he sense the town against EP

- Kane tries to convince a neighbor friend; possible TP? 40m
- a drunk offers to help
- deputy thinks Hernandez is leaving with Kane; she challenges his manhood; says the town will die when Kane does
- 43m Kane addresses church looking for help; several men stand to help, until another man argues against it; they debate
- at the church, as the town is leaning toward helping, a town leader steps up and says they should wait for the new marshal. He knows Kane will get killed, but would rather see this than have the town’s reputation spoiled by bloodshed. 50m EP

- Kane visits the old, retired marshal. 53m “It’s all for nothing, Will.”
- wife visits Hernandez, tries to get her to let Kane go; Henrandez challenges his wife, what kind of woman would leave her man in trouble.
- at the bar, the deputy is goaded; they think he quit because of cowardice. 58 TP(this is a TP because the deputy’s arrival in the barn as Kane is considering fleeing seems to steel Kane’s nerves, push him back toward standing
- deputy confronts Kane in barn, where he is thinking about fleeing. 60m Deputy attacks Kane, tries to force him on the horse;
- 64 m Kane gets cleaned up by barber; the man is quietly expanding in the back, expecting new business after Kane is dead.
- 66m Herb has arrived to help, but leaves when finds out no one else will EP

- 69m Kane writes his will, while the town wrestles with its decision. It’s almost noon.
- wife leaves with Hernandez for the train
- 72m train arrives TP
- 75m Kane walks to face the gang on the street
- 79 m a bad guy breaks glass, steals something for the ladies; Kane hears, ducks behind a building
- 76m shooting starts; Kane kills one
- 77m wife, hearing shots, leaves train to be with him. EP

- fight rages as Kane runs, hides, fights; 2nd bad guy dies               
- bad guys set barn on fire; Kane saves horses.
- 81 Kane flees with the horses, is shot off horse.
- 82 the pacifist wife shoots a bad guy from the window TP
- 83 Frank takes wife hostage
- 84 she wrestles away; Kane shoots him
- 85 Frank throws badge in dirt; leaves town with wife End

If these aren't perfectly clear, sorry, I scribbled them for myself. But they give the idea of structure.

If you do this on your own with as many films as you can, the framework for film will start to become very apparent. It's NOT a one model fits all. But each does have it's own structure. Finding a structure that is similar to the one you want to write is VERY helpful. And it doesn't even have to be the same genre.

Also, you'll find that the sequences are very easy to pick out in the early part of a film, but gets a little harder. I think there are 2 reasons for this. One, subplots begin to intersect later in the story. Two, the story accelerates after the midpoint, with plot points coming faster.

Cue the sarcastic comments from certain quarters on this. I'm sharing it with you anyway. If it helps, great.

Hey Kev...you're back.  Good to see ya.

I was going to reply...until I saw your last comment, so I won't.

If this works for you or others, that's great.  It's also impressive that you analyze movies to this degree.  I'm glad to see you're watching movies now.  I think it's a must.

Good stuff.

For me, I go at it from two different angles.
If I'm looking to over analyze scenes and really understand what's going on,
I watch movies I lovd and know like the back of my hand.

But if I'm looking for inspiration and HOLY S%*T moments, I watch something new.
They get two different parts of my brain going.

Movies I've seen, make me want to rewrite and enhance existing scenes.
New movies give me the spark to want to create new material.

And like stated in the beginning, if you want structure, Pixar all the way!

Quoted from KevinLenihan Watch classics in the genre you want to write about. Also, anything by Pixar if you are looking for standard structure stuff.

Quoted from dogglebe Watching episodes of Mystery Science Theater 3000 is like taking a class on bad movies and you have an instructor explaining everything that's wrong. Phil

Ha! Look at that for a bit of the old retro!

Quoted from Eoin

Good link, that.

Quoted from Andrew Good link, that.

Glad you found it useful.

Yeah, I have that one saved too Eoin. Great advice.

One thing I like to do is reverse engineer recent hits to "discover their DNA".

A recent example would be "The Fast and the Furious.
I came across a movie called, No Man's Land, made in 1987.
http://www.imdb.com/title/tt0093638/

That older film is about an undercover cop that infiltrates a car theft ring.
He becomes seduced by the charismatic thief and falls in love with his sister.
Getting in too deep, the cranky handler cop, it's all there.
Sound familiar?

Beat for beat this movie got cribbed 15 years later to start a franchise.
Add the "hip element" of road racing to it and you're off to the boxoffice.

I try to find connections like this when I'm watching flicks.

Another recent example would be Drive.
A ton of that film comes from The Driver, a Walter Hill picture.
Wending Refn cribs specific shots from the 1978 Hill feature for this opener!

Treating movies like homework helps you see how they feed on themselves.
So, I can't recommend enough using movies for academic ends.
It's helped pull back the veil for me.

E.D.