Screenwriting

For the most part, our nightmares are something on which we try not to dwell. However, in the case of Australian screenwriting duo Shanye Armstrong and S.P. Krause, nightmares are explored, outlined and used as the basis for many of their chilling storylines.

As the Writers Guild of America Strike seems to be finally nearing its end after three months, The Independent offers this concluding segment in its screenplay series. You can also read the other strike screenplays, written by Rufus Chaffee, Dorothy Blyskal, Dane Young and Randy Steinberg.

INT. STUDY - DAY

A WRITER sits at his desk, hunched over a keyboard. He types in a few words; we see over his shoulder the words are FADE TO BLACK.

EXT. SILVERCUP STUDIOS - AFTERNOON

We pan down the sidewalk to see a bunch of PICKET SIGNS leaning up against the wall. The signs all read UNION SLOGANS signifying that they are part of the WRITER'S STRIKE.

We pan further to see people standing on line. Further still, we see them standing on line for an UPSCALE CATERING TRUCK.

RUPERT GOLD AND THE AMAZING TECHNICOLOR WGA STRIKE
an original scene by Rufus Chaffee

FADE IN:

INTERIOR GOLD PRODUCTIONS EXECUTIVE OFFICE -- DAY

Fade in.

An actor sits at his desk, coloring in a coloring book with a Crayola. He is coloring so emphatically that he breaks his only blue crayon. The actor reaches for his intercom and presses the button.

ACTOR
Lonny, can you bring me a blue crayon? I’d like it only to be dark blue, not like a smurf blue, more like a…navy blue, but less navy more…army. But not green, blue.

I first became aware of AIVF when Martha Gever was editor of The Independent. I marveled at this national organization that put out each month a magazine chock full of weighty, intellectual and critical articles on film and video.

What happened at AIVF over the last 30 years?

I thought that making Monster’s Ball was rough. I vowed upon wrapping that film that I would never make another. After the accolades and success of that film, I was offered tons of projects from studios for lots of money (which I really could have used.) But all of them were jokes: Who’s My Baby’s Cousin’s Daddy, Leprechauns From the Hood (really). I felt that as a black filmmaker, my sophomore attempt at film should be just as interesting as my first; that I should not sell out.

Morgan Spurlock’s Super Size Me (2004) was an unqualified hit. The documentary, which followed Spurlock as he ate nothing but McDonalds for 30 days and interviewed a string of experts on the rapidly worsening American obesity epidemic, was nominated for an Oscar. It won at Sundance and at countless other festivals. It earned glowing reviews and a wide theatrical release—still a rarity for documentaries. It became the sixth highest grossing documentary in history, and it even made Spurlock some money—almost miraculous for a documentarian.