eager, bright-eyed, and plain as vanilla.
In films with larger teams, the introduction of each member can incorporate a goodly chunk of the set-up and a brilliant entrance for each individual is almost required. Masterful versions of this can be seen in heist films like
The Hot Rock
and
Ocean’s Eleven
, in which we establish character and skill set with amazing economy. And check out
Dodgeball
for the comic version of how to intro a team, each with a unique “Limp and Eyepatch” — and in the case of the “Steve the Pirate” character of that film, an actual eyepatch!
When we get to the end of the road, the “prize” doesn’t have to be an actual thing to qualify — and your heroes may not even win it! The “Caper Fleece” includes prison sagas like
Papillon
and
Escape from Alcatraz
where the prize is freedom. And even when the prize is money — as in most heist movies — the good ones are those in which there is a primal reason for taking it: revenge, love, or in the case of
Ocean’s Eleven
, manhood.
Yet when it comes to winning, there’s often a monkey wrench. The road apple pops up in a lot of GFs, and is defined as thatthing that kyboshes the plan just when victory is in sight, as when Tom Hanks’ team rescues Private Ryan — who promptly says “no thanks,” and Walter Matthau realizes his “Bad News Bears” can never win. Part of what makes a GF work is our heroes learning that the gold they seek doesn’t even matter, and pales in comparison to the real gold of friendship. Just like in
Rocky
, starring my close personal friend Sylvester Stallone, Rocky Balboa need not beat Apollo Creed to learn who his friends are — and it’s certainly a great way to set up
Rocky 2!
If you are assaying a true road picture, however, keep in mind that these are not as easy to write as you might think. Just sending someone out on the road and assuming the adventure will be great is why I read so many bad “lesbians cross America in a car” scripts (that, sadly, all end up winning Honorable Mention at Sundance). The trick of any story where we send our heroes on the road to find something is making each stop along the way count. Each signpost must have a reason, really mean something, and can’t just be included because it’s “funny” or you’ve always wanted to shoot a scene that takes place at the site of the World’s Biggest Ball of String in Yuma, Arizona. Nope. That may be interesting eye candy, but it really has to have a point to be included.
The journey story is one of the oldest we have in our quiver, but one of the hardest to do well. So take note of what the good ones do right.
And do likewise.
IS YOUR GOLDEN IDEA A GOLDEN FLEECE?
If your screenplay shares any of the following (and I bet it does!), then these are the telltale signs you’ve got an itch for the broad highway — and a passel of GF movies to watch:
A “road” spanning oceans, time, or across the street — so long as it demarcates growth. It often includes a “road apple” that stops the trip cold.
A “team” or a buddy the hero needs to guide him along the way. Usually, it’s those who represent the things the hero doesn’t have: skill, experience, or attitude.
A “prize” that’s sought and is something primal: going home, securing a treasure, or re-gaining a birthright.
The Golden Fleece tale reveals the amazing range of the genre, each with a unique goal, hero, lesson — and a host of meaningful pit stops!
THE BAD NEWS BEARS (1976)
Some movies are icons.
Die Hard
is one.
Jaws
another. And
The Bad News Bears
certainly qualifies. Not only is it a great example of the “Sports Fleece,” it spawned a series of movies that can be pitched with the phrase: “It’s
Bad News Bears
with _____________” in which the blank can be any sport (e.g., hockey in
The Mighty Ducks
, bobsledding in
Cool Runnings).
Of many “Sports Fleece” films that show a quest for athletic gold,
The Bad News Bears
is the champ.
As
In films with larger teams, the introduction of each member can incorporate a goodly chunk of the set-up and a brilliant entrance for each individual is almost required. Masterful versions of this can be seen in heist films like
The Hot Rock
and
Ocean’s Eleven
, in which we establish character and skill set with amazing economy. And check out
Dodgeball
for the comic version of how to intro a team, each with a unique “Limp and Eyepatch” — and in the case of the “Steve the Pirate” character of that film, an actual eyepatch!
When we get to the end of the road, the “prize” doesn’t have to be an actual thing to qualify — and your heroes may not even win it! The “Caper Fleece” includes prison sagas like
Papillon
and
Escape from Alcatraz
where the prize is freedom. And even when the prize is money — as in most heist movies — the good ones are those in which there is a primal reason for taking it: revenge, love, or in the case of
Ocean’s Eleven
, manhood.
Yet when it comes to winning, there’s often a monkey wrench. The road apple pops up in a lot of GFs, and is defined as thatthing that kyboshes the plan just when victory is in sight, as when Tom Hanks’ team rescues Private Ryan — who promptly says “no thanks,” and Walter Matthau realizes his “Bad News Bears” can never win. Part of what makes a GF work is our heroes learning that the gold they seek doesn’t even matter, and pales in comparison to the real gold of friendship. Just like in
Rocky
, starring my close personal friend Sylvester Stallone, Rocky Balboa need not beat Apollo Creed to learn who his friends are — and it’s certainly a great way to set up
Rocky 2!
If you are assaying a true road picture, however, keep in mind that these are not as easy to write as you might think. Just sending someone out on the road and assuming the adventure will be great is why I read so many bad “lesbians cross America in a car” scripts (that, sadly, all end up winning Honorable Mention at Sundance). The trick of any story where we send our heroes on the road to find something is making each stop along the way count. Each signpost must have a reason, really mean something, and can’t just be included because it’s “funny” or you’ve always wanted to shoot a scene that takes place at the site of the World’s Biggest Ball of String in Yuma, Arizona. Nope. That may be interesting eye candy, but it really has to have a point to be included.
The journey story is one of the oldest we have in our quiver, but one of the hardest to do well. So take note of what the good ones do right.
And do likewise.
IS YOUR GOLDEN IDEA A GOLDEN FLEECE?
If your screenplay shares any of the following (and I bet it does!), then these are the telltale signs you’ve got an itch for the broad highway — and a passel of GF movies to watch:
A “road” spanning oceans, time, or across the street — so long as it demarcates growth. It often includes a “road apple” that stops the trip cold.
A “team” or a buddy the hero needs to guide him along the way. Usually, it’s those who represent the things the hero doesn’t have: skill, experience, or attitude.
A “prize” that’s sought and is something primal: going home, securing a treasure, or re-gaining a birthright.
The Golden Fleece tale reveals the amazing range of the genre, each with a unique goal, hero, lesson — and a host of meaningful pit stops!
THE BAD NEWS BEARS (1976)
Some movies are icons.
Die Hard
is one.
Jaws
another. And
The Bad News Bears
certainly qualifies. Not only is it a great example of the “Sports Fleece,” it spawned a series of movies that can be pitched with the phrase: “It’s
Bad News Bears
with _____________” in which the blank can be any sport (e.g., hockey in
The Mighty Ducks
, bobsledding in
Cool Runnings).
Of many “Sports Fleece” films that show a quest for athletic gold,
The Bad News Bears
is the champ.
As
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