The recent answer is because it’s part of my lifestyle now. I took film studies in Toronto about twenty years ago and wrote fiction scripts for two semesters’ worth of homework. Life brought me to Los Angeles and I hoped to continuing the film studies and turning the plate on engineering, my day job. But life wouldn’t let me do either. So, I bought a couple of books about treatments and scripts and kept writing. The first script took four years of research, fine tuning the story and getting some character building in it (See the Tolerance treatment and its journey blog). The script critique (payed service) was not bad enough to discourage me, but a long pause ensued because I filed for a patent with USPTO and wanted to build a nature video business around it. In the meanwhile, I was reading books, serious or fun fantasies of authors like Isabel Allende, Tom Wolfe and Tom Robbins; while reading them I had “visions” of the scenes described and at times flirt with the idea of writing an adaptation. The first strong impulse was for Even Cowgirls Get the Blues, but darn!, my cousin told me that the movie was already done. So I watched it but was disappointed. On the flip side it encouraged me, because my “visions” of the scenes and the leading idea were quite different. But I parked the idea of writing this script. The second impulse was caused by Fierce Invalids Home From Hot Climates, but that’s not an easy one to make a movie from; however some “visions” stuck in my memory. Further sailing years on end on the ocean of books I arrived at Umberto Eco. I was reading in bed The Island Of The Day Before and was delighted by his erudition and knack for fun; at the scene where Father Caspar is hanging in his Aquatic Bell, I was laughing hard to the amusement of my wife. I described the scene still laughing and said “Nooshkynah, if I only could turn this story into a movie adaptation!” The “visions” grew in me and, still under the impression of the previously aborted impulses, I started the journey of writing the adaptation, true about two years after the first read. While writing the treatment for it, connections with other books’ visual memories popped out from memory and thus the idea of a TRILOGY emerged: Baudolino by the same author was a good addition to it, but raised new challenges. How do I assemble the movie treatments for the trilogy to make sense in terms of the epochs, characters and their reincarnations, commonality of the human and humanity experiences of love, war, religion and consciousness? The answer is summarized in the 12th, 17th and 21st century synopses. In terms of the format, the treatments and scripts remain different so far because what I wanted to do with them and the “schools” of writing movie scripts are different. (To be continued)
24 thoughts on “Why Writing Movie Scripts?”
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