Reversal Rollercoaster Ride!

Ever seen a movie and thought: This is SOOOOOOOOOOO mundane? You can tell where every scene heads and you can predict the outcome? Can we say BORING?!?!? I hate movies like that! UGH!


The screenwriter probably is very good at what he does. The problem is REVERSAL.

A reversal is that part of the scene where you go, “Oh my GOD! I never saw that coming!”

A great reversal is in THE DEPARTED. Leonardo Di Caprio’s character has worked and worked on nailing the bad guy, Matt Damon. He finally has him in his control and they’re on an elevator. When the elevator door opens, BAM! Leo’s shot in the head! I don’t know about you, but I NEVER could have predicted that! And I love the movie for that. It completely changed the tone of the movie! And, if that wasn’t enough…here comes another reversal…Matt Damon’s friend is the one that saved him. Matt thanks him and BAM! He shoots his friend! If you haven’t seen the movie, it’s highly recommended. By little ol’ me.

Reversals add a depth to your script. It shows you aren’t contained in a pretty little box and you actually think outside it. You have innovative, new, and unique ideas.

Have you ever seen Shutter Island? Another FANTASTIC example of reversal…all the way to the very last scene. Amazing! And one of my favorite movies of all time, now.

Look at it this way: the more twists on a rollercoaster, the better the ride, right? Same thing here. Your audience, your reader, has committed to spend time on your “ride”. Give them the twists, turns, and drops that make a ride so great! Make it worth their while! Because…

…if the reader loves the ride, your chances are much better for your script to find its way into the hands who can hook up with your vision, see the movie posters, the taglines, the merchandise, and hot dog! You’re off and running!

Reversals. Your script needs them. It’s what separates a good script from a great one.

Shutter Island

I have been waiting for this movie for ages, it seems. First it was to come out in November (I believe) but got pushed to February thanks to Avatar.

Opening night! Me and my besties had a Girl's Night Out. Dinner and a movie. Haven't done that it FOREVER it seems. So much fun. Now on to the movie.

One word: Hitchcock.

Completely done in the style of Alfred Hitchcock (at least I think so). Very little blood, guts, and gore. Not very scary. Suspensful? Eh, some. But it IS a psychological thriller.

One of my favorite scenes in the movie is (and don't worry this isn't a spoiler) is when Teddy (Leonardo Di Caprio) hears the voice of Max von Sydow. Max is seated in a highback leather chair, which it turned diagonally to a roaring fire. The writer makes you wait to see his face....the camera pans around the back of the chair, only to continue to pan because the chair protrudes on the sides like wings. Right before you see his face and as the camera continues to pan, a vase on the table obstructs your view.

Excellent writing! The writer,  Laeta Kalogridis, has the audience wait, wait, and wait to see his face. We, as an audience are suffering! We want to see who this guy is...this mysterious man.

We were in a packed theater. As the scene progressed, I listened to the audience's reaction. They were strained a bit with the wings of the chair, but when the vase was in the way, audible voices: "Oh man, come on!" "WTF? Move the f-ing vase!" "God, come on, I wanna see the guy!"

Wonderful reactions! Great writing! So suspenseful. Go see it.

I think this is one of the most well written screenplays I've ever had the pleasure of seeing. I think it's one of the best adaptations I have ever seen. (The book by the same name is by Dennis Lehane, who also authored Gone Baby Gone and Mystic River).

The direction by Martin Scorsese was superb. The set up of potentially creepy scenes was very well done. His use of characters, the actors, everything really, was fabulous. Truly felt I was watching Hitchcock. (Except with better music).

But the writing. The writing is GREAT.