Four Screenplays : Studies in the American Screenplay

Rating:
Summary: don't be fooled
Review: ...The main thing that bugs me about Syd Field is that he writes from the point of view of the story editor, not of the screenwriter. He focuses on how to evaluate, not on how to create. Which is fine, but not how his books are marketed, and not what i'm looking for.

I'm a novice screenwriter, just starting my first screenplay. I've read a number of books, including Keane, Field, and Trottier and found little new or interesting here. Field even repeats a fair bit from his other books, rather than showing how his other books principles would apply. What little there was might be marginally helpful if I want to be a story critic, but not at all helpful if i want to write and create.

He basically gives a rehash of plot and shows some scenes intended to illustrate principles. Since I've seen all the movies, about 60% of what he writes is redundant. His example of showing good screenwriting were simplistic and his analysis of why it works were, from my view, just plain wrong.

Look at Trottier's book for a better example of how to create a scene using the good screenwriting principles, and as a better example of why a scene was created the way it was.

Rating:
Summary: Disappointing
Review: ...The main thing that bugs me about Syd Field is that he writes from the point of view of the story editor, not of the screenwriter. He focuses on how to evaluate, not on how to create. Which is fine, but not how his books are marketed, and not what i'm looking for.

I'm a novice screenwriter, just starting my first screenplay. I've read a number of books, including Keane, Field, and Trottier and found little new or interesting here. Field even repeats a fair bit from his other books, rather than showing how his other books principles would apply. What little there was might be marginally helpful if I want to be a story critic, but not at all helpful if i want to write and create.

He basically gives a rehash of plot and shows some scenes intended to illustrate principles. Since I've seen all the movies, about 60% of what he writes is redundant. His example of showing good screenwriting were simplistic and his analysis of why it works were, from my view, just plain wrong.

Look at Trottier's book for a better example of how to create a scene using the good screenwriting principles, and as a better example of why a scene was created the way it was.

Rating:
Summary: Syd Field explains the dynamics of scripts turned into films
Review: First off, if you are going are going to read Syd Field's "Four Screenplays: Studies in the American Screenplay" wih an eye towards writing your own great screenplay, then you should have his companion volumes, "Screenplay," "The Screenwriter's Workbook," and "Selling a Screenplay." Second, these are not the scripts for "Thelma & Louise," "Terminator 2," "The Silence of the Lambs," and "Dances With Wolves," but rather analyses of each work.

This particular quartet of films offers Fields the change to comment on four different screenwriting situations: (1) Callie Khouri's original script for "Thelma & Louise," her first movie script, illustrates how rewriting the rules of a genre and playing against type can work. (2) James Cameron's script for "Terminator 2" deals with creating a successful sequel as well as dealing with big time special effects. (3) Ted Talley faced the daunting task of adapting Thomas Harris's best selling novel "The Silence of the Lambs" into a film, while (4) Michael Blake had the joy of adapting his own novel in "Dances with Wolves." In each of these instances Field combines analysis of the key scenes, dialogue and action in the scripts with excerpts from interviews with the writers. Consequently Field is able to provide choice examples of what each screenwriter was attempting to do and how what is written gets translated to the screen.

I used this book a couple of times in my film class, along with these films and the Harris novel, to give students a better appreciation for how films are created. Obviously, I wanted to focus more on the writing involved rather than the production values. Field writes in a conversational style, so you do not have to contend with the pretentiousness of academic criticism, but also provides insights into even a minor scene or specific line of dialogue can be vitally important to the dynamic of the film. Of course, the more you are familiar with these films (and novels) the better you will appreciate this short course in contemporary American screenplays.

Rating:
Summary: Syd Field explains the dynamics of scripts turned into films
Review: First off, if you are going are going to read Syd Field's "Four Screenplays: Studies in the American Screenplay" wih an eye towards writing your own great screenplay, then you should have his companion volumes, "Screenplay," "The Screenwriter's Workbook," and "Selling a Screenplay." Second, these are not the scripts for "Thelma & Louise," "Terminator 2," "The Silence of the Lambs," and "Dances With Wolves," but rather analyses of each work.

This particular quartet of films offers Fields the change to comment on four different screenwriting situations: (1) Callie Khouri's original script for "Thelma & Louise," her first movie script, illustrates how rewriting the rules of a genre and playing against type can work. (2) James Cameron's script for "Terminator 2" deals with creating a successful sequel as well as dealing with big time special effects. (3) Ted Talley faced the daunting task of adapting Thomas Harris's best selling novel "The Silence of the Lambs" into a film, while (4) Michael Blake had the joy of adapting his own novel in "Dances with Wolves." In each of these instances Field combines analysis of the key scenes, dialogue and action in the scripts with excerpts from interviews with the writers. Consequently Field is able to provide choice examples of what each screenwriter was attempting to do and how what is written gets translated to the screen.

I used this book a couple of times in my film class, along with these films and the Harris novel, to give students a better appreciation for how films are created. Obviously, I wanted to focus more on the writing involved rather than the production values. Field writes in a conversational style, so you do not have to contend with the pretentiousness of academic criticism, but also provides insights into even a minor scene or specific line of dialogue can be vitally important to the dynamic of the film. Of course, the more you are familiar with these films (and novels) the better you will appreciate this short course in contemporary American screenplays.

Rating:
Summary: This book opens your mind up.
Review: Syd field gives a very in depth look into what a screenplay is. He has such knowledge and he makes me look at scripts more. The script is more than just what we see on screen.

Rating:
Summary: This book opens your mind up.
Review: Syd field gives a very in depth look into what a screenplay is. He has such knowledge and he makes me look at scripts more. The script is more than just what we see on screen.

Rating:
Summary: don't be fooled
Review: The reason Mr. Field uses other writers' screenplays as examples is basically because he doesn't know how to write a screenplay himself. Considering that, how can anyone take this guy seriously? This type of so-called advice will only fill your head with bad ideas and ruin you for years to come. Instead, I suggest, you look up writer/directors like Joe Carnahan and find out how they did it and what they have to say. Listen to talented and accomplished filmmakers who are actually doing it (and then devise your own system), but stay away from guys like Syd Field who has never written anything that was produced. I truly believe this guy's misguided advice will only derail and hurt the novice movie writer.

Rating:
Summary: A good second semester with Syd Field
Review: There is a huge gulf between writing books and screenplays. Books must paint mental pictures, where movies ARE pictures, usually accompanied by dialog. "Usually," I said, because I saw a fine feature movie in Zurich once that had no dialog. Background sounds were there, and it wasn't until halfway through that the absence of dialog dawned on me. The movie was made for viewing by audiences of any language.

Field handles the subject of screen writing visually. His book "Screenplay" was immensely helpful to me, even if I did have to get darned serious with it and plow through it several times. But, describing the elements of good screen writing is, after all, much more complex than explaining in words how to make a tasty stew.

The stew recipe could be followed by most anybody and the result would likely be okay, but Field's subject is much more complex and subjective. Nevertheless, anyone who pays attention and will apply themselves can benefit from this book, and from "Screenplay" as well.

Many readers of books on writing will never write anything, but this one has a side benefit for those who sort of want to write but won't: It's a movie-appreciation course, too. I saw "Thelma and Louise" (one of the 4 studied here) years ago, liked it, then left it alone. Working through Field's books over and over required that I watch this fine movie again. Gosh, Susan and Geena, I hardly even knew 'ya. Another once was not enough -- now I've seen "Thelma and Louise" a dozen times and never tire of it. Not only is it a splendid "how-to" on script writing, it's a wonderful movie adventure.

Field preaches that we should enter scenes late and exit early. That's demonstrated again and again in "Thelma and Louise". He stresses that, because movies are visual, don't insert dialog when an expression or body language will do. After Thelma talks to Darryl for the last time ever, it's evident that she has cut the cord with him (about time, too). Up to now she hasn't agreed to go with Louise to Mexico, but after answering Louise's question: "So, what did Darryl have to say," Thelma asks matter-of-factly, "So when to we get to goddam Mexico?" Louise's response is a small, complacent smile. 'Nuff said.

There's a lot here if you're serious about screenwriting. Thanks, Syd. You've been a big, big help to me, and I appreciate it.