Written by John Logan
Screenplay by Charlie Kaufman, story by Charlie Kaufman & Michel Gondry & Pierre Bismuth Charlie Kaufman sold “Eternal Sunshine,” based on a single slick pitch meeting, but faced a slow and circuitous writing process — and that’s the way he likes it. “I think because of my personality and maybe because of my lack of discipline or something — and also by choice — I throw myself into a very confusing place when I’m writing,” Kaufman says. “I want to have something brewing that I’m not entirely clear about.” What’s so great about chaos? “The idea is to try to make something alive for yourself and the people who are watching it,” he says. “I like feeling as an audience member there’s a struggle going on and I’m in the middle of it — and I don’t know where it’s gonna go. You don’t feel safe.” The screenwriter, who’s also nominated for an Oscar, encountered a whole slew of logic problems as he drafted the memory-erasing love match between Joel (Jim Carrey) and Clementine (Kate Winslet). One crucial breakthrough came when he decided to let Joel speak in both present and past tense, as a way of interacting with his memories. How did Kaufman get inspired? “A lot of the stuff in the script is from my life,” he says. “I’d actually seen somebody who I modeled Clementine after, who I’d seen perform. I didn’t know this woman; I was just sort of attracted to her and wanted to see why I would be attracted to her, and to try to imagine who she is from her vantage point.” Why was he drawn to this love-gone-wrong story? “I’d always felt that there weren’t a lot of real relationship movies out there,” Kaufman says. “There are a lot of fantasy notions, and I’d always felt they were kind of damaging, because when you’re young you think you’re going to have that life, and that life doesn’t exist.” GARDEN STATE
Fox Searchlight Pictures
Written by Zach Braff As Zach Braff dreamed up his first screenplay “Garden State,” he made notes on matchbooks, menus and napkins; when the time came to structure it, he pretended he was telling a loose story out loud to friends. Movie execs told him how to tighten and rewrite, but he resisted hackneyed rules. “Anyone who’s taken a screenwriting class, you go, ‘Oh my God, you’re 30 minutes in, they’re going to enter the new world now.’ You’ve got the whole thing memorized,” Braff says. In his semi-autobiographical coming-of-age story, struggling L.A. actor Large (played by Braff) returns to New Jersey for his mother’s funeral, goes off his mood meds and confronts real life. Braff’s favorite scene is also the one that was easiest to write: Large’s first visit to the home of his eccentric new friend Sam (Natalie Portman). “Some days you’re writing and it’s all working, and some days it’s not at all,” Braff says. “When I wrote that scene it was just one of those days when I felt like things were going well in my head and I wrote it in one sitting.” Why did Braff want to tell this story? “I was just drawn to it because it was what I was going through in my life, and I wanted to write what I knew and what I knew was this sort of malaise that I was feeling in my 20s; I was feeling depressed and not exactly sure why and feeling incredibly lonesome and feeling, like I say in the film, ‘homesick for a place that didn’t even exist.’ ” HOTEL RWANDA
Written by Keir Pearson & Terry George Former documentary editor Keir Pearson began compiling material for “Hotel Rwanda” seven years ago. At each step of his passionate fact-collecting way, Pearson says something serendipitous emerged to help him along. The good fortune included a powerful partnership with co-writer and director Terry George. “My first call was to the Rwandan embassy,” Pearson remembers. “I called and said, ‘Look, I’m trying to contact Paul Rusesabagina. I want to interview him or any survivors from the hotel, and the woman on the line said, ‘I’m a survivor from the hotel.’ ” A turning point in the writing process came when Pearson and George defined Rusesabagina’s complex spirit. “It was the sense that here’s someone who cared about his family most and as he saw the genocide unfold his sense of family grew,” Pearson says. “His wife who’s always saying, ‘Worry about your neighbors’ — they crisscross. That was the big breakthrough to me; you need those dramatic arcs.” Did his doc experience inform his screenwriting? “It gives you a good appreciation: real things in life have dramatic meaning and it’s just finding them.” KINSEY
Fox Searchlight Pictures
Written by Bill Condon Bill Condon read biography after juicy biography on pioneer sex researcher Alfred C. Kinsey. Once he found what he was looking for, he says he had to begin again. The real breakthrough in the writing process came when Condon discovered how strangely funny Kinsey actually was. “I think that was when (I saw) I could make it a social comedy in a way, which of course it’s about sex so that comes with it,” Condon says. “But (Kinsey’s) so socially maladroit and such an intellectual bully, while underneath it all he’s so sensitive; those were the scenes that first started to click into place.” Why write and direct Kinsey’s story? “You never want to reduce it to one log line or message, but I do think that basic idea of Kinsey’s that we all have unique sexual make-ups, and that we should not try to distort that so much in order to fit into the group, that’s a valuable idea that’s still so relevant,” Condon says. What’s his favorite scene? “I have to say the scene where Peter Saarsgard asks Mack (Laura Linney) to sleep with him and Kinsey’s there, and she says, ‘I think I might like that,’ ” Condon says. “It’s the whole connection between the public and private right in that scene for me, and I enjoy watching the way the actors play the comedy so well.”
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