5 Screenwriting Lessons – Little Miss Sunshine

Who Wrote It?

Little Miss Sunshine was written by Michael Arndt.

How Long Is It?

Little Miss Sunshine is 101 minutes long, including credits.

What’s It About?

Little Miss Sunshine follows the Hoovers, a dysfunctional family who live in Albuquerque. They consist of harried mother Sheryl (played by Toni Collette), Richard, her husband, an unsuccessful self-help teacher (played by Greg Kinnear), drug addicted grandpa Edwin (played by Alan Arkin), uncle Frank (played by Steve Carell), a gay scholar recovering from a recent suicide attempt, teenage son Dwayne (played by Paul Dano), who is taking a vow of silence, and daughter Olive (played by Abigail Breslin), a perky seven year-old obsessed with beauty pageants. When Olive gets a last-minute invitation to compete at the Little Miss Sunshine beauty pageant, which will be held in California, the Hoover family have two days to get to the venue in a derelict VW camper van, and their journey proves to be highly eventful.

5 Screenwriting Lessons – Little Miss Sunshine

(The Following May Contain Spoilers)

Journeys Are Vital to Character Growth – The main focus of Little Miss Sunshine is the Hoovers’ realisation that they will have to work together in order to fulfil Olive’s dreams. Out of all the family members, this challenge is hardest for Dwayne. His dislike of his family is expressed clearly and effectively when Frank tries to start a conversation with him at the dinner table. When Frank asks Dwayne if he has any friends, Dwayne writes “I hate everyone” and underlines his comment when Frank mentions the rest of the family. His strained relationship with them is severely tested when he finds out that he’s colorblind and will never be able to fulfil his dream of being a pilot. This causes him to have a breakdown, during which he ends his vow of silence and viciously attacks his family. However, when Olive decides to go and comfort him, Dwayne realises how much she appreciates him, and re-joins the family, allowing them to get to their destination in time. Dwayne’s acceptance of Olive’s dream demonstrates that he has become a more selfless character, as her goals now matter more to him than his failures.

Another member of the family who tries to deal with unattainable dreams is Richard. When he finds out that his agent, Stan Grossman, has failed to land the deal that would get his book published, he steals a motorbike and drives to the hotel where Stan is staying to confront him personally. Once there, Richard responds angrily to Stan’s comments about his inability to sell as an author, and announces that he is dissolving their partnership. During this sequence, Richard’s assertive nature, which has previously been a hindrance in his relationship with others, is given a more positive use, as he states that will not let others define him and the manner in which he pursues his dreams. Dwayne and Richard are both forced to realise that the effort they put into attaining their goals was futile, and a longer-lasting and more reliable source of happiness can be found by supporting their family.

Give Characters Shades of Grey – No matter how colourful and distinctive a character is, they need to be depicted with enough nuance to seem realistic. The characterisation of Edwin provides a good example of a memorable but seemingly one-note character who is portrayed with increasing complexity the longer we get to know him. Initially, Edwin appears to be little more than a vulgar and immature grandparent. In the car, Edwin gives Dwayne a talk in which he provides very inappropriate advice, telling him to start having sex as quickly and often as possible, in a speech full of profane language. However, when he interacts with Olive, we see another side to him, as he assures her that she is “beautiful inside and out”, and tells her not to worry about failing, as the real losers are those that do not try. The contrast between Edwin’s crass and offensive behaviour towards the male members of the Hoover family and his caring treatment of Olive develops his character, as the seeming contradictions between the two sides of his personality demonstrate that he is not a completely stereotypical character. This makes him seem more rounded and interesting to watch.

Olive is another character with an important personality trait that is gradually established throughout the course of the movie. In spite of the enthusiasm with which she pursues her dreams of being a beauty queen, Olive’s insecurity is her defining flaw. When the family have breakfast at a diner, Richard tells her that the ice cream that she has ordered can make her fat, causing her to feel uncomfortable. At the pageant, Olive meets one of her favourite beauty queens, Miss California, who says that she eats ice cream frequently as well. This highlights one of the main problems with beauty pageants, as Olive feels like she has to conform to an established image in order to compete. Miss California’s comments demonstrate that it is unnecessary for Olive to forbid herself from enjoying the things she loves, and this foreshadows the primary message of the climax, that Olive doesn't need to follow the conventions of beauty pageants, and, like the other members of the Hoover family, is happiest being herself.  

Establish Personalities Effectively – The Hoover family are introduced in an opening sequence that establishes their quirks and flaws. Olive is watching a video of an old beauty pageant, Richard is giving a lecture to a near-empty classroom, Edwin is taking heroin in the bathroom, and Sheryl is arguing over the phone, denying the fact that she is smoking in the car. This extract sets up the various obstacles that the family face in their daily life. Whilst it establishes their unusual nature, it also demonstrates that their problems are typical enough for them to seem like realistic and relatable characters.

The emphasis on the Hoovers’ distinct personalities is a pivotal part of the first act, especially when they sit together at the dinner table for the first time. The primary sources of conflict in the scene are Frank’s reluctance to reveal the issues that led to his suicide attempt and Richard’s belief that Frank’s actions render him a failure. Their primary character flaws, namely Frank’s inability to get over his depression and Richard’s refusal to accept the perceived weaknesses of others, are fully displayed in this scene, and the presence of the rest of the family provides an extra level of tension, as they notice these failings as well. This means that both Richard and Frank have to face up to their negative traits in order to gain the respect of those around them. Generally, the first act is focused on setting up the dysfunctions and flaws that define the Hoover family, whilst making them appealing enough for the viewer to want them to overcome these issues.

Hypocrisy is Key to Comedy – Comedy is heavily based on the contrast between an expected outcome and an unexpected one, and this incongruity can often be highlighted through characters who say one thing and do another. The best example of this in Little Miss Sunshine occurs during the climactic beauty pageant. The various girls who participate are dressed in a manner that is highly inappropriate for their age, with several wearing bikinis. When Olive performs the routine that Edwin created for her, it turns out to be a burlesque-style striptease. The pageant organisers are horrified by this, and attempt to remove Olive from the stage. The contrast between their acceptance of the earlier performances and their reaction to Olive’s dancing suggests that they regard the latter as extreme and unusual, but the viewer is made aware of the fact that the difference between Olive and her competitors is not as significant as it seems to the people running the pageant. This narrow gap, and the inability of the pageant judges to notice it, highlights how unreliable their opinions are, and suggests that the sexualisation of child performers is inherently problematic.

Tight Time Frames Increase Tension –The Hoover family have just two days to make the 800-mile journey from Albuquerque to California, and they have to deal with problems that make an already-difficult task seem impossible.  When Richard breaks the clutch, the mechanic he consults claims that replacement parts will not arrive until the following week. The Hoovers soon find a solution to this problem, as they are told that they can get the car moving by pushing it until the engine starts, then jumping into the vehicle. This dangerous strategy establishes that the Hoovers are willing to take any risks to get to California. More importantly, it provides effective symbolism for the changes that they will have to undergo on their journey. In order to achieve their external goal (reaching the beauty pageant) and their internal desire (repairing the rifts between the various family members), the Hoovers will have to work together to keep the VW van – and their relationship – on track.

The problems with the car seem insignificant later on, as the Hoovers face a number of problems that would usually spell the end to a road trip like theirs. At the midway point of the film, Edwin dies of a drug overdose. However, realising how much seeing Olive at the pageant would have meant to him, the family continue on their journey anyway. When they are told that they cannot transport Edwin’s body until funeral arrangements have been made, they steal it from the hospital and hide it in the trunk of their car until they reach their destination. Their readiness to carry out such a risky action highlights how desperate they are to get to the beauty pageant, and establishes that their journey is no longer solely for Olive’s sake – it matters just as much for the rest of the family. This shift in motivation proves that the Hoover family understand each other better, and this would not have happened were it not for the time spent on the journey so far, and the difficulties they have faced together.

Conclusion

Little Miss Sunshine proved to be successful both critically and financially because of its engaging and developed characters and ability at dealing with dark issues, such as suicide, depression and child exploitation, whilst keeping a generally upbeat tone throughout. The Hoovers are relatable characters whose growth during the movie is entirely believable, and the story is both familiar and unusual. The blend of the conventional and the unique allows Little Miss Sunshine to appeal to both viewers who want something that is fun to watch, and those who are interested in more challenging fare. This is the main reason why the film was popular on release and remains well-regarded today.

5 Screenwriting Lessons – Croupier

Who Wrote It?

Croupier was written by Paul Mayersberg.

How Long is It?

Croupier is 94 minutes long, including credits.

What’s It About?

Croupier follows Jack Manfred (Played by Clive Owen), an aspiring writer seeking to create a successful novel. On the advice of his father, he gets a job as a croupier in a seedy London casino. His experiences provide him with plenty of material, but his relationship with his girlfriend Marion (Played by Gina McKee) comes under strain. Furthermore, Jack gets involved in affairs with two women: the cynical dealer Bella (Played by Kate Hardie), and the mysterious Jani (Played by Alex Kingston), thus violating one of the central rules of the casino – Never talk to the other croupiers or the players.

5 Screenwriting Lessons – Croupier

(The Following May Contain Spoilers)

Get into the Protagonist’s Head – One of the most important aspects of the film is Jack’s Voice-over, which he provides in the third person, as if he were narrating his own story. This serves two purposes. First of all, it sets up Jack’s obsession with writing, as he is aiming to make his narrative seem as dramatic as possible. This sets up the theme of duplicity, as he is hiding his knowledge and observations from the unsuspecting gamblers at the table. Because of this, the audience is left wondering how many secrets Jack conceals, and how relevant these will be to the story. Furthermore, the use of Voice-over also makes the viewer interested in seeing what happens to him. Jack is an aloof character, and needs to be depicted in an accessible manner in order to be worth following. By allowing him a way to communicate with the audience in a manner that retains his introverted personality, but permits an insight into how he really feels, the script succeeds in doing this.

Jack’s desire to craft an appealing narrative is consistent throughout the story. At a party with Jani and his publisher, he offers to deal the cards in a round of poker, and gives everyone an increasingly impressive hand, with Jani winning. From this, it is possible to sense the fact that he has feelings for her, but also that he is interested in the world of the casino because he the thrill of watching the gamblers blow a fortune far more fascinating than anything his publisher wants him to write. This fascination with victory and defeat is the main motivation for his actions at the party. Although Jack ditches the stifling world of publishing in favour of his job on the casino floor at the end of the movie, he retains his fascination with observing the world around him. The fact that Jack is defined by this very common and interesting trait allows him to be a compelling anti-hero.

Simple Things Can be Very Interesting – In the third act, Jack gets himself implicated in a robbery by Jani. She offers to pay him if he provides a distraction on the casino floor. All he needs to do is call out a cheater at his table, which he had done earlier in the movie. The fact that the entire robbery hinges on something that Jack normally does without hesitation increases suspense because the plan is too perfect; it involves attaining large rewards with very little effort. If such a routine action has such significant consequences, then the audience can expect the possibility that something must go wrong. The inevitability that their suspicions will be proven correct encourages them to keep watching, as they want to know what will happen to prevent the plan from working.

Give Characters Unique Personalities – Croupier contains three distinctive female characters, Marion, Bella and Jani. All of them have their personalities developed in a simple and effective manner. Marion is introduced via Voice-over with classical music playing in the background, Bella is first seen undressing in a mirror behind Jack, and Jani is a particularly alluring customer at the tables, standing out due to her expensive look and her confident behaviour. As a result of these vivid and contrasting quirks, this group of characters manage to seem unique and developed in spite of the film’s short runtime.

Jack’s father is also introduced in a manner that conveys his mischievous personality. Whilst Jack is struggling for inspiration, he receives a call from his father recommending that he gets a job at a casino. Jack Sr.’s fast and energetic tone contrasts sharply with Jack’s slow and deliberate style of speaking. The viewer can sense that they are in some sort of conflict, as the two are very different in spite of their family relationship. This generates a number of interesting questions. How did Jack and his father drift so far apart, and will there will be any developments that provide further insight into them? The desire to see these questions answered entices the audience to continue watching.

The Audience Should Be Allowed to Observe Things with the Characters–Initially, Jack is unwilling to take up his father’s job offer, but over the course of the film, he gains an increasing affinity for the world of the casino. His natural ability to function in the casino environment is set up in his first scene there, in which he demonstrates his skills as a croupier. Instantly, he observes that the casino is not replacing chips as often as it should, and passes a test of his dealing skills with flying colours. This shows that he understands the basics of gambling better than the people in charge, and this advantage generates both inspiration for his story and the increasing addiction to the atmosphere of the casino.

Little details can serve to develop characters, but they can also generate suspense. Jani reveals the robbery to Jack in a lavish party in a country house. When she takes him, she has her arm in a cast, and tells Jack that it is because she owes a debt to some mysterious enemies, providing an effective pretext to get Jack involved. The next time we see Jani, her injury has healed. However, a bad bruise which Jack gained in a brawl with a disgruntled gambler remains. The viewer can figure out that Jani was faking her injuries and cannot be trusted. This sets up the intriguing mystery of what her real motivations are, and the prospect of finding these out drives the climax.

Make Your World Unique – One of the most unique features of Croupier is the fact that it is based in London, as opposed to a more traditional gambling location such as Las Vegas or Atlantic City. This allows it to demonstrate a different approach to the subgenre of gambling-based movies, whilst providing truths about that industry which are equally applicable in all casinos everywhere. The wide variety of London scenery is used throughout the film. Key interactions with Bella and Jani take place in Piccadilly, a particularly affluent area of the city. The juxtaposition of the vast spaces there and the drab, confined casino highlights the artifice inherent in the latter location. It relies on extravagance just as much as the expensive London shops, but the casino and its employees do not have the ability to make this seem natural, and, as a result, the seediness and desperation that the place relies on is emphasised instead of concealed.

There is also substantial focus on the life behind the tables. Given the cold and formal manner in which croupiers are expected to conduct themselves, their behaviour once their shift is over is revealing. Many of the dealers frequent a club ran by one of the customers – a clear violation of the rules established at the start of the film. The casino is required to project an image of efficiency and professionalism, in order to encourage patrons to gamble away as much money as possible, and this forces the employees to hide their true personalities. Jack’s ability at doing this allows him to thrive in the casino environment.

Conclusion

Although often regarded as a Thriller due to its neo-noir style, Croupier is closer to a character-based Drama. In spite of its short runtime, it manages to create a cast of characters who are memorable and engaging in spite of their unsympathetic nature, and its focus on the mundane reality of ordinary casinos is unique, generating a number of fascinating insights. There is also a significant attention to detail, with the most ordinary things being depicted in a manner that can grab the audience’s attention and arouse their curiosity. This means that Croupier is worth a watch, as it proves that even the shortest movies can be complex and elaborate without becoming boring or incoherent.

5 Screenwriting Lessons - Boyhood

Who Wrote It?

The film’s director Richard Linklater wrote the script with the help of his cast. He came up with the story and scenes, whilst the film’s four stars (Ellar Coltrane, Patricia Arquette, Lorelei Linklater and Ethan Hawke) contributed to the dialogue and characterisation.

How Long Is It?

Boyhood is 166 minutes long, including credits.

What is it about?

Set over a 12-year period from 2002 to 2013, this film follows a boy called Mason (Played by Ellar Coltrane), as he grows from a six year-old into a college student. The twists and turns of life affect him and his family- older sister Samantha (Played by Lorelei Linklater), single mother Olivia (Played by Patricia Arquette), and Mason Sr.(Played by Ethan Hawke), her ex-husband and the children’s father - in a number of ways.

5 Screenwriting Lessons- Boyhood(The Following May Contain Spoilers) 

Make Your Film Relatable - Instead of using title cards and other conventional means of pinpointing specific years, Boyhood depicts the passage of time through the use of pop culture relevant to each specific year. The Gameboys of 2002 are steadily replaced with Nintendo Wii Consoles and iPhones, and Samantha’s obsession with singing Britney Spears songs as a child is replaced with a teenage obsession over Lady Gaga. The film is primarily aimed at an audience who remember most, if not all, of the crazes of the period, and the use of these ensures that the film seems more realistic.

However, it is more than a mere time capsule for America in the 2000’s, as the relationships between family members are depicted in a manner that will resonate with those who don’t remember the period. Mason and Samantha fight constantly, especially in their younger years, but still love each other. Olivia is a harried single mother who manages to find a stable career and support her children. Mason Sr. is an uncommitted dreamer who regrets missing out on his children growing up. These situations are similar to those experienced by everyone at one point or another in their lives, regardless of time and place.  This ensures that the film will remain relevant, even as the period it chronicles slips into the past.

Make Your Characters Unique - As the film progresses, Mason begins to develop an obsession with photography, and soon begins to see it as a future career. This interest in chronicling the little details that define everyday life serve as a metaphor for the film. At the same time, it fits the protagonist perfectly, as he is shown to be a keen observer of life from the beginning, peering out of the bedroom window to observe arguments between his mother and father. This ensures that Mason’s interest appears to stem from the character rather than the writer, and therefore contributes to the film’s authentic tone.

Mason Sr. is also defined by creative interests. He is a songwriter, and enjoys singing and playing instruments. On a couple of occasions, he writes and performs songs that reflect the situations that he is involved in. Like Mason’s interest in photography, this reflects the themes of the film and also helps define his character. He is kind and perceptive, but immature and more committed to enjoying himself then succeeding in life- he sees music as a hobby rather than a profession. Whilst these traits and interests are relatively common, the way that they are combined in the development of Mason Sr. is unique in the universe of the movie, and serves to make him seem more developed and memorable.

Antagonists Should Be Well-Developed, But Easy to Understand - The nearest thing that Boyhood has to a human antagonist is Olivia’s second husband Bill (Played by Marco Perella). Bill is initially portrayed as a charismatic college professor, but we soon find out that he is a strict stepfather with a secret alcohol addiction. However, mundane actions like forcing his children to do chores are soon followed by far more aggressive acts such as forcing Mason to have a very short haircut, and before long, he is outright abusing Olivia and Mason. Because Bill starts out as a reasonably normal parent, his shift towards violent behaviour feels more realistic and unnerving.

However, there are instances when a character’s nature cannot be revealed slowly, so has to be demonstrated in a clear and concise manner. In the second half of the movie, the focus shifts towards Mason’s school life, so Olivia’s next failed relationship with the soldier Jim (played by Brad Hawkins) is not depicted in much detail. It would be repetitive to depict Jim descending towards the same extreme behaviour as Bill, and therefore, he is a less prominent character. However, in Jim’s most significant interaction with Mason, we see that he is a bad-tempered control freak, just as Bill was. This quickly establishes that his marriage to Olivia will not last, and ensures that the film can focus more on Mason, and less on the breakdown of Olivia and Jim’s relationship. Therefore, making a character easy to understand is highly important, especially if they play a minor role in the story.

Change Can Lead to Interesting Character Development - The protagonists of Boyhood see their life change numerous times. They move house, go to new schools, gain new jobs and move in and out of relationships. In many respects, the character’s basic personalities remain intact throughout. Mason observes life with as much fascination as he did when he was younger, Samantha retains her interest in popular music, and Olivia remains the same caring but firm mother she was when her children were still little. However, they have also taken on a more realistic and pragmatic approach towards life. The changes that have occurred over the twelve year period lead to the protagonists reassessing their outlook, and the various decisions they make as a result of this shape the film

The focus on change is highlighted in a minor subplot involving Olivia. At one point in the middle of the film, she advises a repairman to take up Adult Education classes at the college where she teaches. Towards the end of the film, she takes Mason and Samantha to a restaurant to celebrate Mason’s forthcoming departure for college, and they meet the repairman again- he is now the restaurant’s manager. Whilst a character rising this far in such a short period might seem far-fetched to some viewers, it fits one of the film’s key ideas– people and circumstances can change in ways both expected and unexpected.

Make Your Themes Clear Through Dialogue - At an early stage of the film, Mason Sr. takes his children bowling. When Mason struggles to avoid ending up with a gutter ball, his father tells him “You don’t want the bumpers. Life doesn’t give you bumpers”. The quote succeeds in establishing a major theme of the film- life is unpredictable and you have to take everything you face in your stride. However, it fits the character saying it, and therefore feels like plausible dialogue.

The fact that dialogue can highlight a film’s message is made clear at the end of the film, when Olivia is saying goodbye to Mason. During her speech to him, Olivia breaks down in tears, as she believes that she has experienced every significant event in life. On the other hand, Mason tells her that she still has plenty of time to live. He has taken on a more optimistic outlook, and is aware that life can change radically in a very short period of time. Again, dialogue that could sound false in another film feels authentic here, as we have seen the characters grow over time, and can agree with Mason’s claims. The best dialogue can highlight characters and themes with intelligence and subtlety, and the dialogue in Boyhood succeeds in doing this.

Verdict

Boyhood is a splendid example of how to write a coming-of-age movie well. The film can drag at times, particularly during the depictions of Mason’s high school life, but it always feels unique, insightful and realistic. The characters are vividly depicted yet nuanced, the story is simple but effective, and the dialogue is convincing and often intelligent. It highlights how collaboration between writers and actors can lead to a successful script.