
If there’s a single section in Save the Cat! that riles up readers, it’s Blake’s comments on Memento. Boy, did he get emails about that! As time wore on, Blake solidified his opinions about the film and what he wanted to say about it in relation to the STC! principles.
With Inception opening today, we thought it was the perfect time to show you a typical email — and Blake’s response — from January, 2009:
Mr. Snyder:
I am currently reading Save the Cat, and I have reached the point where you unabashedly malign Memento. I am taking you up on your offer, and without debating modern societal merit, I want to address your closing comment to Chapter 4 of your book, which references the value of Memento in terms of revenue (or rather, the lack thereof).
Of course, your book is copyright 2005, so maybe you were unaware of what brewed on the horizon for Mr. Christopher Nolan. Regardless, I find it thoroughly amusing that you actually refer to “all of the hullabaloo surrounding Memento,” and in the same breath, you sarcastically jab at it with “guess how much it made.”
Well, “all of that hullabaloo” has helped to create quite a run for Mr. Nolan, a run that he is still legging out. Batman Begins, The Prestige, and now The Dark Knight. Taking a risk like Memento created a lot of “hullabaloo,” which translated into opportunities, and those opportunities have blossomed, and the opportunities are still coming. You’ve got to applaud his willingness to take a risk.
Quality and craft aside, if the measure of a writer’s success is revenue, then I’d say Mr. Nolan has made out pretty well over the past several films. As far as quality is concerned, The Dark Knight was disappointing (when compared to his other films, in my opinion) — but hey, look at those box office numbers.
If the ultimate goal is to write films that make money because audiences love them, then I’d say Mr. Nolan got on a decently fast track to El Dorado. He struck gold with Batman Begins, but let’s not forget that before Batman “Began,” the last swing of his pick-ax was made by a memory-impaired anti-hero named Leonard.
Maybe I’ve missed something, maybe something huge, and if so, please enlighten me. If I’m way off base, then correct me. Rest assured, I am not a “believer” daring you to change your mind — I’m just a believer in the potential power of “hullabaloo.”
I look forward to receiving your response.
Best regards,
Graden W. Dahlberg
P.S. — I am well aware that creating “hullabaloo” can be dangerous to one’s health (and career for that matter).
Grady,
I immediately like anyone who uses the term “hullabaloo” so you’re in my friend circle already.
Thank you for your email and let’s start with the fact that I agree with much of what you point out.
Memento did a lot for Chris Nolan’s career all right. As a calling card, you betcha! And that is a really smart thing to point out — none of my Memento defenders have done so thus far, great argument!
But… I stand by my comment re: Memento for two reasons:
1. I state quite clearly in the introduction of STC! that this book is for those who are “interested in pursuing the mainstream film market” and my job is to tell the truth about that — even if it means occasionally pissing people off. As a teaching tool in that pursuit, I hate to say it, but we can learn more from Mall Cop than Memento.
2. My comment separates the men from the boys! Are you really serious about selling your script or are you just sitting in Starbucks pretending? My Memento comment is the splash of cold water for those who, in my mind, are stuck in film school, thinking it’s a film school world out there… and it’s not. And, again hate to say it, but 99% of those who bash me for that comment will never sell a script. And that in part is where the anger they display comes from in my opinion.
You’ll note when Nolan was recruited by Hollywood, they didn’t put him to work making more Memento’s. They gave him something they could do something with: Batman.
My book is about how to communicate any idea you have into something understandable — and even in the Indie world it’s the difference between Eternal Sunshine of the Spotless Mind and Synecdoche, New York. I desperately want my readers to beat a system in which 50,000 screenplays were registered with the WGA last year (estimate) and only 100 sold.
I want my guys to be the 100 and not the 50,000 and the splash of cold water accompanies those odds — and my little zing at your favorite movie — is something I am willing to risk to help you help yourself.
And on a personal note, I am a reverse snob when it comes to film. I think there is something beautiful about entertaining lots of people; it’s selfless, it’s giving, it’s thinking of an audience first and your “growth as an artist ” second.
I think there is something terrribly arrogant about many filmmakers who create movies to “make people think.” People can do their own thinking thanks. What they can’t do on their own is be entertained, taken away, lifted up, inspired, and delighted. That’s what “commercial” films do best, and I think it’s a pretty noble pursuit! Hollywood does it better than anyone in the world, and I am the defender of that philosphy — despite the fact that it often leads to overemphasis on box office.
To me, making money is not what being “commercial” is about. But if you want to know how people vote with their ticket buying, the only way to see what works and what doesn’t is box office — and that’s why I emphasize it.
But yes, sir, you are correct and very brilliant to point out all that you did. I agree with you 100% about Batman et al. And your argument is polite — which not every Memento fan (i.e., recent victim of being splashed awake by cold water and cranky) offers me in email form.
Thank you!
You had me at “hullabaloo.”
— Blake Snyder
BJ Markel
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Blake is saying movies are primarily an emotional medium, inspiring us to soar past our own obstacles in life. “Film” – what movies are called when they step out in tails and a top hat – can also make people think, but “think” about this: aren’t there far more thoughts than emotions in the human spectrum? We all (7 billion of us) share the broader emotions of love and fear and everything in between, but all the thoughts that make up just one political debate are numerous and just divide. That’s why movies about thoughtful subjects attract a small audience (exceptions that prove the rule notwithstanding). Hearts before minds, always.
BLAKE! It’s a splash of cold water (wonderful in this heat) just to hear your voice on paper, again. You had me at, “we can learn more from Mall Cop.”
And here I thought I was the only one who liked both Memento AND Save the Cat! As usual, Blake’s comments are spot-on: people can do their own thinking; what we (as an audience) need is to be entertained and transported. Very true, and a crucial difference. Thanks, Blake, wherever you are!
Save the Cat was written in 2005 but in this last month 3 people recommended it. I had never heard of it before. I have read it and since I don’t know, will concede it didn’t make any money. But that movie was a Success for me and me and the other 3 people who watched it. Being selfish I am glad the movie got made. Mr. Nolan’s ability to think unconventionally makes him an excellent writer director as he is likely to put a different twist instead of using a cliche.
If that idea came to me as a writer I wouldn’t use it as I agree with Mr. Snyder’s philosophy. But I am damned glad Memento was made.
I mourn the fact that the producer’s writers and director of Buckaroo Banzai had not created a movie that appealed to a large audience because I loved that movie and they wanted to do a sequel.
So Memento was a success…….with me. I only had to pay 8 bucks for it. Not whatever its budget was.
It’s bad Mr. Snyder is not around. It’s nice to see people continuing his work.
I concur w/ Laurence. Memento is a joy to watch as a piece of cinematic art — it challenges conventional narrative without sacrificing, IMO, dramatic tension. But as a model for a successful screenplay? Not really. Hence, I turn to resources such as STC.
Still, I’m very grateful Nolan’s film got made. I watch it often.
Whilst Blake was and forever will be the best screenwriting mentor to ever walk this earth I still don’t understand why he particularly hates Memento. He can like or dislike any film but why single this one out? I thought Memento was good, if not exceptional and that’s because the reverse timeline meant the need for a whole lot of ‘pipe’ but I don’t think that this is enough on it’s own. The film follows the STC! structure well enough even if it does it in an unconventional fashion. ‘Narrative’ aside it is by all means a pretty regular film in terms of structure. So does anyone know why Blake chose to single Memento out?
NB//I’m also confused by the ‘I know how much it made’ comment, its budget was $9 million but it made just shy of $40 million worldwide and over $25m in the US.
sorry to double post but I also don’t think that Memento is a movie to ‘make people think’ at all. I can’t understand this comment, for me it was just a man trying to find a way to get past his (pretty big) obstacles (and everyone likes those) and live his life. There was no sort of deep science in there for me, just a man with a completely screwed up brain trying to live his life.
AWESOME. Just AWESOME. Now I’m ready to write
Thanks for posting this.
It’s really nice to hear Blake’s voice.
I never heard of Memento until I read about it in a screenwriting book. I rented it and liked it and like many others was surprised when I first read Blake’s comments. After revisiting the film and reflecting on it I decided that Blake was right, it was more of a gimmick than anything else. I have been a big fan of Kubrick and always enjoyed artsy films that make you think, and I even tried to write something like that for my first screenplay. I was real proud of my first script but Ill be rewriting it using the BS2 and I know it will have a much better chance of being produced. I think I’ll enjoy Inception but have a feeling, from the reviews I’ve read, even this new film would be more popular if it stuck to the basics – most people don’t want to have to think when they go to the movies.
“What they can’t do on their own is be entertained, taken away, lifted up, inspired, and delighted. That’s what “commercial” films do best, and I think it’s a pretty noble pursuit! Hollywood does it better than anyone in the world”
Yeah, I think you’ll find Fellini’s “La Dolce Vita” does all of that infinitely better than any Hollywood studio piece of cr*p – or Apichatpong Weerasethakul’s “Tropical Malady”or Antonioni’s “L’ Aventura” – no, no wait, Chris Columbus’ “Home Alone”, now there’s a film which really inspires me to dream and wonder about the magical world and universe we live in. Or not.
You people need to get out and see the rest of the world – it’s a damn sight more interesting that Hollywood, believe me. Time to grow up a little and see some grown up movies – the kind that for a brief period Hollywood DID make (But only when the studios gave in to the “arrogant” directors – you know, arrogant rubbish like Scorsese’s “Taxi Driver”….
I had the privilege of meeting Blake in L.A., only a few months before his extremely premature passing. It’s a delight to see here that same quiet wit, determination, and generosity of character. Does his advice work for everyone? No. But I share his “reverse snobbery”: I go to movies to be entertained. I want to forget the (often cruel) realities for a little while, to laugh and cry and be on the edge of my seat as I watch a truly engaging story unfold. I believe Blake’s work — his life’s work, as it turns out — was to help people write those kind of stories, and I absolutely love him for it.
*bookmarks discussion*
Thank you for reprinting this. And for those of you reading and commenting, if you don’t get why he’s “bashing” Memento, read it again with an open mind. He’s not “bashing” anything; he’s just pointing out which is the better model for a young screenwriter to use for his or her first screenplay: Memento, or Batman? Blake and I would both endorse the straightforward, engaging storytelling that a property like Batman would require. And if you want to make it in mainstream Hollywood, we’re right.
Mr. Snyder’s comments about Memento in the book say “Memento, gimmick or just plain dull”
That sounds like a bash, and he’s entitled to dislike it.
As for gimmick. It’s a high concept film or whatever they call them these days. The gimmick in Bruce Almighty was that he had the power of God. The gimmick in Blank Cheque is that a kid gets a million dollars.
I think a gimmick is a stimulus to the way the story unfolds.
If Big were a story about a 10 year old who got a job at a toy company then it wouldn’t have that angle upon which the story unfolds.
Tom Hanks get Big that’s the gimmick. It’s semantics.
@ Barry and others
By gimmick, Blake is not referring to the premise of the film, like in ‘Bruce Almighty was that he had the power of God.’ or Memento – A man with a memory problem trying to find his wifes killer.
The gimmick Blake is referring to is the reverse order of things. That is a gimmick. It is not the plot or the premise.
You can enjoy Batman and Memento, but when it comes time to study the structure and model your first screenplay after, look to Batman. (As M.K. Melin pointed out)
Thanks for the post, guys.
And Matt, in case you haven’t noticed, this is the STC forum. So take that silly “holier than thou” attitude to some impressionable 15-year old chick with psychological problems, and see if you can get her to give you her phone number. This is a place for writers.
Now go watch something French.
I totally agree with Blake that his book is into “commercial” writing and people can learn more from ‘Mall Cop’ in that context than any other award winner or nominee.
But what I do not like is if that’s the truth, why to pretend that STC! beat-sheet applies to every single movie made on any planet?
I mean, if you don’t like ‘Memento’, that’s okay. But, Don’t go writing in your book that ‘Miss Congeniality’ is better and more successful than ‘Memento’.
I agree that to analyze structure Mall Cop is probably the simpler option, it is a movie that follows the formula perfectly. Although I quite like both films I think Mall Cop maybe follows it a bit TOO perfectly, it isn’t what I would call ‘fresh’. Whilst the STC structure is hard to disagree with, basing the premise of a film on what fits it well isn’t the best way to get originality.
I enjoyed both films, but ironically, given its premise, I think Memento will be the one I remember.
This reminds me of the great movie S.O.B., by Blake Edwards. Robert Mulligan and Bill Holden have this incredible discussion about Last Tango in Paris and this movie got a Wrters Guild for best screenplay and a Razzie Award for the worst screenplay in the same year. Also has my favorite line “…no, no, Mrs. Zuckerman that’s spicy.” Robert Preston rules.
Andy
Ben thanks for clearing up what Mr Snyder meant by gimmick.
While I think Memento is an excellent film I will and am working on ideas that are structured more commercially.
How does Mall Cop follow the structure too perfectly? Is it the structure or how it’s applied that make it less Fresh. I didn’t notice any staleness because the movie took me away and I wasn’t analyzing it.
That Matt fellow seems pretty angry. Not the best way to get others to appreciate ones point of view. Foreign films and other films that don’t follow Save the Cats commercial structure have value. experimental films won’t make much money but one can learn things that can be applied to more commercial films,
Is shutter island an adult film? It was an engrossing mystery thriller with more than one layer.
I have depression and mainstream movies where the hero triumphs take me out of my head and the good feeling stays with me for awhile. So hurray for Hollywood.
thanks for posting this. It’s all about sales – which I haven’t had – and entertainment.
God do I miss Blake but I look now at all he is teaching where he is at now in God’s Masters Beat Sheet seminars. What a wonderful group that must be. God Bless’ us all that had the privilege meeting and talking with Blake.
Keep up the good work in Blake’s absence.
I miss you, Blake.
PS. You know what really pissed me off? When you died.
As long as we’re being honest.
@Barry. I just think, in that trying to follow many of the rules so strictly you can end up basing your story around these rules. Mall Cop shows Paul’s character growth well, it shows thesis, antithesis and synthesis well. It follows all the rules perfectly, but at a point I started to wonder if they made the film because they thought it would also be a great movie, or whether they JUST thought it would be commercial. In Mall Cop it’s irrelevant because it paid off, they made a good film and a lot of money, but many others that seem to made purely to make money don’t. It’s nice to see people like Nolan generating original ideas and commercial success and I think he has proved again with Inception that you can do both.
ET – lifted me up, inspired me, made me think – about friendship, separation and loss, life, death – and still made a fortune and inspired a generation. This is not an either/or argument; let’s embrace as many ideas and opinions (and, why not, as much cash) as we can. Blake, you are still so missed; you still inspire; and you have left an amazing legacy.
I personally LOVE STC I think is by far the most honest and helpful book I’ve read on screen writing.
Memento is a great movie and Christopher Nolan is one of my favorite directors, but I agree completely with what Mr. Snyder was getting at, Memento is a great ART film, and writing spec, art is must likely not gonna take you far, I believe he “bashed” it to get that point across.
Just FYI, I believe there’s a LOT of room for art in the BS2, just because you follow a formula doesn’t mean you are not being original, I think of the BS2 as the “laws of nature”, and the laws of nature didn’t stop Michelangelo from sculpting.
PS. I can think an example of a clearly BS2 following film that made a lot of money and also managed to remain an “artistic” and critical triumph, beloved by children and grown ups that inspired and entertain, in fact I can think of 10 of them, they were all made by Pixar.
I think he was using reverse psychology. He wanted us to seek it and pay attention to it to prove a point. What might not seem “Hollywood” or by the book actually is by the book. That is why it made so much money and people were attracted to it. I wrote a long thing describing the beats but it got erased. But it is an artistic movie but it follows exactly Blakes model. It was something different yet something that was the same like blake said and it was a good example of a whydunit. I just wish I could have emailed him but I just finished the movie and just am reading the book now.
It was the right balance of artistic and Commerical and that is why it worked. The movie obvious had the flair of ChinaTown and it had the ending that was like
Evelyn Mulwray: She’s my daughter.
[Gittes slaps Evelyn]
Jake Gittes: I said I want the truth!
Evelyn Mulwray: She’s my sister…
[slap]
Evelyn Mulwray: She’s my daughter…
[slap]
Evelyn Mulwray: My sister, my daughter.
[More slaps]
Jake Gittes: I said I want the truth!
Evelyn Mulwray: She’s my sister AND my daughter!
In the Whydunit the femme fatale is key. She can be a love interest and the villian all rolled up in one and Natalie made a great Femme Fatale.
Also in the frame of this movie Lenny is not an anti-hero but a hero. Like Blake said a good ending can cure what ever happens before it. Even though we saw a couple minutes before the ending that he actually killed his wife and that he was actually Sammy a con man (ie Sammy is you and you conned your way out but he does not have a wife because Sammy is you). Because in this movie Teddy is the villian. He makes him kill a man, makes him come into reality and in the end instead of being a victim Lenny becomes in charge of his destiny by rewriting history literaly and as we see in the begining of the movie he kills Teddy. The audience feels bad for him and we root for Lenny to kill Teddy. And the Femme Fatale gets away with it likes she says she will and like it is said in the begining of Chinatown that the rich always get away with it.
I’m currently building a spreadsheet where I divide the box office by the budget. Memento and Dark Knight are OK with ratios in the 5:1 range. On the other hand, ET: The Extra-Terrestrial is 72:1 and The Lion King is 21:1. If you want to make money writing movies you need to write movies that make money.