‘Blue Crush’ screenwriter
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By Tim Ryan
tryan@starbulletin.com

Learning to write screenplays might be compared to learning Zen surfing, where the rider's goal is to become detached from his surfboard to focus fully on the wave.

This requires perfecting one's stance, balance and specific movements that allow the board to take flight. Each is studied and practiced until it becomes second nature.

That's not so different from screenwriting says John Stockwell, writer and director of "Blue Crush" and a host of other successful films.

"As a screenwriter you study and practice technique to be able to forget technique, to reach a point where you can use it almost unconsciously to give the real power to your storytelling through film," said Stockwell, one of five panelists for tomorrow's Screenwriters and Producers Film & Television Panel, sponsored by the Hawaii Screenwriters Association and Hawai'i International Film Festival.

"The reason you write a screenplay is to interest audiences in a story, to keep them interested, and to make them feel and think certain things. A screenwriter's job is to tell a story and create an experience for people that they will consider valuable."

Inside scoop The Screenwriters and Producer Film & Television Panel, presented by the Hawaii Screenwriters Association with the Hawai'i International Film Festival: Place: Waikiki Elks Club Time: 5 to 9 p.m. tomorrow Admission: Free Call: Robert Olague at 671-5219 or e-mail olaguerobert@hotmail.com Panelists: Chris Lee, former president of production for Tri Star and Columbia Pictures; Margaret South, co-founder of All Girl Productions; Frank South, playwright, screenwriter, story editor and producer; Richard Holland, former executive vice president, Universal Studios; John Stockwell, director and screenwriter

Texas-born Stockwell says he took up acting as a way to "please the girls" but stayed with it because of the freedom to explore emotions and do "unconventional things."

In 1973 the Stockwell family moved to New York, following the transfer of his attorney father. During high school Stockwell worked in a little theater, won a state play contest, dabbled in directing, and got an agent, following his Equity stage debut in the Playwrights' Horizon production of "Three Boys."

At 17 he enrolled at Harvard University with a major in acting and production. At the same time, he was working as a paid, regular cast member on "The Guiding Light," the longest running soap opera on TV. He went on to appear in numerous stage performances, TV movies-of-the-week and feature films.

His experience as an actor was valuable in learning the crafts of screenwriting and directing.

"I always wanted to be a writer and director but I thought one of the easiest routes into film production was through acting," he said. "As an actor I could ask a lot of questions on the set and not get fired. I observed how directors directed, how they dealt with neurotic actors, and how screenplays were written for actors."

After working on the reality based mini series "Billionaire Boys Club," he knew he wanted to write those sort of "real stories," which he did with "Blue Crush," "Breast Men," "Rock Star" and "Cheaters."

"On 'Billionaire Boys Club' I watched, eavesdropped, asked questions, took notes and generally made a pest of himself to learn everything about being a filmmaker," he admits.

Though the odds are strongly stacked against a wannabe screenwriter from ever getting his movie made, Stockwell said the craft does offer one advantage. "You don't have to wait for anyone to hire you to do it," he said. "You can just type away and write it."

Stockwell suggests screenwriters know what other screenwriters are doing in Hollywood, then "do the opposite."

"Inevitably, Hollywood will be flooded with copy-cat scripts so it's hard to get noticed unless you stand out," he said. "The guys who wrote 'American Pie' did a bold and audacious script but today it would be a clone of millions."

Going against popular advice, Stockwell also believes fledgling writers should write about what they don't know.

"Get into a world that hasn't been exposed," he said. "I had zero exposure into the North Shore surf culture or women's surfing before I did 'Blue Crush,' but I immersed myself in it, hung out listening before I started writing."

That's what he also did for "Rock Star," the drama he wrote about the obsessed lead singer of a heavy metal tribute band who lands the gig of his dreams. Stockwell said he spent months immersing himself in heavy metal culture to obtain the script's gritty authenticity.

Screenwriters should "break the rules," he said.

"Don't worry too much about how the last big film did at the box office. By the time you're done with your screenplay a whole new genre will be out.

"Write what you want to see and what excites you, otherwise you'll never make it beyond page 32."

As for shortcuts to success, Stockwell jokes, "Choose the right parents, who are powerful and connected.

"Networking is very important," he said. "There are so many barriers to just get things read."

And don't worry about not knowing the business of show business. "In some ways it's better not to know what you're up against or you'll get so depressed you would never start."

Screenwriting contests are a good entry point because studio executives often seek out the winners, he said.

A screenwriter should also learn how to write to attract actors, though not a particular one. "Write a character that has depth, faces incredible obstacles and goes through transformative experiences," he said. "That will attract a producer and actor."

Remember that screenwriting is ultimately a collaborative process, which means studio executives and producers will give you "notes" for revisions, he said.

"Don't fall in love with every word," said Stockwell.

As for his own workday, Stockwell writes early in the morning unless there's good surf.

"I do some of my best thinking in the water, where there are no other distractions," he said. "A lot of my time is spent thinking about scenes before I sit down to write.

"I spend maybe four hours in front of my computer and a lot more time thinking about what it is I'm going to write.

"A screenplay is only 110 pages, double-spaced, with really narrow margins. It's not about how much you write, it's about the quality."

Hawai'i International Film Festival When: Through Sunday on Oahu Schedules: Pick up copies at Dole Signature Theatres and at Starbucks and Blockbuster locations; Theaters: Signature Dole Cannery, the Doris Duke at the Academy, Consolidated's Waikiki Twins 2 theater and Blaisdell Center Tickets: Per film, $7 general; $6 (children, military, students and 62 and older); $1 discount for matinees Call: 528-4433 Neighbor islands When: Friday through Nov. 10 Locations: Kauai Community College Performing Arts Center (808-823-8444); Maui Arts & Cultural Center's Castle Theatre, Maui Community College Ka Lama No. 103 and Ritz-Carlton Kapalua (808-573-4242); Kaunakakai School on Molokai (808-553-3455); and University of Hawaii at Hilo Campus Center, Palace Theatre and Keauhou Cinema on the Big Island (808-969-9412 in East Hawaii and 808-322-2323 in West Hawaii) HIFF Web site

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