Optimus, Writer, Brown discussed on The Empire Film Podcast


I do this the way I write is also pretty specific. I in the same kind of cumulative way I do. You know a story line, but it it's usually thirty pages long and it has bits of dialogue in it, and it's really kind of a break down the movie and work on the the story at life ages, nature's majors. And then I write the film because I quite like to just sit down and not have to think about the a to be of a scene and just let the carrot has talked to each other and kind of just I'm bang. I living in the moment kind of with the with the cats. So I actually write the actual scripts really quickly. Optimus was like nineteen days. Yeah, but but the process leading to it. Pre written. And actually it makes the writing of the script bit more enjoyable and less of a of a grind because I can kind of fly through it because I'm not having to. I'm not having to think through the heavy lifting. I can just kind of be with the characters. Can things change in nineteen day period. So you have changed wildly. I mean, that's the other thing is like you. You've been sure of an idea and then you actually get it done. You call make it work, but there's also there's a, there's a real value in your writing of. Up on of a straw of getting to the words the end because the scriptural change so much, right? It's life anyway, but unless you have a script, you can't start changing it. And the trickiest thing is a first draft. It's the reason that. The, there's a world of rewriting in Hollywood, and you know there's a kind of industry of rewriting people scripts, but there's there's a reason that there is a moth of respect that when it comes to kind of attrition and stuff. The first writer in is usually always gonna get credit even if this word laughed of of their script in the shoe and is because breaking ground and doing that. First off is usually the toughest bit because that's the making something of nothing palm. And so do you you say you like the characters talk to each other? Are you one of those writers who, because obviously, every writer is different. Every writer has a different approach. Are you one of those writers who really knows a characters again to that sort of granular level, you know, when you are writing provide innocent, you're doing the outline. Do you have backstories conscious, you know what they're going to say and how they're gonna react in any given moment, or is it very much off the cuff? No, it it. It depends. Carrots character with essential. Karen, I need to know absolutely everything about them because if they're going to be the emotional drive of the movie, I need to know how they're going to react and an all of that stuff there. There are some characters along the way that develop a different kind of personality and co back and kind of rewrite them. You know, and. It's tough not to be precious about it because you some of the characters you, you tend to fall in love with. But you know something point because I was directing Optimus as well. And this happens on the stuff that I'm not directing to then an actress cost, and then you're really leaving money on the table. If you then don't rea- dress who the character on the pages to sue the personality. And the way I always do that is I, I was a table read I, I'm record scrupulously. Listened to it back. Listen to what lines the actors don't. You know, you can hear someone resists the line, you know, Anna table read and sometimes that's because they don't like it. Sometimes it's because they can't land it. It's just so far from that voice. Sometimes it's shitty line. And you didn't hear lead before new lighting? Yeah, probably punch that one up a bit. And so what I then tend to do is rewrite to that character. Then to that actor and then sit down with the actor and go through the script and and sometimes you know, it happened with the sterling k. Brown who plays Waikiki and hotel Optimus. Yeah, he, we sat down after I'd kind of change some stuff in there a couple of lines..

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