Case studies
a Cast of Tens
You’ve seen those blockbuster movie posters from Hollywood that proclaim “Three Years In The Making! A Cast Of
Thousands!” That is the opposite of the way it works in low-budget and Indie films.
By William C. Martell
A
s I write this, we’re on the verge of either a new If this sounds easy to you, grab your latest script and start counting
contract or a strike for the Screen Actors Guild, so the following characters. I just read a friend’s script that had over 30 speaking
figures are based on the old contract. Every speaking role in roles, and it was a quiet drama!
your script will be paid at least SAG minimum ($759 a day)
plus 12 per cent for Health & Pension, and often another 10 per STORY PURPOSE
cent to cover the actor’s agent. The producer will have to feed the Every character in your screenplay needs to have a story purpose—a
actor, supply them with a costume, a changing room, possible reason for being there. Supporting characters aren’t just thrown on
travel expenses and per diem. Every no-name actor with a line of the page to give our protagonist someone to talk to in this scene,
dialogue will cost the producer around $1500 per day. All of those or someone to kiss in that big scene on page 73: they are part of
WAITERS, CAB DRIVERS, SECRETARYs and COP #2s add up! the story itself. Any character that can be removed from the story
Those roles add nothing to the production value of the film. without harming it should be removed from the story.
Who pays $12 to see the actor that plays the waiter? His parents? You also should combine characters who serve the same story
That actor’s contract may require a screener DVD of the film purpose into a single character—if the protagonist has two best
(another $25 expense!)—you won’t even get a video rental out of friends who are there to support him, he may end up with one.
his friends or family! Combining two characters who serve the same purpose helps to
That $1525 can be put to better use. More effects, a location rental, focus the story.
a specialty prop, a piece of stock footage. Why not just cut the line? The 40 Year Old Virgin is both a workplace comedy (primary)
Why does the waiter have to say, “Hello, my name is Raul and I’ll and a male-lead rom-com (secondary), and it has a great comedy
be your waitperson tonight”? Why not start the scene after the concept (title tells all). Once the guys at work discover that Andy
lead characters have ordered and eliminate that whole character? (Steve Carrell) is still a virgin at forty, they decide to help remedy
There are new SAG low-budget contracts that offer other options, that. They do all kinds of things, from speed dating to strippers to
and you may decide to go non-SAG (though of all of the unions a setting him up with that bookstore girl with the very healthy sex
movie can do without, the union of movie stars is usually the one drive in order to deal with his virginity issue. Each situation is
you really need). Even with a non-union cast, you still have to feed designed for comedy and deals with aspects of sex and romance— Seminar Associates, Ltd. Presents...
Y
”
OR
and costume them, so trimming nonessential cast members is still which are at the centre of the story. If you take any single scene,
a good idea. you can easily see the “DNA” of the movie.
ROBERT McKEE’S
“
ST
When I was writing movies for HBO, the producer wanted The workplace is the centre of the story, so let’s look at Andy’s
scripts limited to around 15 speaking roles. This fluctuates with co-workers:
the budget, going as low as 10 roles to as high as 20. Design your UTHOR OF
1 David (Paul Rudd) who is obsessed with his ex-girlfriend. He
A
script for 15 and you’ll probably be safe.
has never gotten over her, and the only thing he ever talks
Steve Carrell and Kat Dennings in The 40 Year Old Virgin
about is their time together.
2 Cal (Seth Rogen) with lots of theories about how to pick up
girls, most of which seem left over from high school.
3 Jay (Romany Malco), a married guy who cheats on his wife. He’s
a complete horn-dog who sees every woman as a sex object.
4 A scary and sexually aggressive woman co-worker, Paula LONDON
(Jane Lynch). She asks Andy if he’d like to service her.
21-23 November
5 The two adult immigrant guys, Mooj (Gerry Bednob) and
Haziz (Shelley Malil), who offer grown-up advice about
Bookings:
romance—sort of. Both have been married so long, their sex
lives consist of listening to the young guys tell stories.
Telephone: +44 (0) 870-080-1833
Online:
www.McKeeStory.com
Notice how each of these characters show a different side of
male/female relationships. If all of the supporting characters
"[Pixar founder John] Lasseter and [Pixar director Pete] Docter
attended a three-day seminar in Los Angeles given by screenwriting
showed different sides of how to deal with strict corporate policy,
guru Robert McKee. They came back…as true believers in McKee’s
they’d be perfect for some other movie dealing with that subject.
principles...McKee’s teachings became the law of the land at Pixar."
The supporting characters are there to support this story—each
- David A. Price’s bestselling book The Pixar Touch (Knopf, May 2008)
serves a story purpose by illustrating a different theory on romantic
50 By Filmmakers. For Filmmakers.
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