AboutRoger S. H. Schulman Expertise I can answer questions on the creative aspects of writing for features and television comedy: brainstorming, character development, plotting, story structure, dialog, rewriting, editing, etc. I can also address the business side of show business: pitching, writing and presenting treatments, "taking" meetings, common pitfalls, etc. I'm also well versed in the relationship between screenwriting and computers: software for scriptwriting, brainstorming, presentation, outlining, an d general organization. I'm also a producer, and so can answer questions regarding the ins and outs of television production, specifically the half-hour arena. Visit my scriptwriting blog at http://scriptwriting.blogspot.com.
Experience I have been working in Hollywood as a screenwriter for both TV and features for many years. I'm an Executive Producer and "showrunner" who has run several prime-time and cable comedies. I've written several featurs and contributed to many more for several major studios.
Organizations Writers Guild of America, West
Publications Newsweek, BusinessWeek, GQ, Connoisseur, UPI, New York Daily News, please visit my blog at http://scriptwriting.blogspot.com
Education/Credentials I have a Masters of Science in Journalism from Columbia University.
Awards and Honors Academy Award Nomination, Best Adapted Screenplay
British Academy Award, Best Adapted Screenplay
NAACP "Image" Award, Best Television Comedy
"Annie" Award, Best Animated Film
Question QUESTION: Is it OK to use flashbacks within flashbacks? For example in Saving Pvt Ryan, the entire movie is a flashback after the first scene at the grave yard, but would be ok to flashback during the rest of the movie to say when Matt Damon's character was a kid? Is that too confusing to the audience?
ANSWER: It would be wrong of me to say you should never do this. Every rule has its exceptions. But your instinct is right -- it runs the risks of confusing the viewer. I've thought about this, and I would hazard that the flashback within the flashback would be more acceptable if it were the illustration of a character onscreen telling the story. In other words, if you simply flashback while on a character's face, as in the beginning of "Ryan," that's one type of flashback. I'm talking about a character saying, "Well, that was about fifteen years ago. I had just met Sandra. She was working behind the counter at a perfume shop..." and we dissolve. At least then we've been taken by the hand and led into (and out of) the second flashback, and it's of a different type than the first.
I'm making this up as I go along. Does it make any sense to you?
Roger
---------- FOLLOW-UP ----------
QUESTION: I do understand your explanation. To ask a fallow up, would it also be confusing to do a shorter flashback in the begging, in addition to a much longer flashback that's the entire movie?
For example, if before we go back to D-day in Saving Pvt Ryan, there is a shorter flashback when he is at the grave yard, to when he's a kid. Then its back to him as an old man at the graveyard, then the long flashback that's the entire movie.
Thanks
Cam
Answer I don't know that it would necessarily be more confusing. But I do start to get the feeling that it wouldn't be the best story structure. To me, and this is entirely subjective, it lacks a sense of balance. First a very short flashback -- then a very, very long one. Then nothing. It's like a seesaw with the fulcrum set way over toward one end of the plank.
Of course, there are always exceptions, and I'm laboring under a bit of a handicap here because I don't know the exact nature of the story. Yes, I can imagine many scenarios in which this would work, in the hands of a master, or at least a veteran. But I can imagine many more scenarios in which it would feel awkward. The audience wouldn't necessarily be confused, but neither would they be satisfied.
I would say, go for a sense of balance, in all things.
