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Storytelling First, Screenplay Structure Second by Ric Roman Waugh, Writer/Director of SHOT CALLER in Select Theaters and On Demand August 18th, 2017 Film Courage: Ric, SHOT CALLER explores the cost of trying to survive in prison. If we look at everything in life, everything has a price. Sometimes it’s simply time versus money. What are the costs of being a screenwriter? I realize the stakes aren’t as high as being in the prison system, but what are the costs of being a screenwriter? Ric Roman Waugh: Hopefully the cost of me being a screenwriter (at least for me) is being authentic. You know the movies that I try to portray is “Do I entertain you?” Heck yeah. If you are going to pay money to sit in a seat and watch my movie, I want you to be entertained. I want you to be thrilled, but I also hope that you are getting something out of it. To where it’s not so much about the message of the movie, but it makes you think about it. It makes you think about your own life and see the movie in a way that makes it feel like it’s so grounded and authentic that this could be us navigating this world and this world is very real with what we are seeing. So to me that is probably the scariest part is all three of my movies FELON, SNITCH and SHOT CALLER, the first thing that I showed this to were law enforcement and gang members. Because it either lives or dies there, right? This is either authentic to them saying that yeah I know that these three stories are fiction (well, SNITCH is a true story), but if you look at these three things and say yeah most of these characters in the world are fictional but it’s a 100% accurate of what this is. This is our world that we live every single day. So that’s the type of validation I am looking for in the stories that I tell. Film Courage: In terms of screenplay structure, is there a certain format that you follow when you start writing? Ric Roman Waugh: Yeah… I don’t. I don’t follow format. I think that for me I think a lot of screenwriters now and a lot of filmmakers are getting too caught up with the structure of things and I like to kind of mess that up. I like to be unconventional and I like to think ‘If I’m sitting here watching this movie, am I moved forward at every single moment? Am I learning something new, am I sucked into this world, whether the first act break came at page 30 or 70.’ Whatever it may be, it’s this thing that propels itself and moves it forward. So for me it’s about storytelling first and formula and structure second. Film Courage: So there are not certain beats that you’re trying to hit at different points? Ric Roman Waugh: Yeah… I think when you’ve written as many things as I’ve written at this point in my life, it all comes kind of intuitively or instinctively? You know where these things are going to be whether it is you where this movie is going to go in the first 10 minutes, it’s not meandering and you’re sitting in the theater for 30 minutes going ‘What the hell is this movie going to be about?” So yes, there are certain bullet points that I’m trying to hit throughout it, but at this point it’s just extinctive to good storytelling. At least I hope it is. That is what my intentions are. When Game Of Thrones Ends… I’ll Still Be Acting by Nikolaj Coster-Waldau Film Courage: So SHOT CALLER is your fourth script? Ric Roman Waugh: Fourth…no, I’ve written countless others. Film Courage: And that’s since 2001 you’ve been writing or earlier? How many script would you say you’ve written, even shorts, even something in a drawer that no one will ever see? Ric Roman Waugh: Between all of the studio movies and scripts I’ve written, over 50 (as far as jobs), things that were either produced or payed for or developed, at least over 50. Film Courage: Your process for writing SHOT CALLER, you became a prison volunteer? Ric Roman Waugh: I became a volunteer with the California Department of Corrections working with parole to where it could give me an unflinching look at the prison system without somebody knowing I was a filmmaker and trying to be bias or protective or holding back. I got a candid look at the prison system from the inside out. Advice To Actors Trying To Break Into Hollywood by Omari Hardwick SHOT CALLER follows the harrowing, often heart-rending journey of successful businessman Jacob Harlon (Nikolaj Coster-Waldau) who is transformed into Money, a stoic, ruthless prison gangster after a DUI sends him down the rabbit hole of the American prison system. As he navigates the brutality of his new home, adapting to its violent codes of ethics and rites of passage that will ensure his survival, he slowly loses his previous identity and his relationship to his former life, including his wife and son. The grip of his new family, the prison gang, extends beyond the prison walls. Upon his release, chased by the law enforcement, threatened by his incarcerated “protectors,” Money must orchestrate one last dangerous crime. All is not what it seems. The ruthless process of fulfilling his obligations also becomes his path to sacrifice, retribution and self-definition. Directed by: Ric Roman Waugh Written by: Ric Roman Waugh Produced by: Michel Litvak, Gary Michael Walters, Jonathan King, Ric Roman Waugh Executive Producer: Lisa Zambri, Matthew Rhodes, Tucker Tooley Casting Director: Mary Vernieu Cinematographer: Dana Gonzales Cast: Nikolaj Coster-Waldau, Omari Hardwick, Lake Bell, Jon Bernthal, Emory Cohen, Jeffrey Donovan, Evan Jones, Benjamin Bratt, and Holt McCallany SHOT CALLER in Select Theaters and On Demand August 18th, 2017 MORE SHOT CALLER INTERVIEWS http://bit.ly/2w3AaTY CONNECT WITH RIC ROMAN WAUGH IMDB Twitter Instagram Advertisement
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Jaime Lannister imaginarni svijet Georgea R.R. Martina mijenja okrutnim svijetom zatvora i bandi te kopiranjem Jacksona Jaxa Tellera iz Sinova anarhije pokušava proboj u filmsku industriju Naziv originala: Shot Caller Uloge: Nikolaj Coster-Waldau, Omari Hardwick, Lake Bell, Jon Bernthal, Emory Cohen, Jeffrey Donovan, Evan Jones, Benjamin Bratt Redatelj: Ric Roman Waugh Trajanje: 121 minuta Datum premijere: 3. kolovoz 2017. Kada je riječ o glumcima iz TV serija koji su pokušali transformaciju u filmske zvijezde statistika im nije baš na strani. George Clooney, Woody Harrelson, Bruce Willis, Michelle Williams ili Jennifer Aniston su neki od onih koji su (više-manje) uspjeli, ali puno je više onih koji su shvatili da velika riba u maloj bari ne znači uspjeh i u pravom moru. Posljednji u nizu glumaca koji je stekao slavu u seriji, a koji pokušava proboj i u filmsku industriju, je Nikolaj Coster-Waldau, poznatiji kao Jaime Lannister, odnosno onaj sretnik koji je bio u klinču sa Cersei Lannister. Coster-Waldau je u krimi trileru Rica Romana Waugha Jacob Harlon, uspješan financijer čiji će se savršen obiteljski život preokrenuti nakon što vožnja u alkoholiziranom stanju završi smrću njegovog najboljeg prijatelja Toma. Harlon završava u zatvoru gdje je, da bi preživio okružen okorjelim kriminalcima, prisiljen postati član zatvorske bande i činiti nezamislive stvari. Po izlasku iz zatvora, vođa bande ga natjera da izvrši trgovinu oružjem, jer pripadnost bandi nikada ne prestaje. U filmu u kojem ćete prepoznati veliki broj glumaca iz TV serija, poput Jeffreya Donovana iz Odstrela, Benjamima Bratta iz Zakon i red i 24, Jona Bernhtala iz Živih mrtvaca ili Lake Bell iz Bostonskog prava, Nikolaj Coster-Waldau je ipak prvo ime i najveća snaga filma. Waldau izgleda badass i postiže puno s materijalom koji mu je dan u ruke. Međutim, ne moguće je ne primjetiti nevjerojatnu sličnost s likom Jaxa Tellera iz Sinova anarhije – od stila oblačenja, preko cjelokupnog imagea pa sve do pokreta i pogleda – Waldauov Harlon je identičan Telleru. Čija je to ideja, redateljeva ili vjerojatnije glumčeva ne znam, ali ukoliko ste ljubitelj Sinova anarhije kao ja, ovo bi vam itekako moglo zasmetati. S glumačke strane se, kada je riječ i o ostalim ulogama, nema puno toga za zamjeriti, ali se puno zamjerki može pronaći na scenarij. Krimi trileri ne moraju biti prema istinitom događaju, ili inspirirani istinitim događajem, da bi bili uspješni, ali je poželjno da je njihova radnja što realnija – a upravo u tom segmentu je Zakon jačeg zakazao. Priča o financijeru koji vodi sretan obiteljski život i koji nakon prometne nesreće u kojem pogine njegov prijatelj završava u zatvoru, i to zatvoru maksimalnog rizika, te se pretvara u pravog kriminalca koji ne preza od ničega je neuvjerljiva i teško probavljiva. Scenarij, kojeg potpisuje redatelj filma, općenito nije najimpresivniji a dijalozi su posebna priča. Ne pomaže niti redateljeva izvedba. Nelinearna priča može uspjeti, dapače često – kao u slučaju Noćnih životinja, itekako pripomaže zanimljivosti filma držeći gledatelja „usisanog“ u radnju, ali u ovom slučaju nelinearna radnja, odnosno preskakanje iz sadašnjosti u prošlost pa opet u sadašnjost, prilično zbunjuje i vrlo brzo prelazi u iritantnost. Još kad tome dodamo jako lošu glazbenu podlogu, jednu od najgorih koju su ove uši ikada čule, koja se konstantno ponavlja tijekom cijelog filma bez obzira na događanja na ekranu, Zakon jačeg u konačnici predstavlja prilično razočarenje. Iako radnja filma nije originalna (malo je danas filmova uopće s originalnom temom), filmovi s radnjom u zatvoru su najčešće vrlo zanimljivi pa se puno očekivalo i od Waldauvog pokušaja proboja u filmsku industriju. Iako je Lannister svoj posao dobro odradio, baš kao i ostali dio glumačke ekipe, Zakon jačeg pati od lošeg scenarija i neuvjerljivog razvoja priče, neuspješne prenesene nelinearne radnje i soundtracka koji buši uši.Benjamin Bratt, Emory Cohen, Evan Jones, Jeffrey Donovan, Jon Bernthal, Kriminalistički, Lake Bell, Nikolaj Coster-Waldau, Omari Hardwick, Ric Roman Waugh