Interview: Will Simmons — Part 4

Will Simmons made a splash when he wrote the 2012 Black List script “Murder City” which was subsequently acquired by Aldamisa Entertainment. He also has two other projects in the works: “Romeo,” a modern day re-imagining of Shakespeare’s play, and “Defenders,” a science fiction thriller pitch bought by Warner Bros in June 2013 based upon a Hugo Award-winning novel.

I recently had the opportunity to speak with Will at length about his background, “Murder City,” and the screenwriting craft.

Today in Part 4, Will explores some key themes in “Murder City” and reveals details about the sale of that spec script:

Scott: Let me read some dialogue that Neil has that really gets at the core of his world‑view. Neil says, “I watched the law gun down my brother yesterday. There are no sides. That badge on your chest is just scrap metal. You’re no different from me or the guys you put in cuffs. And all that bullshit they teach you about cleaning up the streets, serving justice; it’s just white noise fuckin’ with your head, keeping you blind while your bosses fleece the nobodies. In the end, it’s you against everyone else, and that’s the only thing that matters. ’Cause no one gives a shit if your guts are spilled in the street, as long as they don’t have clean up the mess.”

What’s your reaction when you hear that dialogue?

Will: That perfectly encompasses Neil’s philosophy. As the story progresses, he comes to the realization that the futility of law enforcement is enabling this culture of violence, and the only way to break the cycle is to stay true to his own personal credo.

Scott: Neil goes through this series of events, particularly toward the end that are generally a deconstruction, even physically. Is that a way, thinking either thematically or symbolically, for him to pay for his sins?

Will: It all stems from the sins of his father. Neil is under the burden of his old man’s debt, and his only path to a clean slate is through Bishop’s absolution. The trials and tribulations of Neil’s journey are riddled with moments of brutality. Those gruesome scenes serve to emphasize Neil’s moral unraveling and the toll it takes on his physical health.

Scott: The screenwriter Jeffrey Boam, who wrote Lethal Weapon 2, Lethal Weapon 3, Indiana Jones and the Last Crusade, here’s a quote from him. He said, “Critics have said that Lethal Weapon is brainless, but that’s not the point. I try to bypass the brain and go right to the senses. I want emotion reaction, no intellectual engagement. An audience wants to be wound up because it enjoys the ‘pop’ at the end, when it’s liberated. People go to movies because they have a deep‑rooted need to see a heroic figure go through physical torture, and come out victorious.” I was reminded of that when I was reading Neil’s journey in “Murder City.”

First of all, do you agree with that? If you do, why do you think that is, that audiences resonate with that type of narrative spark?

Will: If the hero’s life isn’t at risk, physically or emotionally, then the value of his or her heroism is drastically reduced. There needs to be a legitimate threat that he or she might die throughout the course of the story. Without that, everything becomes predictable. This fast-food style of storytelling is bad for movies. Catharsis comes in many forms and we don’t need a manufactured or formulaic third act for the conclusion to feel satisfying.

I look at a film like District 9 where the protagonist experiences a physical death of sorts, but while the final frame is somber and heartbreaking, there’s a visceral sense of hope. I wish more movies would embrace bold and unconventional endings. Audiences crave surprises, and the best way to keep them off balance is by opening the door to the possibility that the protagonist might perish. As soon as you take that away, the audience disengages. The ending becomes a foregone conclusion, and now we’re just going through the motions storytelling. It’s too mechanical. There needs to be spontaneity.

Scott: No knock on any of the superhero movies because they’re obviously super successful, but if you go in knowing that this is Iron Man 2 or 3 out of a series of four, five, or six. Knowing that they’re not going to die, or, if they do die, that they’re going to have a way to come back to life somehow. There’s a whole experience of violence that’s different than what you have going on with “Murder City,” where it is a very real possibility that the protagonist could die. Wouldn’t that somehow inform the way that the audience member experiences the violence?

Will: It certainly enhances the realism. Superhero films can transcend the genre as long as you cultivate an atmosphere of unpredictability. Chris Nolan basically wrote the playbook for making contemporary superhero movies, but even so, the genre is burdened by the safety-net of having franchise characters who are too valuable to kill off.

In “Murder City”, I wanted to avoid any semblance of cartoonish or exploitative violence. Bloodshed is a narrative tool that needs to be treated with the utmost respect.

Scott: So last December, “Murder City” makes The Black List. What was that like?

Will: That was an amazing moment for me. It was validation of years of quiet and steady work. As with any screenplay, you always want to make a lasting impression on the reader, and I was honored that so many of the voters were affected by “Murder City”.

It’s impressive how the Black List and your GITS blog have opened doors for emerging writers. You and Franklin are advocating for underdog scribes in a way that no one has before. It’s exciting to see all of these fresh voices finding the exposure they deserve.

Scott: Then, in March, the script got set up. How did that deal go down?

Will: We’d flirted with a few buyers but eventually sold “Murder City” to Aldamisa Entertainment. Their head of development, Michael Kupisk, read the script and sparked to it. His passion for the project is unparalleled, and he has an intuitive understanding of the story’s thematic layers. His vision for the movie is in tune with mine, and I’m thrilled to be working with him and the entire team at Aldamisa.

Tomorrow in Part 5, Will provides some insight into two other film projects with which he’s currently involved and discusses some keys to the screenwriting craft.

For Part 1, go here.

Part 2, go here.

Part 3, go here.

Please stop by comments to thank Will and ask any questions you may have.

Will is repped by UTA and Energy Entertainment.

Twitter: @willsimmons_.