Interview: Chris Roessner (2012 Black List) — Part 5
Chris Roessner has made quite a journey to professional screenwriter. His debut screenplay “Sand Castle,” which made the Black List in 2012, is a compelling story that takes us into a world few have experienced: Post-invasion Iraq. It’s a world Chris knows well having served as a machine gunner during the 2003‑2004 invasion and occupation.
Chris was kind enough to spend some time talking with me about his background, the “Sand Castle” script and his approach to the craft of screenwriting. Today in Part 5, Chris discusses some key aspects of the craft of screenwriting:
Scott: I’d love to move into some screenwriting craft questions. First of all, are you working on some other projects, original specs at this point? Or writing assignments?
Chris: Yeah. Listen, I’ve been a “professional” screenwriter for almost three months at this point. I’m balancing what I’ve learned is a never-ending conveyor belt of submissions with writing my own material. So I’m definitely working on things that I’m interested in. But I also spend a good portion of my day reading. I stay pretty busy.
Scott: “Sand Castle” has very strong characters in it, but having been to the Peter Stark program, I’m sure you’re very aware of how important story concepts are, high concepts and whatnot. How important do you think story concept is to the overall strength and viability of a screenplay?
Chris: A big idea is important if you’re writing a big idea movie. If you’re not writing a big idea movie then it’s not as important. The best answer I can give is, when you sit down to write whatever it is you’re writing, know what it is.
Know if it’s that independent, quirky comedy. Know if it’s that big, $200 million action film. Know the target you’re aiming for and let that guide you. Don’t let the fear of a one sheet or the fear of a trailer deter you from pursuing what you’re interested in. By all means, pursue what you’re passionate about. But know where it belongs in the marketplace.
Scott: In terms of your process of writing, are you one of those writers that will spend a lot of time in prep or do you want to get to FADE IN as quickly as possible to go on that journey of discovery in writing pages?
Chris: I love research intensive things. I think I have somewhat of a journalistic approach, at least from the outset. But I try to limit myself on how much time I’m going to spend doing research, because it’s one of those things that can be arresting. It can prevent you from sitting down and writing. So for me, I spend however much time researching as I think the particular project merits. I get a general idea of what the beginning, the middle and the end will be.
Then I want to plow through the first draft as quickly as possible, knowing full well that very little of it will survive. But I need something to work with.
Scott: In “Sand Castle,” you had the benefit of several people that you knew from real life as the basis for these characters. But in general, how do you go about developing characters?
Chris: I started off as an actor so I think about character a lot. One of the things we talked about in acting is a character’s filter. Meaning, what is that one defining thing from that person’s life that determines how they see the world? When I think about character, I tend to spend a lot of time thinking about, what was the event from this person’s life that shaped the way they see the world? If you can nail that in an honest way, then you’re in really great shape moving forward. You’re going to have to learn these characters through more and more drafts. But I think starting that first draft, knowing what your character’s filter is, is crucial.
Scott: How about dialogue? Your script, “Sand Castle,” really sparkles on that front. Some really great stuff there. Is the ability to write dialogue a talent a writer is born with or do you think that can be developed and if so, how do you develop it?
Chris: I certainly think it can be developed. I think it’s developed simply from listening. We had an assignment in Stark where the professor told us to go home and simply transcribe a conversation that you overheard, maybe three or four pages. When we came back and we all read those three or four pages to each other, we were bored out of our goddamn minds. Because natural speech can be very boring. So when I sit down to write dialogue, I don’t write the way people talk, I write the way I wish they talked. Personally, I wish everyone talked to me in a very well thought out, intelligent manner, laden with profanity. That’s what I respond to.
Scott: How about theme? Do you think much about theme? Is it something that emerges in the process or do you start with it?
Chris: I think one of my deficiencies is allowing theme to drive my story too much from the outset. I think that, from the beginning, you should know what it is, on a very emotional level, about your story that appeals to you. You want to declare it specifically, and then put it away. Then think about character, think about character, think about character. Then theme will naturally start to weave itself in there and give you an opportunity to shape it in future drafts.
Theme’s obviously important. It’s what elevates your work. But I think if you let theme drive your story instead of character, you’re going to find yourself in no man’s land.
Scott: You’re talking my language. My theory is, theme equals meaning, but specifically, emotional meaning. It’s driven by the characters. It has to be, or else it’s an intellectual exercise.
Chris: I totally agree. If a screenwriter draws the arc of their main character or characters clearly, then that will inherently speak to the theme.
Tomorrow in Part 6, Chris covers more parts of the screenwriting craft.
For Part 1, go here.
For Part 2, go here.
For Part 3, go here.
For Part 4, go here.
Please stop by comments to thank Chris and ask any questions you may have.
Chris is repped by CAA and Management 360.
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