Interview: Spenser Cohen — Part 4

In December 2011, writer-director Spenser Cohen sold the action-thriller spec script “The Driver” he wrote with Zach Luna. In November 2012, Cohen sold the action spec script “High Value Target”. Then in January 2013, Spenser sold another spec script: “Pantheon”. A writer who sells 3 spec scripts within 2 years is someone we need to hear from, so I’m pleased to present my interview with Spenser.

In Part 4, we go deeper into “High Value Target,” then discuss what it’s like for Spenser to work with his manager and agents:

Scott: It seems like Matt has got a death wish of sorts, which is interesting because that adds an element of unpredictability to his behavior. Was that dynamic, he doesn’t really care if he lives or dies, one you hit on early in the character development process?

Spenser: Right. Yeah, that was something that attracted me early on. It’s an extension of how Matt deals with the loss of his brother. He’s alive but he’s not really living. He’s looking for a way to end his suffering. And dying is an easy way out. This gives him a great arc. A guy who doesn’t care if he lives or dies is forced into a situation where he’s fighting tooth and nail to survive. We all deal with loss in our own way. Some of us never heal, we keep those wounds open forever. The events of the film force Matt to put himself back together, force his psychological and emotional wounds to scab over.

Scott: The arch nemesis is a terrorist named Hassan, the object of a pursuit by the Mantis team. He’s a shrewd, manipulative figure. Because he’s being held captive, he really has to use weapons that aren’t physical in nature, he’s got to play mind games with his captors. Were there characters that inspired you in writing Hassan? Was it fun to write such a clever and devious character?

Spenser: Yeah it was. Obviously, I looked at the Joker. I think you can’t think about a movie villain and not think about the Joker now. He’s such an iconic character. What they did in “The Dark Knight” is just amazing. I really wanted a smart villain who could get his way, weave his way into our characters’ heads, and manipulate them and turn them against each other.

I love a character whose deadliest weapon is his words. I was excited about the fact that Hassan doesn’t pick up a gun the whole movie, and yet he’s the biggest threat to this team.

Scott: There’s a lot of talk in Hollywood about creating sympathetic protagonists, but equally important is to create a worthy nemesis. One key to that, it seems to me, is to create a nemesis character who’s got a worldview that they believe. Like Hassan, he’s a terrorist and a ruthless killer. We may not agree with his worldview, but somehow it works for him. How important was it for you, when you were developing his character, to see the world through his eyes?

Spenser: It was very important. Crucial. I did an entire pass from his point of view, and made him the hero of the story, and didn’t try to pass moral judgment or view him as a villain. You really have to believe in their worldview. I think you look at different villains in different movies, and depending on what the movie is, sometimes they’re very two‑dimensional. What they believe in and what they go for are things that we can’t relate to.

Then, you look at other villains who have a touch of humanity to them, and you could almost…at certain points, you’re not sure if you’re on the right side. I love that, when you’re an audience member and the villain can say something that actually makes you feel for him, or you understand why he’s doing what he’s doing. Every character is there to open up a piece of who we are and teach us something about the human condition. Especially the villains.

Scott: At several key points in the script, you have characters that are presented with tough moral choices. For example, one situation I remember, there’s a priority for them to guard Hassan, but if they don’t do what the bad guys want, them someone in their team is going to suffer a horrible fate. What’s your value as a writer in creating those types of critical plot points where characters are presented with these really tough choices?

Spenser: I think, for me, especially in writing a movie like this, you can’t stay at one level. You really have to ratchet everything up, and constantly up the stakes, and the tension. I love dilemma. I love giving characters tough choices, impossible choices. I love the idea that if you do option “A” something bad will happen to somebody, but if you do option “B” something else is going to happen that’s equally bad. So what do you do? It comes back to character defined through action. How a character reacts to this impossible choice often defines him better than a 10 page dialogue scene. It shows us who he really is.

Scott: Yes, it makes the action that much more meaningful, as opposed to just explosions, if you’re connected to the characters and you’ve got an emotional investment.

Spenser: Totally, 100 percent.

Scott: I won’t give away the ending of the story, but it’s set up to be a franchise. Was that something you knew you were going to do from the get‑go, or was that a possibility that emerged during the process of writing the script?

Spenser: We had talked about it when we did the initial pitch because the concept really lends itself to being a franchise. I actually knew what the last scene of the movie was going to be, before I wrote a single word. I knew how to set it up, and open it up into a sequel, and continue some of the questions and themes from this movie into the next. It was really a question of working backwards. I always knew that endpoint and how it was going to pay off for our main character, but also open up the door to another movie.

Scott: The script is loaded with action. What do you keep at top of mind when you write action scenes and action sequences?

Spenser: Always character, because it’s really easy for characters to get lost in the shuffle of everything that’s going on. I think action only matters when our characters are going through it, and those action sequences are really meaningless unless we care. When you’re doing those sequences, which can be very tedious, you don’t want long paragraphs. You want short bursts, and you want it to really paint a picture. You’re directing on the page.

I think if you write with the character in mind, the action is always more entertaining and more interesting to read, and always interesting to watch. Because character is the reason we care in the first place.

Scott: What’s the status of “High Value Target”?

Spenser: We are out to actors right now, so, fingers crossed.

Scott: What’s it like working with WME and Energy Entertainment? What do you, as a writer‑director, look for from them?

Spenser: WME and Energy are great. I’ll start with Energy. Brooklyn is awesome…He’s a guy who knows the marketplace so well. At the end of the day, the goal is to get movies made. Brooklyn’s a guy who really understands how to get out there and put the right spin on an idea, the right people to take it to, the right approach. He’s a great collaborator, and he has great taste. He’s a great manager, and a good friend, and Anna and I are both very excited to be working with him.

In terms of WME, we have a fantastic team. For television Jad Dayeh and Justin Ongert are some of the best people we’ve met in the business and are total hustlers. On the feature side I’m repped by Mike Esola and Solco Schuit. They’re both awesome. Solco is so hands on and such a go-getter. And a really great collaborator. Our whole team over there is great. It takes a lot of the pressure off, in terms of allowing me just to be creative. I know that when I’m done with a project or when I take something out, I have so many allies, and so many people that are in my corner, that I can’t lose.

Tomorrow in Part 5 of our interview, Spenser discusses some important aspects of the screenwriting craft.

For Part 1, go here.

For Part 2, go here.

For Part 3, go here.

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

Spenser is repped by WME and Energy Entertainment.

Twitter: @IAmSpenserCohen / @AnnaHalberg

Six Foot Turkey Productions website here.