Interview: Will Simmons — Part 3

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 3, Will delves into the ensemble cast in “Murder City” including the story’s memorable Nemesis character:

Scott: You’ve got this small story in terms of time and physical space, or this small slice of urban world, but you’ve got this larger complex web of connections. You’ve got Neil and his father, Graham, with whom he has a troubled relationship. You’ve got Neil and his wife Molly, and they have a problematic relationship. You’ve got Neil and his adolescent child, Trev. Neil and the relationship with his former cop partner Laz. Then there’s this nemesis Bishop, and a whole host of secondary characters.

How did those characters come to life for you?

Will: The process of creating three dimensional characters starts in the outlining phase. I write exhaustive character biographies and fictional histories, so when I’m in the trenches of my draft I have a wealth of material to draw from.

In terms of the specifics for birthing original characters, I think you have to operate from the mindset of a chameleon. You have to be willing to disengage from your own personality and align your voice with someone else’s. And this especially applies to writing villainous characters, because if you cast judgment on them, then they immediately become caricatures.

As for the ensemble chemistry in “Murder City”, I wanted to explore every perspective and faction in the criminal underworld. We have all of these disparate personalities set on a collision course that doesn’t feel contrived or pre-ordained, but instead retains a natural consistency and progression given the context of the world our characters inhabit.

Scott: Initially you get all these different characters, each with their distinctive worldviews and experiences. Yet, from a writing standpoint, that must have been quite challenging, because you have to deal with every single one of those subplots.

Will: The challenge is lessened by meticulous and extensive preparation. I know everyone has their own process, but for me, pre-production is essential for effective storytelling. Characters and plot dynamics can evolve throughout the draft, but you need to have control over your narrative before you begin scripting. No architect would ever construct a building without a blueprint. The same goes for screenwriting. I always start with paper notebooks because I like to physically connect with the page. I go through a stream-of-consciousness phase where I’ll fill up these notebooks with a hodgepodge of ideas from disconnected portions of the story, and then I’ll transcribe and rearrange my notes into a Scrivener document. By going through this process, I’m able to track each character and ensure that their arcs are properly developed and integrated into the narrative.

Scott: Bishop, the nemesis, is a really interesting guy. He plays all of the angles. He’s kind of a lowlife Moriarty in a way in this crime world.

Will: I love that.

Scott: Even the name, Bishop, the religious connotation, hierarchical. He’s like a man of high authority only in a way that his congregation is definitely comprised of sinners. I was wondering how did you go about developing this really interesting bad guy?

Will: Bishop is first and foremost an expert manipulator. He’s a man with an uncanny knack for imposing his will on others. I wanted him to have a larger-than-life reputation, a folklore presence, fostering a sense of unpredictability in his actions. That said, he ascribes to a very specific code of ethics, which have kept him alive and atop his throne. Because he abides by this set of rules, he’s managed to stay out of the law’s crosshairs, and he continues to grow his business to the detriment of those in his debt. He’s the reaper of Detroit’s misfortune.

Scott: You’ve got him, the bad guy, obviously, but even your protagonist, Neil, is a deeply flawed character. In the beginning, the prologue, he’s a cop who’s not above shaking down drug dealers for a little extra cash. Later on, he has an opportunity with Bishop to do something to clear some old debts from his father and also set himself up. He commits a really gruesome crime.

How important was it for you to work with, I guess you could call it, metaphorically from a theological standpoint, a sinful saint in the way of a Protagonist? Were you worried about the conventional wisdom in Hollywood, about always creating a “sympathetic protagonist?”

Will: Much like Bishop, Neil operates in accordance with his own code of justice. He’d rather rough-up a drug dealer to teach him a lesson than bust him. Neil’s acutely aware that system is broken, and he’s accepted that living by the rigid letter of the law isn’t the same as serving justice.

I’ve always been drawn to deeply flawed anti-heroes, mostly because they tend to be more dynamic characters than your generic brand of cookie-cutter protagonists. Tortured souls make for more believable heroes, in my opinion. I’ve found that externalizing a character’s inner demons is an effective method for creating memorable redemptive storylines.

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

For Part 1, go here.

Part 2, 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_.