THEME What Ties It All Together

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\dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf8 While other authors argue
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\u8220 ?WITNESS has a point of view. }{\b0 \i1 \fs24 \kerning2 \dbch \af3 \hich
\af3 \loch \f9 \cgrid1 \chcbpat20 \cf8 Love cannot bridge the gap of two different
worlds}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
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the gap of two different worlds}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3
\loch \f9 \cgrid1 \chcbpat20 \cf8 . [\uc1 \u8230 ?] The message in CHINATOWN is
this: }{\b0 \i1 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat20 \cf8 You can get away with murder if you have enough money}{\b0 \i0
\fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf8 .\uc1
\u8221 ?- David Trottier, author of }{\field \fldedit {\*\fldinst {\b0 \i0 \fs24
\kerning2 \dbch \af3 \hich \af3 \loch \af9 \cgrid1 \chcbpat20 \cf16 \ul1 }{\b0
\i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf16 \ul1
HYPERLINK "http://www.amazon.com/gp/product/1935247107/ref=as_li_tl?
ie=UTF8&camp=1789&creative=9325&creativeASIN=1935247107&linkCode=as2&tag=elemofcine
07-20&linkId=Z6OXAMIKB32PTYH2"}}{\fldrslt {\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich
\af3 \loch \af9 \cgrid1 \chcbpat20 \cf16 \ul1 }{\b0 \i0 \fs24 \kerning2 \dbch
\af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf16 \ul1 The Screenwriter\uc1 \u8217
?s Bible: A Complete Guide to Writing, Formatting, and Selling Your Script}}}
{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \af9 \cgrid1 \chcbpat20
\cf16 \ul1 }{\field {\*\fldinst {\fs24 \kerning2 \dbch \af3 \hich \af3 \loch \af3 }
{\fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f3 INCLUDEPICTURE "http://ir-
na.amazon-adsystem.com/e/ir?t=elemofcine07-20&l=as2&o=1&a=1935247107"}}{\fldrslt
{\fs24 \kerning2 \dbch \af3 \hich \af3 \loch \af3 }{\fs24 \kerning2 \dbch \af3
\hich \af3 \loch \af3 {\*\shppict {\pict {\*\picprop \shplid0 {\sp {\sn shapeType}
{\sv 75}}{\sp {\sn fFlipH}{\sv 0}}{\sp {\sn fFlipV}{\sv 0}}{\sp {\sn
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\dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf8 .}{\b0 \i0 \fs24
\kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf8 \par }\pard
\plain \qj \fi0 \li0 \ri0 \sa390 \lisa0 \sl433 \slmult0 \widctlpar \aspalpha
\cgrid1 \chcbpat20 \cf8 Though these two writers define theme differently, their
interpretations are still pretty similar. Notice how Trottier\uc1 \u8217 ?s
examples still have thematic words like \uc1 \u8220 ?love\uc1 \u8221 ? and \uc1
\u8220 ?money\uc1 \u8221 ? that define what the movie is about. And regardless of
what you call it, your film will always have a moral and a message. The important
thing is that you know what you are trying to convey with your film, so that you
can be consistent and effective.}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3
\i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf8
However, Trottier urges your caution: \uc1 \u8220 ?This moral is not a sermon and
it is not preached. Often, you don\uc1 \u8217 ?t know that this moral or message is
when you start scripting your story. Not to worry \uc1 \u8211 ? you\uc1 \u8217 ?ll
know before you\uc1 \u8217 ?re through. Just keep writing. CAUTION: There is a
danger in focusing on the movie message. You run the risk of writing a preachy
script.\uc1 \u8221 ?}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9
\cgrid1 \chcbpat20 \cf8 \par }\pard \plain \qj \fi0 \li0 \ri0 \sa390 \lisa0
\kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf8 And on this
point both writers agree. Howard calls it a \uc1 \u8220 ?thesis\uc1 \u8221 ? and
you don\uc1 \u8217 ?t wanna bang your audience\uc1 \u8217 ?s head too much with it.
They paid $20 for entertainment, not a sermon.}{\b0 \i0 \fs24 \kerning2 \dbch
\af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf8 \par }\pard \plain \qj \fi0
\li225 \ri225 \sb225 \lisb0 \sa465 \lisa0 \sl18 \slmult0 \widctlpar \aspalpha
\cgrid1 \chcbpat18 \cf9 Theme is NOT the Same as Conflict!}{\b0 \i0 \fs30 \kerning2
\dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf9 \par }\pard \plain \qj \fi0
\li225 \ri225 \sb225 \lisb0 \sa615 \lisa0 \sl433 \slmult0 \widctlpar \aspalpha
\cgrid1 \chcbpat18 \cf8 I wanted to make a special mention of this because I have
seen many professors and publications make this error. If you ask someone for an
example of a theme, they might answer: \uc1 \u8220
?Man vs. Nature\uc1 \u8221 ? or \uc1 \u8220 ?Man vs. Himself.\uc1 \u8221 ? In my
opinion, these are not themes but types of conflict. Types of conflict are the
framework for any plot, but they are different from the theme. Below are the four
most famous types of conflict:}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch
\f9 \cgrid1 \chcbpat18 \cf8 \par }\pard \plain \qj \fi0 \li360 \ri0 \sbauto1
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\af0 \loch \af0 {\listtext \pard \plain \fs21 \kerning2 \dbch \af3 \hich \af0 \loch
\af0 \f4 \'b7\'00\tab }{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9
\cgrid1 \chcbpat18 \cf8 Man vs. Man (}{\b0 \i1 \fs24 \kerning2 \dbch \af3 \hich
\af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 Dirty Harry}{\b0 \i0 \fs24 \kerning2
\dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 , }{\b0 \i1 \fs24 \kerning2
\dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 The Terminator}{\b0 \i0
\fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 ,}{\b0
Witness}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18
\cf8 )}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat18 \cf8 \par }\pard \plain \qj \fi0 \li360 \ri0 \sbauto1 \saauto1 \sl433
\slmult0 \widctlpar \aspalpha \adjustright \lin360 \rin0 \shading10000 \cfpat18
\tql \tx720 \itap0 \ls1 \fs21 \kerning2 \dbch \af3 \hich \af0 \loch \af0 {\listtext
\pard \plain \fs21 \kerning2 \dbch \af3 \hich \af0 \loch \af0 \f4 \'b7\'00\tab }
{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf8
Man vs. Himself. (}{\b0 \i1 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat18 \cf8 Finding Forrester}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3
\loch \f9 \cgrid1 \chcbpat18 \cf8 , }{\b0 \i1 \fs24 \kerning2 \dbch \af3 \hich \af3
\loch \f9 \cgrid1 \chcbpat18 \cf8 The Truman Show}{\b0 \i0 \fs24 \kerning2 \dbch
\af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 )}{\b0 \i0 \fs24 \kerning2
\li360 \ri0 \sbauto1 \saauto1 \sl433 \slmult0 \widctlpar \aspalpha \adjustright
\lin360 \rin0 \shading10000 \cfpat18 \tql \tx720 \itap0 \ls1 \fs21 \kerning2
\dbch \af3 \hich \af0 \loch \af0 {\listtext \pard \plain \fs21 \kerning2 \dbch \af3
\hich \af0 \loch \af0 \f4 \'b7\'00\tab }{\b0 \i0 \fs24 \kerning2 \dbch \af3
\hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 Man vs. Nature (}{\b0 \i1 \fs24
\kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 Dante\uc1
\u8217 ?s Peak}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat18 \cf8 , }{\b0 \i1 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat18 \cf8 Noah}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9
\cgrid1 \chcbpat18 \cf8 )}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch
\cgrid1 \chcbpat18 \cf8 Man vs. Society (}{\b0 \i1 \fs24 \kerning2 \dbch \af3 \hich
\af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 High Noon}{\b0 \i0 \fs24 \kerning2 \dbch
\af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 , }{\b0 \i1 \fs24 \kerning2 \dbch
\af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 Milk}{\b0 \i0 \fs24 \kerning2
\dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 )}{\b0 \i0 \fs24
\plain \qj \fi0 \li225 \ri225 \sb225 \lisb0 \sa615 \lisa0 \sl433 \slmult0
\widctlpar \aspalpha \adjustright \lin225 \rin225 \shading10000 \cfpat18 \itap0
\fs21 \kerning2 \dbch \af3 \hich \af0 \loch \af0 {\b0 \i0 \fs24 \kerning2 \dbch
\af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 Some of these overlap. }{\b0
\i1 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18 \cf8 High
Noon}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat18
\cf8 , for instance, is both a Man vs. Society and a Man vs. Man kind of plot.}{\b0
\par }\pard \plain \qj \fi0 \li0 \ri0 \sa240 \lisa0 \sl18 \slmult0 \widctlpar
\aspalpha \adjustright \lin0 \rin0 \shading10000 \cfpat20 \itap0 \fs21 \kerning2
\dbch \af3 \hich \af0 \loch \af0 {\b0 \i0 \fs36 \kerning2 \dbch \af3 \hich \af3
\loch \f9 \cgrid1 \chcbpat20 \cf1 Theme as Unity}{\b0 \i0 \fs36 \kerning2 \dbch
\af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 \par }\pard \plain \qj \fi0
\li0 \ri0 \sa390 \lisa0 \sl433 \slmult0 \widctlpar \aspalpha \adjustright \lin0
\rin0 \shading10000 \cfpat20 \itap0 \fs21 \kerning2 \dbch \af3 \hich \af0 \loch
\af0 {\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20
\cf1 Alfred Hitchcock\uc1 \u8217 ?s }{\b0 \i1 \fs24 \kerning2 \dbch \af3 \hich \af3
\loch \f9 \cgrid1 \chcbpat20 \cf1 Rear Window}{\b0 \i0 \fs24 \kerning2 \dbch
\af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 (1954) tells the story of a
handicap photographer (James Stewart) who suspects a murder has happened in his
apartment complex after noticing abnormal events unfold from his living room
window. This is the forefront of the movie; its plot. Nobody gets out of the
theater not knowing that.}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch
\f9 \cgrid1 \chcbpat20 \cf1 \par }\pard \plain \qj \fi0 \li0 \ri0 \sa390 \lisa0
\kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 The theme,
however, is subtle. Most people that have watched }{\b0 \i1 \fs24 \kerning2
\dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 Rear Window}{\b0 \i0
\fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 may or may
not have grasped what its theme is. Since themes are delicate and subjective,
scholars and critics may occasionally debate. But I think that in }{\b0 \i1
\fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 Rear
Window}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat20 \cf1 , the prominent theme is }{\b1 \i0 \fs24 \kerning2 \dbch \af3 \hich
\af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 relationship}{\b0 \i0 \fs24 \kerning2
\dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 . Even more so than romance
because romance implies good moments. But relationship also contains the nitty-
gritty stuff: arguments, despair, and solitude.}{\b0 \i0 \fs24 \kerning2 \dbch \af3
\hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 \par }\pard \plain \qj \fi0 \li0
\ri0 \sa390 \lisa0 \sl433 \slmult0 \widctlpar \aspalpha \adjustright \lin0 \rin0
\i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 In }
Rear Window}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat20 \cf1 , the apparently disjointed string of events is held together
through this theme, which furnishes it with unity.}{\b0 \i0 \fs24 \kerning2
\li0 \ri0 \sa390 \lisa0 \sl433 \slmult0 \widctlpar \aspalpha \adjustright \lin0
\rin0 \shading10000 \cfpat20 \itap0 \fs21 \kerning2 \dbch \af3 \hich \af0 \loch
\af0 {\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20
\cf1 The romance between Jeff and Lisa (Grace Kelly) is too obvious an example, but
even a superficial analysis of some of the neighbors is enough to elaborate the
underlying relationship theme:}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch
\cgrid1 \chcbpat20 \cf1 In the beginning of the movie, a newlywed couple moves into
an apartment. All joy. Blinds drawn implies a honeymoon in progress. But as the
story unfolds, their marriage deteriorates.}{\b0 \i0 \fs24 \kerning2 \dbch \af3
\ri0 \sbauto1 \saauto1 \sl433 \slmult0 \widctlpar \aspalpha \adjustright \lin360
\rin0 \shading10000 \cfpat20 \tql \tx720 \itap0 \ls1 \fs21 \kerning2 \dbch \af3
\hich \af0 \loch \af0 {\listtext \pard \plain \fs21 \kerning2 \dbch \af3 \hich \af0
\loch \af0 \f4 \'b7\'00\tab }{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3
\loch \f9 \cgrid1 \chcbpat20 \cf1 Miss Torso, a lovely ballet dancer, is often \uc1
\u8220 ?doing a woman\uc1 \u8217 ?s hardest job: juggling wolves.\uc1 \u8221 ? With
so many suitors, her options are plenty, though she often dismisses them all.}
\par }\pard \plain \qj \fi0 \li360 \ri0 \sbauto1 \saauto1 \sl433 \slmult0
\widctlpar \aspalpha \adjustright \lin360 \rin0 \shading10000 \cfpat20 \tql
\tx720 \itap0 \ls1 \fs21 \kerning2 \dbch \af3 \hich \af0 \loch \af0 {\listtext
\pard \plain \fs21 \kerning2 \dbch \af3 \hich \af0 \loch \af0 \f4 \'b7\'00\tab }
{\b0 \i0 \fs24 \kerning2
\dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 Mrs. Lonelyhearts is an
old, single woman who seemingly failed to attract a man into wedlock during her
prime years. Clearly disturbed, she hosts dinners for two even though no one joins
her. Alone, she addresses an invisible man, product of her imagination, with whom
she dines.}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat20 \cf1 \par }\pard \plain \qj \fi0 \li0 \ri0 \sa390 \lisa0 \sl433 \slmult0
\af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 Clearly all these side characters
and sub-plots were created to develop the theme. Furthermore, the heart of the plot
\uc1 \u8211 ? the murder \uc1 \u8211 ? also draws a parallel to it, as one of the
possible causes for the assassination was the bitter relationship in which the
murderer and his victim lived in.}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3
\i0 \fs36 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 Theme
as a Lesson}{\b0 \i0 \fs36 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 Besides providing unity and tying
the story together, theme can also exist to send a message or teach a lesson to the
audience. In the 2009 movie }{\b0 \i1 \fs24 \kerning2 \dbch \af3 \hich \af3
\loch \f9 \cgrid1 \chcbpat20 \cf1 (500) Days of Summer}{\b0 \i0 \fs24 \kerning2
\dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 , one of the lessons
expressed is: if someone wants love, then they need to take action and chase it.}
\par }\pard \plain \qc \fi0 \li0 \ri0 \sa180 \lisa0 \sl433 \slmult0 \widctlpar
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9696efff00b4ff00ffd9}}}}}{\fs24 \kerning2 \dbch \af3 \hich \af3 \loch \af3 }{\b0
\i0 \fs21 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf8 Like in
}{\b0 \i1 \fs21 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf8
Rear Window}{\b0 \i0 \fs21 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat20 \cf8 , one of the themes in }{\b0 \i1 \fs21 \kerning2 \dbch \af3
\hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf8 (500) Days of Summer}{\b0 \i0 \fs21
\kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf8 is
relationship.}{\b0 \i0 \fs21 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 From the beginning, the movie
builds this lesson until it\uc1 \u8217 ?s clearly stated in the ending: \uc1 \u8220
?Love doesn\uc1 \u8217 ?t just happen.\uc1 \u8221 ? This concept also illustrates
the }{\field \fldedit {\*\fldinst {\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3
\loch \af9 \cgrid1 \chcbpat20 \cf16 \ul1 }{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich
\af3 \loch \f9 \cgrid1 \chcbpat20 \cf16 \ul1 HYPERLINK
"http://www.elementsofcinema.com/screenwriting/the-character-arc/"}}{\fldrslt
{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \af9 \cgrid1 \chcbpat20
\cf16 \ul1 }{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat20 \cf16 \ul1 main character\uc1 \u8217 ?s arc}}}{\b0 \i0 \fs24
\kerning2 \dbch \af3 \hich \af3 \loch \af9 \cgrid1 \chcbpat20 \cf16 \ul1 }{\b0
\i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf1 . At
the movie\uc1 \u8217 ?s beginning, Tom (Joseph Gordon-Levitt) is the type of guy
who waits for love instead of making it happen. At the end, Tom finally takes
action and is rewarded.}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9
\cgrid1 \chcbpat20 \cf1 \par }\pard \plain \qj \fi0 \li225 \ri225 \sb225 \lisb0
\sa465 \lisa0 \sl18 \slmult0 \widctlpar \aspalpha \adjustright \lin225 \rin225
\i0 \fs30 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat15 \cf9 A
Little Trivia}{\b0 \i0 \fs30 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat15 \cf9 \par }\pard \plain \qj \fi0 \li225 \ri225 \sb225 \lisb0 \sa615
\i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat15 \cf8 \uc1
\u8220 ?If you have a message, call Western Union\uc1 \u8221 ? is a famous sentence
sometimes quoted by producers to express their disdain for themes or messages or
lessons in the movies. Some producers simply don\uc1 \u8217 ?t like to talk about
it because it\uc1 \u8217 ?s too brainy.}{\b0 \i0 \fs24 \kerning2 \dbch \af3
\ri225 \sb225 \lisb0 \sa615 \lisa0 \sl433 \slmult0 \widctlpar \aspalpha
\cgrid1 \chcbpat15 \cf8 The quote is often misattributed to the famous producer
Samuel Goldwyn (}{\b0 \i1 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9
\cgrid1 \chcbpat15 \cf8 The Best Years of Our Lives}{\b0 \i0 \fs24 \kerning2
\dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat15 \cf8 , }{\b0 \i1 \fs24 \kerning2
\dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat15 \cf8 Guys and Dolls}{\b0 \i0
\fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat15 \cf8 ), but
there\uc1 \u8217 ?s no consensus as to who said it first.}{\b0 \i0 \fs24
\plain \qj \fi0 \li225 \ri225 \sb225 \lisb0 \sa225 \lisa0 \sl433 \slmult0
\af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat15 \cf8 I wish I would know how most
producers,
directors, and writers approach the idea of theme. Is that a priority in their
movies? Or do they just allow a theme to emerge as the story progresses?}{\b0
\par }\pard \plain \qj \fi0 \li0 \ri0 \sa390 \lisa0 \sl433 \slmult0 \widctlpar
\dbch \af3 \hich \af0 \loch \af0 {\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3
\loch \f9 \cgrid1 \chcbpat20 \cf8 Do you agree with the themes and lessons above?
Or could }{\b0 \i1 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat20 \cf8 (500) Days of Summer}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3
\loch \f9 \cgrid1 \chcbpat20 \cf8 be about something else? What about}{\b0 \i1
\fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1 \chcbpat20 \cf8 Rear
Window}{\b0 \i0 \fs24 \kerning2 \dbch \af3 \hich \af3 \loch \f9 \cgrid1
\chcbpat20 \cf8 ? As I mentioned, themes are subjective and open for
interpretation. I would love to hear your thoughts below.}{\b0 \i0 \fs24
\plain \qj \li0 \ri0 \nowidctlpar \adjustright \lin0 \rin0 \itap0 \fs21
\kerning2 \dbch \af3 \hich \af0 \loch \af0 {\fs21 \kerning2 \dbch \af3 \hich
\af0 \loch \f0 \par }}

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