The struggle Veterans of war face when writing a war-based screenplay?
I just received feedback on a script I had written called Broken Chalice which is inspired by true events. After reading the feedback all I could do is smile and I said to myself, "You did it!"
Anyone else would have likely went nuts reading the feedback. Why? Because it was as honest as honest comes and frankly, it was the feedback I genuinely was hoping for.
You see, I wanted feedback that showed I created something I intended to create which was a very outside the box and unconventional script that truly depicted reality in how I saw matters in a place like Afghanistan and Pakistan.
Specifically, this script wasn't really about combat but rather intelligence collection on some really bad terrorists as well as saving American lives--all inspired by true events--and plots and sub-plots scattered showing that very rarely does a team get one simple task order through a deployment and bam...wipe hands clean. That is not how it works. Well, very rarely does it work that way.
In war, you get a task order. You work the mission. Then in the middle of the long term mission, you get another task order, then another, and another. Etc...Case in point....Hollywood looks at tactical stories rather than operational or strategic bigger pictures. And this movie is surrounded around the operational side which I have never seen produced in film. . Example: Zero Dark Thirty was a tactical story. But, their is a much larger story behind the Osama Bin Laden raid few know anything about. And, it is very layered with different missions upon missions. Welcome to Broken Chalice.
Those who ever been to war realize not all taskings finish before the next one starts. That is a reality but it doesn’t work well on film. In film, you need clear endings before entering the next task order/mission.
So here is my own lesson learned: Be grateful when you write something and get feedback which you know deep down makes a lot of sense. And if it doesn't make sense, sit on that feedback and reflect on it until it does.
For my military veteran screenwriter friends:
You have a choice: Write what Hollywood wants per their current structures and move forward or write as you know the reality to be in wartime environments knowing Hollywood will likely never pick up your script. Choice is yours.
More of a "letting my thoughts out-type of post" so I apologize in advance for those who are scratching their heads at this wondering what I am talking about.
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A movie called 84 Charlie Mopic incorporates the same idea, following a group of soldiers on an average anything-can-happen day, rather than on a specific mission. By definition, it has a stream-of-consciousness quality, bouncing from one task or emergency to another with no set goal except perhaps survival.
Kinda two topics in one, about the struggles of vets writing, and the (conventional and prevailing) preferred way that people in the industry/moviegoers like their war movies: easy-to-understand, and plenty of action.
I certainly hear you, though, and maybe that's why the example you gave, Zero Dark Thirty, did well, and was critically-acclaimed (for the most part.) It's more a thriller about the high-level intelligence gathering efforts than anything. The Green Zone works that way, too, but has a bit more action. Spy films work that way, too, but kinda balance between gathering intel and giving the viewers action.
Glad to read your story was well-received. Thanks for your service, and best fortunes to you in your creative endeavors, Kerry!