The trouble with cliff hangers is, you get somebody into something, you sort have to get them out in a plausible way. G - That is the progression we have to do. S - And each cliffhanger is better than the one before. If it’s every ten minutes we do it twelve times.
One of the main ideas was to have, depending on whether it would be every ten minutes or every twenty minutes, a sort of a cliffhanger situation that we get our hero into. Which is where a lot of stuff comes from anyway. As I build this up, you’ll see it’s done vaguely by the numbers.
We want to keep things interspaced and at the same time build it. It’s also basically an action piece, for the most part. Meaning that there are certain things that have to continue to happen. The basic premise is that it’s sort of a serialesque kind of movie. I found it easier and it does lay things out. I have a tendency to work rather mathematically about all this stuff. Then we figure out vaguely what the pace of, how fast it’s going to move and how we’re going to do it. You can move things around, but it generally gives you an idea, assuming that what we really want at the end of all this is a hundred and twenty page script, or less. (?) It depends on, part of it is the… (short gap in the tape) knock some of these out, and this doesn’t work out the way we thought it would. A sixty one means that every scene is going to run twenty pages long. A thirty scene thing means that each scene is going to be around four pages long.
I can either come up with thirty scenes or sixty scenes depending on which scale you want to work on.
And the way I work generally is I figure a code, a general measuring stick parameter. Then we will actually get to where we can start talking down scenes, in the end I want to end up with a list of scenes. Then I’ll get down to going specifically through the story. G - We’ll just talk general ideas, what the concept of it was. George Lucas, Steven Spielberg, Larry Kasdan
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