My husband and I are fans of an interesting TV show called Project Greenlight which is a behind the scenes series about getting a movie made from executive producers Ben Affleck and Matt Damon. We watched several seasons of the show years ago, but then there was a long hiatus between the previous seasons and this season. This season’s show on HBO ended earlier this month.
In addition to the seasons of Project Greenlight, we have seen a few of the movies that were made during the show. We have never really been overwhelmed with the results. It’s not unusual to have a more enjoyable behind the scenes adventure to watch on the TV show than a good movie as the result.
While this season of Project Greenlight, with the contest winning first time director Jason Mann assisted by Project Greenlight producer Effie Brown, had a lot of drama over the direction of the film that made the show a lot of fun to follow, the movie never really seemed like it would turn out well.
HBO premiered the movie, The Leisure Class, earlier this month to pretty poor reviews. Despite the bad reviews, we watched it On Demand just to see the end result. Unsurprisingly we found out it just was not good.
What was good about watching it, for me, though was finding lessons in what not to do when developing my own stories and characters.
The Leisure Class was Mann’s own script developed out from a 3 minute short film. The story takes place over the course of about 24 hours and is supposed to be a comedy. I think. Or a dark comedy perhaps. Perhaps it is meant as satire? The issue is that it hits none of those marks. There is little that is funny and a lot that just falls flat because you just don’t get who the characters are or why we should care about them. Who are these people? Why are they doing the things they do? Why would anyone possibly say some of the things they say or respond the way they respond?
Ed Weeks plays Charles, a supposedly charming Englishman (who just comes off as a bit of a slimeball honestly, not at all charming) who is supposed to marry Fiona (Bridget Regan), a stiff upper class daughter of a wealthy Senator who is running for some sort of office apparently herself. They have an engagement dinner where Charles’s brother unexpectedly drops in causing the scheming Charles some difficulty. Tom Bell plays the screwball brother, Leonard, that shakes the family up.
It could be funny. Instead it’s just awkward. He doesn’t really cause that much trouble. The trouble is rather unbelievable. The aftermath is really unbelievable. The characters’ reactions are frequently the most unbelievable. Several scenes are just painfully bad with characters saying the most awful things to each other and for what purpose? Big meltdowns and confrontations should serve the story somehow but these seem to be confrontation for confrontations sake. Shock for shock value only.
Tell me a story! Not a rushed compilation of stilted scenes pieced together that can almost be blended together into a chunky mess of a story.
Make me care about the characters! If the character’s actions don’t make sense the story doesn’t make sense. If what the characters say doesn’t fit who that character is supposed to be, the story doesn’t make sense. The characters have to make sense for the story to make sense.
Ultimately it doesn’t matter how fine the details are if the overall story doesn’t work. The biggest lesson seems to be to just make sure there is actually a good story there. If there isn’t a solid story, no one is going to care how pretty it all turns out. Tell me a solid story and make me care about the characters or there’s just no point.