Hossein Amini: Screenwriters’ Lecture

Hossein Amini, the screenwriter known for films like Drive and Snow White and the Huntsman, has shared  how he feels about the visual power of screenwriting.

Delivering one of our 2013 screenwriter lectures Amini, whose other work includes Jude and Wings of a Dove, took the time to analyse his craft. Taking part in a detailed on stage discussion which also looked at how he goes about adapting novels and why screenwriters – unlike directors – can ‘always bounce back’.

Amini delivered his lecture on 25 September 2013 as part of a conversation with film producer Tanya Seghatchian.

• Read a transcript of the event

Opening the discussion with a clip from the start of 2012 film Drive, Amini highlighted the importance of visuals as well as dialogue. It’s a scene containing absolutely no dialogue yet, through pure imagery and sound, one that manages to achieve an extraordinary level of dramatic intensity. And as Amini explained the deliberateness of his choosing the clip was to demonstrate the power of visual writing. “So much screenwriting is about the visual, rather than just dialogue. We aren’t often given credit for this – it’s a whole other example of what we [screenwriters] do,” he said.

Despite admitting to failing his driving test seven times himself, Drive was in fact a perfect fit for Amini. Adapted from James Sallis’ novel of the same name, the story has a relatively silent central character requiring a high level of written visualisation and cinematography, an artform at which Amini is adept. In preparation for the task he immersed himself in the story, exploring the streets of Los Angeles in order to visualise the scenes of the book and map the journey of his protagonist.

Continuing to shed light on his personal approach to screenwriting and his masterful talent for adapting novels for the screen Amini also discussed his 1996 film Jude. Admitting he often questions the commercial validity of the film he said he feels the content may be too tragic for the entertainment seeking, cinema-going audience.

He explained; “I’ve wrestled with the question as to whether Jude was right for cinema adaptation. People go to the cinema for escapism and for entertainment”.

In raising this debate, Amini also revealed his acute awareness of film as an industry. One that must please audiences in order to make money.

In spite of the commercial necessity that underpins successful filmmaking though, Amini ended his lecture with the positive message that screenwriters have, in his words; “a get out of jail free card”. He explained, “it’s not like being a director, where you have to rely on past success to get hired, writers can bounce back. Even if your last work was a flop, you can always pick up a pen and write again!”

• Actors are the best collaborators for a screenwriter. The screenplay should shape the scene but be prepared to adapt the content based on feedback from actors. As they start to interpret the characterisation, new ideas are likely to emerge.
• Any writer should spend time in a cutting room. Amini explained; “observing the editing process, allows a writer to learn so much about the problems you have the potential to cause for a director”.
• Don’t underestimate the importance of momentum. You might be able to write a scene that doesn’t bore you to read, but think about how that scene will translate to the audience in the cinema seat, it’s often quite a leap away from the page.
• Advice: learn as much as you can about the whole process of filmmaking. Get into the cutting room, learn about sound mixing and work as closely as possible with actors. You can learn so much from other people in the industry – find experts who can teach you their craft and build your knowledge of the filmmaking process as a whole.

For more inspiring Lectures from the world of film, games and TV explore our BAFTA News Resource section.

You can also read the transcript of Amini’s lecture in our Media Centre and find out more about our programmes supporting the next generation of film, games and TV talent.