Beautiful Boy – Where Does Screenplay Structure Come From?

Beautiful Boy – Where Does Screenplay Structure Come From?

This week we’re going to be talking about Beautiful Boy by Luke Davis and Felix van Groeningen.

This is a particularly interesting film to discuss in light of our last podcast where we talked about Destroyer and the use of flashbacks in a movie, because Beautiful Boy is also built around flashbacks, but tends to earn those flashbacks in another way.

So, we’re going to be looking at Beautiful Boy to talk not just about flashbacks but also about structure, How do you make those structural decisions in your film? Where does screenplay structure actually come from?”

If you have seen Beautiful Boy or read reviews of Beautiful Boy, you know that the response has ranged wildly from those who think it is the most beautiful film ever made, to others who feel like it only scratches the surface of the addiction issue, who’ve even compared it to a beautifully produced PSA.

Whether you were deeply moved by the film or felt like it only scratched the surface for you, there’s no doubt that the way the structure of Beautiful Boy is constructed grows out of its theme.

Beautiful Boy comes at the issue of addiction in a much different way than a movie like Half Nelson or Requiem for A Dream. It is actually adapting two different books one non-fiction memoir written by David Sheff called Beautiful Boy, and one written by his son Nic Sheff entitled Tweak.

What the film is basically doing is taking these two non-fiction works and squeezing them together. But it is still primarily looking at the issue of addiction through the eyes of the father played by Steve Carell.

And in looking at the father, it basically makes the assumption that we see towards the end of the film when David and his wife Karen find themselves at a 12 Step meeting for parents of addicts, where the sign proclaims, “I didn’t cause it. I can’t control it. I can’t fix it.”

The movie comes at the character of David Sheff from that point of view. This isn’t a movie about how the pitfalls of parenting lead to addiction, This isn’t a movie about how that empty space in Nic that he describes in the film got created in the first place.

This is a movie about a guy who is a good parent, who has a son who is a good kid, who are both fighting the same issue and both failing.

Whether you agree with the psychology and the sociology of this premise or not, that’s the thematic place that this piece starts from. We aren’t looking at bad fathers and bad sons. We aren’t looking at ugly people addicted to ugly things. We’re looking at a loving family torn apart by addiction.

This doesn’t prevent the movie from getting deep or complicated in some places. For example there’s a wonderfully complicated scene where David Sheff smokes a joint with his son Nic, not knowing that his son is addicted to a whole array of drugs, thinking that he’s creating a special moment at his son’s request.

There’s a very complicated moment when David buys cocaine himself and has a one night cocaine binge–he’s trying to feel what his son is feeling– or maybe just trying to escape.

So, coming at these characters in this way isn’t limiting the ability to go deep, but it does cut a lot out.

This is true whenever you’re using theme.

Theme is a way of looking at your screenplays structure and saying, “What am I going to show and what am I going to not show?”

“What am I going to dive deep into, and what am I going to skim over? Where am I going to get serious and where am I going to focus my attention?”

The truth is in a two hour long movie, you can’t do everything, so you have to choose the things that you want to do.

You have to choose where to point your camera and where to point your words so that you know what you’re looking at and what you don’t want to look at.

Some people are going to love the choices you make:  the people who’re wrestling with the same theme.

In this case, the parents who see themselves as great parents with great kids who are victims of a horrible disease.

And other people aren’t going to like your decision, for example, the people who’re interested in the psychology that creates addiction, who’re interested in the big mistakes, or the sociology that creates addiction.

In Beautiful Boy, the camera shows us some things but doesn’t show us others from the true story.

We’re told that Nic was primarily addicted to crystal meth. In fact, that’s the first thing that his father says in the very first scene of the movie. But most of what we actually see is Nic using heroin.

And while Nic certainly did use heroin, the choice to switch the drug he’s using switches the behavior, and switches our feeling about Nic, allowing us to see him through a different window.

There was a period where Nic was prostituting himself for drugs. There was a period where he was attempting robbery (although he says that he was never very good at it), There was a moment where (in “Requiem For A Dream” style) he actually almost did lose his arm.

But these moments are cut out of the film in order to focus on what’s beautiful about this boy. in order to focus our attention not on the ugliness of what an addict is willing to do, but on what happens to a beautiful person when a terrible addiction takes them.

Similarly, in writing his memoir, David Sheff went through a very interesting experience. There was a period where he experienced a brain hemorrhage and actually had to learn to write again. In his words, it was like “his brain was a broken suitcase full of scrambled items that he had to fit together.”

But the brain hemorrhage– that part of his story– is entirely left out of the film, as is what caused his divorce in the first place or how that affected the children, or what the parental rifts between father and son were outside of this horrible addiction.

And whether you agree with it or not that’s an artistic choice, that’s the writer choosing not to lie, but focus the camera– not on the full complexity of the relationship, but on what’s beautiful about these two people.

And that’s mostly what we get to see, we get to see Steve Carell play the dad that we all wish we could have—the father who’s going to be there, who’s going to be understanding, who’s going to be full of love, who’s going to create so many beautiful magical moments for his children in this beautiful, wonderful house with his wife who’s full of art. And though he isn’t a perfect person, he’s always a good dad.

And similarly we’re going to see Nic, who may be in the thrall of a horrific addiction and may be making some really terrible choices, but who in his moment of lucidity is the boy that we all wish we could have had.

You may agree with this decision or you may disagree with this decision, but this is a creative decision built out of theme.

That theme trickles all the way down to each little moment of how this film is shot, the beauty and the nostalgia of each shot, and it also trickles all the way up to the title, Beautiful Boy.

The whole film is built around this decision, and that’s why the structure of this film is so much different from so many other addiction movies we’ve seen.

Which brings us to the flashbacks.

While we never do see the brain hemorrhage that occurred to David Sheff during the writing of his book, we do get the feeling of that experience–of a brain that’s like “A broken suitcase full of scrambled items that have to fit together.”

One of the big choices made structurally in Beautiful Boy is that we aren’t going to watch the film in linear order, nor are we going to watch a traditional flashback structure.

Rather, present and past are going to swirl and cycle around each other, good things and bad days, getting on the drugs, getting off the drugs, moments of hope, and moments of despair.

And it is built this way for a reason, because this is a story about a father chasing his beautiful boy, and a son chasing that first moment that he took drugs and felt like his life went to Technicolor.

Beautiful Boy is a film about two different people chasing this feeling that they once had that they lost.

We’re going to watch Steve Carell’s character, David, chase his son. We’re going to watch his wife chase their son. We’re going to watch his ex chase their son. We’re going to watch all three of them become addicted to their son’s addiction, become addicted to the need to help him.

They’re going to spend the whole movie chasing this child, until finally; they reach the moment where they stop.

And similarly we’re going to watch this child chase that feeling, chase that first high. We’re going to watch him struggle. We’re going to watch that desire come over him again, and again, and again, every time it looks like he’s going to get clean.

And we’re basically tracking his journey towards that stopping point as well, even though it is a stopping point we never know if we’re going to reach. How is this built structurally?

Like in any father-son relationship– like in any family relationship– when we react in a moment we aren’t just reacting to that moment, we’re reacting to every moment we’ve experienced around it; we’re reacting to every memory.

In Beautiful Boy, when David Sheff is chasing his son, he isn’t just chasing the 18-year-old version of his son. He’s chasing the 5-year-old and the 10-year-old, and the 3-year-old version of his son. He’s chasing every beautiful moment that they ever had.

And that chase isn’t always in alignment with the reality that’s happening now, just as the chase for Nic isn’t always in alignment with the reality of what’s happening now.

The way that that chase is created in Beautiful Boy is with a series of flashbacks, and these flashbacks are given order and structure through a very simple approach–which is to keep coming back to the same locations.

There’s a risk when you build a movie like this of everything just spiraling out of control, of the film feeling like a big mushy circle without any forward motion.

There’s a risk of it feeling more like a portrait of a world rather than the movement of a journey.

And there’s a part of the theme that requires that feeling, but the piece also has to work as a film. And this is what you want to think about as you’re building your structure for your own movies.

A lot of people think that structure is some kind of formula of what has to happen on page 10 and what has to happen on page 30 and what has to happen on page 90, what has to happen in Act One and what has to happen in Act Three.

But nothing could be further than the truth.

Getting frustrated with formula, other writers reject structure entirely!

They feel like, “Oh structure is just a game for the commercial filmmaker. They tell themselves that if you’ve got a beautiful character driven story you don’t need any structure at all– you just need to capture these moments.”

But that rarely works either. The formulaic structure is going to lead you to a predictable, probably boring, and probably not very truthful film. And the no-structure is going to lead you to a beautiful hodgepodge of images that don’t actually hold together.

So, if you want to learn to build structure, you have to understand what structure actually is, how you actually find it, and how you actually learn about it.

Structure grows out of your theme. Structure is the container for your movie that only your movie could be contained by. And structure actually occurs on two different levels.

On the first level we have Primary Structure.

Primary Structure is the story of how your character experiences the movie, the choices that your character makes that lead up to their big change.

Secondary Structure, on the other hand, is the story of how the audience experiences the movie, the way that the audience experiences and understands the movement of your character’s journey and tells themselves the story of how your character changed.

But both your character’s structure and your audience’s structure– both your primary structure and your secondary structure– are both built around the same principle: characters making choices that change them.

What this means is that though your film is likely, if it’s successful, to have some version of a Seven Act Structure (for reasons that I discuss in my Write Your Screenplay Class and in a lot of other podcasts), what actually happens in each of those seven acts varies tremendously from film to film.

The way those acts are put together in a screenplay varies tremendously from film to film because it grows out of the theme, it grows out of the writer’s intention.

In this movie, the theme is “Beautiful Boy,” and every single thing is feeding that theme.

It’s about a beautiful boy and it is about a beautiful father. And structurally, it’s building up to the moment where dad stops chasing, and mom stops chasing, and stepmom stops chasing.

That moment is beautifully dramatized in an actual chase scene.

There’s a gorgeous moment when Nic’s stepmom, Karen, takes off in her van, chasing Nic and his girlfriend who’ve just broken into the house trying to get money.

We’re watching this beautifully shot, very simple chase sequence, until finally she chooses to stop the car and let him go.

It’s such a beautiful way of dramatizing and punctuating the change for that character. And what it allows us to do is get that feeling that everything that we’re cycling, everything that we’re circling has suddenly stopped. We feel and we process that change.

And because the movie is built thematically, out of that we get to see Steve Carell’s character, David stop.

We get to see the first scene when Nic calls his dad and asks to come home and his dad chooses not to take him in.  We then get to see the moment where Nic’s mother, David’s ex-wife Vicki, comes to a stop. When she tries to push David to keep trying to save their son’s life, and when she hits the roadblock that he isn’t willing to do it anymore.

And because the movie is cyclical, we then move from that stop to a new moment that… I’m not going to ruin for you…but which is filled with all the ambiguity of addiction, all the questions of addiction, all the complicated trust issues around addiction.

We’re basically watching a movie that both doesn’t have structure and also does– that’s both the cyclical feeling of addiction, the cyclical feeling of parenthood, the feeling of everything happening at the same time.

And we’re also watching a movie that has a very clear structure, that has seven acts of the parents chasing the child in different ways, until the moment that each of them stop.

And this is the beautiful thing about structure, structure is the hardest thing to do but when you finally get it right, it always boils down to something simple.

In fact, you need that simple structure in order to free your subconscious, creative mind to fill it in, to actually explore.

You need something so simple that you can keep it in your head or write it on a flash card, so that it can be the guiding spirit of what you’re building, rather than being the complicated thing you keep having to come back to look up.

The journey to find that is a complicated one, and it often feels like a yellow brick road. But it grows out of very simple concepts, the same concepts that we talk about here and in our classes, those simple concepts around how we build change.

Beautiful Boy has a flashback structure, but those flashbacks don’t exist to tell a story to the audience, they exist just like the flashbacks in Destroyer, to illuminate the theme of the piece, to drop you into the feeling of a good dad with a good son, to amplify the beauty in Nic even as we’re seeing the ugliness, the beauty in David even as we’re seeing the anger, the beauty in all of these characters even as they struggle.

And that theme exists based upon the beliefs of the writers, highlighting the things that matter. The idea for these writers that this is about a terrible disease from which parents and children need help.

So, on the character level, the flashbacks exist, the circular structure exists, in order to create a feeling that relates to the theme. And though the structure of Beautiful Boy is different than the structure that we see in most movies, ultimately it takes us through the same movements.

The tools that the writer uses to do that are:

First, punctuating those turning points, taking the internal feeling turning points and extrapolating them into dramatic moments where we can feel the big choices as they get made on the outside, rather than having to understand them on the inside– allowing us to actually see them happening in front of our eyes.

But they also use a very simple idea which is location.

By simply coming back to the same places, we end up creating a structure that we can understand. In fact, the story of Nic’s fall in Beautiful Boy can be told basically in three scenes at the same diner.

There’s a scene early in the film in which David goes to meet Nic at a diner that mattered to him. We see in flashback, as he’s talking to Nic, (who shows up high, of course and says some of the cruelest things that he’ll say to David). we see that as David’s there, he isn’t just interacting with Nic, he’s also experiencing a previous scene at that diner at the same time– a moment when father and son shared a beautiful, innocent connection at that diner. That’s scene number two, mixed in with scene number one so we can feel them happening at the same time.

And the third time we come to that diner is towards the end of the film. Nic is there alone, in the depths of his addiction. And, at the same time, he’s doing the beautiful thing which we’ve always wanted him to do– he’s finally writing something.

A few moments later, in the bathroom in that diner, we’ll see Nic in his darkest moment, his moment where he’s most alone.

And so, through these three little scenes, at this one place, we’re able to take what would feel like a mush of past and present and future, and instead get a structure by coming back to the same place in different ways.

We tell ourselves the story of what happened when dad stopped chasing his son, we tell ourselves the story of a movement from total connection to total aloneness. And then in the final act of the film we find ourselves on the other side.

And this is what’s really beautiful about the film. Beautiful Boy film is building both Primary Structure and Secondary Structure at the same time.

It is creating a feeling for the audience of a dad who has experienced past, present and fear of the future– all at the same time.

Of a son who is experiencing past, present and fear of the future all at the same time.

Of a family experiencing past, present, and fear of the future all at the same time.

And, at the same time, by using locations that matter, by using images that matter, by coming back to reflections of the things that we’ve seen before, and by extrapolating the inner feelings into conscious external choices, the film is creating a feeling of structure for the audience, a feeling of Secondary Structure that allows us to interpret this fugue of emotions in a way that has meaning and movement, and that brings us to the thematic conclusion that the writer wants us to experience.

If you’re enjoying what you’re seeing here, like and follow

And if you want to study with me then check out Thursday Night Writes. It is free! Every Thursday night at writeyourscreenplay.com/thursday.

 

*Edited for length and clarity

Share this...
guest

2 Comments
Newest
Oldest
Inline Feedbacks
View all comments

COURSE PARTICIPANT AGREEMENT

Participant Agreement

By registering for the course, you are agreeing to the following terms, which form a legal contract between you and Jacob Krueger Studio, LLC (“Company”) and govern your attendance at and/or participation in Company’s course (the “Course”). 

  1. Course Participation.
    1. Admittance.  Your registration entitles you to admittance to the Course.  Any and all other costs associated with your attendance (including, without limitation, any travel or accommodation expenses) shall be borne solely by you and Company shall not be liable for any such costs.
    2. Media.  For good and valuable consideration, the receipt and sufficiency of which are hereby acknowledged, you grant Company the right to record, film, photograph or capture your likeness in connection with the Course, in any media now available and hereafter developed (“Course Footage”).  You further grant to Company in perpetuity the rights to use, license, edit, copy, distribute, publicly display and make derivative works of the Course Footage, including exploitation for marketing, advertising or merchandising related to the Course, throughout the universe.  You hereby waive any and all approval rights you may have over Company’s use of the Course Footage and acknowledge these rights are granted without any payment, including royalties or residuals, to you.
    3. Conduct.  You acknowledge that Company reserves the right to request your removal from the Course if Company, in its sole discretion, considers your presence or behavior to create a disruption or to hinder the Course or the enjoyment of the Course by other attendees or speakers.
  2. Fee(s).
    • Payment.  The payment of the applicable fee(s) for the Course is due upon registration or per your payment plan.  If such payment is insufficient or declined for any reason, you acknowledge that Company has the right and sole discretion to refuse your admission to the Course.
    •  
    • Taxes. The fee(s) may be subject sales tax, value added tax, or any other taxes and duties which, if applicable, will be charged to you in addition to the fee(s).
  3. Intellectual Property. All intellectual property rights, including trademarks, copyrights, trade secrets and patents, in and to the Course, the Course content and all materials distributed at or in connection with the Course (the “Course Materials”) are owned by Company. You may not use, license, copy, display, or make derivative works of the Course Materials without the prior written permission of Company.  For the avoidance of doubt, nothing in this agreement shall be deemed to vest in you any legal or beneficial right in or to any trademarks or other intellectual property rights owned or used under license by Company or grant to you any right or license to any other intellectual property rights of Company, all of which shall at all times remain the exclusive property of Company.
  4. Warranties; Limitation of Liability.
    • Other than to the extent required as a matter of law: (i) neither Company nor its employees, agents or affiliates (“Company Parties”) shall be liable for any direct, indirect, special, incidental, or consequential costs, damages or losses arising directly or indirectly from the Course or other aspect related thereto or in connection with this agreement.  The maximum aggregate liability of Company Parties for any claim in any way connected with therewith or this agreement whether in contract, tort or otherwise (including any negligent act or omission) shall be limited to the amount paid by you to Company under this agreement to attend the Course.
    • You represent and warrant that you have the full right and authority to grant Company the rights provided in this agreement and that you have made no commitments which conflict with this agreement or the rights granted herein.  You agree that your participation in the Course is entirely at your own risk and accept full responsibility for your decision to participate in the Course.  In no event shall you have the right to enjoin the development, production, exploitation or use of the Course and/or your Contributions to it. 
  5. Governing Law and Venue.  This agreement shall be governed by the laws of the State of New York without regard to its conflict of laws provisions.  The parties hereto agree to submit to personal and subject matter jurisdiction in the federal or state courts located in the City and State of New York, United States of America.
  6. Dispute Resolution.  All claims and disputes arising under or relating to this agreement are to be settled by binding arbitration in the state of New York or another location mutually agreeable to the parties.  The arbitration shall be conducted on a confidential basis pursuant to the Commercial Arbitration Rules of the American Arbitration Association.  Any decision or award as a result of any such arbitration proceeding shall be in writing and shall provide an explanation for all conclusions of law and fact and shall include the assessment of costs, expenses, and reasonable attorneys’ fees by the winner against the loser.  Any such arbitration shall include a written record of the arbitration hearing.  An award of arbitration may be confirmed in a court of competent jurisdiction.
  7. Miscellaneous.  Company may transfer and assign this agreement or all or any of its rights or privileges hereunder to any entity or individual without restriction.  This agreement shall be binding on all of your successors-in-interest, heirs and assigns.  This agreement sets forth the entire agreement between you and the Company in relation to the Course, and you acknowledge that in entering into it, you are not relying upon any promises or statements made by anyone about the nature of the Course or your Contributions or the identity of any other participants or persons involved with the Course.  This agreement may not be altered or amended except in writing signed by both parties.
  8. Prevention of “Zoom-Bomber” Disruptions; Unauthorized Publication of Class Videos. Company will record each class session, including your participation in the session, entitled “The Videos”. To prevent disruptions by “zoom-bombers” and provide Company and

    participants the legal standing to remove unauthorized content from platforms such as YouTube and social media sites, you agree that

    (1) you are prohibited from recording any portion of the Course;

    (2) in exchange for the opportunity to participate in the Course, you assign to Company your verbal contributions to the session discussions.

    To be clear, you assign to Company only your oral statements during recorded Course sessions. You retain all copyright to any and all written materials you submit to the class and the right to use them in any way you choose without permission from or compensation to the Company.

Welcom Back!

Log in to access your account

We will see you this Thursday!

7pm ET / 4pm PT

Check Your Email For The Link

(Don’t see it? Check your spam folder)

Donate To Our Scholarship Fund

We match every donation we receive dollar for dollar, and use the funds to offset the cost of our programs for students who otherwise could not afford to attend.

We have given away over 140,000 of scholarships in the past year.

Thank you for your support!

Other Amount? CONTACT US

Get Your Video Seminar

myth-three-act-structure-jacob-krueger-studio-free-seminar

Where should we send it?

"*" indicates required fields

Name*
Would You Like More Information About Our Classes?
This field is for validation purposes and should be left unchanged.

Need A Payment Plan?

We like working with artists and strive not to leave writers behind over money.

If you need a payment plan or another arrangement to participate in our programs, we are happy to help.

Chat us or give us a call at 917-464-3594 and we will figure out a plan that fits your budget.

Join the waitlist!

Fill in the form below to be placed on the waitlist. We'll let you know once a slot opens up!